Long time friends and long-ago collaborators, Eric Clapton and Steve Winwood, closed out their 3 night run at NYC’s fabled Madison Square Garden to thunderous applause, dropped jaws and an arena full of satisfied customers. After rekindling their musical kinship last year at Clapton’s Crossroads Guitar Festival, it was obvious to the old friends as much as it was to the audience that they had struck upon some magic not felt by many in a long time. Aside from their own respective solo careers, the band resumes of the two musicians read like a virtual “who’s who” of late 60’s era classic rock. Having an opportunity to hear rare Blind Faith songs intermixed with some stellar Traffic tunes and carefully selected cover choices would entice even the most casual music fan. It was with this great anticipation that a packed crowd filled the Garden to capacity all three nights of this limited engagement.
Within minutes of the opening “Had to Cry Today”, Winwood displayed the very same vocal prowess that prompted Spencer Davis to have him sing lead at age 19. “Low Down” came next, keeping the tempo upbeat and the fans cheering into the next tune, Clapton’s brief mid 80’s hit “Foreverman”. It surprisingly had new legs and a fresh sound thanks to a revived Clapton, playing some of his best guitar in recent memory these days, making even this throwaway song a keeper during this high caliber show. Having just passed the day before, the band played a spirited version of Buddy Miles’ signature tune “Them Changes”, dedicating their performance in his memory. A well received Blind Faith two-fer followed, a solid “Sleeping on the Ground” that lead into a letter-perfect version of “Presence of the Lord”, with both lead instruments and voices blending perfectly for the song’s final verse. The instrumental Traffic classic “Glad” came next, while missing the essential lead horn accompaniment, having Clapton on guitar more than made up for its absence, replicating the same familiar horn parts expertly on his black Stratocaster. A seamless shift into another Blind Faith chestnut, “Well Alright”, gave Winwood and Clapton yet another opportunity to showcase their combined talents, harmonizing on the choruses. As the slow tempo of the next song, Otis Rush’s “Double Trouble”, began to take form, the high energy of the show was in jeopardy of being sabotaged. But as soon as Clapton methodically ripped into his first guitar solo, it was clear that he was out to captivate the entire crowd, leaving them hanging on every note picked from his strings. His tone was unimaginably clean and warm, showing elements of the blues from Delta to Chicago, BB King to Albert King and all the Kings in between. This simply was a true blues master flexing his artistry.
Having had his spotlight time for now, the stage then became Winwood’s, starting with a well sung Traffic staple “Pearly Queen” and followed by two solo tunes, “Tell the Truth” and “No Face, No Name, No Number”. His voice has become one of those rare rock and roll commodities, refining over time like wine, sounding almost like that same 19 year old voice of long ago. As the opening notes of “After Midnight” rang out, the crowd rose to its feet with Clapton once again breathing new life into another time honored classic and the keyboardist, Chris Stainton, taking his first solo of the evening, a stunning display of funky Moog work. This was followed by “Tell the Truth”, a surprise Derek & the Dominoes related song performed like the Clapton of ’71 by the Clapton of ’08. As the cheering subsided, Winwood and the band left the stage, allowing Clapton a chance to showcase his love for blues roots in a solo setting. Covering Robert Johnson’s “Ramblin’ On My Mind”, he skillfully executed acoustic slide licks and soulfully wailed as he sung, making the spacious Madison Square Garden feel more like a front porch in Mississippi than a concert venue deep within a modern metropolis. As Clapton walked off stage, Winwood reappeared, sat down at the organ and performed a moving version of Ray Charles’ “Georgia on My Mind”; finally showcasing the soulful organ chops that go along with his classic vocals.
The final portion of the show was a non-stop, relentless feast of musical finery that will long stand as the bar for future measurements in terms of epic, legendary concerts. Clapton laid all of his cards on the table with his reading of Hendrix’s “Little Wing” performing it in the Derek & the Dominoes styled arrangement, with Winwood duetting brilliantly throughout. To nail the coffin, Clapton followed-up with “Voodoo Chile”, the more extended version of this Hendrix classic, which featured Winwood on organ on the original recording. Without question, he laid to rest any guitar-god debate as he channeled Hendrix endlessly, percolating riff after riff and reaching outer stratosphere limits by the closing notes of his final solo. “Can’t Find My Way Home” was the final Blind Faith song of the night, allowing the crowd its sing-along moment. Marred slightly by the over-percussive piano playing of Stainton, the closing “Cocaine” crowd pleaser ended the set on a high note, with every fan applauding madly for one more song. The familiar opening notes of Traffic’s “Dear Mr. Fantasy” were unmistakable, and the perfect encore choice to act as the bow atop an otherwise already outstanding gift. It was also Winwood’s finest moment on guitar all evening, stepping toe-to-toe with EC himself, and holding his own to the delight of the packed house.
With your eyes closed, it sounded so close to the original, the fact that two old friends in their fifties backed by a band only put together for these three gigs could accomplish this is astounding. It’s as much a testament to the band as it is an example of how music can withstand the wraths of age and time, allowing itself to be tapped into when the conditions allow it. Having two masters like Eric Clapton and Steve Winwood on stage all night created one of those rare once-in-a-lifetime magical experiences made of as much loving brotherhood as there was musical excellence. A relationship and personal connection as rare in musical circles as it is in life.
Friday, February 29, 2008
Wednesday, February 27, 2008
Wed., Feb. 27, 2008
...my new GD audio project is a complete revisiting, relistening, and reinvestigation of the Europe '72 tour...i have a few holes to fill in the collection first and a couple upgrades i need to seek out...but it oughtta' be fun...
...my brother is flying into town this afternoon and my buddy BT is driving in from the Pgh. area for an EPIC hang and to hit the Clapton/Winwood concert @ MSG tomorrow night...PSYCHED!!!!
...(((Myron Cope))) -R.I.P....double yoi...
...my brother is flying into town this afternoon and my buddy BT is driving in from the Pgh. area for an EPIC hang and to hit the Clapton/Winwood concert @ MSG tomorrow night...PSYCHED!!!!
...(((Myron Cope))) -R.I.P....double yoi...
Tuesday, February 26, 2008
Monday, February 25, 2008
Wilco - Shubert Theater - 2/24/08 review
Playing New Haven, CT’s Shubert Theater, Wilco made their fourth stop on their current tour in support of their sixth studio album, “Sky Blue Sky”. This concert had them fresh from their residency at hometown Chicago’s Riviera Theater, where the band played their entire catalog over a 5 night run. This is the band’s second trip around the US in continued support of their most recent studio effort “Sky Blue Sky”, one of 2007’s darlings of musical media and mainstream press alike. And deservedly so, as this effort features not only a band at it’s fullest command of every talent they process, both musically and lyrically but is also the first studio album to feature the pyrotechnic playing of Nels Cline on guitar, a proven essential noisemaking piece to the overall Wilco puzzle of sound.
New Haven’s Shubert Theater is a compact, 1600 seat venue that typically hosts crowds for Annie or local ballet company performances more so than rock acts. The intimate setting was certainly one of the contributing factors to this show selling out within hours of going on-sale. The staff seemed sufficiently prepared for the eclectic crowd of aging uber hipsters and folks that still love rock & roll. The theater itself is only about 25-30 rows deep on the floor, with two mezzanine/balconies that overhang the back 1/3 of the orchestra section. On the sides of the theater walls were the type of smaller, private booths that are ideal for a presidential assasination.
A rare “Remember the Mountain Bed” opened the show, a quiet selection that is enjoying some new life having been revived in Chicago the week before. It’s of interest to point out that ½ way through this song, Glenn was covered in sweat – he has quickly shot up my list of favorite current drummers out there today and proved himself the essential backbone to this band throughout the entire evening. The “California Stars” that followed continued the established mellow pace, keeping many of the audience in their seats but finding an odd niche early-on in the set given it’s traditional role as show closer or encore.
Five of the next six songs were probably the best solid showcase featuring the amazing guitar craft of Nels Cline. Dressed in black from head-to-toe, with pants more appropriate for flood evacuation than guitar goddery, he delivered endless quirky tones, face-melting riffage and colorful feedback the likes of which are totally captivating to listen to, much less witness first hand from 20 ft away. His aural impact is astonishing, punctuating Tweedy’s intense lyrical deliveries with flurries of notes and a barrage of moody twangs saturated in harmonic distortion. During “Shot in the Arm”, Cline kept his eyes closed as he conjured textural waves of sonic chaos, clanking his knees together in some mad whirling dervish dance and swinging his guitar towards his amp for the song’s conclusion for added feedback. His closing solo in “You Are My Face” became his own lyrical voice that picked up right from where Jeff left off, producing a feeling difficult to nail down with only words.
Before I’m accused of being a biased Cline sympathizer, it stands to say that the entire band played exceptionally well. John’s bass-work has always provided the band with its solid foundation, and when coupled with Glenn on the kit, that rhythm section is hard to beat. It certainly helps that they are also the two longest tenured members of the band as well. Mikael and Pat are a rare duel keyboard tandem, acting as musical punctuation in the ongoing debate between the guitars, the bass and the drums. Since the band’s inception in 1995, a lot of the focus given to this band has centered on its de facto leader, his turbulent history and eventual rise to glory, etc. However, with all due respect to Jeff Tweedy, the band is in such command of their abilities right now, attending a Wilco show is worth it just to hear them play.
Jeff sang with solid conviction, making quick work of the 25-song set list mixed evenly with current favorites and older nuggets. Other than one or two comments during the show, his demeanor was rather workmanlike, putting the focus on the music and his lyrics, sensing the need to win us over unnecessary. While many of the favorable “Sky Blue Sky” reviews were quick to mention Tweedy’s ever-evolving lyrical sensibilities, it’s also important to bring his improved guitar playing to attention. Granted, songwriting has always been his strength and with the constant assault waged by Cline and his guitar at every show, it’s easy to take for granted. I was amazed at how many “Nels parts” turned out to be played by Jeff on songs like “I’m the Man That Loves You” and “Impossible Germany”. His tones are equally warm and effective on the acoustic, adding a soft sincerity to songs like the Guthrie penned “Airline to Heaven”. Overall, there is a certain aire of confidence to Tweedy’s on-stage persona that shows more attention to his craft and more concern with its reception than ever before. With an assortment of shaky life experiences behind him, the stability he has gained has meshed with an older, more refined creative voice that reflects those experiences and harnesses that energy positively into his art.
The show concluded with a 6-song encore burst and unintentionally began with the evening’s comedic highlight. Once the band reemerged for the encore and began the Volkswagen anthem “Hate It Here”, they realized they were short a keyboardist. As the song continued, puzzled looks were exchanged on-stage as if to say “I thought YOU had him”. Eventually, Pat stepped onto the stage to a great ovation and with enough time to finish the song with his mates. The last four songs of the encore ran into one another in quick succession, denying the crowd any opportunity to catch its breath or process anything. A powerful impact not felt by anyone until the last note rang silent and the house lights came up to usher us out into the cold February night.
New Haven’s Shubert Theater is a compact, 1600 seat venue that typically hosts crowds for Annie or local ballet company performances more so than rock acts. The intimate setting was certainly one of the contributing factors to this show selling out within hours of going on-sale. The staff seemed sufficiently prepared for the eclectic crowd of aging uber hipsters and folks that still love rock & roll. The theater itself is only about 25-30 rows deep on the floor, with two mezzanine/balconies that overhang the back 1/3 of the orchestra section. On the sides of the theater walls were the type of smaller, private booths that are ideal for a presidential assasination.
A rare “Remember the Mountain Bed” opened the show, a quiet selection that is enjoying some new life having been revived in Chicago the week before. It’s of interest to point out that ½ way through this song, Glenn was covered in sweat – he has quickly shot up my list of favorite current drummers out there today and proved himself the essential backbone to this band throughout the entire evening. The “California Stars” that followed continued the established mellow pace, keeping many of the audience in their seats but finding an odd niche early-on in the set given it’s traditional role as show closer or encore.
Five of the next six songs were probably the best solid showcase featuring the amazing guitar craft of Nels Cline. Dressed in black from head-to-toe, with pants more appropriate for flood evacuation than guitar goddery, he delivered endless quirky tones, face-melting riffage and colorful feedback the likes of which are totally captivating to listen to, much less witness first hand from 20 ft away. His aural impact is astonishing, punctuating Tweedy’s intense lyrical deliveries with flurries of notes and a barrage of moody twangs saturated in harmonic distortion. During “Shot in the Arm”, Cline kept his eyes closed as he conjured textural waves of sonic chaos, clanking his knees together in some mad whirling dervish dance and swinging his guitar towards his amp for the song’s conclusion for added feedback. His closing solo in “You Are My Face” became his own lyrical voice that picked up right from where Jeff left off, producing a feeling difficult to nail down with only words.
Before I’m accused of being a biased Cline sympathizer, it stands to say that the entire band played exceptionally well. John’s bass-work has always provided the band with its solid foundation, and when coupled with Glenn on the kit, that rhythm section is hard to beat. It certainly helps that they are also the two longest tenured members of the band as well. Mikael and Pat are a rare duel keyboard tandem, acting as musical punctuation in the ongoing debate between the guitars, the bass and the drums. Since the band’s inception in 1995, a lot of the focus given to this band has centered on its de facto leader, his turbulent history and eventual rise to glory, etc. However, with all due respect to Jeff Tweedy, the band is in such command of their abilities right now, attending a Wilco show is worth it just to hear them play.
Jeff sang with solid conviction, making quick work of the 25-song set list mixed evenly with current favorites and older nuggets. Other than one or two comments during the show, his demeanor was rather workmanlike, putting the focus on the music and his lyrics, sensing the need to win us over unnecessary. While many of the favorable “Sky Blue Sky” reviews were quick to mention Tweedy’s ever-evolving lyrical sensibilities, it’s also important to bring his improved guitar playing to attention. Granted, songwriting has always been his strength and with the constant assault waged by Cline and his guitar at every show, it’s easy to take for granted. I was amazed at how many “Nels parts” turned out to be played by Jeff on songs like “I’m the Man That Loves You” and “Impossible Germany”. His tones are equally warm and effective on the acoustic, adding a soft sincerity to songs like the Guthrie penned “Airline to Heaven”. Overall, there is a certain aire of confidence to Tweedy’s on-stage persona that shows more attention to his craft and more concern with its reception than ever before. With an assortment of shaky life experiences behind him, the stability he has gained has meshed with an older, more refined creative voice that reflects those experiences and harnesses that energy positively into his art.
The show concluded with a 6-song encore burst and unintentionally began with the evening’s comedic highlight. Once the band reemerged for the encore and began the Volkswagen anthem “Hate It Here”, they realized they were short a keyboardist. As the song continued, puzzled looks were exchanged on-stage as if to say “I thought YOU had him”. Eventually, Pat stepped onto the stage to a great ovation and with enough time to finish the song with his mates. The last four songs of the encore ran into one another in quick succession, denying the crowd any opportunity to catch its breath or process anything. A powerful impact not felt by anyone until the last note rang silent and the house lights came up to usher us out into the cold February night.
Wilco - Shubert Theater - 2/24/08 setlist
Remember the Mountain Bed
California Stars
Company In My Back
Pot Kettle Black
A Shot in the Arm
Radio Cure
You Are My Face
Side With The Seeds
Pick Up The Change
Hotel Arizona
I'm Always in Love
Impossible Germany
Jesus, etc.
Misunderstood
Airline To Heaven
Theologians
Walken
I'm The Man Who Loves You
On and On and On
----------------------
Hate It Here
Heavy Metal Drummer
Red-Eyed and Blue>
I Got You (At The End of the Century)
Monday>
Outtasite (Outta Mind)
California Stars
Company In My Back
Pot Kettle Black
A Shot in the Arm
Radio Cure
You Are My Face
Side With The Seeds
Pick Up The Change
Hotel Arizona
I'm Always in Love
Impossible Germany
Jesus, etc.
Misunderstood
Airline To Heaven
Theologians
Walken
I'm The Man Who Loves You
On and On and On
----------------------
Hate It Here
Heavy Metal Drummer
Red-Eyed and Blue>
I Got You (At The End of the Century)
Monday>
Outtasite (Outta Mind)
Jimmy Smith - the Funkiest!!
http://www.youtube.com/watch?v=nLn6v0V3QUw
This is one of the baaaaaaaddest clips i've ever seen of Jimmy Smith layin' it down on the B-3...enjoy!
This is one of the baaaaaaaddest clips i've ever seen of Jimmy Smith layin' it down on the B-3...enjoy!
...really solid Wilco show in CT last night...better than the Red Bank, NJ gig we saw last year...more so in terms of the overall song selection...a more detailed review to follow...
today's audio rotation - 6/28/74 GD, 5/2/70 GD, 4/15/78 GD
...the job search continues...but not without coffee first...
today's audio rotation - 6/28/74 GD, 5/2/70 GD, 4/15/78 GD
...the job search continues...but not without coffee first...
Friday, February 22, 2008
today's playlist - 4/16/78 GD, 7/7/69 GD, 7/25/74 GD, Jimmy Smith and some Wilco bootlegs from their recent Chicago run...
currently reading - "Wired" by Bob Woodward...a solid biography on the life of John Belushi...about 100 pages deep...
...and i have a half dozen assorted poetry magazines/journals i bought today on deck next so's i can get myself familiarized with what's going on these days...
...snow on the ground...still searching for a new job...with the weekend right around the corner...
currently reading - "Wired" by Bob Woodward...a solid biography on the life of John Belushi...about 100 pages deep...
...and i have a half dozen assorted poetry magazines/journals i bought today on deck next so's i can get myself familiarized with what's going on these days...
...snow on the ground...still searching for a new job...with the weekend right around the corner...
Beck - Odelay Deluxe Edition review
In 1996, Beck released his 2nd major label release “Odelay” and left an influential footprint so large that its impact can still be felt today. With its b-boy hooks and b-side samples, brilliantly assisted by the production wizards of the time – the Dust Brothers and Mario Caldato, Jr. of Beastie Boys fame, the record contained all of the true essences of 21st century cool without sounding like the attempt was ever made at all.
With “Odelay”, Beck picked right up where his first commercial achievement “Mellow Gold” left off, only full of more freak-out energy and ass-wiggle than ever thought possible from a skinny white boy hailing from LA. Tracks like “Hotwax”, “Jack-Ass” and the CDs 1st single, “Where It’s At” bounce along with the help of cerebral beats and lyrics full of equal parts sage wisdom and lysergic gibberish. Wisely making it the final song of the CD, the hypnotizing acoustic dirge “Ramshackle” is the perfect closer to this sample-perfect, simplified groove-based time capsule of the mid 90’s. The remaining songs that complete the CD are all worthy of closer attention and are essential parts of the greater whole, each track as important as the next – a rare accomplishment, capable of only the best albums of our time.
After listening to the recent Deluxe Edition treatment of “Odelay”, it’s obvious that despite the addition of over a disc’s worth of bonus cuts, unreleased gems and other assorted tracks from those same sessions, Beck flawlessly hand-picked the best of the bunch for the final cut of it’s initial release 12 years prior. Out of a bevy of 19 new tracks to indulge in, the only keepers are the twang-hop heavy “Gold Chains”, a sopping-wet with bass 12 min-plus remix of “Where It’s At”, “Feather in Your Cap” – a slower, haunting blues song that cuts right through you and an acoustic organic re-working of “Jack-Ass” called “Strange Invitation” that showcases the deeper-than-you-think lyrical quality of Beck that is often overlooked.
In the end, it’s an honor deserved but not an honor necessary for this particular CD. Hard-core fans will appreciate it for sure, but it’s doubtful that the extras will stand the test of time as well as the original has in a dozen more years. However, as Beck has established since the start of his career, his uncanny artistic ability to continue to reinvent himself while still staying true to his essence ensures continued success in his current and future projects to come. In the end, even though this re-release breaks little or no new ground for the hard-core fan, it certainly re-affirms Beck’s place as a member of the artistic musical elite and reminds us just how high the bar has been set.
With “Odelay”, Beck picked right up where his first commercial achievement “Mellow Gold” left off, only full of more freak-out energy and ass-wiggle than ever thought possible from a skinny white boy hailing from LA. Tracks like “Hotwax”, “Jack-Ass” and the CDs 1st single, “Where It’s At” bounce along with the help of cerebral beats and lyrics full of equal parts sage wisdom and lysergic gibberish. Wisely making it the final song of the CD, the hypnotizing acoustic dirge “Ramshackle” is the perfect closer to this sample-perfect, simplified groove-based time capsule of the mid 90’s. The remaining songs that complete the CD are all worthy of closer attention and are essential parts of the greater whole, each track as important as the next – a rare accomplishment, capable of only the best albums of our time.
After listening to the recent Deluxe Edition treatment of “Odelay”, it’s obvious that despite the addition of over a disc’s worth of bonus cuts, unreleased gems and other assorted tracks from those same sessions, Beck flawlessly hand-picked the best of the bunch for the final cut of it’s initial release 12 years prior. Out of a bevy of 19 new tracks to indulge in, the only keepers are the twang-hop heavy “Gold Chains”, a sopping-wet with bass 12 min-plus remix of “Where It’s At”, “Feather in Your Cap” – a slower, haunting blues song that cuts right through you and an acoustic organic re-working of “Jack-Ass” called “Strange Invitation” that showcases the deeper-than-you-think lyrical quality of Beck that is often overlooked.
In the end, it’s an honor deserved but not an honor necessary for this particular CD. Hard-core fans will appreciate it for sure, but it’s doubtful that the extras will stand the test of time as well as the original has in a dozen more years. However, as Beck has established since the start of his career, his uncanny artistic ability to continue to reinvent himself while still staying true to his essence ensures continued success in his current and future projects to come. In the end, even though this re-release breaks little or no new ground for the hard-core fan, it certainly re-affirms Beck’s place as a member of the artistic musical elite and reminds us just how high the bar has been set.
Coltrane - Live @ the Half Note review
With the release of 2005’s “One Up, One Down - Live @ the Half Note”, Impulse Records continues its fine tradition of sustaining the almost mythical career of the great jazz saxophonist John Coltrane. Only four songs fill the 2 discs of this historical live recording, each averaging over 20 mins in length, but all are breathtakingly captivating to even the most casual Coltrane fan. Printed right below the track listing is the amazing line-up Coltrane put together as his quartet for these two shows – McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums – all masters of their instruments and on these nights of March 26th and May 7th of 1965 at the Half Note, legendary towering gods of their craft.
Disc 1’s opening track, the title song “One Up, One Down”, starts things off with some of Coltrane’s most thrilling playing and fearless improvisation ever recorded. “Afro Blue” is performed with its usual break-neck grace and swing, allowing Tyner to showcase his nimble, long sauntering bursts of notes. In the ensuing 22 minutes of this version of “My Favorite Things”, the entire band goes well beyond simply putting their stamp on this signature Coltrane opus and proceeds to cover every base from the Von Trapps to the Cantina Band of Tatooine and everything in between.
These two discs swell with genius and are an amazing document to this historic quartet that played with unrivaled passion and absolute conviction. As bandleader, Coltrane displays all that he is famous for – mind-numbing eruptions of notes that seem to go on forever mixed with shorter, more delicate passages that wrap around you like a warm blanket. On drums, Elvin Jones continually pushes Coltrane to his limits and challenges man’s own physical confines as he endlessly flexes his skill at every harmonic turn, never overplaying or outdoing the biggest name on the marquee. Likewise, Tyner’s piano talents are called into action throughout each of the four pieces on this set, complementing Coltrane’s fluid style and making the best of every opportunity to flourish when given the spotlight to solo or lead the band. Executing his duties like an assassin, with the least amount of flash of any musician on stage, Garrison’s subtle but soulful bass lines become the necessary rock that anchors the other musicians during the most experimental portions of the jams.
It’s now been 40 years since Coltrane’s death, precisely the same amount of time as his own existence. His genius was instantly recognized back then and his recordings have long been collected by jazz fans all over the world ever since he put a mouthpiece to his pursed lips. This, in and of itself, is a true testament to the greatness and longevity of his craft. Yet, we can also take solace in knowing that buried treasures like this release are being made available to us now while the possibility of future undiscovered gems will continue to keep us all waiting with mad anticipation.
Disc 1’s opening track, the title song “One Up, One Down”, starts things off with some of Coltrane’s most thrilling playing and fearless improvisation ever recorded. “Afro Blue” is performed with its usual break-neck grace and swing, allowing Tyner to showcase his nimble, long sauntering bursts of notes. In the ensuing 22 minutes of this version of “My Favorite Things”, the entire band goes well beyond simply putting their stamp on this signature Coltrane opus and proceeds to cover every base from the Von Trapps to the Cantina Band of Tatooine and everything in between.
These two discs swell with genius and are an amazing document to this historic quartet that played with unrivaled passion and absolute conviction. As bandleader, Coltrane displays all that he is famous for – mind-numbing eruptions of notes that seem to go on forever mixed with shorter, more delicate passages that wrap around you like a warm blanket. On drums, Elvin Jones continually pushes Coltrane to his limits and challenges man’s own physical confines as he endlessly flexes his skill at every harmonic turn, never overplaying or outdoing the biggest name on the marquee. Likewise, Tyner’s piano talents are called into action throughout each of the four pieces on this set, complementing Coltrane’s fluid style and making the best of every opportunity to flourish when given the spotlight to solo or lead the band. Executing his duties like an assassin, with the least amount of flash of any musician on stage, Garrison’s subtle but soulful bass lines become the necessary rock that anchors the other musicians during the most experimental portions of the jams.
It’s now been 40 years since Coltrane’s death, precisely the same amount of time as his own existence. His genius was instantly recognized back then and his recordings have long been collected by jazz fans all over the world ever since he put a mouthpiece to his pursed lips. This, in and of itself, is a true testament to the greatness and longevity of his craft. Yet, we can also take solace in knowing that buried treasures like this release are being made available to us now while the possibility of future undiscovered gems will continue to keep us all waiting with mad anticipation.
Stretching my legs...
Testing 1, 2, 3...
i feel so much pressure to get this first post up and on the board...and now that i'm here, i'm at a loss for words...
the creation of this blog has been long overdue...and now that it's been crudely created, i have more ideas than i have time to develop this site...but i'm determined to "sit-on-the-couch" as much as possible and let this thing evolve over time...
i want this to eventually become an overall collection of goings on in my life...music i'm into...books i'm reading...thoughts i'm thinking...feelings i'm festering upon...the huge tapestry of friends and family...pictures...quotes...off the top of my head, from bottom of my heart and all over the middle of the road...
...all the random keyhole lint that occupies my life...
...and while i can't imagine this being of any use to anybody other than myself, if you do find yourself here - on purpose or by accident, i invite you to stay awhile, comment on what ya' see 'round these parts while i continue to refine my written voice...
...this is sure to be interesting...so don't be a stranger...
...here are a few CD reviews i've written recently to get the ball rolling...
i feel so much pressure to get this first post up and on the board...and now that i'm here, i'm at a loss for words...
the creation of this blog has been long overdue...and now that it's been crudely created, i have more ideas than i have time to develop this site...but i'm determined to "sit-on-the-couch" as much as possible and let this thing evolve over time...
i want this to eventually become an overall collection of goings on in my life...music i'm into...books i'm reading...thoughts i'm thinking...feelings i'm festering upon...the huge tapestry of friends and family...pictures...quotes...off the top of my head, from bottom of my heart and all over the middle of the road...
...all the random keyhole lint that occupies my life...
...and while i can't imagine this being of any use to anybody other than myself, if you do find yourself here - on purpose or by accident, i invite you to stay awhile, comment on what ya' see 'round these parts while i continue to refine my written voice...
...this is sure to be interesting...so don't be a stranger...
...here are a few CD reviews i've written recently to get the ball rolling...
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