4 X 4 (In The Long Form)

No.#2 in a series.

This 'In Long Form' mix is a aural journey that begins The Harmonics Choir performing meditative music within a church of God, located in southeastern France. It then travels across the burning sands of Egypt in a nomadic caravan led by Leon Thomas, only to submerge beneath the sea, phantoms below the surface with the strains of Pink Floyd. The journey concludes on the other side of the ocean in the most unlikely of localities, Rhode Island, with an uproarious celebration at the church of jazz led by Duke Ellington at the Newport Jazz Festival, a journey from one sacred site to another.

1) Lines To A Great Lord/David Hykes And The Harmonic Choir

Taken from 'Harmonic Meetings'/Celestial Harmonies Records

Beautiful and profoundly evocative spiritual music
recorded in 1986 within the abbey of Le Thoronet, France.
David Hykes is recognized as a pioneer in global sacred music
and overtone (harmonic) singing.
You should learn more about David and harmonic singing at
The Harmonic Presence Foundation.

2) Pharoah's Tune (The Journey)/Leon Thomas
with Howard Johnson, Billy Harper, Jerome Richardson, Ernie Royal,
Donald Smith, James Spaulding, Art Sterling, Bob Cunningham,
John Williams, Sonny Morgan & Gene Golden
Taken from 'The Leon Thomas Album'/Flying Dutchman Records

An evocative piece from vocalist Leon Thomas that squarely hits the mark.

3) Echoes/Pink Floyd
featuring David Gilmour, Rick Wright, Roger Waters & Nick Mason
Taken from 'Meddle'/Harvest Records

From the deserts of North Africa implied in the former piece,
to the oceanic depths conveyed in Echoes, the juxtaposition of these two artists
and compositions couldn't be more bizarre, yet it seems to work!
Who would've have figured? But the weirdest is yet to come.

4) Diminuendo And Crescendo In Blue/Duke Ellington
with P. Gonsalves, J. Hamilton, H. Carney, R. Procope,
J. Hodges, B. Woodman, Q. Jackson, J. Sanders,
J. Cook, W. Nance, C. Terry, W. Johnson,
J. Woode & S. Woodyard
Taken from 'Ellington At Newport'/Columbia Records

Until now, I would never have dreamed of following Pink Floyd
with Duke Ellington(an act that some might consider blasphemous),
but in an equally bizarre transition,
we segue into a live 1956 medley of two 1938 compositions by the Duke,
in which the extended soloby saxophonist Paul Gonsalves
grows so intense and mind bogglingly electrified,
that it drives the audience to near hysteria!
Pandemonium abounds! Fist-fights! Fainting spells! Soiled underwear!
Meant to be a final encore,
Duke was forced to follow it with a slower, softer number simply to calm
and quiet the frenzied crowd, lest the riot squad be called.

To download, click here.

Blame It On The Bossa Nova

At the risk of sounding like a press release, I wanted to make mention that this weekend marks the 30th anniversary of San Francisco’s Carnival, an annual celebration in which primarily, the city’s Caribbean, Brazilian, and greater Latin American communities gather together for two days of food, fun, and festivities. The warm climes of the city’s Latino Mission District give way to a stunning parade of samba dancers and orchestras, as well as a street fair that includes plenty of other outstanding examples of tribal music. Of course, the extremely wide breadth of ethnicities in San Francisco and the surrounding Bay Area results in many diverse cultures joining together for the occasion to share as one in community spirit and creative expression. As a result, others not normally associated with the celebration participate as well, like Japanese Taiko drummers, Chinese dragon dancers, Polynesian and East India artisans, and many others. Another key element that makes Carnival San Francisco unique from it’s principle counterparts in Latin America and the West Indies, is that it does not revolve specifically around Catholicism. Therefore, unlike other Carnival celebrations in predominately Christian cultures elsewhere around the world, it does not fall during the traditional pre-Lenten season of February and early March. But I believe the most significant factor that distinguishes Carnival San Francisco from its equivalents is it’s unique blend of music. Most all Carnivals have their own discrete form of music, sounds that are indicative of the region in which it’s observed --- jazz and blues in New Orleans, calypso and reggae in the Caribbean Islands, and of course the most frequently associated, the samba rhythms of Brazil. The festival in San Francisco includes all of these wonderful idioms, plus mariachi, salsa, and an array of folkloric music from across the Central and South America nations. And then don’t forget the contributions of the Asian and Polynesian cultures mentioned previously! For a music lover, it’s a heady weekend of sound and rhythmic pulsation from the four corners of the globe.

But let me be completely honest here. The real reason I bring all of this up, is because I’ve been sitting on a Brazilian mix of Tropicália music that I’ve been wanting to feature here, but I haven't had a comfortable entry point in which to showcase it. Carnival San Francisco 2008 has now conveniently provided me with one that works. In case you don't follow the thread of reason, I'll lay it down for you. Traditionally, Carnival equates with samba, Right? Samba then leads to Brazil, and by association, the popular Tropicàlia movement of years back (as well as other things). But the problem I face is that as a whole, I know next to nothing about Brazilian music. Afro-Cuban? Yes. Norteño? Yes. Brazilian? Not really. I'm familiar of course with many of the countries greatest musical exports, and as a jazz lover, I’ve heard my share of Jobim and Getz/Gilberto, and most of it I liked, but I lost interest in Brazilian music years ago, and I blame it on --- the bossa nova.

You see, I once had a neighbor, a good looking girl, stewardess I think. I liked her. She was always very sweet to me, very cordial, and good looking too, did I mention that? We lived in apartments facing outward from the side of the building. They provided no view to speak of, other than a white wall some 20 feet away (which was great for projecting movies!), but the well between ours, and the adjacent building provided more than enough natural light to prevent dreariness. However, it also provided for the amplification of all sounds that emanated from other units. With windows open, one could hear everything from the rattling of pots and pans, to radio talk shows, and the occasional muffled cries of lovemaking. It was often illuminating, sometimes comical, but mostly a drag. Well, this girl had a 120 minute mix tape that consisted of every version of ‘Girl From Ipanema’ to ever be recorded in the history of modern music. It ran the gamut from Tuvan throat singers to Alvin & The Chipmunks, I swear to God, and she played it incessantly! I was leading a band at the time, so I’d be home, locked in concentration, trying to cobble together some new material, and in the background, you know what would be echoing through the well, playing over and over again, one bloody version after another. Now of course, to change the arrangement on ‘Girl From Ipanema’ would take it utterly and completely away from the form that makes it ‘swing so cool, and sway so lovely,’ the very form that made it so popular in the first place, therefore the piece can only be done as a bossa nova. 13,000 renditions on one song, all with exactly the same arrangement! I never said anything to her because she was always so nice to me, and she was good looking too, but man, I was being bossa nova’d to death! It was excruciating, like being stuck in an elevator with a corporate accountant, or something. The song was forever ruined for me by that repeated experience, and I’ve never been able to listen to bossa nova again! True story, I kid you not.

As long as I'm being fully honest, I'll admit that don’t really know much about Tropicália either, other than it's kind of the Brazilian equivalent to British paisley pop. I do know that it arose in the late 60’s, and that it was more than merely a musical blend, it was a movement within the Brazilian arts community as a whole. The only other thing I know, is that despite it’s age, it’s the first Brazilian music that I can listen to and enjoy since my death by bossa nova.

The bulk of this mix comes directly from what is perhaps one of the most important collections of Tropicálismo --- ‘Tropicália: Ou Panis et Circenses.’ The recording features the principle architects of the musical genre, including Gilberto Gil, Caetano Veloso, Gal Costa, Nara Leao, and Os Mutantes. I’ve added a few extra tracks (seven to be exact) to lengthen the mix, and also to illustrate the difference between the ‘masters’ and the ‘students.’ Give it a listen, if you’re not already familiar with it. It's very interesting and fun! And please, under any circumstances do not send me any mp3 files of ‘Girl From Ipanema.’ I've heard them all, and then I heard them again. And then one more time. Thanks.

1) Miserere Nobis/Gilberto Gil
2) Coracao Materno/Caetano Veloso
3) Panis et Circensis/Os Mutantes
4) Lindoneia/Nara Leao
5) Parque Indusrial/Mutanes, Gil, Veloso, and Costa
6) Geleia Geral/Gilberto Gil
7) Baby/Gal Costa and Caetano Veloso
8) Tres Caravelas (Las Tres Carabelas)/Caetano Veloso and Gilberto Gil
9) Enquanto Seu Lobo Nao Vem/Caetano veloso
10) Mamae, Coragem/Gal Costa
11) Hino do Senhor do Senhor do Bonfim/Veloso, Gil, Costa and Mutanes
12) Birds In My Tree/The Buttons
13) Animalia/Modulo 1000
14) Quero Companheira/Rubinho and Mauro Assumpcao
15) Intermission Music*
16) Razao de Existir/A Bolha
17) Miragem/Os Lobos
18) Mensageiro/Paulo Bagunca
19) Revolucao Organica/Marcos Valle

To download, click here.

*Not Tropicàlia, and recorded way too loud! Be prepared.

Short, Fast And Loud

Confessions Of An Angry Young Man

Am I angry? Fuck yeah, I’m angry! You would be too if you grew up with all the crap I had to! That’s why I’m pissed, 'cause I'll tell ya' man, my life’s been pretty shitty so far. I look around, and everything just sucks. Nobody cares what happens to me, so that's why I like to get shit-faced and listen to music that’s short, fast, and really, really loud. It's the only thing that gets me off. If I didn’t have that, man, I’d prob'ly deck most every stupid dickhead that gets up in my face. Yeah, I’m fuckin' angry!

"It Never Should’ve Happened In The First Place"

My father disappeared just two months after marrying my mother and never once looked back. He was a freakin’ bum anyway. About the same age as me, and my mother was only a just few years older. I was told I was conceived on their wedding night, but that’s not the way it happened, not for a minute! I mean, think about it. Two months! The marriage lasted only two fucking months! The only reason they got married was because of the pregnancy. I’m sure of it! I was a mistake. They never should’ve hooked up. What a couple of douche bags. My mother told me that after she threw him out, he and his brothers broke into the apartment and stole everything she had of any value, her radio, TV, jewelry, you name it. What an asshole. Fuck ‘em. To this day, I still haven’t gotten a straight answer about what happened, only that he was a shit head and we were better off without 'im. Well I’m not better off! No one’s better off! It never should’ve happened in the first place. Man, the whole thing was colossal mistake.

"I Don’t Even Fuckin' Care Anymore"

I was the first of three kids. What a fuckin’ joke! My mother should have stopped with me, but no, she kept crankin’ ‘em out like nickels from a slot machine, different fathers, all three of us. All I ever saw growin’ up was a parade of new boyfriends that changed every couple of months. I couldn't even keep ‘em straight. It'd be Chip, Chet, Chuck, whatever. I don’t even fuckin’ care anymore! They’d go out boozin’ it up nearly every night, and my sister and I would be stuck at home with some sadistic babysitter with pimples and bad breath. I mean, what can you say about a single mother who doesn't really give a shit, tryin’ to raise a coupla’ kids by herself except that it’s a load of shit. She gave us the three basics, food, clothing, and shelter, but that's about it! Lookin’ back, I probably had it the easiest, bein’ the first and all. My poor kid sister, man, she’s all fucked up! She got the worst of it. Never knew what the hell was goin’ on. The third, my brother, was given up for adoption. Lucky bastard. That was probably the smartest thing my mother ever did. Not just for him, but for all of us.

We never had much money either. Growin’ up, I lived all over the place. You know, crappy places like trailer parks, Section 8 housing, the projects. It was the shits. Every now and then we’d move into an actual house or apartment, but it never lasted long. I remember skippin’ out in the middle of the night, because the rent was four months overdue and she said she had nothin’ in the bank. We were already eatin’ canned soup and that kinda’ shit. We packed up everything we had, threw it in the trunk of the car, and split! Ha-ha! It felt pretty cool then, but it was really fucked up. We ended up at my grandmothers, the four of us sharin' some tiny little studio. And because we were always movin' around, I never had many friends. What was the point anyway? I’d just end up sayin’ goodbye before I really got to know ‘em. So why even bother? That’s why I started hangin’ out in my room, if I had one! I woulda’ gone crazy if I didn’t. I mean, who’d wanna be around my mother and sister anyway? They were always fightin’ and screamin’ at each other. It was a drag. Just a plain drag.

"Timmy This," And "Timmy That"

It was the biggest day of my 5th grade life. I was receivin' a scholastic achievement award for gettin’ straight A’s that year. Yeah, despite the crap at home, I did pretty good in school. I actually liked being there! Anyway, the winners were all to appear in the school auditorium in front of the entire student body, and our parents were invited to attend too. It was all I could talk about for weeks, I was so excited. The ceremony started at 1:00 in the afternoon, and my mother hadn’t shown up yet. We all filed out on stage, all us little twerps, and they were handin’ out the certificates and stuff. Everyone was clappin’ and smiling,’ and the freakin’ thing was just about wrappin’ up! I remember looking out in the audience, searchin’ for her face and wondering if she would make it before the whole thing was over. I felt really disappointed. I think I almost started to cry. Then, towards the very end, she finally arrives, all booze soaked as usual. In she comes, reeking of alcohol and cheap perfume, her tits hangin’ out all over the place. It’s funny now, but on that day, she was a pathetic fuckin' embarrassment! She staggered down the aisle with her latest bonehead, Hank or Huck, I don’t know, something with a fucking H. All the other kids had normal lookin' parents, a mother, and a father, and these two looked like they just had lunch at a distillery. Everyone was happy, and takin' pictures, pissin' all over themselves with pride, when up strolls my mother with this dick to join in on the love fest. Well, forgettin’ that she was in an elementary school, she lit a cigarette and started puffin’ away, until the school principle asked her to put it out. It was really embarrassing. She wobbles up the staircase to the stage and pulls me into her, all the while smotherin' my face in her tits, and starts blabberin' on about how proud she was of her "little Timmy." She kept goin’ on about, "Timmy this," and "Timmy that!" Crap like, “My little boy, Timmy, he's such an angel,” and “Timmy’s always been the smartest. He's gonna' be a doctor some day,” shit like that! She kept sayin' it over and over again in front of everybody, ‘Timmy!’ ‘Timmy!’ ‘Timmy!’ They all kept lookin' at us like they couldn't believe what they were fuckin' hearing, and it really hurt me, the fucking cunt! I hate her!

My goddamn name is fucking Tommy, not Tim!

(c) 2008 Miles Mellough

1) Sonic Reducer/The Dead Boys
2) I'm So Bored With The U.S.A./The Clash
3) Confused/The Nuns
4) Baby's No Good/The Mutants
5) Always Comes Back For More/SVT
6) We Love You/Cock Sparrer
7) We Got A Fight/Sham 69
8) My Generation/The Who
9) The Day The World Turned Day-Glo/X-Ray Spex
10) Snuff It/Alberto y Lost Trios Paranoias
11) 2-4-6-8 Motorway/Tom Robinson Band
12) You Really Got Me/The Kinks
13) 415 Music/The Readymades
14) The Modern World/The Jam
15) Shut Up & Dance/Pearl Harbour & The Explosions
16) Mystery Dance/Elvis Costello & The Atractions
17) Explosion/Ace & The Eights
18) Kick Out The Jams:Come Together/MC5
19) God Save The Queen/The Sex Pistols
20) Gimme' Some Truth/Generation X
21) Class War/The Dils
22) What Do I Get?/The Buzzcocks

To download, click here. Play loud!

Note: 'Short, Fast and Loud' is comprised primarily of punk and post-punk material. By today's standards, it sounds almost tame. Funny how that works. A few of the bigger names from the era are included, such as The Clash, The Buzzcocks, Sex Pistols, The Jam, Dead Boys, Generation X, and Elvis Costello & The Attractions. Others were a bit less well-known, X-Ray Spex, Sham 69, and The Tom Robinson Band. The tracks by Cock Sparrer and Alberto y Lost Trios Paranoias are relatively rare, so I'm told. I don't really know. The remainder were among the principle players in the San Francisco punk scene of the late 70's. Those include, The Nuns, The Mutants, SVT, Pearl Harbour & The Explosions, The Readymades, and perhaps the most dynamic and criminally overlooked of the period, The Dils. On the other hand, another local band, Ace & The Eights are a group that I barely remember, but they did release one single that was built around a killer riff by guitarist, Rocket Morton. I think Kenny Dale Johnson may have also drummed for the band, before joining Chris Isaak. Pearl Harbour, along with Penelope Houston of The Avengers, and Jennifer Miro of The Nuns, was among the few women who fronted their own bands during the punk era. Although Harbour wasn't angry, she did exude a great deal of sex appeal, making it impossible for any red blooded male punkster to resist her, whether they liked her music or not. Most just wouldn't be quick to admit it. As for the inclusion of The Who, The Kinks, and MC5, these bands (and particularly these singles) represent the first real punk music I ever heard (Jerry Lee and Little Richard notwithstanding). Predating the genre, The Kinks set the stage with the 3 chord sound that launched a thousand imitators. The Who exemplified teenaged angst ridden proto-punk with their early singles, and later, The MC5 added the politics of change to the frustration of alienated youth (whether they were used as tools for someone else's agenda or not). Many other names, both locally and internationally could have included, and maybe they should have, but they're not. End of note.

The Doctor Is In

The Deceptively Casual Music
Of Ben Sidran

Ben Sidran, like Joe Boyd and Todd Rundgren, both of whom have recently been featured in these pages, is another artist who possesses a long and impressive resume of accomplishments and successes. Of the three, Rundgren stands out as the most visible, largely due to his status as a 'rock star.' Producer, Boyd on the other hand, places a solid second in this hierarchy. Although his work has largely been carried out behind the scenes and out of the limelight, the stature of that handy work makes him very much like a 'rock star.' Then there is Ben Sidran, who like Rundgren, straddles both arenas, the performer who graces the stage, and the mysterious man behind curtain, pulling strings to make magic for others. The difference is that Sidran works in the less glamorous or embraced jazz idiom, making him relatively invisible to the public at large, though no less masterful. They are Renaissance men, each and every one. And if they were of a corporate mind set, I'm certain they could easily add 'Captain of Industry' to their CV's as well. Fortunately however, their hearts lay in the art of making music over the quest for making money, the redeeming quality that humanizes them all and keeps them real. So as one who has always considered himself an underachiever, why am I so drawn to these three men and their work, when their paths have been so different from my own? Well, number one, they're fascinating individuals. Intelligent, articulate, forward thinking men with interesting ideas and much to share. Number two, I applaud their accomplishments. Each is multi-talented and has successfully managed to carve out a personal niche for themselves within an industry that is notoriously cutthroat and underhanded. In my encounters with all three, I marvel at how differently we see the world and perceive our places within it. I admire their talent, drive, and tenacity, despite my not taking anything away from those encounters that I would ever risk applying to my own life (which is precisely why I'm an underachiever!). Number three, I like their music. Boyd, as a friend recently said, has produced some of the "most revered recordings in my collection," a sentiment I strongly echo. Rundgren, for whom I additionally hold in high esteem, created a particular suite of music that upon hearing for the first time, touched me so deeply on a visceral level, it actually felt as though he had been reading my mail. As for Sidran? Well, he's an enigma, a riddle that intrigues me. He's the 'thinking man's' jazz musician. A University of Sussex scholar who despite his extraordinary intellect is still able get down to the real nitty gritty and make some genuinely soulful and funky music. And you know what? He also happens to be an extremely nice, down-to-earth guy!

So who is Ben Sidran? Or perhaps more precisely, what is Ben Sidran? Well, he's a singer, a songwriter, a record producer, and a session player. He's also an educator and an author. He holds a PhD. in American Studies, and is a Minerva Award winner from the Wisconsin Academy of Sciences, Arts, and Letters. He has been a NPR Radio host, a television host and television producer, the latter of which won him a Peabody Award. Remarkably, he's been married to the same woman for over 40 years, and happens to be one hell of a piano player too! Wow! Ben Sidran is in many ways, the 21st Century personification of the well rounded individual. A multi-talented man with a thirst for new experiences, and who from an early age consciously decided to take control of his destiny and live life to it's fullest, seizing opportunities along the way and running with them.

Of course, a certain degree of self-confidence and drive are necessary to successfully negotiate a career that reads like a road map. "Host a radio show? Yeah, why not?" "Sit in with the Stones next Thursday night? Well, let's see, I have a lecture to attend that evening. Oh, they don't need me until midnight! Well then, yeah sure, why not!?" But these opportunities didn't just drop into his lap. No one's life is that easy. Many are a result of his determination and charming personality, but many more come from his proven track record for tasteful results in the projects with which he's been involved. Those projects include producing the likes of Paul Pena, The Steve Miller Band, Tony Williams, Jon Hendricks, Richie Cole, Sylvester, Mose Allison, Van Morrison, Diana Ross, Chico Hamilton, Johnny Griffin, and Georgie Fame (a partial list). He's contributed his musical talents to records by Eric Clapton, The Rolling Stones, Jesse Ed Davis, Gene Clark, Boz Scaggs, and most extensively, Steve Miller, his once frequent collaborator (during Miller's earlier, more rewarding recordings). Sidran has additionally hosted two popular NPR Radio programs, 'Jazz Alive' and 'Sidran on Record,' another award winner. There was also his 3 year run on VH-1 with 'New Visions.' In perhaps his most unusual television gig, he hosted a local late night 'Creature Feature' program with a twist. He screened only Bogart and Cagney movies with no commercial interruption, but before hand, he conducted interviews with a variety of guests, from McCoy Tyner and Dan Hicks, to Jane Fonda and Swami Rama. And do you know what makes all of these accomplishments that much more remarkable? He has effectively managed to balance all of the aforementioned roles from the most unlikely of localities, Madison, Wisconsin! Wow, again!

Madison is hardly the center of the world, and as a result, Sidran is far from being a household name. But Wisconsin is home for Sidran and his family, and it serves him well in his desire to remain a low-key, but influential figure in the music industry. His recordings are not big sellers, but they are testament to his stature among his peers. Check out the roster of players who have contributed their talents to his discography:

Drummers
Tony Williams, Charlie Watts, Peter Erskine, Clyde Stubblefield,
Jim Keltner, Steve Gadd and John Guerin
Bassists
Richard Davis, Phil Upchurch, Eddie Gomez, Chuck Domanico,
Marcus Miller and Abe Laboriel
Guitarists
Larry Carlton, Steve Khan, Peter Frampton, Curley Cooke, Jesse Ed Davis,
Steve Miller, Lee Ritenour and Boz Scaggs
Horn Players
Blue Mitchell, Joe Henderson, Pepper Adams, Frank Rosolino, Richie Cole,
Phil Woods, Michael Brecker,Woody Shaw, David 'Fathead' Newman,
Pete Christlieb, Tom Harrell, Roscoe Mitchell, Bobby Malach,
Frank Morgan and Randy Brecker
Misc
Richard Tee, Mike Mainieri, Mac Rebennack,
and various former members of The Steve Miller Band

And his music? Well, much like his personality, it's casual, but deceptively so. It's melodic, unhurried and relaxed for the most part, but it's not what you'd call 'laid-back' either because it does swing, and it does shuffle, but it never shrieks. His songs are built around easygoing grooves that are simultaneously funky and lowdown, vacillating between the upbeat and the bopish, aptly reflecting his positive energy and optimistic outlook. But to add balance, Sidran injects some wonderful medium tempo numbers into the mix, which are quite clearly where his strengths lay --- where he truly delivers --- not only as a songwriter, but also as a conveyor. Harboring a talent for rueful saloon tunes and unrequested songs of unrequited love, he sings melancholic hard luck tales of woe, busted hearts, and 'if only' scenarios. But rather than presenting the stories as though seen through the bottom of a shot glass, he imparts them with just a dash of self deprecating humor, redirecting the outlook to something less cynical and more hopeful. Laughing at the bad in order to see the good, as it were. It's an effective manipulation of form, and one at which he excels. It's also very clever because it warms you to him as a trusted ally. Once you're drawn in, you can't help but like him, because despite his intellect, despite his achievements, despite his charisma, in the end you accept him as just a regular guy, not so different from the stranger sitting next to you at the bar.

The recordings from which I drew for this music mix are all out-of-print domestically, although available as Japanese imports. The remainder of Sidran's catalog however, can still be readily found through the usual sources.

1) Walkin' With The Blues
2) Full Compass
3) Play The Piano
4) Think Twice
5) Have You Heard The News
6) Broad Daylight
7) Nobody's Fool
8) Charlie's Blues
9) Set Yourself Free
10) Let's Make A Deal
11) Minority
12) Lust
13) Back Down On State St.
14) It Don't Pay To Worry Like That
15) When A Woman Says She's Ready
16) That's Life, I Guess
17) Doin' You
18) House Of Blue Lites
19) Ben Sidran's Midnight Tango
20) The Chicken Glide
21) She's Funny That Way

To download, click here.

I've also condensed an hour long interview that I conducted with Sidran for the KRE program, 'The Sound Of The Bay' which I've previously described in the The Jazz/Rock Fusion And Burning Soul Of Brian Auger. It's been whittled down to a more manageable 18 minutes in length, eliminating my questions and leaving Ben to speak for himself. I can briefly be heard at one point, sounding all of 14 years old. People often say it's embarrassing to hear their recorded voices. Try hearing it with roughly 33 years of bad road between then and now.

'Sidran Speaks' can be downloaded here.

If you'd like more information on Ben, his history, and his music, visit his website for the complete lowdown.

Songs From My Father's Record Collection

When I really stop and think about it, almost everything I've ever featured here in Birds With Broken Wings is conceivably a song from someone's father's collection. Figure it this way, I'm old enough myself to be the parent of an adult child, so if you're under say, 30 years old tops, the material I've brought to the table could squarely fall into your father's record collection. But my Dad is almost 85! So do the math. That would mean the music of his youth dates back to the Swing era of the 1940's --- The Dorsey Brothers, young Sinatra, Benny Goodman, The Andrew Sisters, Glenn Miller --- the whole big band thing. Of course, the 40's also marked the beginnings of bop and rhythm & blues, but my father didn't live in the centers for urban black music, so those forms never really touched him. What did reach him however was their fashion. The old man was a 'Zoot Suiter.' A dance hall hound. Just like the British Mod's of the early 60's, my father spent all of his teenage earnings on clothes --- 'drapes' --- all custom designed and hand tailored. And like the Deadheads to follow, he traveled to surrounding ballrooms to swing to the sounds of his favorite bands and chat up the girls. My dad was sharp! Tall and slender, one of a kind suits, hand-painted silk ties, thick black wavy hair, pencil mustache, and Errol Flynn good looks. My mother too, a small town Italian girl, looked like a Hollywood movie starlet! But then, a lot of people looked that way in the 40's. It was the end of an age of glamor, elegance, style and taste. And my dad had plenty of taste, not only in his preference for hand tailored threads, but also in his choice of women and his refinement in music.

Now before you click away thinking you're only going to find some musty big band records here, think again. For an 85 year old guy, my father's got a pretty good record collection, not just a bunch of old 78 r.p.m.'s in yellowed slipcases, but some real great stuff! Of course, a lot of it came from me (in the form of gifts), but a lot more he sussed out on his own. He really enjoys hearing sounds that are new to him. Now, you've got to remember that with his generation, it was not at all unusual to abandon your youthful passions once you settled down, married, and started a brood. Record collecting and keeping abreast of popular trends in music were not considered becoming of a career and family man. But my father bucked that societal trend and continued to keep his ear to the ground for new sounds. Not to suggest that he went as far as to run out and buy 'Never Mind The Bollocks, Here's The Sex Pistols,' or N.W.A.'s 'Straight Outta Compton,' but he did always manage to listen with interest to the up and coming without prejudice. Today, he still harbors a penchant for orchestras, though not the type that are all brassy trumpet and lumbering arrangements. You know the type, an outfit with some hotshot drummer and a blaring horn section that sound more like a thundering herd than simply a swinging band that just happens to be large. He likes tasteful arrangers like Gerald Wilson and Oliver Nelson, Quincy Jones and Duke Ellington. Stuff that swings easy. He also (like his son) holds a fondness for organ and sax combos, that big B3 sound with a full-bodied tenor.

My dad enjoys his music, and you know what? I like it too. Check out this set and you'll probably agree, the old man's got great taste!

1) Blue Star/Benny Carter
2) The Ballad Of Oren Bliss
3) Little Sheri/Stanley Turrentine
4) Quintessence/Quincy Jones
5) Stolen Moments/Oliver Nelson
6) Dameron/Houston Person
7) The Voice Of The Saxophone/Jimmy Heath
8) The Real Deal/Hank Crawford & Jimmy McGriff
9) Prelude To A Kiss/Duke Ellington
10) Could Be/Les McCann
11) Step Lightly/Joe Henderson
12) Deep Purple/Groove Holmes

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