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Fifty Year Friday: Woodstock and August 1969

Wide-angle overall of huge crowd facingWoodstock: Aug 16-18

The history of people gathering together to hear others play music is almost as old as people gathering together to play music — both going back to prehistoric times.

And there were many older people in 1969, those of the “Great” generation and those of the so-called “Silent” generation, that would have identified “Woodstock” as just another prehistoric-type gathering to listen to primitive music.

Woodstock wasn’t the first multi-day music festival.   The Greeks had multi-day festivals where music played an important role.  In the Middle Ages and the Renaissance there were music festival that included a competitive element as portrayed in Richard Wagner’s Die Meistersinger von Nürnberg.

Wagner himself started the famous Bayreuth Festival in 1876, and though the first year was a financial disaster, it was a significant historical achievement with Russian attendee, composer Peter Tchaikovsky, writing “Something has taken place at Bayreuth which our grandchildren and their children will still remember.”

And so we can say the same about Woodstock.

There were many earlier multi-day rock events including the three-day Trips Festival in 1966, the two-day Fantasy Fair and Magic Mountain Music Festival in June 1967, the three-day Monterey Pop Festival from June 16 to June 18 in 1967, the Northern California Folk Rock Festival in May 1968, the two-day Newport Pop Festival in early August 1968, which had over 100,000 paid attendees, the two-day Isle of Wight Festival on August 31 and September 1, 1968, the two-day San Francisco Pop Festival on October 26 and 27, the two-day Los Angeles Pop Festival on December 22 and 23, the three-day Miami Pop Festival on December 28-30, several large, multi-day festivals in the first seven months of 1969 including the July 25-27 Seattle Pop Festival, and the three-day, attended by over 100,000, Atlantic City Pop Festival on August 1-3.

But Woodstock was one of a kind.  It was the peak of such gatherings — both a musical and social event the likes of which had never occurred before and has yet to occur again.

It was further celebrated and immortalized by the Warner Brothers movie, Woodstock, which came out in March 1970 — a important documentary that other studios had no interest in funding, and that, with its box office success, saved Warner Brothers from bankruptcy.

I had not even heard of Woodstock when my father, one evening in April 1970, while my sister and mom were attending some a Job Daughters or Eastern Star related meeting, took me to see a movie about music he personally had no interest in or no particular affection for. At fourteen, I was just along for the ride, so to speak, and would have accompanied my dad to any movie he chose.  Fortunately he chose Woodstock.

And what I saw were the myriad and complex vestiges of sixties mixing with, and more significantly, fueling the new music and culture of the upcoming 1970s — I was watching a document foreshadowing the world I would soon more fully engage and participate in.  Outside of sometimes reminding me of the importance of being considerate of others and sensitive to other people feelings, taking me to movies was the closest my dad ever came to explaining the facts of life or teaching me about what life would be like as an older teenager or young adult.  Woodstock, even in just its movie reincarnation, provided exposure to curse words, skinning dipping, drugs, and most of all some really timeless music.

Today there are various DVDs and on-demand streaming sources of video and audio that cover the music played at Woodstock and capture interviews of musicians and attendees.   I think its appropriate to celebrate this anniversary by watching the original movie or the extended version — or just listening to some of the audio from this landmark event.  Appreciate any comments on this topic!

Albums for the rest of August 1969

For the most part, by August of  1969, the sixties were wrapping up and the seventies were off to the races.

There were a number of musicians and groups that were symbols of the sixties that now had to make the transition to the seventies or fold trying.  Those that more-or-less folded, including Donovan, as mentioned in last week’s post, and groups like the Association, who released their fifth album in August 1969, the first of two Association albums that didn’t have a charting single, would be long remembered for their contributions in the sixties, but not recognized as a part of the seventies.

While other groups were declining, wrapping up, or dissolving, there were many new groups — with three genres becoming more and more prevalent: hard rock groups, which would evolve mainly into metal, progressive rock, and hard rock blues bands; the folk and country rock groups, which would often, in the case of some folk rock bands, get more progressive and complex, or with some country rock bands, develop a harder edge to their music or become more acoustic or folk-oriented; the blues rock bands, which depending on their musical sophistication usually evolved into metal, hard rock, jazz-rock, or more prog rock bands.  On top of this the Motown sound of the sixties was generally replaced with funk, soulful rock with the heart and soul of the Tamla/Motown set of record labels (including Tamla, Motown, Miracle/Gordy, VIP, Soul) shifting from Detroit to Los Angeles.

The shift from the sixties to the seventies was marked by the formation of super groups – — top musicians from different bands getting together as was the case earlier with Crosby, Stills, and Nash which released their album in May of 1969, and Blind Faith and The Hollies, both of which released their albums in August of 1969.

Eric Clapton, Steve Winwood formed Blind Faith with Ginger Baker and Ric Grech. The Blind Faith album, with its controversial original cover, which Eric Clapton fought for by stipulating their would be no album without that cover of the topless prepubescent strawberry blonde suggestively holding a Concord-like aircraft , and which cover was predictably replaced when initially released in the U.S. and Canada, is foundationally a blues rock album, with some particularly engaging writing by Steve Winwood and overall quality playing from Clapton, Winwood, Gretch and Baker.  Half of the album, side two, is an extended jam number which particularly showcases Eric Clapton.

Steve Marriot of the Small Faces and Peter Frampton of the Herd formed the Hollies.  Their first album, As Safe As Yesterday Is, released in early August of 1969, is a mixture of blues rock, jam rock, and some good solid songs. particularly the title song, “As Safe As Yesterday Is”, by Peter Frampton.  This style of British rock-blues looked forward to the blues and guitar oriented rock of the early seventies and contained few vestiges of the original British Invasion sound.

Ten Years After, who also played at Woodstock, was an English blues rock band  releasing their third studio album, Ssssh in August of 1969.  However by this third album Alvin Lee’s impressive guitar style had more of a seventies’ sound and his writing style likewise as was the the general hard-rock rhythmic drive of drummer Ric Lee and bassist Leo Lyons as well as the blues-rock sound of classical trained keyboard player Chick Churchill.  Ssssh, outsold the previous two albums and got as high as the twentieth position on the US Billboard Album Charts.

Mick Abrams, the guitarist on the first Jethro Tull album, leaving apparently from differences with Ian Anderson on the musical direction of Jethro Tull, had formed the band British Blues Band Blodwyn Pig.  Incorporating the reed work of Jack Lancaster and including elements of jazz-rock as exemplified by the track, ““The Modern Alchemist”,  the album reached number 9 on the UK charts. Again we have a solid, British Blues album, very much forging the way into the start of the seventies.

David Brown Plays With Santana At Woodstock

In America, starting in 1966, Carlos Santana led a Bay-Area-based live-concert jam band, Santana. Santana’s first album, recorded in May 1969 and released at the end of August, 1969, incorporated some actual songs in order to be commercially friendly — but as to be expected from this type of jam band, the album is mostly instrumental.  One of songs on the album, “Evil Ways”, caught on in a big way reaching #9 on the charts sometime in March 1970. With the combination of the heavy airplay of “Evil Way” and their appearance at Woodstock and in the film, their first album eventually climbed up to number 4 on the US Billboard Album Charts.  While “Evil Ways” received incessant airplay on AM, FM radio stations played other cuts of the Santana album.

Michigan, which had provided the MC5 and The Stooges, provided yet another hard-edged, blues-based rock band with Grand Funk Railroad. Though the level of musicianship was not at the level of English groups like Blind Faith, The Hollies, Ten Years After, or Blodwyn Pig it was clearly an improvement over MC5.  The first album, On Time, released in August of 1969, was also much better received by rock critics.   Grand Funk was a natural seventies arena rock band, so much so that Rolling Stone writer David Fricke later declared “You cannot talk about rock in the 1970s without talking about Grand Funk Railroad!”  And though an intelligent musically-oriented discussion of seventies rock music certainly wouldn’t suffer from an omission of Grand Funk (as they were more commonly called by fans), they were one of the few early seventies hard rock bands that managed to successfully steer away from what some considered the contaminating influence of progressive rock — staying mostly true to the vision of a generic, relentlessly devoid of any traces of self-awareness, hard rock.

Stevie Wonder, did not play at Woodstock, but continued to mature as a musician and composer, releasing My Cherie Amour on August 29, 1969. Wonder would become one of the most important voices of the 1970s, but for the most part My Cherie Amour is still a sixties album. The biggest hit was the title track, “My Cherie Amour”, a tune originally written by Stevie for his girlfriend as “Oh, My Marsha” when he was a student at the Michigan School for the Blind and then recorded in 1967.  Reaching #4 on the U.S. Billboard Singles chart, the song is relatively simple, instantly accessible and charmingly a product of the sixties.  “Yester-Me, Yester-You, Yesterday”, also recorded back in 1967, reached number #7 in the US and #2 in the UK.

Love also was making the transition from the sixties to the seventies. To start with, Arthur Lee, the primary creative force behind Forever Changes, dismissed all the previous members of Love after the departure talented songwriter, vocalist and guitarist Brian MacLean had left.  The new album, Four Sails, released in either August or September was a disappointment to fans expecting an extension of the melodically-rich, proto-prog sound of Forever ChangesFour Sail starts off promising enough, with the first track “August”, propelling forward with impressive contrapuntal interplay between the two guitars and the bass.  The next track though, pulls the listener back into the sixties as does “I’m With You” with its similarities to the quintessentially sixties “Feeling Groovy” and “Robert Montgomery” with its similarities to “Eleanor Rigby.” Overall, the album is supported by some strong, seventies-style guitar work, but it does not match the quality of the earlier Forever Changes album, and it garnered even less commercial and critical attention.

Another album bypassed by most consumers and critics alike, selling less than a total of 20,000 copies in 1969 and 1970, was Boz Scaggs solo album, simply titled “Boz Scaggs”, recorded after his departure from the Steve Miller Band and released in August 1969. This is mostly a country music album, but it smoothly incorporates elements of blues, folk, soul and gospel. One could make the case that this album is the most seventies album of all the late sixties albums as it effectively incorporates horns, and background singers into a polished presentation that is as much about style and appearance as substance.  Fortunately, there is also real substance to the songs. Scaggs own compositions are generally based on traditional country laments (unrequited love, being taken for granted, unappreciated, leaving because unappreciated, and abandonment.)  The covers Scaggs chooses are wisely selected and fill out the full county/blues spectrum with “Look What I Got” (I found someone else, so there — but it could/should have been you.”) and and “Waiting for a Train” and “Loan Me A Dime” covering down and out territory.  The album ends with a final country song, Scaggs and keyboardist Barry Becket’s “Sweet Release” that balances desolation with the promise of solace.  This strong and powerful ballad is reminiscent of Procol Harum and anticipates the country-rock sound of Elton John’s Tumbleweed Connections.  Overall Scaggs gives us one of the first seventies-style Americana albums, simple, effective, and liberated from the influence of the musical influences of the British Invasion. Once Boz made it big, the album was reissued and belatedly charted in 1976.

August was a busy month for releases, and with albums like Miles  Davis’s In a Silent Way, Nick Drake’s “Five Leave’s Left”, Yes’s first album, Yes, Jethro Tull’s “Stand Up”, Santana’s first album, Santana, and Can’s “Monster Movie”,  now in the hands of many listeners by the end of August, 1969, it seems appropriate to note that this was the beginning of the seventies, calendar mechanics and formalities ignored — and it you were to bring such silly technicalities up, my reply would certainly be typical seventies jargon — “screw that!”

 

 

 

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Fifty Year Friday: Power to the People, The Giant is Awakened, Empty Sky, At San Quentin, and Charisma

 

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Joe Henderson: Power to the People

Recorded in late May of 1969, Power the Power stands out distinctly from both those late-sixties partly-commercially friendly hard bop albums and the bevy of free-jazz albums being recorded in 1968 and 1969.  It opens with one of the most sensually gorgeous jazz ballads of the era, the beautifully lush Black Narcissus with Herbie Hancock’s Fender Rhodes electric piano providing the appropriate ambient backdrop. Henderson’s tenor work here is stunningly elegant as he shapes his lines with a rare level of delicate control.  And though “Black Narcissus” is the highlight here for me, Ron Carter’s “Opus One-Point-Five” is also particularly beautiful with Henderson’s tone capable of the most nuanced reflection and introspection.  Hancock is on acoustic piano, and Jack DeJohnette’s percussion fits in perfectly.

Despite all this beauty, on cannot overlook the other tracks including an updated version of Henderson’s Monk-influenced “Isotope” that Henderson and Hancock had previously recorded in 1964 for the “Inner Urge” album.  As a Thelonious Monk fan, this resonates with my personal music sensibilities, and so very glad to have both the longer 1964 version and this version. “Lazy Afternoon” swings effortlessly, “Afro-Centric” is hard-edged, modally adventurous hard bop, and “Foresight and Afternoon” omits keyboards with the trio charging into the realm of free jazz territory.  The title track, “Power to the People”, is also adventurous, with a modern hard-bop theme, aggressively inventive improvisations, and sparking electric piano work by Hancock. Now if I had to change one thing about this album, I would have liked to have a second version of “Power to the People” included with Mr. Hancock on acoustic piano. That would be one way to make an amazing album even more incredible!

Track listing [from Wikipedia]

All compositions by Joe Henderson, except where noted.

  1. “Black Narcissus” – 4:50
  2. “Afro-Centric” – 7:00
  3. “Opus One-Point-Five” (Ron Carter) – 4:56
  4. “Isotope” – 4:53
  5. “Power to the People” – 8:42
  6. “Lazy Afternoon” (MorossLatouche) – 4:33
  7. “Foresight and Afterthought (An Impromptu Suite in Three Movements)” – 7:33

Recorded on May 23 (2, 5) and May 29 (all others), 1969.

Personnel

 

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Horace Tapscott: The Giant is Awakened

Recorded on the first three days of April 1969, released later that year to negligible sales and then not reissued until 2015, The Giant is Awakened is Horace Tapscott’s first album as a leader, with not another album in his name until 1978, by Tapscott’s choice, as he was reportedly disappointed in being excluded from the mixing process of this album despite assurances to the contrary.  Reportedly, Tapscott was particularly dissatisfied with the over-emphasis on the piano, which aggressively stands out whether soloing or providing accompaniment. The two basses could have been brought out more, particularly in passages where one is bowing and the other is being plucked.

The album finds middle ground between standard hard bop and extreme free jazz as nicely exemplified in highly structure and rhythmically-driven “The Giant is Awakened.”  This is also Arthur’s Blythe’s first recording, but his distinct alto playing is evident even at this point in his career as he provides an orchestra’s worth of tension and forward momentum in the first track, preceding Tapscott’s unrestrained and exploratory solo. Blythe also contributes the composition “For Fat’s” with its Monk-like opening theme and its freer contrasting section —  the two themes rotating in a straightforward ABABA form.  The third track,  the relentlessly rhythmic “The Dark Tree” is particularly appropriate for showcasing Tapscott fearless piano technique. The final track, “Niger’s Theme”  begins with a distinct, angular melody that then gives way to Blythe’s almost chaotic, but brilliant, free improvisation, followed by some pungent and highly accentuated piano.  This returns to an extended restatement of the main theme, with a suitable diminuendo bringing an accessible, engaging, and adventurous album to a pleasant but decisive close.

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Track listing [From Wikipedia]

All compositions by Horace Tapscott except as indicated

  1. “The Giant is Awakened” – 17:23
  2. “For Fats” – 2:20
  3. “The Dark Tree” – 7:01
  4. “Niger’s Theme” – 11:55

Personnel

 

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Elton John: Empty Sky

Recorded in December of 1968 through April 1969, Elton John’s first album was released in the UK on June 6th 1969.  Like many baby boomers in the States, my first exposure to Elton John was his self-titled second album, which at the time I purchased it, I believed to be his first.  It wasn’t until a few months after I had purchased Tumbleweed Connection, that I saw Empty Sky in the import section, and as it was at a reasonable price for an import album, $3.99,  I bought it.  I listened to it once, put it aside, listened to it again, but never took a strong liking to it as I had with those second and third albums, which, along with Yellow Brick Road, are what I consider to be the best of his long, productive career.

That said, Empty Sky is still a good album, with well-written lyrics by Bernie Taupin, skillfully set to music by Elton John.  Yes, the second and third albums have stronger songs, and also benefit from the wealth of quality musicians that contribute as well as Gus Dudgeon’s accomplished production — Empty Sky lacks anything approaching “Your Song”, “Take Me To the Pilot”, or “Burn Down the Mission”, does not have the same production values or range of contributing musicians — and appears to be constrained by a lower budget.

My favorite songs are the opening (and title) track, “Empty Sky,” “Western Ford Gateway,” which sounds similar to content from Tumbleweed Connection, and “Hymn 2000,” which would fit in nicely on the second album.  The last track has a jazz-blues section, which would provide a nice ending to the album, except for the intrusion of a collage of snippets from each track that provides a musical flashback — a puzzling approach, but something repeated by both Gentle Giant (“In a Glass House”) and Queen (“Jazz”), with Gentle Giant keeping their snippets to a little under two seconds each, for a total length of nine seconds (not counting the few seconds of shattering glass) compared to the nearly two-minute recap on Empty Sky.  (In regards to Gentle Giant and Elton John, Elton, when still Reginald Dwight, played with Simon Dupree and the Big Sound for a couple of months when their regular keyboard player, Eric Hine, was ill.  The Shulman brothers and Reggie got along great, and recorded Elton and Bernie Taupin’s “I’m Going Home” as mentioned here.)

Track listing [From Wikipedia]

All songs written by Elton John and Bernie Taupin.

Side one

  1. “Empty Sky” – 8:28
  2. “Val-Hala” – 4:12*
  3. “Western Ford Gateway” – 3:16
  4. “Hymn 2000” – 4:29

Side two

  1. “Lady What’s Tomorrow” – 3:10
  2. “Sails” – 3:45
  3. “The Scaffold” – 3:18
  4. Skyline Pigeon” – 3:37
  5. “Gulliver/Hay Chewed/Reprise” – 6:59*

Personnel

  • Elton John – vocals, piano, organ, Fender Rhodes, harpsichord
  • Caleb Quaye – electric guitar, acoustic guitar, congas
  • Tony Murray – bass guitar
  • Roger Pope – drums, percussion
  • Nigel Olsson – drums on “Lady What’s Tomorrow”
  • Don Fay – saxophone, flute
  • Graham Vickery – harmonica

 

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Johnny Cash At San Quentin

Whereas Elton John was just getting to his first album, Johnny Cash was tackling his thirty-first. If you had any relatives in 1969 or the early seventies that were partial to country music, there’s a good chance that this album would be in their collection, and for good reason: it is an exceptionally engaging live album, recorded on February 24, 1969, just two days before Cash’s 47th birthday, and released on June 4, 1969.  Those of us with any memory of 1969, will recall the repeated playing on the airwaves of this live concert’s version of Shel Silverstein’s cleverly-written “A Boy Named Sue”, and the bleeping out of “son of a *****” — how quaint censorship was back then.

Track Listing [From Wikipedia]

Side one
1. “Wanted Man” (Bob Dylan) 3:24
2. “Wreck of the Old 97” (arranged by Cash, Bob Johnston, Norman Blake) 2:17
3. “I Walk the Line” (Johnny Cash) 3:13
4. “Darling Companion” (John Sebastian) 6:10
5. “Starkville City Jail” (Johnny Cash) 2:01

Side two
1. “San Quentin” (Johnny Cash) 4:07
2. “San Quentin” (performed a second time at the audience’s request) (Johnny Cash) 3:13
3. “A Boy Named Sue” (Shel Silverstein) 3:53
4. “(There’ll Be) Peace in the Valley” (Thomas A. Dorsey) 2:37
5. “Folsom Prison Blues” (Johnny Cash) 1:29

Personnel

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Lee Morgan: Charisma

With a lineup that immediately ensures a high level of quality, Charisma was recorded in 1966, but not released until May 1969.  Compared to the plethora of free jazz albums being released in 1969, this may seem embarrassingly accessible to more sophisticated jazz listeners, but there is nothing embarrassing about the quality of the musicianship and the level of improvisation. One can scarcely go wrong with any Lee Morgan Blue Note album, so given that everyone must own a copy of his 1963 Sidewinder album with Joe Henderson as well as the 1964 Search for the New Land with Wayne Shorter, Grant Green and Herbie Hancock, it seems reasonable one would be able to find a place in their music collection for an album where Lee Morgan teams up with Jackie McLean, Hank Mobley, Cedar Walton, Paul Chambers and Billy Higgins, particularly when it is also on Blue Note and is this good!

The album starts with “Hey Chico”, one of those mid-sixties blues-based jazzed numbers tailored for AM radio, though it never got such exposure, followed by, what for me, is the gem on the album, “Somethin’ Cute”,  rich in great solos, particularly the alto solo from Jackie Mac. Walton is exemplary on the lovely ballad, “Rainy Night”, and the fourth track, is another of those relatively simple, commercially friendly tunes, upbeat and perfect for the excellent soloing after the initial statement — particularly impressive is Lee Morgan’s trumpet solo.  This is followed by another Duke Pearson tune, with particularly notable solos by Morgan and Walton.  The last track, “The Double Up”, provides a nice symmetry against the opening track, and includes strong solos by Morgan and Mobley and a notable solo by Walton against the horns.  Chambers and Higgins are excellent, with Higgins flavoring these performances with unobtrusive ranges of shading and percussive hues and tints that lie almost below the range of general perception yet significantly contributes to the overall impact.

 

Track listing [From Wikipedia]

All compositions by Lee Morgan except where noted

  1. “Hey Chico” – 7:17
  2. “Somethin’ Cute” – 5:39
  3. “Rainy Night” (Walton) – 5:39
  4. “Sweet Honey Bee” (Pearson) – 6:54
  5. “The Murphy Man” (Pearson) – 7:34
  6. “The Double Up” – 6:01

Personnel

 

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