Archive for the ‘Popular Music’ Category

Haven’t I Heard That Before?   Leave a comment

A Chance Conversation On Creativity

May 1, 2017

Intellectuals around us may dwell on a long accepted conclusion that our perception in the world is driven by a cerebral battle: “left brain” vs. “right brain”. The left brain is thought to be our realistic, analytical, practical, organized, and logical side, while the right brain is our creative, passionate, sensual, tasteful, colorful, vivid, and poetic side.

A million years ago—OK less than that but far more years than I’d care to recount—I traveled to New York on a high school class trip. Flying from Milwaukee to New York was in and of itself a stimulating experience. Of course there were a few must-see tourist stops including the Statue of Liberty and the Empire State Building. At Radio City Music Hall I witnessed a performance by the world-famous Rockettes. These were (and are) talented women who can probably out- dance most men. If that claim is surprising to some, remember Bob Thaves classic 1982 quote about Fred Astaire and Ginger Rogers:
“Sure he was great, but don’t forget that Ginger Rogers did everything he did, backwards. . . and in high heels.”

Beyond talent, what hormonally-challenged high school senior boy or girl then (or even now) wouldn’t remember a chorus line made up of thirty beautiful long-legged women? Thinking about the Rockettes is not simply to revisit a teenage fantasy. The reality is that the beauty, talent, physical strength, and the choreography that embodied their routine then and now is not to be taken lightly.

The arts—dance, theater, graphic art, music, film, prose, poetry, etc—stimulate. Creativity is all around us, appealing to our individual and collective humanity, and penetrating that left-brain/right brain battle in a variety of aural, visual, and emotional layers. Within every human being there is a creative receptor—we take in external stimuli; creativity to simultaneously evaluate and appreciate. And we possess a creative generator which enables us to export our creativity. The receptor is that internal recognition of like, love, dislike, or antipathy. The generator is our ability to share our creativity with others. None of this is to suggest that everyone has a creative talent that can result in commercial success. We wish.

Herb Alpert (with his partner Jerry Moss) was the co-founder of A&M Records. I’ve known Herb and his wife Lani Hall for forty years. We’re not close friends or even social friends, but nevertheless, we are friends. After the sale of A&M Records in 1990 I moved to New York to work for another label. Quite unexpectedly in the mid-1990s I ran into Herb and Lani at London’s Heathrow Airport. It turned out we were all flying to New York on the same British Airways flight. Herb always strikes me as a shy person with a successful public persona wrapped around his outside. And to be certain, whether in private or in public his friendly manner and inherent integrity come through. I’d add that a conversation with Herb, even a chance encounter, offers an opportunity to renew the friendship, and to learn something from an old friend.

That evening at Heathrow we had a conversation that, duh, touched on the creative process. One of the topics was the 1976 copyright infringement lawsuit brought against the late George Harrison by the songwriter of the Chiffons’ 1960s hit single “He’s So Fine”. (Harrison lost the suit.) The question for Herb was “with millions of songs under copyright, just how much is distinctly (or distinctively) new in any new musical composition, in any new song? His response, as I recall, went something like this: “Listen. Think about a piano FULL SHARPS AND FLATSkeyboard. There may be 88 keys, but there are just 12 notes; that is, 12 in each octave, including sharps and flats. So almost all “new” music is derivative to some extent because songwriters have just 12 notes to work with.” Herb was not suggesting that all, many, or even some new songs may be ripping off songs that came before them. Just like the multitude of simple three and four-chord hits of the 1950s and 1960s, if one listens closely enough a connection can often be made between any number of songs, but that doesn’t lead to a conclusion that there was a theft of intellectual property.

When we think of art, we enter another realm of original thought and outside influence. If your taste is in oils, chalks, acrylics, and watercolors, you might consider the Campbell Soup can. Designed in 1902, it became iconic on the shelves of grocery stores and yet CampbellsCollage_0became new again sixty years later when Andy Warhol created a painting of the Campbell Soup can as art. To many, Warhol wasn’t being original, or cutting edge but was lazy, “copying” an instantly recognizable image. The blog Food Republic put it this way: “While Andy Warhol can be credited for establishing the classic Campbell’s soup can as an iconographic pop art emblem, he never would have appropriated its imagery had it not already been iconic in its own right.” Appropriating (borrowing, copying, taking, etc.) an idea and remaking it is old stuff.

We take in information all of those worldly influences and what comes out is our view of the world, or a tree, or a dog, or a pop song. But was it simply left brain vs right? An article in Scientific American took aim at the creativity:

. . . the entire creative process from preparation to incubation to illumination to verification con- sists of many interacting cognitive processes (both conscious and unconscious) and emotions. Depend- ing on the stage of the creative process, and what you’re actually attempting to create, different brain regions are recruited to handle the task. Importantly, many of these brain regions work as a team to get the job done, and many recruit structures from both the left and right side of the brain.

So whether it’s the Rockettes, George Harrison, the Chiffons, or Andy Warhol, we might do well to remember T.S. Elliot reflecting on poetry: “One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.”

That’s my take on popular music in all genres and forms. If you are influenced by a composition and make something better, even wonderful, you’re borrowing and no harm, no foul. If you were influenced and “defaced” what you borrowed, well that’s another matter altogether. My only caveat is to always credit the source of the inspiration.

David Steffen

© David Steffen 2017

Van Gogh and Van Zandt: Art & Art   Leave a comment

The Personal and Lasting Nature of Art

March 1, 2017

I like art of all kinds. Music, films, graphic art, paintings (oils, watercolors, acrylics, etc), and I like to visit art museums. It’s not like I spend enormous amounts of time or money these days driving from one museum to the next. Rather it’s my long-held interest in exploring as I’ve traveled. Over the years I’ve been lucky enough to visit The Louvre and Jeu de Paume, MOMA, Chicago’s Art Institute, and many others. Sometimes the attraction to the art and artist is by chance, and sometimes by design. I recall standing in front of Rembrandt’s 1642 masterpiece The Night Watch (De Nachtwacht) at Amsterdam’s Rijksmuseum and feeling drawn into that scene from three and a half centuries ago, like I am standing among the burghers. But Amsterdam is also home to the Van Gogh Museum, and there are few things to leave as lasting an impression on a visitor as being immersed into the works of Van Gogh. The artist was born 164 years ago this month (March 30, 1853).

593px-van_gogh_self-portrait_with_straw_hat_1887-detroitAmsterdam’s original Van Gogh Museum building had a mezzanine, where you could walk the long, somewhat narrow pathway, with the art hanging on the wall, and a railing
 behind you overlooking the main gallery. The exhibit space enabled one to see an abbreviated progression of the artist’s works. Regardless of the brilliance of his art, hanging and viewing an original or reprint of any number of Van Gogh’s images may be a bit disconcerting. There were many self portraits, and a few years before he died he painted Self-Portrait with Straw Hat (1887). The intensity of the eyes speaks volumes of the intensity of the artist. In spite of, or because of his artistic intensity, Van Gogh died July 27, 1890, three days after shooting himself with a 7mm Lefaucheux revolver. He was 37. Obviously his brilliant art has survived and thrived for more than a century since his passing.

Music, as regular readers of my column know, has been a passion for most of my life. I sometimes write about musicians I’ve seen, or heard, or met, or all three. One of those musicians was a somewhat soft-spoken troubadour named Townes van Zandt. Before I even met Townes, I knew he was something special. His songwriting was soulful, introspective and speculative. I just happened to ‘discover’ his music while working first, at a college radio station, then a commercial station, and later promoting releases from RCA Records, the big label which happened to distribute the independent Poppy Records label, whose creative owner Kevin Eggers signed a relatively unknown guy named Townes to a recording contract and began releasing new albums. Did you follow that?

It’s best to hear the melody that accompanies the lyrics he wrote, but even without the music, the lyrics alone will provide a little insight into what I’m talking about. Townes’ songs would often quietly break through almost any objective listener’s wall of suspicion and become embedded in their psyche. “Kathleen”, from Our Mother The Mountain, reflects the epitome of a song you could get in your head and have difficulty removing:

“It’s plain to see, the sun won’t shine today
But I ain’t in the mood for sunshine anyway
Maybe I’ll go insane
I got to stop the pain
Or maybe I’ll go down to see Kathleen.”

Regardless of whom she represented for the singer (girlfriend, ex-girlfriend, lover, prostitute) Kathleen was therapy of one kind or another. Recorded in a slightly more energetic delivery is “Come Tomorrow” from Delta Momma Blues. Some fans and critics dislike the recorder and the small string accompaniment to “Come Tomorrow”. Those same critics probably don’t like the accompaniment to “Kathleen” either. These are superficial critiques. As always the underlying song is the central element.

“Well, it’s strange how many tortured mornings, Fell upon us with no warning, Lookin’ for a smile to beg and borrow, It’s over now, there is no returning, A thousand bridges sadly burning, And light the way I have to walk alone, Come tomorrow.”

Many of van Zandt’s other songs were also in the tortured soul subset.

Each songwriter works within the confines of their own inherent or self-imposed comfort zone. Perhaps all of his boundaries were defined within the confines of soulful lament, regardless of tempo. Nevertheless, Townes was able to reach people with his music. Other musicians knew the value of his writing, as when Emmylou Harris included “If I Needed You” on her Duets album (in this case singing along with Don Williams.) The first verse is quintessential Townes:

If I needed you would you come to me
Would you come to me for to ease my pain
If you needed me I would come to you
I would swim the seas for to ease your pain

Clearly his best known song is the story of “Pancho & Lefty”. Perhaps Townes was knowingly or subliminally channeling the story of Butch Cassidy and the Sundance Kid. Or maybe this was just a wistful dream from his childhood in Texas. I loved Townes’ recording, but to be honest, I loved the version by Willie Nelson and Merle Haggard even more. The song is wonderful, colorful, daring and sad. And that, unfortunately, could also describe his too short life. Townes died at age 52, January 1, 1997. A year after his death, writer Michael Hall wrote in Texas Monthly:

late-great-tvz-0001Townes never released an album on a major label. He was never a music business professional and was never much concerned with his career. He was never concerned with much of anything, in fact, but writing, touring, and hanging out with friends and family. He loved paradox—living it and spreading it. Born into comfort, he preferred the company of the poor and desperate and sometimes gambled away what money he had. He was a lighthearted prankster who wrote some of the saddest songs of the century.

I never met van Gogh, but I did meet van Zandt. These two artistic supernovae—creative minds, from two different times, and two different worlds—died a century apart. Yet art can transcend borders, languages, cultures, and time. We should not dwell on how they lived or how they died. Instead, focus on the fact that long after their passing, both continue to touch so many people with their passion, their art.

David Steffen

 

 

Note: In March 1970 Townes was passing through Milwaukee on a performance and promotion tour, arriving near his birthday (March 7). To help promote his new album and celebrate his 26th birthday I organized a dinner. Looking back on that evening I recognize that celebrating with Townes was more img-1serendipitous than a matter of brilliant planning. The dinner party, seen in this photograph included (l-r) Townes’ road manager Vin Scelsa, local radio host Bob Reitman, me, radio host John Houghton, Townes, radio programmer Steve Stevens, and RCA Records promotion manager John Hager.

© David Steffen 2017

Facebook, Rhubarb, Tower Records, And The Rock ‘n’ Roll Hall Of Fame   Leave a comment

November 1, 2016

To put things in perspective, I’m a late bloomer when it comes to actually using Facebook. Until about six months ago I avoided Facebook much as I did rhubarb as a child. My mother, grandmother, older sister and others in my family constantly told me “rhubarb is delicious. As a side dish, as a pie.” Peach pie I get. Rhubarb pie, not so much. Honestly, I can’t even believe any self-respecting rabbit would touch Rhubarb. And so it was with me and Facebook. For years I avoided, resisted, ignored it. But unlike rhubarb, I finally got around to paying attention and have come to accept Facebook’s place in our lives.

In February 1972 I was working for Summit Distribution, a record distributor in Chicago. Harold Childs, the Senior VP of Promotion for Los Angeles-based A&M Records had spent the day in Chicago interviewing candidates for the local promotion job. As it happens, I was the last interview of the day and Harold was running late. He ended up interviewing me in the back of a 1972 Oldsmobile headed to O’Hare Airport so that he could catch his flight back to Los Angeles. As we parted company on the ramp outside the Continental Airlines terminal, I walked back to the Olds and thought to myself, this interview went nowhere. Lo and behold, Harold’s office called the next day and invited me to come to Los Angeles and have another go at the interview. I could only assume that the other six interviews had been absolute crap, or that I must really be awesome. OK, the latter never crossed my mind but I was determined to succeed where candidates number one through six had failed. To my pleasant surprise the visit to A&M’s Hollywood offices was a success. When I returned to Chicago I was working for A&M.

While visiting sunny southern California that week I took my first turn through a Tower Records store. Of course, it was Tower Sunset—not the biggest store in the chain but certainly the most famous, and Tower was different from other record stores. Walking through the front door it was obvious that I had entered the epicenter of every rock n’ roll musician’s wet dream. Stacks and stacks of vinyl records; bin upon bin of vinyl catalog, plenty of tapes, 45-rpm singles, posters, books, and atmosphere. It was the equivalent of standing outside a great Italian bakery where the aromas were irresistible. I understood immediately the importance of Tower Records and the man behind this record store chain: Russ Solomon.

Russ has always been a welcoming sort of guy and once secured, his friendship is durable. In fact, shortly after moving back to California in 2007 I drove to Sacramento to have lunch with him. It was a reminder of how we often spoke—at one of the stores, or at the chain’s headquarters in Sacramento, over dinner, or in the parking lot of one of the Tower stores. One such visit began with a flight from Burbank to Sacramento, followed by a drive to a dock on the American River to join some friends aboard a cabin cruiser. We spent the afternoon cruising up (down?) the American, before adjourning to a thoroughly enjoyable dinner at the Solomon home. It was so enjoyable, that some time after midnight I managed to curl up and go to sleep on the floor of a hallway between the living area and the guest bathroom. I slept like a rock, and recall flying back to Burbank the next day feeling almost totally refreshed, and quickly wrote Russ a thank you note telling him how comfortable his floor had been.

 

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(John Battenberg)

Tower Records was one of the single most important elements in the makeup of the American Music Industry for more than three decades. Why the Tower chain no longer exists is not a mystery. Like music since the late 1980s, Tower’s aisles and stacks of records and tapes have been compressed. Instead of the square footage in Hollywood, or Greenwich Village, or Mountain View, or Ginza, or Piccadilly Circus, the recordings were shrunk as digital files; so many megabytes and gigabytes of digital files on your iPod and later your iPhone. But for those three plus decades, Tower was the World’s Mecca for recorded music. And the man who created Tower, I’m happy to say, has been a friend of mine.

About a month ago I read a Facebook posting about getting the Rock & Roll Hall of Fame in Cleveland to add Russ Solomon to its list of honored inductees. My reaction was essentially, “WTF?”. Russ isn’t in the there? His absence from the hall lies somewhere between an unfortunate oversight and abject stupidity. He deserves a place in the Hall not simply based on the fondness so many of us feel for Russ but for the way he helped change the face of retailing music from a “store” to a marketing Mecca for the music industry. For all of you who have memories of walking into a Tower Store somewhere in the world, stop for a moment and recall the visuals, the artists, and our collective love of music. Tower was an indispensable ingredient in the success of the music business’s greatest decades.

The reality is Russ doesn’t need the Hall. The Hall needs Russ. The opening of the original Tower store in Sacramento was a seminal moment in popular music. In fact, Tower is one of the places where Rock Music’s Hall was created, and the members of the board, and the people who manage the Hall in Cleveland should wake up. Now is the time. Russ was as important to the music industry and to the Hall as each of the 310 names already inscribed on those walls in Cleveland. And he has always been a lot more fun. Vote him in. Then have a piece of peach pie. And from those of us who love you Russ, play on!

Posted November 5, 2016 by Jazzdavid in Media, Music History, Popular Music, Uncategorized

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Honey, It’s Always About The Sax   Leave a comment

Back on Baker Street

September 1, 2016

I’m a passable musician, which means I play just well enough these days to be acceptable, i.e. sufficiently proficient to pass myself off as a musician. This is not meant to be some self-deprecating, aw shucks sort of evaluation. As the character of SFPD detective ‘Dirty’ Harry Callahan once stated, “a man’s just got to know his limitations”. Don’t get me wrong. My days of playing guitar, electric bass, and piano were thoroughly enjoyable, but surrounded by so many talented musicians over the last thirty-plus years I’ve chosen to spend more time listening to others, and less time applying my talents to any instrument.

Over the years I’ve picked up other’s instruments as often as my own, usually to help a friend move his stuff from apartment ‘a‘ to apartment ‘b’. Although having never taken a saxophone lesson or attempted to play the sax in some random moment, just picking up a friend’s alto sax provided a bit of an epiphany. The design, the aesthetics, the mechanical features ooze an obvious sensuality. One’s eye can unexpectedly travel from the mouthpiece, down the neck to the bow and up to the bell. Between the beginning and the end of that journey there exists a landscape with reeds, keys, screws, pins, tone holes, guards, and probably a myriad of other components I didn’t know were there. And when the saxophone is played by someone who knows what they’re doing, the sound that comes out of that bell hits you. It’s like a massage, where a qualified individual plays various parts of your back to make your senses come to life. Music can have that effect. It reaches into your being without coming in physical contact. And certain recordings or live performances can pass through the dermis and take up residence, even if just for five or ten minutes at a time.

The saxophone is certainly not the only instrument that can evoke feelings, including those of an erotic nature but it is, perhaps, more likely than other instruments to strike a nerve. With all due respect to my friends who are fabulous on the guitar, or the piano, or the bass, or the drums, or any other instrument, it ain’t about your musicianship. I was fortunate enough to see the late Clarence Clemons perform with the E Street Band on four occasions, and still appreciate hearing him wail on Springsteen’s catalog of recordings. But seeing him on stage you know this man and the saxophone were one complete

candy-dulfer

Candy Dulfer

expression of great music. The Dutch jazz musician Candy Dulfer is another player who can speak through her instrument, creating a perfect mood as exemplified in the title track from the film score for Lily Was Here (1989). Or Tim Cappello stepping out on “We Don’t Need Another Hero”, Tina Turner’s hit from the film Mad Max: Beyond Thunderdome (1985). These players may not be in the same stratosphere as John Coltrane, but Coltrane wasn’t like these players either. Clearly the artistry in A Love Supreme resides in another realm from tracks like “Born To Run” or “Lily Was Here” or “We Don’t Need Another Hero”. Yet music, happily, is not a zero-sum game. We’re allowed to like a variety of styles, multiple genres, many musicians, and so on.

As 1973 began, A&M Records looked like it was starting the year off right. One of the first A&M singles released that year was “Stuck In The Middle With You” by Stealers Wheel, the UK duo of  Joe Egan and Gerry Rafferty. The track was a worldwide hit. Here in the States the single debuted at #86 in Billboard on March 3, 1973, peaking at #6 on May 12. The band never repeated that success, and reportedly spent the next three years fighting about records, royalties, creative differences—you know, just another day in the music business. But one-half of the band hit it big almost five years to the day later with the release of the single “Baker Street”. Gerry Rafferty’s solo recording peaked at #2 on June 24, 1978 and stayed there for six weeks. To be sure, #2 wasn’t bad, but still the single deserved better. Unfortunately it was the dawn of the dance/disco age, and Rafferty got stuck behind a #1 hit by Andy Gibb. Gibb’s brothers had a band you may have heard of: The Bee Gees, and the Bee Gees were on a hot streak due primarily to the success of the 1977 film Saturday Night Fever. Nevertheless brother Andy’s totally forgettable hit “Shadow Dancing” kept “Baker Street” from reaching number one for those six weeks, and Billboard Magazine and the American public should be forever embarrased by that bit of music history.

“Baker Street” was a moment in time. Rafferty (who died in 2011) had penned a terrific song. The message of the song included common themes many of us have experienced, as reflected in the lyrics (below). But the recording is memorable for more than the lyrics, the rich guitar, the

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Gerry Rafferty

synthesizer, and the other rhythmic elements. What got everyone to pay attention was the saxophone. As the track begins, the instrumentation is almost ethereal for 20 seconds or so, and then that alto sax lights up the experience for another 30-40 seconds. Rafferty doesn’t begin singing until we’re one minute into the track; after a minute of Rafferty, the alto once again opens up. And that’s the basic rotation of the six minutes of music:

Instrumental•vocal•instrumental•vocal•instrumental•instrumental •instrumental.

You get the drift. Rafferty is the recording artist and the songwriter, and the driving force behind the project. Yet the real star of “Baker Street” is Raphael Ravenscroft (1954-2014), the then 23-year old saxophonist, hired as a studio musician. During the recording

Ravenscroft530c5e568e184129630f6a706700eb04

Raphael Ravenscroft

session Ravenscroft “only” created the riff that almost 40 years later continues to instantly identify the recording as “Baker Street”. He earned union scale of about $50 (£27) for the session, and yet it is his sax solo that provides instant recognition when we hear “Baker Street”. The recording would be significantly less without Ravenscroft.

If the saxophone has been heretofore a bit under-appreciated in your world, expand your horizons. Consider what this instrument brings to the performance, to the recording. Whether it’s Clarence Clemons, Candy Dulfer, Tim Cappello, or Raphael Ravenscroft, without their contributions, these recordings—at the very least—would have been less than they are. Like chocolate ice cream or lobster tail, a Chevy Camaro or BMW, or a glass of Coca Cola or wine at sunset on the Mendocino Coast, we know the good stuff when we taste it, drink it, drive it, savor it or hear it. Enjoy it now. Go back and listen once again, or discover a recording you should know. There’s no time like the present and few recordings are as durable and as wonderful as “Baker Street”.

David Steffen

© 2016 David Steffen

He’s got this dream about buyin’ some land

He’s gonna give up the booze and the one night stands

And then he’ll settle down, it’s a quiet little town

And forget about everything

But you know he’ll always keep moving

You know he’s never gonna stop moving

‘Cause he’s rollin’, He’s the rolling stone

And when you wake up it’s a new morning

The sun is shining, it’s a new morning

And you’re going, you’re going home

Ice Cream and Idiocracy   Leave a comment

Turbulent Times and Irrationality

July 1, 2016

    The Fourth of July is one of those holidays I can’t ignore. Like Christmas, the 4th was always a special day when I was growing up, and to some degree it remains special. I remember the parades—both watching and marching, although the latter was more of a walk along with other kids from my elementary school. But I did appreciate the little ice cream cup we were all given as we arrived in the park, and of course, on more than one Independence Day, my small group of friends would race back to the groups still marching and join them just to receive another ice cream cup. Ah, petty-crime in Milwaukee.

As I began working in the music industry (1970), I had no idea it would become a career. I promoted new records released by the RCA Records label (and others), and my timing couldn’t have been much better. RCA was enjoying a renaissance with Elvis Presley’s return to making hit records, Jose Feliciano had become a star with a remake of the Doors’ “Light My Fire”, the Friends of Distinction were on the charts with “Grazing In The Grass”, Guess Who was about to release American Woman,  and the Jefferson Airplane continued to soar. Even Perry Como was back on the charts with an appropriately titled hit single: “It’s Impossible”.  Of the artists I worked with in those early years, Jose Feliciano remains a favorite. He was talented, pleasant, smart, articulate, and friendly.

His 1968 breakthrough hit cover of the Doors’ classic peaked at #2. As almost always happened following a hit single, opportunities arose for the twenty-three year old Feliciano to parlay his success with “Light My Fire” into something greater. Publicists often consider every opportunity to put their artist in the spotlight . . . any spotlight. And one of those publicity moments was presented to the star. Based on the suggestion of Detroit sportscaster Ernie Harwell, Feliciano was offered the chance to sing “The Star-Spangled Banner” at a baseball game. And not just any game. There were 53,000 fans at Tiger Stadium for game 5 of the 1968 World Series; and millions watching or listening around the world. It was Detroit vs. Saint Louis. For the record, the pitchers were Mickey Lolich of the Tigers, who earned the win—final score was 5-3—and Joe Hoerneas of the Cardinals, who was handed the loss. In almost every respect it was a publicist’s dream. I said “almost”. Feliciano sang the anthem as he sang almost everything, with an honest, genuine, heartfelt soul. And that’s where the trouble began.

Anyone following American politics since 1994 knows what polarization is, and in 1968 those who heard Feliciano sing were polarized. Half of the people loved Feliciano’s performance, and half hated it. To take advantage of the half-public who loved the performance, RCA Records released a 45-RPM single. It may have been the first time in recorded music history that the National Anthem was on the Billboard charts. The downside of this publicity opportunity was the half-public who hated the performance. According to the New York Times, (October 8, 1968), when asked about the moment, the blind, Puerto Rican born American said “America is young now, and I thought maybe the anthem could be revived now. This country has given me so many opportunities. I owe everything I have to this country. I wanted to contribute something to this country, express my gratification for what it has done for me.” Baseball great Tony Kubek liked it: “I think he did one heckuva job”. A Tigers fan had a different take: “It was a disgrace. An Insult.” She said she would be writing her senator.

Two weeks later the RCA Records single arrived at radio stations and in record stores. Radio stations followed the public divide. Many stations played it. However, many others, like Milwaukee’s WOKY did not. That station’s Program Director George Wilson told me a couple of years later that he believed “the performance was inappropriate and unacceptable.”

As a college student and programmer at the University of Wisconsin Milwaukee’s WUWM radio station at the time, everyone would agree that 1968 was a most turbulent time. Consider some of the events of the year: • January: North Korea captured the patrol boat USS Pueblo. • The Tet Offensive was launched. • February: Richard Nixon began his political comeback. • The American  military in Vietnam declared that it had destroyed a town in order to save it. A phrase that cannot be erased from our memories. • Walter Cronkite, anchor of the CBS Evening News, and dubbed “the most trusted man in America”, urged President Johnson to throw in the towel in Vietnam. • March: Senator Eugene McCarthy came within 230 votes of beating a sitting president in the New Hampshire primary. • Senator Robert Kennedy entered the presidential race. • The U.S. Army’s Charlie Company rampaged through the Vietnamese village of My Lai. • Martin Luther King led a march through Memphis. • April: Lyndon Johnson announced his decision to not stand for reelection. Martin Luther King was assassinated. • May: Peace Talks were begun between the U.S. and Vietnam. •  June: Robert F. Kennedy was assassinated. • August: The Soviet Union invaded Czechoslovakia. • The Democratic National Convention in Chicago, helped along by the Chicago Police, turned into a riot—a disaster for the Democrats, but fascinating viewing on television. • September: Senator Hubert Humphrey received the Democratic nomination for president. There was so much more that fateful year, but time and space is limited.

And what of Jose Feliciano? After the release of “The Star Spangled Banner” and its five weeks on the Billboard chart, Feliciano continued to record and tour. His 1970 Christmas album, Feliz Navidad is considered a classic of the genre. He even returned to Detroit in May 2010 to reprise his 1968 performance in honor of Ernie Harwell, who died that week. No one contacted their senator, governor, or anyone else to complain. I guess forty-two years was a sufficient amount of time for America’s haters of 1968 to get over Feliciano’s original performance, or maybe they just died with a grudge.

The Fourth of July is always worth time to reflect. Whether it’s the memories of ice cream as a child, of a parade, or a unique and memorable performance, or a performer with whom we connected—literally, personally, emotionally, or even viscerally. Politics today is, as some say, not for sissies or wimps. You’ve got to have a belief system that will overcome any idiocy, or worse, an idiocracy.

Joel Stein wrote in May 2016’s Time Magazine, that “[America has] Become an Idiocracy . . . And it only took two-and-a-half centuries. Eight years ago, with the publication of Susan Jacoby’s The Age of American Unreason, our country had a debate about whether its citizens were becoming less intelligent. This year, we had a debate about how big Donald Trump’s penis is. While we have not resolved the latter, we have answered the former. Former means first, and latter means second.”

From bitching about a wonderful, authentic, performance of the song set to Francis Scott Key’s poem, we have arrived at July 4, 2016. The election isn’t until November 7th. May God have mercy on our souls. And by the way, Thank You Jose. If you get to Mendonoma, I’ll be there. I’ll probably even have some ice cream for you.

Harrison Goldberg: Inspired By Music, Baseball, Art, And Life On The Coast   Leave a comment

June 6, 2016

Musicians of all kinds can be impressive but it’s clear I’m a sucker for the Saxophone. In the 1970s and 80s I worked with a long list of marvelous musicians in pop, Americana, R&B, AC (adult contemporary), jazz, classical and more. And I collected vinyl records and CDs for years. But like music lovers of all genres, I had my real favorites and surprisingly (to me) I had a respectable jazz collection of a couple of hundred titles. The appreciation for jazz began with a visit to a record store in Chicago’s Old Town and the random purchase of a used vinyl gem: Jazz Workshop Revisited, a live album by saxophonist Julian “Cannonball” Adderley on the Riverside label. Some weeks or months later there was the purchase of the new John Coltrane album, A Love Supreme.

Music is at once both personal and social, harrisonhat3_rand finding common ground as listeners or as performer and audience, plays on our emotional component. Moving to a the coast I’ve made any number of new friends. And one of them is a particularly impressive musician.

On first glance, Harrison Goldberg appears to be like so many of us. On the Mendocino Coast we are all influenced by the environment, and I’m not just talking weather here. There’s an effort to enjoy the coastal life: work, creativity, romance, intellect, and so on. In short, living. That being said,
on closer inspection and getting to know Harrison, you can see that he savors life here and incorporates the influences into his creative gifts. Most obvious are his musical gifts. He’s a multi-instrumentalist, but the heart of his music is about the sax. He doesn’t just perform. He writes, he records, he pushes himself to continue the creative journey.

There he was, on stage, during a recent performance at Point Arena’s intimate pub 215 Main. As he started playing “Take Five” I wondered at first just why he’d elect to perform one of the most recognized songs on the planet. As he played, the familiarity was there, yet to his credit he made it sound fresh, and not clichéd.

Harrison Goldberg was much like other impressive players I’ve known and heard. But it was, after all, a trio. Seeing him on stage, there appears to be a distinction between the extrovert composer-musician as a performer, and his slightly more understated role as emcee. Between songs he tends to defer intros Thelonious Smile copy 2and outros to those performing with him, making certain they each receive sufficient attention, before introducing himself with a bit less volume. Harrison has the chops, yet he doesn’t work at making himself the single center of attention. For example, Goldberg placed a noted emphasis on the vocals and piano work of Rob Ellis, and bassist Joel Kruzic. And deservedly so. The result is that you listen to the whole, ultimately forming your own opinion as to which part of the performance, which one of the three musicians spoke most directly to you. This approach—at least as viewed through my observations at a recent show—makes the performance far more enjoyable.

A surprising side of Harrison’s creative output is his painting, which includes a gallery opening at Red Shoes Gallery, 1040 North Dutton Avenue, Santa Rosa this month. His use of color, texture, and inspiration are compelling and worth seeing in person. Samples of his art are on his website—www.harrisongoldbergarts.com. Opening receptions on Friday and Saturday June 24 and 25. The paintings will be on display through mid-July.
HG-1

Photo by Michael Waldie

Recently Goldberg has been developing a project he’s titled “Imagine If Jazz Were Like Baseball”, and before you jump to any conclusions, this isn’t a casual (or trivial) take on jazz and jazz musicians. And the work is certainly not meant to be a transposition of, for example, earlier cleverness like the 1910 baseball poem by Franklin Pierce Adams, “Tinker to Evers to Chance”. Rather this is Goldberg flexing his creative muscle and offering a thoughtful, enjoyable, and highly listenable experience as he talks through his imagined game, supported with an appropriately-flavored jazz rhythm section.

Like professional athletes across multiple sports, jazz musicians have long had nicknames. Digging deep we might find that one or two were perhaps a little less than organic (created by a musician as a self indulgent sobriquet). But the vast majority were gifts from other players or fans or family members. Louis Armstrong, for example, was reportedly called Satchelmouth early on, some say due to his large mouth. Apparently even Satchelmouth needed a nickname, hence the abbreviated Satchmo. In addition to Armstrong, Goldberg brings numerous familiar nicknames to the project. Names like “Bird” (Charlie Parker), “Trane” ( John Coltrane), “Cannonball” (Julian Adderley), “Count” (William James Basie), “Duke” (Edward Kennedy Ellington), and so on. Although you need the soft musical backdrop to fully appreciate the effort, here’s a brief passage from “Imagine If Jazz Were Like Baseball”:

“It’s bases loaded with two outs
in the bottom of the ninth
Three to two count on the batter and the game is all tied up.
Then back up to the plate he steps, Cannonball Adderley, his fearsome alto Brushing a wide chest.
The crowd yells ‘Mercy, Mercy!’ And you can hear that horn man blowing loud and steady, Swinging mightily with his sax.”

Goldberg’s imagery is playful, thoughtful, evocative. In this brief excerpt from his creation we can easily see Adderley standing in the batter’s box with his saxophone, not a bat. And the baseball-loving crowd knew immediately that “Mercy, Mercy!” was the perfect cheer. With luck this new creative work will find its way to a recording in the near future so that we can all savor it at home, without requiring a drive to the ballpark. After all, music and the images it conjures up are to be enjoyed wherever we are most comfortable. But Harrison knew that from the first moment he started creating “Imagine If Jazz Were Like Baseball”. Catch Harrison Goldberg at one of his regular performances on or near the Mendocino coast. You won’t be disappointed. In fact, it might be the cure for what ails you.

David Steffen

©2016 David Steffen

Everything Old Is New again   Leave a comment

What Songwriter Peter Allen Knew Forty Years Ago

October 26, 2015

In the late 1960s I was in college at the University of Wisconsin Milwaukee. Working for the campus radio station I volunteered to do a series of occasional interviews which ranged from singer/actor Dick Kallman, to John F. Kennedy speechwriter and advisor Ted Sorensen. One interview was with a relatively young yet obviously seasoned performer who, at the time, was one-half of the Australian cabaret act Chris & Peter Allen. CPAllenThe duo was performing at the lounge atop Milwaukee’s Pfister Hotel. Peter was about 23 at the time and little did I know then that our paths would cross again less than a decade later when he signed a recording contract with A&M Records. Sitting at the piano in the home of A&M Records President Gil Friesen, Peter entertained about 30 of us in this rather intimate setting. I saw peter-allen-02Peter in concert time and again over the next 10 years, as his songwriting and collaboration produced an amazing body of creative work including “Just Ask Me I’ve Been There”, “I Honestly Love You”, “I Go to Rio”, “Don’t Cry Out Loud”, “Bi-Coastal”, “I’d Rather Leave While I’m In Love”, and so much more. Epitomizing his inherent cabaret flair was a song titled “Everything Old Is New Again”. The music and the lyrics came to mind this week as I considered some recent events because, as we’ve seen, everything old is new again.

Fats 2.0: Fats have been a part of my diet as far back as I can remember. I’m old enough to recall butter on or in everything; steaks fried in oil on the stove (the grill was for sissies.) Lard was a principal ingredient in most cooking. Whole milk on my Sugar Pops. And then we were told that fats are bad. So I spent the next 40+ years listening to my doctor and a family full of nurses ask “how ya doin’ avoiding those fats?” My usual response was “I’m working on it.” This past weekend I was making dinner of fatspan-seared Tilapia with Safflower oil, Romaine lettuce, and an olive oil-based salad dressing. Good effort, so I have only myself to blame for picking up the New York Times and reading an article titled “The Fats You Don’t Need to Fear, and the Carbs That You Do”. Give me an effin break. 1000 words telling me I can have fats. I’m not certain I have enough years left to undo all of the damage done avoiding fats the last 40 years, but I pledge with my right hand raised and my left hand wrapped around a chocolate eclair, that I will do my part.

Deja Vu, eh?: The news from Canada on October 19, 2015 was striking. The Toronto Star carried a photograph of a handsome young couple with picture-perfect children. The dashing 40-something father in the photograph just won a trudresounding victory in Canada’s national election. I rubbed my eyes to be certain I was awake in this century as I read the paper’s proclamation: “Ontario delivers Trudeau his Liberal majority“.  What? Pierre and Margaret are back? Not really. Our friends to the north elected the son of the dashing late 20th century Canadian leader Pierre Elliot Trudeau. In the 1960s America had the Kennedys. Jack was dashing in his own right and the era was dubbed “Camelot”. In the 1970s it was Pierre who charmed Canada, and the charm oozed south across the border into the United States. The elder Trudeau was a rock star. And now his son Justin will become Prime Minister of Canada. Lineage doesn’t guarantee success, but there’s something good coming from Canada as outgoing conservative (Tory) PM Stephen Harper departs in a stunning loss. Liberal Trudeau will take the reins of the Canadian government. Bonne chance.

What Me Worry? Part 1: Farther south a different story has been making the front and near-front pages of newspapers and websites around the United States. Hell, it’s probably in this week’s edition of My Weekly Reader. Continuing his “I’ll Say Anything” tour, Donald Trump opened his mouth and, believe it or not, a significant unspoken truth fell out. The October 16, 2015 New York Daily News reported the utterance from “The Donald” and the unbridled disbelief expressed by a Bloomberg News talking head:

“Donald Trump stuck a shiv into the Republican establishment Friday by suggesting that former President George W. Bush bears some of the blame for the 9/11 attacks. ‘When you talk about George Bush, I mean, say what you want, the World Trade Center came down during his time,’ Trump said on Bloomberg TV. Anchor Stephanie Ruhle appeared stunned by Trump’s remark. ‘Hold on, you can’t blame George Bush for that,’ she said. But Trump, who is leading the pack of Republicans running for President, would not budge. ‘He was President, OK?’ the GOP front-runner said. ‘Blame him, or don’t blame him, but he was President. The World Trade Center came down during his reign.'”

The GOP faithful began to go into apoplectic fits. The same Republicans who can attack Hillary Clinton for the Benghazi attacks cannot bring themselves to connect President “W”—then 9 months in office—to the most significant terrorist attack on American soil since the British burned the White House and Capitol in 1814*.

What Me Worry? Part 2: A few days after Trump’s declaration that the 9/11 attacks occurred on George W. Bush’s watch, he added another truth to the discourse:  “Jeb, why did your brother attack and destabilize the Middle East by attacking Iraq when there were no weapons of mass destruction? Bad info?” Good question. Democrats have been significantly more vocal on this topic than Bush’s responsibility as Commander in Chief on September 11, 2001. Republicans can defend “W” all they want, but the historical view isn’t getting prettier for “the decider”. And his subsequent decision to destabilize the Middle East was a mistake that has generated catastrophic results. Bush’s “Operation Iraqi Freedom” is the poster child for chaos theory.

Forget “W” not understanding Shia vs. Sunni. How about if Bush had just understood the concept of unintended consequences, perhaps even he would have thought twice about invading Iraq. Author Rob Norton reminds us that “The law of unintended consequences, often cited but rarely defined, is that actions of people—and especially of government—always have effects that are unanticipated or unintended. Economists and other social scientists have heeded its power for centuries; for just as long, politicians and popular opinion have largely ignored it.” Nobel Prize-winning economist Joseph Stiglitz and Kennedy School of Government professor Linda Bilmes gave the Iraq War close scrutiny. Their book, The Three Trillion Dollar War: The True Cost of the Iraq Conflict pegs the dollars wasted on the Iraq War at $3 trillion—and counting. (By comparison, Bush Administration officials projected $50 billion. That’s a $2 trillion, $950 billion difference. Even Enron did better planning than Bush, Wolfowitz, et al.) Those of us who marched through the streets of New York in February 2003 to try and stop the deliberate march to war in Iraq felt a small measure of satisfaction that the stupidity of invading Iraq is at least being spoken out loud these days. Even if Trump is the mouthpiece.

George Santayana, in Life of Reason, wrote, “Those who cannot remember the past are condemned to repeat it”. Peter Allen’s “Everything Old Is New Again” is no less prophetic. But at least it’s a musical gem reminding us in a gentler way. Perhaps we need to send a copy of Allen’s recording to each member of congress at the start of every new term. Then again, maybe the song they need to hear is “Just Ask Me I’ve Been There”.

David Steffen

© 2015 David Steffen

Note: an edited version of this essay appears in the November 2015 issue of the Lighthouse Peddler coastal newspaper.

*Technically in 1814 the residence was known as the Presidential Mansion.

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