Moving our blog.Bye Bye Blogspot.

Gotta go!

You might have noticed a scarcity of new posts over the last few months. Well, I've been busy over at my main (community) blog site for my cartoon company, and all the activity has kept me away. I'm hoping with this move it'll get better.

So, new site, same quality songs. And good news, we'll still have an RSS feed. xxoo

Allen Toussaint, Dr.John, Irma Thomas, Buckwheat Zydeco, Wild Magnolias, Dirty Dozen Brass Band, BeauSoleil, & nine more.

Randy Newman >Louisiana 1927

As a music fan, here's an easy way to contribute to Gulf Coast relief. Nonesuch Records has recorded an exciting, brand new compilation of New Orleans related artists. And here's the original version of Randy Newman's Louisiana 1927, which was newly recorded with an orchestra for this CD.

From Amazon.com: Nonesuch Records is releasing a benefit album of newly recorded songs featuring artists from the New Orleans music community – across a wide variety of styles – to document the depth, richness and profound musicality of that unique city. Funds from the sale of the record, titled Our New Orleans, will be donated to Habitat For Humanity to aid those affected by the recent Hurricane Katrina disaster. A number of New Orleans’ best known musicians have been asked to record songs that are integral to their lives and that express their feelings about the city and the recent events there. Sessions began in New York on September 20, with the Preservation Hall Jazz Band and the Wild Magnolias recording at Clinton Studios. Later the same day and on September 21, Allen Toussaint, Irma Thomas and the Dirty Dozen Brass Band recorded at New York’s Avatar Studios. Further sessions in October included Dr. John, Buckwheat Zydeco, and Randy Newman, among others. Nonesuch’s parent company – Warner Bros. Records – is donating all of the production costs for this record, as part of the Warner Music Group’s larger efforts on behalf of the hurricane victims. Many others involved in the project are also generously donating their time and services.

Randy Newman >Louisiana 1927

Jackson 5 (Z-Trip remix).

Jackson 5 (Z-Trip remix) >I Want You Back
As susceptible as I am to the recycling of my youth (Alan and I did create Nick-at-Nite, after all), it seems completely out of hand, especially in the music biz. That being said, I love this track.

My friend Michael is someone I've mentioned here a few times. We met in high school on one of our first recording sessions (in his basement); Mike played guitar, me piano. I don't think I've mentioned he's been one of my inspirations ever since. Smart, stylish, talented. And his sense of music and musicians has always been one of my beacons, especially about guitars. He illuminated the fact that Eric Clapton was an original, not just a star. And that Steve Cropper's sound was the thing, not only the notes.

So when I heard the guitars at the beginning of Z-Trip's deconstruction of I Want You Back, I thought of Mike immediately. People finally seem to be over thinking these early Jackson 5 tracks are bubblegum or formula Motown, but the sophisticated production kind of drowns out just how funky the original was. What this mix has done is taken a track that is completely played out (at least to me, since it's been one of my faves for 35 years) and just perked it right up. And unlike too many of these attempts to revive baby boomer jazz and soul which completely destroy the rhythm of the originals, Z-Trip's kept the beat's integrity, and, in it's own way, this new version rocks just as hard.

I want to shout-out my friend Dario too, a DJ-turned-media-executive, who's continuing interest in dance music prompted me to actually post this thing, which I've been trying to do for two months.

Jackson 5 (Z-Trip remix) >I Want You Back

Miles Davis and Joe Zawinul.

Miles Davis >In A Silent Way/It's About That Time (A large file.)
Joe Zawinul >In A Silent Way

The other day you were talking (and writing) about Joe Zawinul's Rise and Fall of the Third Stream. I don't think I've ever heard it, or don't remember it. My bad attitude wrongly avoided anything to do with "the third stream," and honestly, generally I avoid Zawinul. Which is funny, because some of my favorite melodies are his --Mercy Mercy Mercy, Birdland, In A Silent Way-- among others. But I never particularly loved his execution, his bands, his arrangements. They always struck me as forced, obvious, kind of corny. (Aside from my too common refrain that his personality in many interviews over the years made me wanna smack him in the face.)

And when you brought him up I instantly thought of In A Silent Way.

For years most everyone thought the 1969 Miles' version was the way Zawinul intended. Probably because anything Miles did was usually thought of as 'definitive.' Joe's take on Zawinul from 1970 has often been in my collection, but I think it was because I liked the photograph and album cover (when it was an LP and 12x12"). My memory was that I didn't care for Zawinul's own version. Well, today I listened again in anticipation of posting it.

I was wrong. Yes, it's a wonderful melody, but, it's also just a wonderful track. Every interpretation I have in my library (Joe's, Mark Isham's, and five mixes or takes by Miles) is wonderful in it's own way. Enjoy these. (A large file.)

Miles Davis >In A Silent Way/It's About That Time (A large file.)
Joe Zawinul >In A Silent Way

Keith Jarrett.

Keith Jarrett (& Jan Garbarek) >The Windup
Keith Jarrett > Blame It On My Youth/Meditation

My first midnight radio show on WKCR-FM was named after a Keith Jarrett LP (Life Between the Exit Signs) more because it was a hip name; I didn't really know too much about the music. I enjoyed seeing him with Miles Davis (and Steve Grossman, Chick Corea, Dave Holland, Jack DeJohnette, and Airto Moreira) in 1970 in Central Park, but that was really because of Miles. And I loved seeing him at the Mercer Arts Center in New York (before it collapsed) in 1973 during the tour to promote his innovative, stream of conciousness solo debut on ECM.

But as his success as a solo improviser flowered, he became such a fucking arrogant, pretentious fool I almost completely dismissed him. It wasn't the music, it was his attitude that was so completely off-putting.

So, on reflection the other day, I was surprised to see how often I put my feelings aside; there were at least a dozen CD's in my collection.

Here's two tracks that show why. He rocks, he cajoles, he caresses. He's really good.

Keith Jarrett (& Jan Garbarek) >The Windup
Keith Jarrett > Blame It On My Youth/Meditation

Petra Haden & The Who.

Petra Haden >I Can See For Miles
The Who >I Can See For Miles

When she was in the record business, my wife loved working with Petra Haden in That Dog. She also loves The Who. I've known Petra's dad Charlie for years, and his work during the 90s has been even greater than his work for the 30 years before (I posted some with Hank Jones and Pat Metheny earlier). And I love hit records, so I Can See For Miles is probably my favorite song by far on The Who Sell Out.

Petra Haden >I Can See For Miles
The Who >I Can See For Miles

Ray Charles, Gordon McCrae.

Ray Charles >Oh, What a Beautiful Morning
Gordon McCrae >Oh, What a Beautiful Morning

Before I heard Ray Charles do this song in 1981, Oh, What A Beautiful Morning was just another corny song from a musical. His version made it one of my favorite songs, showed me how Rodgers and Hammerstein could perfected match some words with a melody.

Last week was my 10 year old's end of the year school performance. His grade sang Oh, What a Beautiful Morning and it reminded me of Ray, so I played it for him afterward. Being the kind of kid he is, he wanted to hear the original. Even if I don't, he likes it better.

Ray Charles >Oh, What a Beautiful Morning
Gordon McCrae >Oh, What a Beautiful Morning