Social Distancing Spins, Day 4

By Joel Francis

Each day during the quarantine I’m going deep into my record collection and writing about what I pull out.

Dave Brubeck Quartet – Time Further Out (1961) Dave Brubeck’s groundbreaking 1959 release Time Out was so successful a sequel was inevitable. The point of these albums isn’t the complexity of each composition’s time signature. It’s how much fun the group seems to be having as they effortlessly skate through rhythms that would make prog rock bands break out in sweat. Take “Unsquare Dance” for example. On the face it seems simple enough – just handclaps and snare drum with Brubeck intermittently tickling the keyboard. The result is catchy and edgy enough to appear in “Baby Driver,” a mixtape masquerading as a heist film released a mere 56 years after the song was recorded.

Bob Dylan – Live 1966: Acoustic Set (1998) The first time I saw Bob Dylan in concert, in the late ‘90s, a friend asked me if he played acoustic or electric. The answer, of course, was both, but the aftermath of that plugged in Newport set warranted the question nearly half a century later. This archival release was recorded about a year after the firestorm at the folk festival. The seven songs that comprise this acoustic set are immaculate. Of course the songs are amazing, but what stands out to me is Dylan’s harmonica playing and the way he teases phrases and moments. This set makes a strong case that Dylan may be an even better performer onstage alone, without a net. Knowing that the arrangements will soon get turned up amplifies the solo performances even more.

Pete Townshend – White City (1985) After the death of drummer Keith Moon, Pete Townshend is often accused of holding back his best work for solo projects and delivering second-rate material for The Who. I disagree. “Face Dances” has just as many strong moments as “Who Are You,” Moon’s final album. By the time the band got to “It’s Hard” no one’s heart seemed to be in it. Besides, it is very difficult to imagine Roger Daltrey singing anything on this album beyond the bombastic (and excellent) opener “Give Blood.” I don’t see where John Entwistle’s bass would add anything, either.

There’s supposed to be a story in here somewhere. I once watched Townshend’s 60-minute film version of White City so long ago it was on videotape. The narrative wasn’t any more apparent after that experience, although it was nice to hear different and extended versions of the material. Don’t overthink this, just appreciate it.

Raconteurs – Live at Cain’s Ballroom (2020) I saw the Raconteur’s performance in Kansas City that immediately followed the shows in Tulsa, Okla. that form this album. It was … good. Nothing groundbreaking, but a solid night out. Unless something changes, I don’t think I’ll feel compelled to buy a ticket next time they come through. The same goes with this album. It’s great to have a document of that tour, but the performance doesn’t have the energy of their concert at the Ryman Auditorium on a 2011 tour (released in 2013). I think I’ll be playing that album more often.

Various Artists – Big Blue Ball (compilation) In the early 1990s, Peter Gabriel hosted a series of weeklong workshops at his home studio. Artists from all over the world were encouraged to add to existing recordings and develop and contribute original material. This collection, released in 2008, a brisk 13 years after the final gathering, is the culmination of those sessions. There are a couple Gabriel gems to be sure, but fun for me is scouring the musician credits and try to pick out how everyone interacts together. Living Colour axeman Vernon Reid lays down synth guitars on “Rivers,” a New Age track that wouldn’t be out of place at a spa (or at least what I imagine a spa would be playing). Gabriel corrals jazz drummer Billy Cobham, former Public Image Ltd. bass player Jah Wobble and onetime Prince foil Wendy Melvoin for the single “Burn You Up, Burn You Down.” The song “Forest” opens like an outtake from Gabriel’s Passion soundtrack before turning into something that might be heard at a dance club or upscale art gallery (or at least what I imagine an upscale art gallery would be playing). Most of the album stays in this vein of world music with modern elements.

Echo de Africa National – Récit Historique de Bobo-Dioulasso (unknown) I know absolutely nothing about this album. I couldn’t even determine the year when it came out. The two side-length songs aren’t even given titles. To my ears, it sounds like this was recorded sometime between 1965 and 1975. I can tell you that if you like African ensembles with multiple horn players, percussionists and guitarists, who like to stretch out, this is probably for you. I haven’t been disappointed by it.

Various Artists – Light on the South Side (compilation) Less an album than an aural art installation, Light on the South Side combines 18 obscure blues and soul cuts with a gorgeous 132-page hardcover book featuring sumptuous black-and-white photography of African-American working class adults in the 1970s looking to escape the pressures of everyday life in the dive bars on Chicago’s South Side. You can smell the polyester and cigarette smoke listening to Little Mack do the “Goose Step” or hearing about Bobby Rush’s “Bowlegged Woman.” Crack open a High Life tall boy and enjoy.

Review: Experience Hendrix

(Above: Jonny Lang and Aerosmith’s Brad Whitford blaze through “Fire” on March 6, 2010, at The Joint in Las Vegas.)

By Joel Francis
The Kansas City Star

The lineup for Tuesday’s Experience Hendrix concert at the Uptown Theater seemed to set up a joke: How many guitarists does it take to pay tribute to the most celebrated axeman of all time? The answer: Fourteen, including half of Los Lobos, all of Living Colour, a pair of virtuosos, a handful of bluesmen and several contemporaries.

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Bass player Billy Cox met Jimi Hendrix while the two were in the Army. He is the last living musician from any of the bands Hendrix lead.

Billy Cox, the Band of Gypsys bass player and Jimi Hendrix’ last living band mate, opened the night with a heartfelt thank you and romp through “Stone Free.” Backing him on drums was Chris Layton, better known for his time backing Stevie Ray Vaughan in Double Trouble, and Ernie Isley of the Isley Brothers. The star-power of the opening lineup may have had the loaded house drooling over their guitar magazines, but they didn’t have long to revel.

Every 20 minutes or so, another pairing of musicians emerged, each seeming to emphasize a different aspect of Hendrix’ music. His rhythm and blues roots came out in Living Colour’s set, while members of Los Lobos paid tribute to his roots and Kenny Wayne Shepherd emphasized the rock star angle.

Jonny Lang’s performance of “Fire” was the first explosive moment of the night. Backed by Brad Whitford of Aerosmith and a vivacious chorus of singers, Lang’s feverish vocals and impassioned playing drove the crowd to their feet. Whitford was finally able to emerge from the long shadow of his Aerosmith band mate Joe Perry as he and Lang traded solos.

Lang’s set was followed by Kenny Wayne Shepherd’s explosive interpretation of “Voodoo Child (Slight Return).” Knowing his boss was about to burn down the fret board, singer Noah Hunt, who also sings in the Kenny Wayne Shepherd Band, abandoned the stage after completing his verses. Alone onstage, save the rhythm section of Layton and Scott Nelson, Shepherd struck about every rock star pose imaginable as he soloed endlessly to the rapture of the crowd.

Susan Tedeschi was the lone intruder into this guy’s night out. Although she wasn’t given a set of her own, each of her frequent guest appearances was inspiring. Her singing on “One Rainy Wish” added an earthy sensuality and vulnerability to Hendrix’ lyrics, and her tasty guitar solos were a welcome relief from the pyrotechnics.

The night’s two dozen songs spotlighted classic rock staples “Purple Haze,” “Foxy Lady” and “The Wind Cries Mary,” and also unearthed some deeper treasures. Cox celebrated the guitarist he met in the Army with “Message of Love,” a song he a Hendrix recorded on the “Band of Gypsys” album. Eric Johnson embraced Hendrix’ love of unusual textures with the deep cut “House Burning Down.”

Robert Randolph and Sacred Steel brought new life into “Purple Haze.” The result wasn’t too different from what Randolph’s Family Band typically serves up, but the playing was much more elastic bouncing between the trio of steel guitars. Eric Johnson enlisted three drummers to help summon the heavy, drugged feel on “Are You Experienced.” Later, Joe Satriani had no trouble coaxing alien sounds from his guitar during “Third Stone From the Sun.”

Midway through the set, guitarist emeritus Hubert Sumlin emerged to represent the pre-Hendrix guitar world. Backed by Tedeschi, and Cesar Rosas and David Hildago of Los Lobos, Sumlin showed none of his 78 years powering through “Killing Floor,” a song he originally cut with Howlin’ Wolf for Chess Records in 1966.
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While all the expected heavy hitters drew big responses, some of the evening’s best moments occurred during songs Hendrix didn’t write. Robert Randolph and Sacred Steel teamed with Cox and Living Colour singer Corey Glover for a jubilant gallop through Buddy Miles’ “Them Changes.” Cox tried to end the number, but Randolph wouldn’t let it stop, motivating Glover’s fervent yelps with his riffs. Early in the night, Isley’s unaccompanied incorporation of “Amazing Grace,” mostly played with his teeth, brought back shades of Woodstock.

After every trick and novelty had been exhausted, Cox returned to the stage and closed the night with the blues staple “Red House.” When all the performers were brought out for a final bow, they extended nearly all the way across the stage. Evidently it takes a lot of bodies to fill some very big shoes.

PROGRAM
Stone Free – Billy Cox, Ernie Isley
Message To Love – Billy Cox, Ernie Isley
Manic Depression > Amazing Grace – Ernie Isley
Power of Soul – Living Colour
Crosstown Traffic – Living Colour
House Burning Down – Eric Johnson
Bold As Love – Eric Johnson
One Rainy Wish – Eric Johnson, Susan Tedeschi
Are You Experienced – Eric Johnson, Will Calhoun
Fire – Jonny Lang, Brad Whitford
The Wind Cries Mary – Jonny Lang, Brad Whitford
Spanish Castle Magic – Jonny Lang, Brad Whitford, Susan Tedeschi
I Don’t Live Today – Kenny Wayne Shepherd, Noah Hunt
Come One – Kenny Wayne Shepherd, Noah Hunt
Voodoo Chile > Voodoo Child (Slight Return) – Kenny Wayne Shepherd, Noah Hunt
Can You See Me – David Hildago, Cesar Rosas
Little Wing – David Hildago, Cesar Rosas
Killing Floor – Hubert Sumlin, David Hildago, Cesar Rosas, Susan Tedeschi
Purple Haze – Robert Randolph and Sacred Steel
Them Changes – Robert Randolph and Sacred Steel, Billy Cox, Corey Glover
Third Stone from the Sun – Joe Satriani, Corey Glover, Doug Wimbish, Will Calhoun
Foxy Lady – Joe Satriani, Living Colour
All Along the Watchtower – Joe Satriani, Living Colour
Red House – Billy Cox, Joe Satriani, Brad Whitford, Robert Randolph, Will Calhoun

Note: Except when replaced by Living Colour or Billy Cox, Chris Layton and Scott Nelson played drums and bass. The Sacred Steel is Robert Randolph, Darick Campbell and Aubrey Ghent. Living Colour is Will Calhoun, Corey Glover, Vernon Reid and Doug Wimbish.

Keep reading:

Rock Hall celebrates the 40th anniversary of Woodstock

Review: Buddy Guy

Review: Los Lobos

Review: Chickenfoot

Review: Robert Randolph and the Family Band