The Blossom Music Center, Cuyahoga Falls, OH, 17th September 1986
Band:
Dony Wynn - drums
Carl James - bass/vocals
Paul Pesco - guitar
Carole Steele - percussion
James Hooker - keyboards
Danny Wolinski - keyboards/saxophone
Bob Leffert - trumpet
Dollette McDonald - vocals
Steve on Letterman 1986
One of the music highlights on Late Night: Steve Winwood's performances of "Higher Love" and "Gimme Some Lovin'." With Carol Steele on percussion and backup vocal and Dolette McDonald as second backup vocalist.
Early in the show, Paul warned Dave how hard the songs were to learn, especially in so short a time, in particular the middle section in "Higher Love," where the time signature turns on a dime. And, despite their professionalism, the band didn't quite pull it off.
The challenge with "Gimme Some Lovin'" was that Winwood had asked the band to play it not in its original key, G, but instead a half-step lower, in F-sharp, so that he could hit the high notes. Performing a song in F-sharp is no piece of cake, especially on the keyboard. But watching Will Lee and Dolette McDonald coordinating their spontaneous dance steps as well as Paul's awkward hug with Steve at the end illustrate the sheer love and enthusiasm the band had with this number.
Sometimes the Brits can rock it like it’s Country!
Albert Lee was invited by Dave Edmunds on "Sweet Little Lisa" in 1979, for studio sessions.
Let rock his telecaster, you should have seen the faces of Edmunds & Rockpile (Billy Bremner, Terry Williams, Nick Lowe) Phil Lynott, Huey Lewis, Graham Parker was here too!
Rory Gallagher - Dagenham Roundhouse London England July 1, 1972 FM Source/soundboard/vinyl rip @flac
BBC Broadcast Vinyl>Analog>CDWAVE>Soundforge>CD>EAC>FLAC
Set List:
01. Tore Down 6:09 02. Used To Be 6:00 03. Hoodoo Man 8:23 04. Pistol Slapper Blues 3:57 05. The Cuckoo 4:05 06. Going to my Hometown 8:45 07. In Your Town 11:50 08. Bullfrog Blues 8:26
Well it wouldn’t be Christmas without some raucous Rhythm and Blues take it away Rory!
Here’s a little bonus story about the writer of the lyrics to Sleigh Ride, Mitchell Parish He was a celebrated lyricist who’d written “Stardust,” “Stars Fell On Alabama,” “Sophisticated Lady,” and “Moonlight Serenade” along with scores of songs for Broadway & Hollywood – the real deal.. He was also the uncle of Steve Parish, the longtime roadie for the Grateful Dead and close friend of Jerry Garcia. Mitchell was invited to a 1990 Garcia Band show at Madison Square Garden, where he and Garcia met and talked about music.
Here’s a firsthand account:
“Mitchell was 90, and his knees were shot so he was in a wheelchair, but he was sharp as hell and definitely ready to rap. Well, he met his match that day. He and Jerry started raving about old songs – songs that Parish or people he knew had written – and Jerry matched him tune for tune. Not an ego thing, just two amazingly knowledgeable music historians (one with the advantage of having lived through the era!) swapping stories. The room was so packed that the Vice President of Arista, in a $2,000 suit, was sitting on the floor – but it was quiet, as everybody just listened to this amazing conversation. Parish started one sentence with, "When I wrote the songs for the Marx Brother’s “Coconuts” in 1928," and you knew he wasn’t b.s.ing. And obscure as it got, Jerry was there, jamming on the rap the way he did on his axe.”
"I’m leavin’ today I’ll be on my way Of this I can’t say very much But if you want me to I can be just like you An’ pretend that we never have touched An’ if anybody asks me “Is it easy to forget?” I’ll say, “It’s easily done You just pick anyone
I am sure they are legion but this guy popped up on my searches and well, like WOW! I am ashamed to say I did not know him and he passed away in 1997
MASTER INNOVATOR: MICHAEL HEDGES
Country: Sacramento, California (USA)
Michael Hedges, (1953-1997) the visionary fingerstyle guitarist, born in California but raised in Enid, Oklahoma, composer and arranger whose music fused elements of folk, jazz, classical and contemporary music.
He is recognized as one of the masters of fingerstyle and one of the most influential acoustic guitarists of all time.
The most iconic guitar associated with him is his 1971 Martin D-28, which he nicknamed "Barbara". Hedges was a pioneer in the use of unconventional guitar techniques. He developed his own style of two-handed tapping, often referred to as "harp-style" or "harmonic tapping", playing the guitar as if it were a piano.
He was known for using highly complex and customized open tunings (alternative tunings).
He also used the capo by placing it diagonally or on individual strings to achieve unique sound effects and alter the pitch of specific notes. His music often incorporated percussive elements, using the body of the guitar and the muted strings as an integral part of the rhythm and arrangement.
Hedges was a true "architect of sound." He didn't just play melodies, he created complex and evocative soundscapes, full of unexpected harmonies, resonances and textures. His compositions could range from acoustic folk-tinged pieces to almost atonal explorations, from moments of lyrical delicacy to passages of intense rock-jazz energy.
Improvisation played a fundamental role in his live performances, making each concert a unique experience. His artistic personality was complex and multifaceted, often characterized by a combination of musical seriousness and an eccentric sense of humor.
SONG: Aerial Boundaries
TUNING: C C D G A D
GUITAR: Martin D-28 (1971)
The most iconic and beloved song, often considered his "signature song", is also the title of his 1984 album, which is considered his masterpiece and which revolutionized the way of conceiving the acoustic guitar. "Aerial Boundaries"
Of course I bang on a lot about guitars and guitarists but my first love was the piano. Hindered by an abusive piano teacher, I developed a limited range and kind of strange eccentric approach until getting my first guitar around my late teens (a 12 string as it goes bought with money left me by my paternal grandmother) . . . so wha this popped up I was of course mesmerised and really appreciated Rick for interview her
"In this interview, I sit down with Japanese piano virtuoso Hiromi to talk about her playing, her influences, and her approach to improvisation. We cover her career, her unique style, and what drives her as a musician.” Rick Beato