Retro Chicken

While it is true that the Stones ushered in the era of modern arena rock shows*, it is the Who who should be credited with inventing the modern rock performance – windmills, great moves and of course instrument smashing are all trademark Who innovations – not to mention great music.

This video features the classic Who lineup – with Keith Moon on drums. Drum geeks will notice that Keith doesn’t have a high-hat, he has a ride cymbal next to his snare and he bangs on the gong behind him like it is just another part of his kit – I guess this is just more proof of his greatness (Full Moon is an amazing biography about traveling with Keith Moon written by one of the Who’s roadies). The rest of the band also rocks.

*On the Stones’ tour that resulted in the album “Get Yer Ya Ya’s Out” (as well as the infamous incident at the concert at Altamont Raceway), they introduced an on-stage monitor system, making it possible for the band to play to enormous crowds and still hear themselves playing – this is now standard even in small clubs.

What more is there to say about James Brown? He invented funk, rap and disco. He is the most sampled man in music. His grooves are incredible, universal, innovative and extremely funky. He is a great singer, awesome bandleader, amazing dancer, and toured more and for longer then any other musician ever.

This video was all over the internet when James died last year. It is mid-70’s JB – his band is extremely tight and his mustache is awesome. I once heard that he would fine band members for any hit or move they missed – that probably explains why his band is perfect (aside from being great musicians). Also dig the audience – James had to work to get them out of their seats – how could it be?

There is no question that Charles Mingus was one of the most important musicians of the late 50s/early 60s. Beside from being a virtuoso bass player (his sideman gigs throughout the 40s and 50s is a virtual whose-who of jazz), he was an inspired, innovative and ingenious composer – often hailed as the continuation of the Jellyroll Morton-Duke Ellington legacy. He fused earthy blues roots with twentieth century classical ideas and formed a bridge between the world of straight-ahead jazz and the free jazz movement.

The great Eric Dolphy (on alto in this video clip) toured extensively with Mingus (as well as with John Coltrane and as a solo artist). While this clip is old (filmed with crusty technology) and doesn’t show off Mingus, it does give a great taste of the absolutely wild forays into the stratosphere that were Eric Dolphy’s signature style.

For a wild (if raunchy) read, and a fascinating glimpse into the mind of Mingus, check out his classic memoir – Beneath the Underdog. (I don’t know how much of it is true - whatever is true, is wild, whatever is not - makes great fiction.)

I don’t think anyone remembers, but it was a big deal when Spike Lee released his classic movie “Do the Right Thing.” Bigger still was Public Enemy – the pioneering rap group – who recorded “Fight the Power” as the theme song for “Do the Right Thing”.

Featuring Chuck D, Flavor Flav and DJ Terminator X – Public Enemy rapped faster, with more innovative rhymes and over tighter grooves – and ushered in a whole new era of rap. Culturally they spoke to the black masses (as well as to masses of disenchanted suburban white kids) and communicated an energy that was inspiring and exciting.

I found this video for “Fight the Power” (probably filmed by Spike Lee) and it totally captures what Public Enemy was all about. In the recording, Chuck D is at the top of his game and he is complimented beautifully with the high, raspy interjections of Flavor Flav. Unfortunately people today only know Flavor for his wacky reality TV show and don’t realize just how great a rapper he is and how integral he was to Public Enemy’s sound and message. (Yes, even in this video his antics are crazy – but back then no one thought he was out of his mind – Public Enemy was too cool and they sounded too good.)

I went to college (the New England Conservatory) with Dave Fiuczynski and he was easily the best guitar player there. This was back in the late 80’s, he had his band – the Screaming Headless Torsos – and a host of crazy guitars with cool gadgets (like mini-guitars with bicycle gears to dampen the strings, etc), among other things.

I was wondering, “What happened to Fuze” recently, and apparently he is now huge. According to his website, he put out an album with John Medeski (also at NEC in the late 80’s) that not only revolutionized the jazz-fusion scene, but was voted one of the most influential albums of the last 30 years by guitar player magazine. Not bad.

Fuze is an amazing player - a master at pretty much every style - with killer chops, great taste, funky grooves, and wild microtonal leads.

Once I mentioned the Stone’s Classic Gimme Shelter in a previous post you knew it was only a matter of time before I found an excuse to write something about it.

Check these guys out - I mean wow.

I don’t think they are lip-syncing (the version in this video is different from the album and missing the ridiculously amazing backing vocals), though I don’t know how to explain the harmonica that no one seems to be playing. But who cares - this is classic Stones, when they were in their prime and at their best.

For those with a keen eye for Stones history, this video is Stones 2.0 with Mick Taylor (guitar) replacing founding member Brian Jones. Mick is the dude playing the black Les Paul.

In a previous post I mentioned the ultra-hip Downtown Jewish music scene (aka John Zorn and company). Check out these killer jams - John Zorn’s quartet - filmed in Warsaw and featuring Joey Baron on drums.

Zorn has a record label - Tzadik - dedicated to releasing all sorts of cool “Jewish” music. Tzadik is the Hebrew word for righteous (though I once saw hype for the Tzadik label and they translated “tzadik” as “wise” - not sure how they could have made this mistake and if that changes the intent of the label). Like I mentioned earlier - the music on this label is everything from traditional grooves to guitar feedback weirdness - enjoy.

I think I am too young to appreciate the massive impact the Byrds had on pop music, though judging from the audience frenzy in this video clip they were obviously huge (David Crosby, from Crosby, Stills and Nash was one of the original members). Killer harmonies, Rickenbackers jangling and meaningful lyrics from the Bible - what more could you ask for?

Possibly the Byrds’ most important legacy stems from the relationship between singer/guitarist Roger McGuinn and Keith Richards from the Rolling Stones. It was McGuinn who introduced Richards to open tunings, transforming his songwriting and inspiring incredible classics like Gimme Shelter and others. (Open tunings are when you tune a guitar to a chord instead of in the standard way; most typically an E, A, D, or G major chord. They are traditionally used by blues players and are a basic feature of slide guitar. Open tunings are also Dolly Parton’s secret weapon - enabling her to play guitar without having to trim her long fingernails.)

Andy Statman is one of those guys who is good at everything he does. He was already a well known and established bluegrass mandolinist (having played with people like David Grisman and Jerry Garcia) when he became an observant Jew. His interest in Judaism led to mastering the clarinet and initiating the Klezmer music revival. (Klezmer music is the traditional music of the Jewish communities of Eastern Europe.)

Although Andy’s playing is innovative, refreshing, experimental and unique - the palate he works from is traditional and therefore sets him apart from the cool Downtown Jewish music scene.* Andy’s music is sincere, honest and an expression of a deep-rooted spirituality.

The lighting in this video is terrible, but listen to the music - it is truly remarkable. (Does anyone know where this is?)

*The downtown Jewish music scene was started by John Zorn, Michael Dorf from the Knitting Factory and others. They are basically a group of extremely talented Jazz, experimental, punk, out-there-gonzo musicians who all happened to be Jewish. They express their eccentric, eclectic, other-worldly inner essences via a template of “Jewish” music. The results can be anything, ranging from spiritually transformative to ear-splitting (and I mean this as a compliment).

Golem is the new rage in Yiddish music. They are on Jdub records (the people who brought you Matisyahu) and have a great live show. Their hype draws a lot of comparisons to early punk and the Sex Pistols - which I think is overdone - except that they have an edge, great energy, and don’t conform to the crusty image that usually comes to mind when thinking about music from the old country.

I used to be in the Mellow Edwards with Curtis, their trombonist. We were a combination of free jazz, early metal, and goofy weirdness (featuring lead trombone, rhythm guitar and drums). The Mellow Edwards are still around (although now they are dubbed the “New” Mellow Edwards) and have even recorded a CD. The last time I played with them was in the spring of 93 at CB’s Gallery (a little art gallery in the Bowery owned and run by CBGBs - neither exists anymore) - I think I should hassle Curtis to get the band back together - we could do a reunion tour, earn a fortune, and maybe even make the cover of People magazine.