This month marks Duane Allman’s 70th birthday. If you are a fan be sure to check out Photo tab on Talking2musicians with lots of b/w photos brought to life with color There’s also my epic Duane Allman profile piece on the web most popular jazz website, AllAboutJazz.
If you’ve read or listened to my interviews, then you know I’ve asked several musicians questions about what they would like to see if they could go back in time. Day dreaming about time travel seems to be a fairly universal pastime among music lover.
I decided to take it a step further than day dreaming and wrote a bit of fiction for music lovers. It’s the story of Nathan Ballew who has a brush with death and finds himself back in 1962 with his memory from 2013 fully intact.
The only drawback, he’s in the body of an 11-year-old. So what would you do in this situation?
You can download my eBook Anagrams on Amazon, or read some sample chapers there for free. Here’s the link
Forgive the headline hook, but that’s my own personal fantasy. Before going to sleep last night, I listened to a recording of the Allman Brothers Band from January 23, 1971. They were opening for Delaney and Bonnie at the Capitol Theatre, Port Chester, NY.
If you’re a serious Allman Brothers fan, you recall the laid back crowd reactions on the Fillmore recordings. Without even hearing any music, this crowd reaction will give you an indication of just how smoking hot Duane Allman and the band were that night in 1971.
It is difficult to impart to young people today what a phenomenon the Beatles were in the 1960s. Imagine, when the Beatles appeared on the Ed Sullivan Show, 73 million people were watching, and in 1964 the US population was only 192 million!
Sullivan’s failure to scoop the TV industry with[Elvis] Presley made him determined to get the next big sensation first. In 1964, he achieved that with the first live American appearance of The Beatles, on February 9, 1964, the most-watched program in TV history to that point and still one of the most-watched programs of all time. (Wikipedia)
At 8 o’clock on February 9th 1964, America tuned in to CBS and The Ed Sullivan Show. But this night was different. 73 million people gathered in front their TV sets to see The Beatles’ first live performance on U.S. soil. The television rating was a record-setting 45.3, meaning that 45.3% of households with televisions were watching. That figure reflected a total of 23,240,000 American homes. The show garnered a 60 share, meaning 60% of the television’s turned on were tuned in to Ed Sullivan and The Beatles. Source
Their appearance on Ed Sullivan took place exactly 80 days after the funeral of John F. Kennedy, which was another event whose impact on the American public is impossible to convey to anyone who didn’t live through it. You will often hear it said that we were in a collective state of mourning, and the Beatles appearance on Ed Sullivan was something that allowed the nation to come together with a sense of relief. Having lived through it, I agree.
In many ways the Beatles were the beginning of a universal youth culture, and they were at the center of the spirit of the 60s.
Up until this point, the world was much less interconnected. Prior to the Beatles, with the exception of a fluke, or one-hit-wonder, it would have been unthinkable to have a British artist at the top of the US pop charts. Our pop stars tended to have slick hair, and suddenly here were these guys from the North of England with (what was then considered) unbelievably long hair. Consider this quote from Elvis Presley while visiting the White House in 1970:
“The Beatles laid the groundwork for many of the problems we are having with young people by their filthy unkempt appearances and suggestive music while entertaining in this country during the early and middle 1960s.”
—Elvis Presley, recorded during a 1970 visit to Richard Nixon at the White House
For young fans of Breaking Bad who might be wondering where the final song of Breaking Bad came from, it is Baby Blue, by Badfinger. A perfect choice.
Signed by the Beatles’Apple label in 1968 as The Iveys, they adopted the name Badfinger in 1969. Badfinger had four consecutive worldwide hits from 1970 to 1971: “Come and Get It” (written and produced by Paul McCartney), “No Matter What”, “Day After Day”, and “Baby Blue”. Wikipedia
And if that weren’t enough, Todd Rundgren was the producer on Baby Blue:
Looking for some great roots & blues music? Paul Harvey, a veteran radio personality based in the Netherlands, has a great radio-on-demand program. Paul has promoted, interviewed, and brought many great musicians to Amsterdam over the years. For example, he was the first person to interview Derek Trucks on European radio, and organized his first three concerts in Europe. His show not only presents some fantastic music, but Paul also gives you the story behind the music. Do yourself a favor and check this out.
Each week, Val Haller, the founder of the music Web site Valslist.com, matches music from her baby boom generation to music of her 20-something sons’ generation.
Val Haller has a nice piece in the New York Times that recommends the Tedeschi Trucks Band to Bonnie Raitt fans. Her own website is worth visiting regularly, she helps “busy adults keep up with what’s happening in modern music.” Also a big thank you to her for mentioning this site in her article.
This is the first Multi camera concert video registration, created from video footage recorded by the audience and published on the internet
Todd Rundgren is a pioneer and has many music industry ‘firsts’ to his name. Here is another one, this time offered to him by his fans in the Netherlands. For the first time: a full 1 hour and 30 minutes multicam concert video registration, created from video footage published on the internet, recorded by the audience.
More info, production notes and all credits here:
http://www.keezer.nl/trmo
This girl had been playing bass for 10 months when she posted this cover of Chuck Rainey’s bassline for Steely Dan’s “Peg”. Going to have to keep an eye out for her.
Jerry Jemmott’s groove is the bedrock of guitarist B.B. King’s career defining hit, “The Thrill is Gone.” He was in the studio with Duane Allman and singer Wilson Pickett recording “Hey Jude,” a track that was instrumental in launching the late Allman Brothers Band guitarist’s musical career; and they were together again for flautist Herbie Mann’s Push Push (Atlantic, 1971), Allman’s first and only jazz sessions, and the last full album he recorded prior to his death on October 29, 1971. Jemmott was also there on December 13, 1968, when guitarist Mike Bloomfield called another six-stringer, an unknown Johnny Winter, up onstage at the Fillmore East—a Friday the 13th that turned out to be Winter’s lucky day.
Jemmott was with singer Aretha Franklin, the Queen of Soul herself, when she conquered San Francisco’s hippie community at the Fillmore West in March of 1971. The album, drawn from this series of concerts (with a surprise appearance by singer Ray Charles), earned her a gold record, and was something she would later refer to as a highlight of her career.
Jerry Jemmott’s blues credits are truly remarkable: in addition to B.B. King, Freddie King, Mike Bloomfield, Duane Allman, Otis Rush, Johnny Winter, Warren Haynes, Derek Trucks, there’s his legendary association with Cornell Dupree, Bernard Purdie, and King Curtis. In my last column, Jimmy Herring had this to say about him: “He’s a genius, there’s just nobody like him. He’s the sound that defined an entire generation. I love Jerry Jemmott, it doesn’t get any better than that.”
Another of his seminal achievements, which will no doubt be watched by generations yet unborn, was his collaboration with Jaco Pastorius on the instructional video Modern Electric Bass (1985). Even beyond its instructional value, because it was done so close to Pastorius’ death on September 21, 1987, it provides an invaluable insight into this extraordinary musician and composer. Pastorius had this to say about Jerry Jemmott: “He was my idol. That stuttering kind of bass line, bouncing all around the beat but keeping it right in the groove—well, they don’t call Jerry the Groovemaster for nothing. He’s the best.”
In this extensive interview Jerry Jemmott speaks about all this, as well as his wide ranging session work for Atlantic Records, and his current gig with blues/rock legend Gregg Allman.
Check out my new interview with Jaimoe, a founding member of the Allman Brothers Band.
My regular column in All About Jazz was just launched, it looks at “Eastern Sounds” a classic album by Yusef Lateef that passed the 50 year mark this September.
If you’re a Derek Trucks, Miles Davis, Duane Allman, John Coltrane, Jimmy Herring fan and you haven’t yet encountered Yusef Lateef, check out one of the first forays into World Music
Dan Peek, a founding member of soft-rock trio America, which shot to the top of the pop charts in the 1970s with bouncy, lightweight hits including “A Horse With No Name,” “Ventura Highway” and “Sister Golden Hair,” died Sunday at his home in Farmington, Mo., outside St. Louis. He was 60. Continue reading
T
wo wings of equal strength endow a bird with the capacity to truly soar. This principle also helps to explain why Revelator (Sony, 2011), the debut album of the Tedeschi Trucks Band, has soared to #1 for blues releases on Amazon, #2 in rock, and #3 in all of music. This band brings together vocalist Susan Tedeschi, whose previous release in 2009 earned her a Grammy nomination, with slide guitarist Derek Trucks, who won the Grammy for his 2009 release. What’s particularly striking in this pairing is how evenly matched these exceptional talents are. Continue reading
John Scofield is one of the world’s most influential and respected guitarists, a musician and composer who has worked with many of the greatest names in jazz: Chet Baker, Gary Burton, Billy Cobham, Miles Davis, Herbie Hancock, Charles Mingus, Gerry Mulligan and scores of others. His 30 plus solo recordings have taken his fans on a remarkably wide-ranging musical journey – from straight ahead jazz, bebop, and fusion, to funky experimental outings with Medeski, Scofield, Martin, and Wood, and even gospel jazz fusion with his Piety Street Band. On his current album 54 (Emarcy, 2010), he is backed by a 50 plus piece orchestra, complete with strings, harps, brass, and woodwinds, and, as always, he somehow manages to play in a way that appeals to jazz aficionados and discerning guitarheads.
Fans of Soulive, Phil Lesh & Friends, Govt. Mule, and John Mayer are well aware that John Scofield is an exciting and soulful player, and this ability to be true to himself as a serious jazz artist, while also appealing to rock, R&B, and blues fans is what makes him so special. After watching him (@ Moogis.com) blow the roof off the Beacon when he sat in with the Allman Brothers Band on March 18, 2011, I thought it would be fascinating to talk to this jazz icon about coming of age in the ’60s & ’70s and get his take on the icons of blues rock. So this interview was conducted just a few days after that event.
Regular readers of this blog know that I publish my interviews on All About Jazz, but this year a major retrospective interview with John Scofield was already planned for the later part of 2011 to coincide with the release of his upcoming album A Moments Peace (Emarcy, 2011.) Nevertheless, he graciously agreed to this interview on blues rock guitar for Jazzamatazz, and I resisted the urge to ask him about jazz and his work with Miles and the other jazz greats – we can all look forward to that later this year on All About Jazz. Meanwhile, if you see any names you don’t recognize, or any of your favorites, be sure to check the hyper-links – there are even links to posters of concerts John saw as a high school student.
Jazzamatazz: First, as a blues fan I want to tell you how much I love your album Piety Street (2009, Universal Music). It’s one of those recordings where everything just seems to have fit together perfectly, from the material and musicians down to the great cover art. And the fact that you decided to do a gospel album in New Orleans and actually ended up in a studio on Piety Street, it just doesn’t get any better than that.
John Scofield: Yeah, it was one of those things, almost like being helped from above. 
It was also so much fun doing that record. Of course I knew the studio was on Piety Street, but it really didn’t register until I got down there.
Jazzamatazz: Jon Cleary was a great choice, it’s uncanny that a guy from England sings and plays piano like someone who grew up in the 9th Ward, and if that weren’t enough, he’s a fine guitarist.
John Scofield: Jon Cleary is just a major talent, and we did a year of touring after the album came out. It was wonderful working with him and he’s just become a great friend. He’s actually been into it for a long time, his story is rather interesting. His father and uncle were way into the music of New Orleans when he was a kid. So he grew up with New Orleans music playing around the house all the time, and his uncle was a musician. His sister was also really into it and had already moved down there, so when he was about age eighteen he was already playing and singing it, and at this point he’s lived down there for a long time.
Jazzamatazz: You’ve also had John Boutté who famously sings the theme song for HBO’s mini-series Treme. Have you had a chance to watch it, and are there any plans for you to appear in an episode?
John Scofield: Yes, that’s so great. We actually recorded Peity Street before that, and I was so happy to see that they used his music for the series. I actually watched one of the episodes with Jon Cleary in it, it’s very good. They haven’t asked me, but I’ll be there if they want me.
Jazzamatazz: You seem to have retained a rock energy when you need it, but other than a bit of B.B. King I can’t spot a particular influence from a blues or rock player. Were there any rock or blues player you listened to in your early years who had a lasting influence on you?
John Scofield: So first, there is influence, and then there are also people whom you like and respect. I liked and respected all of the blues players, and they all kind of played a bit like B.B. King, Otis Rush, Albert King and Freddie King. And I loved those guys, and Hendrix and Clapton, and I was a teenager when that first came out.
I started playing guitar at the end of 1963 just before the Beatles came over. [Laughing] I think I had my guitar out holding it when I was watching the Beatles on television on the Ed Sullivan Show. Continue reading
GOING OLD SCHOOLThis photo from August 1969 shows people on the way to Woodstock. A month earlier they watched people walk on the Moon, Continue reading
The Allman Brothers 2010 NYC run was not as exciting as last year’s 40th anniversary celebration, but I got the sense that there was a new and improved group dynamic. If you watch the ABB 2004 commercial DVD and compare it to this 2010 run, you’ll notice a shift in leadership. Warren, Derek and Oteil are now on much more of an equal footing. Otiel in particular has really emerged as an important force.
Otiel is a musician’s musician, musically on top of his game, appreciative of others’ playing, enthusiastic and supportive, and now ready to take his rightful place on stage. I was really surprised by his voice when he sang Anyday, he has a strong voice and creative phrasing, and his bass playing is simply great. He’s a joy to watch on stage, he’s all about the music.
Jazzamatazz 