Thursday, October 17, 2024
CD Review: Lina Allemano's Ohrenschmaus - Flip Side
Saturday, September 21, 2024
CD Review: Jason Stein - Anchors
Wednesday, September 18, 2024
For Tito, Sergio and Mr. Jones
The above photo comes from the inner sleeve of Get It Together, the J5's 1973 album. The outer cover had the initials GIT die-cut, so you could see the picture of the band underneath. That red Gibson ES 345 just looked so cool in Tito's hands. During "Hum Along and Dance," the brothers yell, "Play it, Tito," which cues a wild guitar solo that channels the outer space velocity of both Jimi Hendrix and Funkadelic's Eddie Hazel. It might be the work of an anonymous session guy, but if that IS Tito, he was a monster on the guitar. The truth might not be ever found without extensive research, so out of respect to Tito and my youthful mind, I'm just going to assume it was him.
My friend Eric, who lived up the street from me up until halfway through First Grade, and I used to listen to this album a lot, as well as the Jackson 5 records that I peeled off the back of Alpha-Bits cereal boxes. That was the way I first got to hear "I Want You Back," "ABC," "Goin' Back to Indiana" and "Sugar Daddy." (The record of "Maybe Tomorrow" eluded me, but I never liked that song as much when I finally heard it.)
In our naïve minds, the Jacksons all played their own instruments. This idea was probably fueled by photo we saw of them once picking up instruments in the studio, a realization I had when I came across the photo again more recently. Clearly Tito and Jermaine handled guitar and bass. Somehow, we thought Jackie handled keyboards and Marlon played congas. That left Michael on.... drums? Why not? Micky Dolenz "played" them in the Monkees and he sang lead most of the time. No reason Michael couldn't do it either.
I still have that same copy of Get It Together, a birthday present from my great aunts, which, if I got it for my sixth birthday, means it had only been out for a month. Initially, I probably wished it had some of the hits, but that didn't stop me from playing it. Now, it stands as an overlooked part of the band's career, heading in a solid funk direction. "Hum Along and Dance" is a great dance number with two heavy grooves in it, begging to be sampled. (One of the brothers is way off in the harmony parts, but that's a small price to pay.) Ironically, that song was originally done by the Temptations, clearly as a filler song with not much too it. That J5 really fleshed it out.
When Michael Jackson went on to superstardom, Tito kind of faded into the background. Next thing you knew - as a friend pointed recently to me - Eddie Murphy made him a punchline during his Raw comedy hit, which really zapped Tito's cred. I never gave up on him. While I never had a chance to hear his solo album from a few years ago, it was cool to see him reviewed in downbeat, doing something new that wasn't aimed at cashing in on the family legacy. RIP, Tito.
I've included the cover of The Fool On the Hill not only as an homage to Sergio, who passed on September 5, and to my dad (whose been gone almost 10 years, and who owned that album), but also to recall a joke that my sister Claire and I had about the cover shot. Sergio looks happy as a clam in the photo while everyone else look sad or dead serious. Karen Phillips, on the right, looks especially pissed off. Why? Claire and I always thought they were mad that they didn't get to sit in the chair.
Wednesday, August 28, 2024
CD Review: Miles Okazaki - Miniature America
"In the context of the road trip, it seems that Miniature America could be a roadside attraction, just beyond that hill in the distance. It's announced on a billboard that promises something you've never seen before, a one-of-a-kind curiosity."
When the album concludes, the voices of everyone involved repeat more final lines of poems, and what could be unsettling actually comes off sounding warm and a tad humorous. And it feels like the parting words of those unusual roadside folks - who might not be there if you turn around to look back at them.
Monday, August 19, 2024
LP Review: Harold Land - The Fox
Thursday, August 15, 2024
CD Reviews: Luke Stewart Silt Trio - Unknown Rivers / Kim Cass - Levs
Monday, August 12, 2024
Talkin' Velvet Monkeys On Another Blog
Velvet Monkeys. Back: Elaine Barnes. Front: Charles Steck, Don Fleming, Jay "The Rummager" Spiegel |
Wednesday, August 07, 2024
LP Review: Pernice Brothers - Who Will You Believe
Tuesday, July 30, 2024
A Talk With Micky Dolenz
Monkees enthusiasts can likely recall a scene from the episode of the show called "The Monstrous Monkee Mash." While Mike Nesmith, Micky Dolenz and Peter Tork are searching for Davy Jones in a haunted house, Peter disappears. The realization inspires Mike and Micky to break the fourth wall, yelling at the camera in unison, "HE'S GONE!" (It was a recurring joke on the show.)
"Maybe we make it a duet," Micky asks Mike. "If you leave, I'll be a single."
Without missing a beat, Mike imitates the opening thump of their theme song, and Micky sings in a mock-hysterical voice, "Here I come/walking down the street/I get the funniest looks from/ all the people I meet/ Hey, hey, I'm a Monkee!"
The sequence of that hilarious scene probably unfolds quicker than it takes to read about it. But it's become strangely true. With the passing of Mike Nesmith in late December 2021, Micky Dolenz is now the last surviving member of the Monkees. (Davy died in 2012; Peter in 2019.) What started as a television show that brought the zeitgeist of A Hard Day's Night into the living rooms of Middle America became much more than that. Some top shelf composers and the Wrecking Crew session players of Los Angeles helped to launch these four disparate lads into pop stardom. (They proved they could play the instruments and take control of the studio process along the way, but that's another story.) Most of the band's biggest singles had Micky Dolenz singing lead. And damn, could that kid sing!
At 79, he shows no sign of slowing down. Though he could rest on some extremely catchy laurels, Dolenz has continued to be a productive performer with a scope that goes beyond his heyday.
Before his guitar-slinging pal passed away, Micky recorded Dolenz Sings Nesmith, an homage to his longtime pal which took some deep cut Monkees tunes as well as some of his solo material and, with the help of Christian Nesmith (Mike's son), helped to reimagine them in some bold new arrangements. (Incidentally, the original inspiration for the album came from Nilsson Sings Newman, in which singer Harry paid tribute songwriting singer pal Randy.)
Earlier this year, Micky - who had previously done a full-length salute to Carole King - paid tribute again, this time to a band that took some jangly inspiration from him years before. Dolenz Sings REM might only be an EP, but it proves that Micky still pays attention to the modern cats. There's something exhilarating about hearing him sing "Radio Free Europe." Even those of us who might not be too keen on the original "Shiny Happy People" can be won over by his version (thanks in part to the soaring back-up singing of Micky's sister Coco.) With a front cover shot depicting our hero in a car in front of Wuxtry Records (the Athens, GA record store where REM members Michael Stipe and Peter Buck first met), it betrays a genuine love and hat tip to the band. (Hopefully a sequel will follow someday.)
Throughout all of these modern projects, one fact becomes clear: Micky still has a strong set of pipes. When he comes to South Park Amphitheatre this Friday, August 2, the performance has been titled "Micky Dolenz: Songs and Stories." No mere nostalgia trip for the almost octogenarian, he calls the evening "a flat-out rock concert."
Micky and I spoke by phone for 20 minutes about a week ago. For a fellow of his stature and a fellow of my Monkees devotion, that time is a mere drop in the bucket, but any time with this charming guy is worth it. Plus having spoken with each Monkee except Davy Jones, the opportunity was not something I wanted to miss.
When we finally got past some phone issues, I wanted to avoid the tired stories that we all know and kept it to a few leading questions. Micky proved himself to be plenty loquacious, sharp as a tack and a bit humble to boot. He started off talking about his connection to Pittsburgh from the start of his performance career.
Micky: Before we start, I’ve got a little bit of trivia for you.
Lay it on me.
Guess where the first public performance I ever had was as a singer. And I was also playing guitar. It was in 1955. I was 10 or 11 years old. It was my first performance onstage in front on an audience singing a song and playing a guitar.
I think I remember you telling this once at a concert.
Uh oh!
Was it at Kennywood Park?Yes it was!
Did it involve an elephant?
But that was my first performance. And I have it on tape! I came out with a little local three-piece band and sang a few songs. Then the elephant came out and did a bunch of tricks with the elephant’s trainer, of course. Basically, in my first performance as a professional, I opened for an elephant! I love telling that story.
I love Pittsburgh. I think it’s so beautiful. All those beautiful houses overlooking the rivers. Fantastic!
Wow! What was his name?
Rege Cordic. He was the Town Cryer in [the episode] A Fairy Tale and the doctor in the Christmas episode.[Sounding genuinely excited] Wow, how cool! Is he still with us?
No, he passed about 20 years ago. But he had a really rich baritone voice. And that actually leads into what I wanted to ask you too. How do you preserve your vocal pipes after all these years?Funny you should bring that up. I’ll tell you what I’ve done it over the years. But first I have to tell you, I had a bit of laryngitis for four months. I still have a little bit of a croak, nothing as bad as it was. But I had to cancel a couple of shows, it got so bad. We tried to figure out what it was. My EMT specializes in voice. It’s been a real challenge for me. I don’t know where it came from. I don’t know why. It just hit me. I couldn’t talk, I certainly couldn’t sing. For months it’s been going on. I just saw him again yesterday and it was a lot better. I was focusing on the shows this weekend. And it’s going to be fine. They figured it out and it’s gotten incredibly better.
I’ve been asked this question a few times. You know your vocal chords are muscles, right? So if you think of it almost like a sport. In my case, my mother and father were both singers, actors and performers. So part of it is inherited. Part of it is the luck of the draw, inheriting the right musculatures, as we call it. Then of course there’s the training. If they hadn’t been in the business, I might never have utilized my voice. But they were, so over the years, as a child I learned to sing very young. My mom taught my sister and I how to sing. How to sing harmonies. And then, it’s a little bit nature and a little bit nature.
During the Monkees, boy, I was singing a lot. I never had a coach. But I had people, and a bit of advice here and there. I got very, very lucky after the Monkees. Well - luck or design. I never ended up going through that period, post-Monkees, in the '70s and '80s, going around to sing in smoky, dingy nightclubs with no monitors. That wiped out a lot of people, as you can imagine.
That’s okay. The only other person I’ve asked about their voice is Johnny Mathis. And you gave a much more nuanced answer than him.
Johnny Mathis, one of my favorites, ever. He’s the first album I ever bought as a kid. I told him that when I met him.
I don’t know if this is totally accurate but I read that before the Monkees, you had considered going to college for architecture.I did go. Oh yeah. I was in college, studying to be an architect. I had a couple of semesters under my belt. I was doing little day jobs, because I had done that series [Circus Boy], in the summer, on school break. Mainly just to make money. And I would get little bit parts. There was a show called Mr. Novak. Peyton Place. You know, guest star things.
My plan was to be an architect. And if I couldn’t make it as an architect, I could fall back on show business! I’m serious.
Do you ever get existential and think about where we’d all be if you’d blown off that audition?
Oh boy. [Laughs] A lot. Or if they had chosen not to cast me. But I wouldn’t have blown off the audition. Not blown it off, my agent would have said you’ve got an audition for a pilot. I was up for three different pilots that year, all music shows. Because [music] was in the air. Yeah, I often wonder, or if they had chosen to go with someone else. Which would’ve happened, of course.At what point did you realize, wow this thing is really freaking huge?
Yesterday! (Laughs) No, it constantly amazes me. A number of times in my life, like when I came back from England. It happened to be around the time of the MTV thing [in 1986, when the station reran the original episodes, eventually leading to a reunion tour]. That was a huge surprise.No, I remember specifically when that [first] happened. It was in December of ’66. The show went on the air in September. We were in production, 24-7: filming the show eight to ten hours a day. Then, since I was doing most of the lead singing on the songs, I would have to go into the studio until midnight and record [songs]. Back then, of course, without social media and all that other stuff, you really didn’t get a sense of anything. There weren’t fans. There wasn’t paparazzi. There wasn’t anything like that. Because they couldn’t find you if they wanted to, people would try but…
So that Christmas came along and we got a hiatus from filming the show. I was planning to go up to the family home up in San Jose for Christmas. So I made my Christmas shopping list and I jumped into my car and I drove to the neighborhood mall. I was born and raised in LA, so I drove to neighborhood mail.
I just got out of my car to go in and get all my Christmas presents for the family. So I go through the big glass doors at the mall. All of a sudden a bunch people start running at me. I thought it was a fire. So I’m holding the doors opening going, “Don’t run! Don’t run! Don’t panic. Walk carefully!” And then all of a sudden, I realize, “Shit, they’re running at me!” And I was pissed off because I couldn’t do my shopping. I had to send one of the roadies to do my friggin’ shopping!
And that’s when I went, “Oh shit, something’s going on here.”
It looks like I’m at the 20-minute point with you and that’s my limit.
What you can expect is of course, all the big Monkee hits. That goes without saying. I always do them in their entirety because I know a lot of people and a lot of the fans there may not be familiar with all the other Monkees stuff, I know that they want those big hits. So I made a vow years ago that I would make sure that everybody got those hits. But then I discovered over the years of playing, as long as they know they’re going to get the hits, you can go off and do different things. You can do deep album cuts, which I have, or you can even do non-Monkees material because they know they’re going to get those hits.
I’m really looking forward to it.
Oh, hell yeah, man! Me and some friends of mine from work are already looking forward to it.
Saturday, July 20, 2024
CD Review: Jason Stein/Marilyn Crispell/Damon Smith/Adam Shead - spi-ralling horn
Monday, July 08, 2024
CD Review: Travis Reuter - Quintet Music
Quintet Music (self-released)
Friday, June 21, 2024
Dish It Out: Remembering James Chance
The Contortions, on the No New York compilation. Chance is pictured top left. |
Before John Zorn, before Eric Dolphy, before even Charlie Parker, the alto saxophonist that fascinated me was James Chance. I took up the alto in tenth grade and while I was starting to get into jazz, I hadn't bought much jazz other than Bitches Brew and Albert Ayler's Vibrations (which I bought within about a week of each other). Most of my record purchases were punk rock. James Chance bridged the gap between that style and jazz. In fact, he kind of bridged the gap between Bitches Brew and Vibrations.
It all comes rushing through the speakers in opening seconds of "Dish It Out," the opening track by the Contortions on the No New York compilation. Jody Harris bangs out a trebly guitar chord, which gets answered by George Scott's rubbery bass. Then Chance starts wailing in the upper register of his horn. Forget melody or harmony. It almost sounds like James chooses certain fingerings on the horn, rather than the pitch it produces. He certainly feels the groove his band is playing, which eventually includes Pat Place's yowling slide guitar and Adele Bertei's organ, which to my ears has always been a beautiful evocation of thunder and lightening. While Chance's horn sounds "wrong" on purpose, Bertei's keys seem to do something more deliberately against the grain.
Chance's vocals on the track might have been inspired by James Brown but his execution seems more like a pissed off dad. It'd be a few years before Ian MacKaye would front Minor Threat and make this level of hostility into a common vocal style. In 1978, no one sounded this rabid.
Speaking of James Brown, the Contortions final track on No New York was a cover of the Godfather's "I Can't Stand Myself." According to Bertei (I think it's in her memoir but I definitely read it online), the group had never played the song before and ran through it as a soundcheck in the studio. It chugs along on one chord, bolstered by a Harris guitar solo that tries to force a chord change (doesn't happen), climaxing with an abrasive wail from the singer that cues an equally shrill sax solo.
Could he really play, my innocent mind wondered. The only way to find out was to check out everything. Buy by Contortions. Sax Maniac by his later group, James White and the Blacks. Off-White by the same group. Some of them were pretty good. Some felt a little jokey in a dry sort of way. ("Stained Sheets" in which Lydia Lunch moaned over the phone to an incredulous, hostile James.) But what was impressive was the way his band, which at times included trombonist Joseph Bowie (brother of Lester, of the Art Ensemble of Chicago), would sound like they were just riffing away but all of a sudden they'd reach a stop-time like clockwork.
Chance put together a new version of the Contortions in the early '90s, following the re-release of Buy on Henry Rollins' Infinite Zero label. He came to Pittsburgh, playing at Luciano's Coffeehouse, which once existed down the street from Duquesne University. The backing band seemed just a tad slick (the bassist had a six-string bass) but Chance was his usual self, blowing the high F on his horn, shooting down to the low B-flat and then flopping around in the middle. It might have sounded raw or primitive but this was his thing, his sound. Notorious for picking fights with audience members in New York, he claimed at the time he had sworn off that, after one incident damaged his suit. However, a friend who was at that show claimed on Facebook this week that Chance slugged him when he got too close to the stage.
Only today did I discover, through an obit, that the saxophonist studied with the World Saxophone Quartet's David Murray prior to forming the Contortions. Chance spoke to me when I was writing a feature on Joseph Bowie for JazzTimes in 2016, an interview that had been about three decades in the making. Hailing from Milwaukee, Wisconsin, he had a love of both the Stooges and jazz of all stripes and had wanted to combine the two.
Upon arriving in New York in 1975, he immersed himself in the loft scene, playing with the Bowie brothers and drummer Charles "Bobo" Shaw. "One thing I liked about those guys is they had an obvious information of rhythm and blues in their playing," he said in our phone conversation. "Even though they were mostly playing free, a lotta times it would go into funk rhythms, even though… at the La MaMa [Theater, in the East Village], they didn’t even have a bass player usually. Or even any rhythm besides drums." He went on to talk about saxophonist Henry Threadgill and trumpeter Ted Daniel playing in James White and the Blacks.
During the conversation, it started to become clear that Chance's sound on the alto, as raw as it seemed, was a conscious choice to make him distinct in a scene of players. He might not have been playing straight - or even avant garde - jazz, but he knew it was important to have his own sound to set him apart.
Chance's last performance seems to have been pre-pandemic, according to the obit linked in his Instagram page, March 2019 in Utrecht. More recently, a gofundme campaign was started to help him deal with medical bills. When he and I talked in 2016, he mentioned that someone in Pittsburgh had expressed interest in bringing him back to town, but unfortunately it didn't happen. Chance (who was born James Siegfried) died on June 18, 2024, though cause of death was not disclosed at the time.
Thanks, James.
Sunday, May 26, 2024
CD Reviews: Matthew Shipp Trio - New Concepts in Piano Trio Jazz, Rich Halley - Fire Within
Sunday, May 12, 2024
Messthetics & James Brandon Lewis Lift the Bandstand; Thoughts on Steve Albini
The Messthetics feature Joe Lally (bass) and Brandon Canty (drums), the rhythm section of one of the best known punk bands of all time - Fugazi. It's not an exaggeration to say that, since the band set a gold standard for honesty and integrity with their music, which inspired legions of musicians. Guitarist Anthony Pirog straddles all kinds of styles of jazz and rock. James Brandon Lewis is, quite simply, one of the most inventive tenor saxophonists around right now.
With all four of these guys together, it's like a confluence of punk rock and jazz. That's obvious, but when they hit on Monday, suddenly there were no musical boundaries, no need to put a label on what they do, no chance to boil it down into easy to digest categories. If you have to ask, you'll never understand.
Sure, that's not exactly true. But the excitement that these guys delivered was on par with what Fugazi gave us, combined with the rich harmonic ideas that Lewis' Red Lily Quintet plays. There were times when Lewis was honking at the low end of his tenor, but it wasn't like the bar walking tenor players of bygone days, who were simply honking to get a reaction out of inebriated listeners. "The Time Is the Place" had urgency in the tenor solo, like Lewis had a message or an emotion he wanted to unleash. He knew what we needed.