Zumwalt Poems Online

Archive for May, 2018

hope takes a back seat to Fate

hope takes a back seat to Fate

this bus,
the first and last bus
of the bus stop
where I stop
to catch the bus.

you know it will be allright
it needs to be, right?
being is an extension of
what is about to exist,
of course,
for the best.

a window —
well,
didn’t get one.

the back window?
sure,
except,
why watch what has gone by?

what will be —
ah,
that will be good —
better than now,
passing on the left anything
gone on before.

Fate…
ignores chipper hope
and the constant chattering
but does not look down
on innocent chance.

Fate!
muses not
on circumstances
nor takes
viewpoints or preferred destinations
into consideration.

for Fate
it’s just a steady job.
nothing to get so
serious about
and sooner or later,
all the annoying nattering
will stop
and hope will get off,
long gone before
the end of the line.

– zumwalt (1998)

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Fifty Year Friday: FM Radio, Steve Miller Band, Children of the Future

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In July 1964, a battle against freedom of speech to promote freedom of speech began when the FCC (US Federal Communications Commission) adopted a prohibition against FM radio stations running 24 hour simulcasts of the content on their AM stations. With an eye towards containing costs, and perhaps ensuring a continuation of the current programming status quo, many owners of AM/FM affiliate stations fought against this new regulation, causing a delay in the ultimate enactment of this restriction until January 1, 1967. It was then, in 1967, that station owners examined their options for alternative programming to what was on the AM airwaves.

And within a relatively short time, FM became a mecca of musical variety!  In the greater Los Angeles area, where I lived, I started to explore FM content around 1968 to discover the wealth of international music being broadcast on Saturday and Sunday by multiple stations with the lowest numbers (the left of the dial) as well as the greater variety of classical music on 92.3 KFAC-FM compared to their AM counterpart, 1330 kHz KFAC.

In May 1968, KSAN-FM in San Francisco lured KPMX program director Tom “Big Daddy” Donahue (also author of the 1967 Rolling Stone article “AM Radio Is Dead and Its Rotting Corpse Is Stinking Up the Airwaves”) and several of the KPMX staff currently on an eight-week strike to work for what would apparently become the very first 24-hour underground rock FM radio station.  At the end of KSAN-FM’s last classical music broadcast, and to start their new format, Donahue appropriately played The Steve Miller Band’s “Children of the Future” which starts off with with a forty-eight second flurry of electric cacophony worthy of the current contemporary classical composers of the time that then nicely dissolves into the very simple and relatively brief anthem of the title track, “Children of the Future”

From this time on, FM stations in the largest cities, particularly San Francisco and Los Angeles, begin playing “underground” music, experimental and psychedelic rock, select tracks of various rock albums, and even complete sides or complete albums.  One could find a number of free-form programs: radio slots where the DJ played just about anything that they cared to play.  Soon Donahue extended his programming reach to Los Angeles taking over KMET and KPPC, making these two of the coolest stations in the greater Los Angeles area.

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In 1967, “The Steve Miller Blues Band” changed their name to “The Steve Miller Band”, not to shorten it but to update it to match their new sound.  Steve Miller had been brought up by jazz-enthusiast parents, good friends of Les Paul and Mary Ford: Steve’s dad was the best man and Steve’s mother was the maid of honor at the December 1949 wedding of Les Paul and Mary Ford. Steve’s dad, a physician and amateur recording engineer, even played Les Paul a wire recording of Steve Miller “playing” guitar at age four, and upon hearing, Les encouraged Steve to continue with his interest in the instrument.

When his dad moved the family to Dallas in 1950, Steve dad’s recording skills and interest in music exposed Steve to visitors like world-class guitarists T-Bone Walker and Tal Farlow, and jazz great Charles Mingus.  Soon Steve would leave for Chicago to earn his living as a blues guitarist, playing rhythm guitar with Buddy Guy as well as participating in jam sessions with other blues greats like Muddy Waters and Howlin’ Wolf.

So it was natural that the Steve’s first band would be a blues band.  But it was also natural that Miller was a musician of his time, and by the time Miller’s band was ready to record an album, it would be a rock album, though with a significant blues footprint including four blues-based tracks on the second side.

Originally planned to be recorded at Capitol Records in the historic Studio B in the famous Hollywood Capitol Tower, Miller and crew drove down from San Francisco for a midnight recording session, and per Joel Selvin’s liner notes of a recent CD reissue of the album, the group started to record but “the Capitol engineers, who had already made their distaste known for hippie rock musicians, walked out of the sessions, leaving the band with no engineers.  Miller picked up the van and the band and went back to San Francisco.”  Later Miller and band would make the trip to Olympic studios in London to record their inaugural album under now-famed producer Glyn Johns.

The first side of this album is basically one interrupted track, knit together from several individual songs in the form of a rock suite, and includes the attention-grabbing opening of the first track and the exploratory soundscape of the final track on that side, “The Beauty of Time Is That It’s Snowing”, both possibly influenced by Steve Miller’s interest in contemporary twentieth century composers like Karlheinz Stockhausen and John Cage. Jim Peterman’s mellotron assists in the overall psychedelic nature and spaciness of this first side.

The second side includes Boz Scaggs’ two relatively unremarkable compositions (the first with Ben Sidrian on harpsichord and the second a blues-based song), one older composition by Steve Miller, and three blues covers with which the band acquit themselves quite well, distinguishing themselves from other California-based contemporary rock bands by the quality of their playing and general understanding and approach to the blues.  Overall, this gives us a second side, which not as interesting as the first side, is still noteworthy.

Track listing (from Wikipedia)

All tracks composed by Steve Miller except where noted:

Side one
Title Writer(s) Length
1. “Children of the Future” 2:59
2. “Pushed Me to It” 0:38
3. “You’ve Got the Power” 0:53
4. “In My First Mind” Miller, Jim Peterman 7:35
5. “The Beauty of Time Is That It’s Snowing (Psychedelic B.B.)” 5:17

 

Side two
# Title Writer(s) Length
6. “Baby’s Callin’ Me Home” Boz Scaggs 3:24
7. “Steppin’ Stone” Scaggs 3:02
8. “Roll With It” 2:29
9. “Junior Saw It Happen” Jim Pulte 2:29
10. Fanny Mae Buster Brown 3:04
11. Key to the Highway Big Bill BroonzyCharlie Segar 6:18
Total length: 38:21

 

The Steve Miller Band

Additional Personnel

Fifty Year Friday: McCoy Tyner, Time for Tyner and Quicksilver Messenger Service

TforT517910Recorded on May 17, 1968, and released in August of 1968,  McCoy’s Tyner sixth albums feature the trio of Tyner, Herbie Lewis on bass and Freddie Waits on drums with the addition of Bobby Hutcherson on vibes for the first side of the two lengthier Tyner compositions and the the first two tracks on side two, Tyner’s “May Street” and Richard Rodger’s “I Didn’t Know What Time It Was” from the 1939 Musical, “Too Many Girls.”

Tyner is in excellent form here, with every note contributing, even the rapid Art Tatum like scales.  The three musical show tunes are all given special treatment, with “I’ve Grown Accustomed to Her Face” performed as a captivating piano solo, and the three Tyner compositions are all excellent, with African Village recalling Mongo Santamaria’s  Afro Blue from the amazing “must have” 1963 recording, “Live at Birdland” with Tyner, Coltrane, Jimmy Garrison and Elvin Jones.

Track listing

  1. “African Village” (McCoy Tyner)- 12:11
  2. “Little Madimba” (Tyner)- 8:34
  3. “May Street” (Tyner)- 5:22
  4. “I Didn’t Know What Time It Was” (HartRodgers) – 7:10
  5. “The Surrey with the Fringe on Top” (Hammerstein, Rodgers) – 5:12
  6. “I’ve Grown Accustomed to Her Face” (LernerLoewe) – 4:27

Musicians

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Not just another San Franciscan psychedelic rock band, but a particularly talented set of musicians that were part of the new direction of album-oriented rock.  There are jazz and even traces of classical music influences in the structure, group work, and solos on this album.  This, their very first album, is relatively short in length and not exactly a coherent work as it includes recordings spanning two years of musical development with tracks from 1966, 1967 and 1968.  “Gold and Silver” is the strongest track, with the first half of “The Fool”, being also quite good.   Album was released in May of 1968.

Track listing [from Wikipedia]

Side one

  1. Pride of Man” – 4:08 (Hamilton Camp)
  2. “Light Your Windows” – 2:38 (Gary DuncanDavid Freiberg)
  3. “Dino’s Song”[4] – 3:08 (Dino Valenti)
  4. “Gold and Silver” – 6:43 (Gary Duncan, Steve Schuster)

Side two

  1. “It’s Been Too Long” – 3:01 (Ron Polte)
  2. “The Fool” – 12:07 (Gary Duncan, David Freiberg)

Musicians

Fifty Year Friday: 1968 Jazz-Rock and Fusion

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In the late 1960s, rock music’s commercial value to the record companies far exceeded that of their jazz and classical products.  This led to many dismal outcomes, including two particularly appalling trends.  One was to try to commercialize and update jazz, with the record companies convincing (and in many cases failing to convince) reluctant jazz musicians to include rock tunes in their albums, often resulting in half-hearted attempts that included some token improvisation between the initial statement of one or more verses and the chorus and their return.  The other was to try to elevate rock music, or provide a more palatable version of it to older consumers, by saccharine orchestral or quasi-big band arrangements.  The cultural impact and commercial success of such attempts were thankfully very limited.

At the same time, a diverse range of rock groups were incorporating jazz elements into their music, and, musicians with varying degrees of jazz experience or jazz exposure were being included in some bands. Soon Miles Davis and John McLaughlin would make jazz fusion history and reap wide commercial recognition and compensation.  But prior to that, the talented and innovative vibraphonist Gary Burton, looking to make the move away from straight-ahead jazz and appeal to younger audiences drew upon his own love of popular music and started to blend jazz and rock elements in a series of four notable albums in 1967 and 1968.

Gary Burton worked with Stan Getz from 1964-1966,  during the period of Getz’s continuing ascendancy into fame from his successful merging of samba, bossa nova and jazz — Getz achieving significant recognition and acclaim from the 1963 Getz/Gilbert album that included the incredibly commercially popular “Girl From Ipanema.”  Perhaps Burton learned invaluable lessons of the breadth and flexibility of jazz, and that when it honestly and sincerely embraced and fully incorporated other elements, how it could extend its capabilities and capacity to appeal and captivate to a wide range of listeners.  Or perhaps Burton just followed his instinct of embracing the music he loved and creating music that, most of all, appealed to himself.

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During this period that Gary was working with Stan Getz, the first historically significant jazz-rock group, The Free Spirits, formed in 1965.  Playing in New York as opening acts or at very small venues, their music ranged from rock and roll to psychedelic rock,  similar to other rock bands — with the exception of the jazz background of four of their five members.  For the most part, the jazz element present was similar to the jazz element in contemporaneous rhythm and blues.  The songs on their 1967 Out of Sight and Sound album are appealing and accessible, with solid, often frenetic and dynamic drumming from Bob Moses, soulful, bluesy saxophone from Jim Pepper (no relation to Art Pepper),  and catchy compositions and expressive guitar work from Larry Coryell.  Additional band members were rhythm guitarist Columbus “Chip” Baker and bassist and vocalist Chris Hills.

After the Out of Sight and Sound album, Larry Coryell, and then later,  Bob Moses, joined up with Gary Burton.  Just as Larry Coryell significantly influenced the sound of the Free Spirits towards a contemporary rock sound, Larry Coryell would have a significant impact on the sound of the four Gary Burton albums he was a part of.

The first of these four important Gary Burton quartet albums, Duster, recorded in April 1967, and sometimes referred to as the very first fusion recording, includes guitarist Larry Coryell, talented bassist Steve Swallow and drummer Roy Haynes.  Larry Coryell had further sharpened his skills as can be heard on this indisputable example of early jazz fusion, “One, Two, 1-2-3-4” available on Youtube here.

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The second album, Lofty Fake Anagram, with Bob Moses now on drums,  was recorded in August 1967, and is a little more mellow, with continuing impressive interplay between Burton and Coryell and impressive bass work from Steve Swallow.

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The third album, recorded a month earlier in July 1967 and released in 1968, is the dramatic concept album, Genuine Tong Funeral, written by composer and pianist Carla Bley and subtitled “A Dark Opera without Words.”   Focused on the topic of death and mourning, this mixture of third-stream and avant-garde composition covers a wide range of emotion and even includes passages of irony or dry humor reminiscent of Kurt Weill.  Besides some amazing, prodigious vibraphone work by Gary Burton, using his usual four mallets and to fine effect,  there is some outstanding, pushing-the-envelope soprano sax from Steve Lacy, some nicely-miked acoustic bass work from Steve Swallow, and some welcome tuba passages performed  by Howard Johnson. The album’s last track, with a chaotic free jazz section breaking from the confines of the suite’s structural boundaries, perhaps indicating some level of relief or release from grief is followed by a return of the “Survivors” theme, providing an appropriate and proper closure to the suite.

Track listing [from Wikipedia]

All compositions by Carla Bley
  1. “The Opening / Interlude : Shovels / The Survivors / Grave Train” – 6:37
  2. “Death Rolls” – 1:36
  3. “Morning (Part 1)” – 1:43
  4. “Interlude : Lament / Intermission Music” – 4:28
  5. “Silent Spring” – 7:58
  6. “Fanfare / Mother of the Dead Man” – 2:51
  7. “Some Dirge” – 7:47
  8. “Morning (Part 2)” – 1:17
  9. “The New Funeral March” – 2:40
  10. “The New National Anthem / The Survivors” – 6:34
  • Recorded in New York City in July 1967.

Personnel

The fourth of these four Burton/Coryell albums, recorded live at Carnegie Hall on February 23, 1968, is simply titled “Gary Burton Quartet in Concert.”  Of particularly note is the amazing contrapuntal duet between Burton and Coryell in the recording of “Lines” and the overall excellence of the group’s performance of “Walter L.”  The album ends with an avant garde treatment of “One, Two, 1-2-3-4”, notably different than the original performance on Duster.

Track listing

All compositions by Gary Burton except where indicated
  1. “Blue Comedy” (Mike Gibbs) – 9:02
  2. “The Sunset Bell” – 5:17
  3. “Lines” (Larry Coryell) – 3:06
  4. “Walter L.” – 6:36
  5. “Wrong Is Right” (Coryell) – 6:14
  6. “Dreams” – 5:49
  7. I Want You” (Bob Dylan) – 3:06
  8. “One, Two, 1–2–3–4” (Burton, Coryell) – 10:45

Personnel

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In early 1968,  former Stan Kenton big band saxophonist, Steve Marcus, New Zealand born jazz keyboardist, Mick Nock,  and three former members of The Free Spirits,  guitarist Larry Coryell, bassist Chris Hills, and drummer Bob Moses,  recorded two jazz-rock albums, produced by jazz flutist Herbie Mann under Steve Marcus’s name.

The first album, Tomorrow Never Knows, appropriates five well known rock tunes and either imposes jazz commentary on them (“Mellow Yellow”) or develops and transforms them (“Tomorrow Never Knows”).  Added at the end, as a sixth tune, is Gary Burton’s “Half a Heart.”  This is one of those albums that may sound initially bizarre, with the band still wrestling to establish an overall sound and approach, but becomes more sensible and coherent after repeated listenings.

Track listing

  1. Eight Miles High” (David CrosbyHarold E. ClarkJames McGuinn) – 4:44
  2. Mellow Yellow” (Donovan Leitch) – 4:50
  3. Listen People” (Graham Gouldman) – 2:25
  4. Rain” (John Lennon, Paul Mc Cartney) – 7:02
  5. Tomorrow Never Knows” (John Lennon, Paul Mc Cartney) – 11:07
  6. Half A Heart” (Gary Burton– 5:21

Personnel

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The second album, though, Count’s Rock Band, (“Count” referring to Steve Marcus’s nickname and not that of William James Basie) is more organic, polished, and finely finished. There are only two rock covers here,  “Scarborough Fair” which is a straightforward rendition, based on Simon and Garfunkel’s version, arranged exquisitely with single focus, not straying a single step outside of its intended character, and Mick Jagger and Keith Richard’s Backstreet Girl; this modest tune is placed in an finely-crafted French cabaret-like setting with accordion  accompaniment, followed by an spellbinding jazzy middle section that evolves from straight-ahead, highly accessible jazz to wildly aggressive free jazz, followed by the return of the calm and tender original section.  The album also includes two compositions by bassist Chris Hills, which both work convincingly as final, unified outcomes of blending blues, rock and jazz.

If none of these musicians had ever recorded a note, jazz and rock would inevitably come together, just like twins separated in later years through pursuing different careers and interests, but meeting again in their more mature years.  In the case of rock, though, it’s relation to other music is more complex than simple siblinghood.  The young rock and roll looked very much, and acted very much like a young, somewhat clueless child of blues and jazz (and the baby sibling of the more capable rhythm and blues) but as rock and roll matured into rock, it developed its own identity, eventually accepting not only the best of what it’s parents could offer, but exploring all other available musical influences, examining and absorbing recorded and written music of all accessible areas of the globe and all accessible time periods.

Track listing

  1. Theresa’s Blues” (Chris Hills) – 12;19
  2. Scarborough Fair (Traditional,  Paul Simon, Art Garfunkel)” – 2:39
  3. “Drum Solo” – 3:55
  4. Ooh Baby” ( Chris Hills) – 12:14
  5.  “C’est Ca” ( Chris Swansen) – 0:19
  6. Back Street Girl” (Mick Jagger, Keith Richards) – 5:46
  7. “Piano Solo”  – 0:51

Personnel

Fifty Year Friday: Temptations, Wish it Would Rain; Eric Burdon & The Animals, The Twain Shall Meet; ABA and NBA finals

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This excellent album captures the Temptations’ smooth, soulful, and often passionate sound. It is the last album produced by Smokey Robinson and the final album with Ruffin, Kendricks, and bass singer Melvin Franklin taking turns on lead vocal: Mr. Ruffin being dismissed due to disruptive behavior, including insistence on the group’s name being changed to “David Ruffin and the Temptations” mimicking the name change of the Supremes to Diana Ross and The Supremes.

Besides the excellent vocals, we have the Motown studio musicians, named at the time as the Soul Brothers by Motown CEO Berry Gordy, Jr, but not credited on this album or other such albums of the era, and historically referred to as the “Funk Brothers”, in top form.

 

A1 I Could Never Love Another (After Loving You)  3:33
A2 Cindy  3:08
A3 I Wish It Would Rain  2:48
A4 Please Return Your Love To Me  2:26
A5 Fan The Flame  2:44
A6 He Who Picks A Rose  2:28
B1 Why Did You Leave Me Darling  2:11
B2 I Truly, Truly Believe  2:44
B3 This Is My Beloved  2;13
B4 Gonna Give Her All The Love I’ve Got  2:46
B5 I’ve Passed This Way Before  2:43
B6 No Man Can Love Her Like I Do  2:16

Personnel

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“If you want to find the truth in life, don’t pass music by.”

Eric Burdon and the Animals were effective performers at the 1967 Monterey Pop Festival.   They recorded “Monterrey”, written about the festival’s performers.  Perhaps this was the first rock song written about a concert event (before Joni Mitchell’s “Woodstock” or Deep Purple’s “Smoke on the Water.”) The lyrics are weak, and Burdon even gets Ravi Shankar’s name wrong (“Shanknar”) but there is something special to this song that barely made it to the fifteenth spot on the US pop charts.  It opens up with solo koto (or perhaps a similar instrument like the Chinese guzheng) and includes snippets of instrumental sound-painting as some the musicians that performed at the festival are described. In addition, woodwinds and  strings are added. It really is a celebration of the time, helped by the lyrics general naiveté and the song’s relentless, expanding energy, as it picks up tempo as it progresses.

The album containing “Monterrey”, The Twain Shall Meet, was released in May of 1968 and is a solid and capable mixture of hard and psychedelic rock, and has much in common with the first albums of harder rock groups and some of the progressive rock groups that followed soon after.  If one ignores the weakness in the lyrics and focuses on the music, this album provides a intriguing historical perspective on the early days of hard rock and provides insight into the transition from hard rock to what is commonly labelled as progressive rock.

Track listing [from Wikipedia]

Side one

  1. Monterey” (4:18)
  2. “Just the Thought” (3:47)
  3. “Closer to the Truth” (4:31)
  4. “No Self Pity” (4:50)
  5. “Orange and Red Beams” (3:45)

Side two

  1. Sky Pilot” (7:27)
  2. “We Love You Lil” (6:48)
  3. “All Is One” (7:45)

All selections written by Eric Burdon, Vic Briggs, John Weider, Barry Jenkins, & Danny McCulloch except “Orange and Red Beams”, written by McCulloch.

Personnel

 

conniehwkins

Connie Hawkins and the Pittsburgh Pipers defeated Larry Brown and the New Orleans Buccaneers in the seventh game of the very first ABA playoff in front of 11,000 fans, up considerably from their average attendance of around 3,000.  Worth mentioning is the price paid for the New Orleans Bucs franchise: exactly $1000.

In other basketball news, the Los Angeles Lakers beat previous Western champion, the San Francisco Warriors, and the Boston Celtics defeated previous NBA champions, Wilt Chamberlain and the 76ers (with Wilt’s getting 34 rebounds in game 7 but his teammates shooting poorly and Wilt receiving limited touches on offense) to meet in the finals where the Lakers (with Jerry West, Elgin Baylor, Archie Clark, and Gail Goodrich) lost the seven game series for the fifth time in seven years to the Celtics, this time in six games.

Wilt Chamberlain, perhaps still upset about the 76ers previously withdrawing a verbal commitment to give Chamberlain part ownership of the team, would demand a trade, indicating the possibility of going to the ABA, and soon Chamberlain would be sent to the Lakers for Archie Clark, Darrall Imhoff, and Jerry Chambers.

This was the first and last year of the ABA Anaheim Amigos,  purchased for $30,000 and sold less than a year later for $450,000, renamed to the Los Angeles Stars, and moved from the Anaheim convention Center to the LA Sports Center.

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