on the turntable: clapton/winwood

  

There couldn’t be a better way to start the summer than with Eric Clapton and Steve Winwood. Their latest duo album, Live From Madison Square, exceeds everything I expected from the two rock legends. It’s 21 tunes that’ll take you all the way back to the days of Blind Faith–about four decades or so. The two musicians are just as hip as ever; and their music revives the soul with amazing wisdom and confidence.

The album exudes extraordinary clarity–a virtue frequently absent from live  recordings, especially those of a certain “stoned” generation. I believe the music is better now than it was back then. It’s grounded and imprinted with the confidence of two musicians who led a generation into and through the beginnings of an era that continues to influence the development and destination of musical style.

The tunes are very fine. I think they capture the spirit and style of originality and musical excellence with far more confidence than their earlier days. The critic in me has a pretty darn difficult time in finding flaws here ( except No Face, No Name, No Number somewhat lacks the vocal quality it used to have). Clapton’s slow hand axe and Winwood’s burning keyboard chops were meant to come together in these songs. No one else could ever sound like that together. If I could just borrow from Dan Fogelberg and Tim Weisberg for a moment, Clapton and Winwood are certainly the “twin sons of different mothers” in the true musical interpretation of the phrase.

If anyone doubts that some things were meant to be, go back to those older recordings of Presence of the Lord and Can’t Find My Way Back Home and compare them to this new live album. No one could deny that time, the force of music, and life itself designed Winwood and Clapton to be together again.

As a musician myself, I recognize what an extraordinary phenomenon it is to hear something musically “meant to be.” I haven’t always appreciated this; but now having lived long enough, perhaps (still just a few years younger than Eric and Steve), I understand how some musicians bring out the ultimate excellence in each other. I understand how extraordinary it is for that kind of experience to happen, and the result raises the bar in musical performance.

Live at Madison Square Garden is a keeper. I’ll be listening to it for a long time; not because it takes me back to the days of youth, but because it speaks to me in a unique language I’m privileged to recognize.

 

reconnecting with a dear pal

I got a nice surprise from an old pal via email yesterday. You know how it is when one of your favorite names pops up in the sender line of your email program? Well, yesterday I was so excited to see Lin’s name come into focus on my screen. It had been a very long time–almost a decade–since we were in touch.

Lin and I were the first shepherds of a sweet bunch of young choristers in the Highland Girls Choir. Actually, we were the co-directors; and when our fortes combined, it was molto espressivo et grazioso. I loved it. And our little 3rd-8th grade choir did some pretty amazing choral repertoire–none of which was “Disney” I’m proud to say.

But Lin took a job about 250 miles away and had to move. I missed him tremendously from the get-go, and HGC was never the same after he left. I kept the choir going until 2000 when I passed the baton to Dr. Gary Wright. That was a sad day too. Eventually Highland Girls Choir became Highland Children’s Choir. Now, I’m not sure if it is still there or not. But we did have a great run. For me, it was 10 years as a director.

Back to Lin…So when I read Lin’s name in the Outlook sender column I was ecstatic. He’d written me a long email summing up the years since we last talked. His kids (one now with kidos of his own) are all grown up, as are mine. He and his wife have had a few medical-related challenges but are hanging in there, just like I am with MS. He’s living in a totally different place now and working in a real nice Episcopal Church as choirmaster. He’s also writing some…meditations and spiritual reflections. I hope he’ll post some of his work here.

I haven’t written him back  yet because I probably need a good couple of hours to write what all I want to tell him. So much happens in between the hellos and goodbyes that it’s not a quick task to summarize or condense into a readable email epistle. However, this afternoon I’m going to try.

Until I do hit that send button: Lin, I’m here and thinking about you. And I’m so glad to hear from you!

 

a diamond shines in charlotte

 

 It was a very bright night. We had great parking in uptown Charlotte, fantastic seats at the Time Warner Arena, and an incredibly entertaining show that I won’t soon forget: Neil Diamond, center-stage and very alive.

The show started a bit late, but when the house lights finally went down and the stage-lights rose, the “mostly over-60″ concert-goers were on their feet and rockin’ like way back with Holly Holy. It gave me a nice little buzz. Following the opening number, Diamond promised the audience “a good time.” He kept his word, too. 

Neil Diamond is a living American legend who sings a lot about “good times” —home, goodwill, good feelings, and good old simple love. His 4-decade career has seen 53 feature albums, 18 compilations, and 10 guest artist recordings. He’s sold over 92 million records worldwide, including 35 Top 40 singles and 10 platinum albums. (Rolling Stone) And he’s still at it, having just released a new CD,  Home Before Dark.

 The show featured a few songs from Home Before Dark, but most of the 2-dozen selections were the big Diamond hits like Love on the Rocks, I Am I Said, Solitary Man, Sweet Caroline, Forever in Blue Jeans, and You Don’t Bring Me Flowers. From start to finish, the show was engaging, but Diamond’s sparkling encore was the capstone of the evening–Cracklin’ Rosie, Coming to America (with accompanying video), and Brother Love’s Traveling Salvation Show. Everyone in the place (or at least everyone within my line of vision) had a hallelujah melt-down on that final number.

Diamond’s band was in high gear as well and was spotlighted on Cherry Baby. Most of the “mature” group musicians and backup vocalists have probably been together since the start of Diamond’s career. In fact, Diamond commented frequently about their “family” nature.

Diamond spoke to the crowd like an old friend—honest, light-hearted, and with compassion. During the concert, he also announced that 100% of the profits from promotional merchandise would go directly towards the construction of homes and shelters for hurricane victims.

Altogether, it was a flawless evening. Downtown Charlotte’s night-time sparkle was a little brighter last night. Neil Diamond made sure of that.

 

james taylor–a legend in his own right

As a delayed 50th birthday celebration/gift, my daughters took me out last night to see James Taylor in concert (Charlotte NC). I can’t remember just how many times I’ve seen JT in concert altogether ( as many as I could get to). For sure, as the decades have passed, the show has only gotten better. Last night, JT and his Band of Legends rocked again.
 James Taylor and his Band of Legends:
 Luis Conte – percussion
 Walt Fowler – horns, keys
 Steve Gadd – drums
 Larry Goldings – piano, keyboards
 Jimmy Johnson – bass
 Michael Landau – electric guitar
 David Lasley – vocals
 Lou Marini – horns
 Kate Markowitz – vocals
 Arnold McCuller – vocals
 Andrea Zonn – vocals, fiddle

I loved hearing the old JT standards–Carolina, Mexico, Steamroller, You’ve Got A Friend, and others–but I was delighted to hear a few borrowed tunes as well, especially Midnight Hour (Wilson Pickett) and Knock on Wood (Eddie Floyd / Steve Cropper). Another really nice addition to the show was Jimmy Webb’s Wichita Lineman–which I’ve never heard sung by anyone else other than Glen Campbell. That tune took me back to the late sixties and the folk/pop/country songs of Campbell, Mac Davis, Gordon Lightfoot, and John Hartford. I loved that music back then, and I guess I still do. Hearing Wichita Lineman last night just brought it all back home to me. I don’t think anyone other than James Taylor could have done that for me. Moreover, no one other than JT could have resurrected Lineman with such grace.

The Band of Legends was tight.

Although no other pianist in the world could have replaced the late Don Grolnick, Larry Goldings is pretty darn close. And Jimmy Johnson is an amazing ensemble player who brings out the musicianship of the others with his melodic bass lines. I really enjoy enjoy his calm demeanor and groove. The legends in JT’s group come together like a family of brothers and sisters with equal talent and style. It’s pretty easy to tell that this group of musicians stick together off the stage as well as in the concert spotlight. 

The audience was legend, too.

The folks in the pavilion seats and on the lawn pretty much all looked familiar to me. It was later, after the concert, that I thought about the faces in the crowd and how the congregation was the familiar batch of ticket holders that stood in line back in the 70s, 80s, and 90s–just a little older. There were three generations of JT fans in our little band of groupies–my mom, myself, and my daughters (ages 23-70). I’d say that’s pretty significant as an indication of JT’s legend status, wouldn’t you? How many performing artists can claim such a broad and ongoing multi-generational appeal? I hope I get the chance to see James Taylor in concert on my 60th birthday. And in addition to myself, my mom and daughters, I expect my little grandson will be in line, too. 

Sweet Baby James was the birthday gift I received in 1970 when I turned 12 years old. A part of me will always associate that event as a coming of age because that LP was the cornerstone of my music career. Last night was one of the sweeter reminders of age and experience. For that, I am grateful.  JT’s ageless melody, his humble stage presence, and his kind, soft humor was just the thing to make me realize that 50 is not so bad. In fact, 50 is a sweet place to be.

Especially when you’re part of a legend.

 Read more at liveDaily

 

on the turntable

Michael McDonald  
Soul Speak 
Motown  
Released March 4, 2008  

I have always connected with Michael McDonald’s one-of-a-kind,  woo-me-into-the-night soulful voice. Play me a hundred voices, and  I can tell you right away which one is McDonald’s. Maybe that’s because I’ve listened to him for over three decades, but I’m more inclined to think that soul of his speaks to me in a way like no other.

Soul Speak is appropriately titled.

This latest CD represents McDonald’s artistry and maturity. He has the amazing ability to take just about any song and effectively pour soul over every note and word. Soul Speak is a fine representation of that incredibly satisfying quality. Think about this: Who other than Michael McDonald could courageously take a collection of songs ranging from Burt Bacharach to Van Morrison to Bob Marley and harvest the particles of soul never heard before?

Bringing out the soul isn’t a new endeavor for McDonald; but as good as his Motown (2003) and Motown Two (2004) are,  Soul Speak is a whole different level of musicianship and artistry. Perhaps, it’s age and experience–at 56, McDonald has had played and sung plenty of life with a career span of least thirty-five years–but I think his soulfulness comes from a different place. I believe it takes a whole lot of confidence and courage to imprint one’s own voice into a song. McDonald seems to accomplish that effortlessly and without a flaw. I don’t think that any songwriter would be disappointed to hear what McDonald could do with their work.

When I picked up the CD yesterday and looked at the contents, I wasn’t too thrilled about hearing Leonard Cohen’s Hallelujah for the zillionth time. In fact, I was ready to skip over it on the first go ’round, but McDonald’s magic turned my anticipated disappointment into enchantment. I was also enchanted by Michael’s imprint on Van Morrison’s Into the Mystic and the fresh nuances in Burt Bacharach’s Walk On By. Plus, the three original songs (Only God Can Help Me Now, Enemy Within, and Can’t Get Over You) are solid as a rock.

Soul Speak is pretty darn close to perfection. Even if you’ve heard some of the titles on this CD thousands of times, you haven’t heard them the way Michael McDonald delivers them. 

Michael McDonald’s soul speaks; my soul just listens.

 Read Michael McDonald’s message board.

 

on the turntable

 Long Road Out of Eden, The Eagles, released November 2007

OK. I like it. Take away a couple of the songs and I would love. Most of the  two-disc, twenty-tune release does a pretty good job of taking me back to Hotel California; but a couple of the songs definately take a detour away from my comfortable expectations.

What strikes me most and right away is the fine duo of Glenn Frey and Don Henley – two rockers approaching 60 who still have it. I always did like these two together. It’s good to hear Joe Walsh again too. Frey is definately the more lyrical songwriter. Henley’s work, on the other hand, lacks the unifying elements that make the band come together in a single voice. Perhaps, it is the political tone that just doesn’t wash. (No one want to be continuously beaten by repeated themes. At least, I don’t.) 

Altogether, the Eagles’ have landed back home again with a Long Road to Eden. I’ll be listening and waiting for more…

 

twelve days…this is tc (too cool)

Happy holidays, friends…

 

on the turntable

James Taylor, One Man Band , 2007

James Taylor doesn’t know it, but we’ve had a thing going for 35 + years. The very first LP I ever purchased was Sweet Baby James and ever since I haven’t been able to get enough of him. He is definately one “thin place” portal I can count on when my spirit needs stroking and a snuggle.

JT doesn’t have any new material on One Man Band unless you want to count the extraordinary pianist Larry Goldings. Although I always had a particular affection for Don Grolnick (until he unfortunately died in ‘96 at the young age of 48), the more I listen to Goldings the more I think he and JT are a match made in heaven. I hope he sticks around. If he does, I believe we’ll have a lot to look forward too.

Something about James Taylor has left an imprint on me through the years that assures me everything’s going to work out and be ok. It reminds me that even in the hardest of times there is still a song to be sung with a friend. I have often thought that if stranded on a deserted island in the middle of the South Pacific, I could survive with a journal and a pen, a CD player and a very long extension cord, and of course, my JT collection.

One Man Band is like an friend come to visit–a friend that’s been away for a little while but with whom you just pick up where you last left off. It has all the old favorites: Sweet Baby James, Country Road, Fire and Rain, Carolina in My Mind, You’ve Got A Friend, and others that you already know the words and chord changes to. There’s a great concert DVD that accompanies the recording so you can see JT and Larry Goldings as well as hear them. The “drum machine” is an impressive addition to the equipment too.

This recording inspires me to be quiet and listen to the sweetness of the new Taylor-Goldings ensemble. It’s the third or fourth time through that I want to be part of it myself. Long after the CD is over, I can still hear the music in my mind’s ear–just like I always have, so I guess maybe something has transferred over the years that has made me a part of it.

Finally friends, you will want to get your own copy of One Man Band because I’m not likely to let anyone (no matter how much I love you) borrow mine for a very long time.

 

home again, home again, jig-a-dee-jog

It was another week on the road, but now I’m home. Here’s the scoop:

I had a wonderful time at Chowan University with Tom and Kate Blackburn (from Washington DC). We performed Two Songs for Voice, Cello, and Piano at the music department’s “New Music Day” concert. I also enjoyed meeting and getting to know Dr. Jim Guthrie. He’s on the faculty at Chowan and is a really nice guy and a great composer. I don’t have too many days and events where I get to make new friends, spend time with old friends, and make music all at the same time. It was great–just too short!

On to Durham to rest and spend time with my mom, sister, brother-in-law, and sweet punkin nephew who’s turning two years old this week. In case you are wondering how I actually rested around a 2-year old, let me tell you that it wasn’t so difficult. Sweet punkin keeps me so busy that when I do take a nap or go to bed at night, I sleep like a old rock. Other than the security system alarm going off at 6:00am one morning, I don’t think I moved an inch while sleeping. The visit ended with a birthday party full of other little punkins and  their parents, including my own little grandpunkin, daughter, and son-in-law. How perfect is that?

Then on to Fearrington where I had a great dinner with Jim Buie, his family, and a group of friends. Wonderful food and fellowship including an impromtu caberet that captured the spirit of the evening–everything from Patsy Cline’s Crazy to a rousing finale/benediction of Amazing Grace. It was difficult to get myself in the car after that fun performance and make the drive on home alone.

To cap it all off, my two poochie hounds greeted me with great big slobbery kisses. AND much to my delight, some angel came to my house while I was away and cleaned my garage! Thank you, whoever you are.

This Thanksgiving week I’ll be home. No traveling except to the barn to ride old Rowan and Max. I’m thankful to have an empty calendar for a week. I plan to knit and read and think back on the events of this past week and the all people who surround me with grace and goodness.

Happy Thanksgiving to all.

wml

 

music and caregiving

I’m in a rush this morning, but this editorial piece by Jim Lisk is too good to pass up. It’s about 13 women in Stanly County who are musical caregivers: 

Music, caregiving intertwined 
&
Making A Difference, Music Makers and Caregivers