I saw Al Green perform once when I was in college. It was at an after party during the esteemed Boston Marathon weekend. In addition to the band on stage, Green was flanked on either side by identical twin males who's sole purpose was to dance in sync with one another, through the whole show. This was very indicative of the kind of performance Al put on that night. He had a distinct swagger, you coul feel it. He chatted up the audience between songs and extended his hand to some of the more experienced women in the crowd, giving them each a moment of dance, usually consisting of a twirl and/or dip. Obviously he was dressed impeccably in an all white tuxedo, with plenty of ornate gold jewelry to glisten in the in the simply lit hotel dining room.
The concert was invite only, and I was fortunate enough to come along as my roommate Drew's, plus 1. His father was the man to know in Boston at the time both professionally and socially, and I got along quite well with him. I like to think that he liked me, or at the very least approved of Drew's fraternizing with me. Nonetheless, he often kept up appearances at these kinds of functions by showing up, working the room in a timely and efficient manner, and exiting through a back door everyone just assumed led to the kitchen. Because of this, I was often given the opportunity to take his place at these events, and Drew and I always made the most of them. From holding the world series trophy to playing a nine-inning game of baseball at Fenway Park. From going backstage at the Ringling Bros. circus, to heckling Paul Pierce on inbound passes from court-side seats. I was given access to far more than i deserved, but I like to think i made the most of it.
I sat across from Nomar Garciaparra at the Al Green show, and he did a decent job of acting like he enjoyed it. Come "intermission," he was outta there faster than he ever stole a base in his life. And come the start of the second act, there quite a few empty places at each table. Suddenly there was room. And though I was not of age to drink yet, this was the kind of scene where that issue never got called into play. So a few Jack n' Gingers' later, Drew and I had unbuttoned our suit jackets, and emptied our pockets. We grabbed up whatever Cougar had wandered into our line of sight and step, and gave her a chance to relive her Junior Prom. If memory serves me, Big Al even gave us a shout out for our "enthusiasm". There was absolutely nothing in all of Beantown that was going to keep us down that night. The women we wound up having drinks with after the show were a decade or two our senior, and we talked a little louder, and a little more animated that night. I'd be lying if I said we didn't go to bed wearing ear to ear grins.
And oh yea, in the midst of all this we got to see Al Green. Al - mothafuckin' - Green baby! And his soul-flare might have been a bit much, but his voice was good enough to back it. He still had that reserved, vibrato-infused style that made him such a heartthrob. But with the mere flip of the wrist, he could turn it on, projecting his pipes to the outer atmosphere and beyond. He may have been an ordained pastor, but he had a very sexual vibe. A vibe he was fully aware of, and used to rope the audience in, male and female alike. And age did not matter, if anything, it may have helped him project the image he was going for.
Thursday, May 3, 2012
Wednesday, May 2, 2012
SOD: Pat Metheny Group "Last Train Home"
I don't know where to begin when it comes to Pat Metheny. He is the closest thing to a music God or Diety that I have ever seen. He's on a completely different level of musicianship. Granted, there are guru's and geniuses, virtuoso's and prodigies, but even they can be categorized together, whereas Metheny simply cannot. I know that this man hears things differently than the rest of the world. What I would give to sit in a white room with him and his guitar for 10 minutes. He'd undoubtedly be clad in one of his striped, turn of the century style prison shirts, and by the end of it, the walls would probably be brought to life by a collage of color and sound. Simply put, he is a the game-changer to change all games, in the field of Sound.
Metheny was recognized as a rare talent all his own from a young age, and was offered collegiate teaching positions before the age of 18. I won't give you a summary of the man's life, if you're truly interested, simply start with wikipedia page (Pat Metheny). Though he's typically thought of as a Jazz man (and certainly has that flair for innovation), his genre transcendent ways are absolutely acknowledged by all. There's not a box in the world shaped to his design. Constraints were made for him to personally laugh at.
I've seen him play many times, more than I can count on my two hands, as good ol' Mama Bundell was always a die-hard fan. Her devout love of this man's music is perhaps the ultimate testament to her unquestionable wisdom. She recognized something special in his music, years before he became remotely popular. And though he's had three albums achieve Gold status, and won 19 Grammy awards, he's still largely unknown by the masses. I base this largely off discussions I've had with many people who consider themselves "music fanatics." The mere mentioning of his name either triggers a look of bewilderment, or in some, prompts a lame attempt to feign knowledge of the man. Clearly though, you can tell when someone has no idea what you're talking about and is simply playing along. We've all done it. We've all been caught.
I'm certainly not surprised by this lack of exposure though. His music is not trendy, though it's surely transcendent. You won't find him on the Billboard 200, you'll find him on the bill of a 200 seat auditorium concert somewhere (though he'd obviously be on the "Billboard Jazz", but bare with me, I'm making a point here!). And that's just fine in my opinion. It ensures that his work remains about the music and nothing else. Though I don't think this man could be about anything else if he tried.
I've seen him play with his "group," usually a quartet featuring the co-writing and 'black n' white' skills of the incredible Lyle Mays. I've also seen him play solo shows. I've seen him play in a trio with Christian McBride (bass) and Antonio Sanchez (drums), and I've seen him play with an entire orchestra. Of machines. Yes that's right, machines all controlled by his single guitar and dubbed The Orchestrion Project (Orchestrion Video). Tell me this doesn't make you feel under productive (Orchestrion EPK). I've also seen him play with Pikasso, a 42-string guitar creation that he built himself (Metheny & Pikasso). You see, there's no limits to his creativity and ingenuity. The man is as much an inventor, as he is anything else. And he is a lot of things. Categorizing him is an exercise in futility.
"Last Train Home" is inspirational song off of arguably his most connectable album, American Garage. It's a beautiful, gripping, driving, and soulful creation of Metheny's ethereal guitar playing, embedded in the perfect arraignment of complementary instruments. It's also one of the first songs that I really remember hearing of his. When I was very young, I remember brief instances of us listening to this song, or me badgering my mother incessantly to play it, over and over again. It was one of those songs that I couldn't get enough of. Some kids wanted Raffi and Baby Beluga, I wanted Metheny. All day, every day. Obviously my yearning extended to many works outside of this one, but "Last Train Home" was the penultimate song of the day. I had to hear it at least once every night, before I went to bed. To this day, the song still has the same effect on me as it did then. It's soothing, yet motivational. Relaxing and recharging, but also energizing. And I would recommend at least a brief foray into Metheny's works for everyone. American Garage is a good place to start. It certainly was for me.
Metheny was recognized as a rare talent all his own from a young age, and was offered collegiate teaching positions before the age of 18. I won't give you a summary of the man's life, if you're truly interested, simply start with wikipedia page (Pat Metheny). Though he's typically thought of as a Jazz man (and certainly has that flair for innovation), his genre transcendent ways are absolutely acknowledged by all. There's not a box in the world shaped to his design. Constraints were made for him to personally laugh at.
I've seen him play many times, more than I can count on my two hands, as good ol' Mama Bundell was always a die-hard fan. Her devout love of this man's music is perhaps the ultimate testament to her unquestionable wisdom. She recognized something special in his music, years before he became remotely popular. And though he's had three albums achieve Gold status, and won 19 Grammy awards, he's still largely unknown by the masses. I base this largely off discussions I've had with many people who consider themselves "music fanatics." The mere mentioning of his name either triggers a look of bewilderment, or in some, prompts a lame attempt to feign knowledge of the man. Clearly though, you can tell when someone has no idea what you're talking about and is simply playing along. We've all done it. We've all been caught.
I'm certainly not surprised by this lack of exposure though. His music is not trendy, though it's surely transcendent. You won't find him on the Billboard 200, you'll find him on the bill of a 200 seat auditorium concert somewhere (though he'd obviously be on the "Billboard Jazz", but bare with me, I'm making a point here!). And that's just fine in my opinion. It ensures that his work remains about the music and nothing else. Though I don't think this man could be about anything else if he tried.
I've seen him play with his "group," usually a quartet featuring the co-writing and 'black n' white' skills of the incredible Lyle Mays. I've also seen him play solo shows. I've seen him play in a trio with Christian McBride (bass) and Antonio Sanchez (drums), and I've seen him play with an entire orchestra. Of machines. Yes that's right, machines all controlled by his single guitar and dubbed The Orchestrion Project (Orchestrion Video). Tell me this doesn't make you feel under productive (Orchestrion EPK). I've also seen him play with Pikasso, a 42-string guitar creation that he built himself (Metheny & Pikasso). You see, there's no limits to his creativity and ingenuity. The man is as much an inventor, as he is anything else. And he is a lot of things. Categorizing him is an exercise in futility.
"Last Train Home" is inspirational song off of arguably his most connectable album, American Garage. It's a beautiful, gripping, driving, and soulful creation of Metheny's ethereal guitar playing, embedded in the perfect arraignment of complementary instruments. It's also one of the first songs that I really remember hearing of his. When I was very young, I remember brief instances of us listening to this song, or me badgering my mother incessantly to play it, over and over again. It was one of those songs that I couldn't get enough of. Some kids wanted Raffi and Baby Beluga, I wanted Metheny. All day, every day. Obviously my yearning extended to many works outside of this one, but "Last Train Home" was the penultimate song of the day. I had to hear it at least once every night, before I went to bed. To this day, the song still has the same effect on me as it did then. It's soothing, yet motivational. Relaxing and recharging, but also energizing. And I would recommend at least a brief foray into Metheny's works for everyone. American Garage is a good place to start. It certainly was for me.
Tuesday, May 1, 2012
SOD: Adam Levy "In The Morning"
As Matty put it to me, "Adam Levy is the guy everybody knows, but nobody knows it." Most famous for playing guitar on Norah Jones' albums, Adam Levy has a very distinguished and distinguishable sound. It's never pompous or in your face, often reserved, and always perfectly balanced, from the selective listening I've done. His tone is gorgeous, and his style is a soulful blend of blues, jazz, country, and folk. This makes sense when you look at the lineup of players he's supported. Names like Amos Lee, Sex Mob, and Tracey Chapman (he did the solo that everyone knows on "Give Me One Reason") accompany the aforementioned Jones.
Levy is a great sideman, that much is clear. He never demands attention, or fights for the spotlight. His playing is clean, understandable, and very easy for a vocalist to tap into and use to enhance their own sound. He's the full package in that regard. However, Adam Levy has tried his hand in the solo world as well, and I have to say, I'm quite impressed. His album, Washing Day, has found itself on a cyclical path through my ipod in the past, and it was about due for a return. It's a very relaxed sound, demanding little of the listener. However if you do listen more astutely, you can hear just how complete a player this guy is. Tracks like "I Shot Her Down," take on an edgier style, belying the fact that there may just be a true blues rocker in there somewhere. The title track is reminiscent of an Amos Lee tune itself, and on the whole, I think that's where his style tends to fit overall. But why try and fit him into any mold? It's unnecessary. The album is good for what it is, and doesn't need to be overanalyzed. His playing certainly isn't, and I mean that as a compliment.
"In The Morning" is a textured song, that has a little something extra to it. The lyrics will actually sneak up on you if you don't pay attention to them. Though they may seem simple enough at first, with appropriate repetitious play, you'll find that there is a lot more going on than meets the eye.
Dark like the shady corners,
inside a violin
Hot like to burn my lips
I know I can't win
In the mornin'
baby in the afternoon.
There's a lot more imagery in a line like this, than most of your standard tunes these days that care little for lyrical idiosyncrasies and metaphors.
Funny how my favorite shirt
smells more like you than me
Bitter traces left behind
stains no one can see
In the mornin'
Baby in the afternoon
Levy is a great sideman, that much is clear. He never demands attention, or fights for the spotlight. His playing is clean, understandable, and very easy for a vocalist to tap into and use to enhance their own sound. He's the full package in that regard. However, Adam Levy has tried his hand in the solo world as well, and I have to say, I'm quite impressed. His album, Washing Day, has found itself on a cyclical path through my ipod in the past, and it was about due for a return. It's a very relaxed sound, demanding little of the listener. However if you do listen more astutely, you can hear just how complete a player this guy is. Tracks like "I Shot Her Down," take on an edgier style, belying the fact that there may just be a true blues rocker in there somewhere. The title track is reminiscent of an Amos Lee tune itself, and on the whole, I think that's where his style tends to fit overall. But why try and fit him into any mold? It's unnecessary. The album is good for what it is, and doesn't need to be overanalyzed. His playing certainly isn't, and I mean that as a compliment.
"In The Morning" is a textured song, that has a little something extra to it. The lyrics will actually sneak up on you if you don't pay attention to them. Though they may seem simple enough at first, with appropriate repetitious play, you'll find that there is a lot more going on than meets the eye.
Dark like the shady corners,
inside a violin
Hot like to burn my lips
I know I can't win
In the mornin'
baby in the afternoon.
There's a lot more imagery in a line like this, than most of your standard tunes these days that care little for lyrical idiosyncrasies and metaphors.
Funny how my favorite shirt
smells more like you than me
Bitter traces left behind
stains no one can see
In the mornin'
Baby in the afternoon
If you've ever been in a relationship, you know exactly what that line smells like. You know it as an emotion, and a feeling. It's simple, but it taps into something a bit deeper.
The studio version of this track is mixed very cleanly and compartmentalized nicely. Each instrument is leveled out very smoothly, and pops only when necessary. But in this live version, I think you get a better feel for the man himself. It's got personality. I can't help but move in my seat with it. And he doesn't have the greatest voice in the world, there's some inconsistency to it. But I believe that makes it all the more natural and genuine sounding. Its a simple kind of lovely. Then comes the solo. That's when you can tell this guy knows how to do his thing. He's no simple strumming sideman, though he can play that role when its called for. That in itself is humble skill, not to be overlooked. And for a three piece, these guys really do make a nice sound, don't you think?
That brings me to my last point. As I am always interested in the incestual nature of good music (yes, "incestual" is now officially a word in my dictionary), and I know there are others out there who are as well, it's worth mentioning who he's playing with. Adam Hess, of Gov't Mule (One of Warren Haynes' other bands outside of Allman Bros.), steps in on bass. He lays down some ridiculous lines in this version of the song that are subtle, but would be sorely missed if replaced. The guitar and bass work hand in hand with each other on this track, their sounds and direction are intertwined. And based off of Gov't Mule's sound, you know that Hess has the ability to "turn it on" in a major way when he wants to. But his relaxed yet technical play on this track, is just the right balance between groovy, and easy listening. Tony Mason rounds out the trio on drums, and he was actually one of Jones' drummers on the album Not Too Late. Obviously he's acquainted with Levy, and his style meets the atmosphere of this song with a casual perfection.
A final note, the song was originally written for Norah Jones' second album, as Adam Levy wrote it whilst they were on tour. Her version is quite different. It's good, but I unquestionably prefer his.
Bitten By The Phrase
Teeth are a real pain in the ass. Mine are at least, as I got them from my mother's side. Though they're not crooked, they sure are weak, and they're directly responsible for a hell of a lot of pain and misfortune that I've suffered throughout the years. In all fairness though, I haven't taken the best care of them, and that's gotta change. I've seen more and more reports linking tooth and gum issues (and plaque), to heart disease. And that's definitely something I dont want to mess with.
I also remember losing a few of my baby teeth as a youth. It was an experience I never enjoyed, Tooth Fairy or not. I remember my father telling me to "stop being a pussy, and yank the loose ones out," or my mother placating me and dealing with hours of complaining and indecision until the tooth in question practically jumped out of my mouth on its own. But for all the misery of losing teeth, and the infinitely worse problem of gaining unwanted teeth, I think the most odd and at times humorous significance of these calcified growths, exist in the literary world.
Obviously, I largely live in the world within my head. A product of that life is pondering over ridiculous things like this. And though I haven't the time or willpower to cleverly relate this post to Lady Gaga (Teeth) or Raffi (Brush Your Teeth), I'm hoping you'll still see at least some of the entertainment value that I did when it comes to our toothy expressions.
I also remember losing a few of my baby teeth as a youth. It was an experience I never enjoyed, Tooth Fairy or not. I remember my father telling me to "stop being a pussy, and yank the loose ones out," or my mother placating me and dealing with hours of complaining and indecision until the tooth in question practically jumped out of my mouth on its own. But for all the misery of losing teeth, and the infinitely worse problem of gaining unwanted teeth, I think the most odd and at times humorous significance of these calcified growths, exist in the literary world.
Obviously, I largely live in the world within my head. A product of that life is pondering over ridiculous things like this. And though I haven't the time or willpower to cleverly relate this post to Lady Gaga (Teeth) or Raffi (Brush Your Teeth), I'm hoping you'll still see at least some of the entertainment value that I did when it comes to our toothy expressions.
Like Pulling Teeth - Literally, not a good thing. Have you seen Castaway, or numerous torture sequences involving pliers? But even as a simile, it implies that the endeavor is not an easy one. An expression I often use in relation to getting women to do what I want.
Sink Your Teeth Into It - My first day as an intern at Miramax was far from what I expected. With a head full of optimism and mouth full of bullshit, I learned very quickly that I was a nobody, and would remain as such until about 27 (upon which I learned I'm not a nobody, but a somebody that nobody cared about). I was corralled into a cage-sized cubicle and set upon by some of the most ambitious and annoying assistants imaginable. I specifically remember the ringleader of this parade of pretentiousness, Lucas. A tall boy, with a "Bangin' Salad" (definition: great hair-do), Luke didn't have a way with words or women, but he definitely had his way with me. He would dump endless amounts of shit on me, knowing full well I would never finish a tenth of the work he gave me. On my first day, Luke came up to me, and with a sleazy grin, said from the corner of his spit laden mouth, "here's some scripts straight from Harvey's desk that I think you can really sink your teeth into." Needless to say, I'm not fond of this little turn of phrase.
By The Skin Of His Teeth - By the narrowest of margins. A term that is thrown around so freely these days, I can't quite remember where I first heard it. Though I'm told it comes from the bible (apparently that old knee slapper JOB said it first), the instance I remember most vividly is when my freshman year spanish teacher told me I'd passed his class "by the skin of my teeth." I think my mother remembers that instance best as well.
Long In The Tooth - Simply put, old as fuck. But I never really got this expression. Do teeth grow? Maybe long in the beard, or long in the toenail, but the tooth? Maybe someone can explain it to me...
As Scarce As Hens Teeth - One night in a little town called Amagansett, I was immersed in a political discussion about the Iran Contra by candlelight. I don't really want to get into that right now, but I think its safe to say at this point, that Reagan wasn't half as nieve as he pretended to be. Except when he got Alzheimer's, then he was as nieve as he didn't pretend to be. Long story short, a friend of mine summed up one of his many conclusions with the line, "an honest politician is as scarce as hens teeth." I misheard this line, and thought he said, "an honest politician is as scariest and ending." Besides questioning the syntax of his expression, I told him that it didn't really make any sense, because wouldn't an honest politician be something we'd want, but have never had? This was when I learned of the existence of the expression, "As scarce as hens teeth," and I've had fun with it ever since.
Armed To The Teeth - and I quote:
As your attorney, I advise you to rent
a fast car with no top.
And you'll need
the cocaine.
Tape recorder
for special music.
Acapulco shirts.
Get the hell out of L.A.
for at least 48 hours.
- Blows my weekend.
- Why ?
'Cause, naturally, I'm
gonna have to go with you.
We're gonna have to
arm ourselves to the teeth
Well, why not ?
Shit if it's worth doing,
it's worth doing right.
This is the American Dream
in action.
Bite Me - Though no teeth are directly referenced here, it heavily implies the use of them. I used the line insatiably at a young age, and even now, it works in certain situations. Though immature, it can be an effective way of conveying attitude, without using foul language.
Take The Bit Between One's Teeth - Things are definitely getting strange when we start likening ourselves to horses. Especially when it comes to teeth, or choosing your own direction in life. It's almost an oxymoron in that respect, because I've never known a horse to lead itself when it's taken the bit between its teeth. Also, if a person is putting some kind of headgear on that requires the insertion of anything into the mouth, chances are there's going to be leather, studs, and pain in your near future.
Sweet Tooth - I know I have one. And 38 cavities, 4 root canals, and a cumulative dentists bill akin to the GDP of Lithuania, I'm still hooked on the suge.'
Now I know I must've left some out, so if you can think of any, I encourage you to send 'em to me. But please, include the definition, because lord know some of these expressions are ambiguous at best.
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