Some notes from the ‘tinterwebbie mcthingie!
Nearly forgot Ry Cooder’s birthday alongside this staggering portrait photo
"In my point of view, it’s that when I was younger, let’s say 12 or 13, what I was trying to do was to learn how to play like the records. I heard banjo. Bluegrass. I said, “I’m going to learn to do that.”
Not to copy somebody—you don’t wanna play exactly like Earl Scruggs note-for-note. I never wanted to do that, but just get to where I could play that type of music, which was great because later on, when I was recording, if I felt I needed some skills, I knew I could play blues and I understood open tunings. Therefore, if I want to play a Blind Blake song, I knew exactly what those notes were. So that I could play it, and I could please myself and then hear it back in the recording studio. That’s a key difference because you don’t do that. I knew you never wanted to be somebody who studied source materials, with the idea that you were gonna replicate Uncle Dave Macon on the array mbira.
It’s interpretive, of course, but it’s completely unexampled and completely creative and new. New being a kind of a silly word, but I mean different. A way to re-envision. But somebody like me or somebody like Dan Gellert and Rayna Gellert, for that matter, on fiddle, we learned the original because we liked it. So, when you hear something you like, you want to do it, too. That’s all. I wanted to do it well. But you don’t necessarily stop there. Because I always knew if I was gonna record, there would be very little point in doing all that music, whether it was Charlie Poole or Lead Belly or Blind Blake or somebody, note-for-note wouldn’t work because they already did it, so it was already done to perfection. If you love the record so much, you’re so impressed with this—so imprinted by it—then you had to do something about it. But what was that gonna be? That was gonna be to develop it a little and see how far you could go or see what sounded good. Do you like the playback? Go in the booth and listen. Got to record. Fantastic. Did I succeed? I don’t know. Sometimes I thought the ideas were good, the execution was questionable. But what you did with this record and have been doing for quite some time, is to completely recast the whole entire thing."
Interview By Whalebone
Jerry Garcia in front of the Grateful Dead’s “Wall of Sound” in 1974. The PA system would come to weigh more than 70 tons, and contain hundreds of amps and speakers that stood over three stories tall and 100 feet wide.
and people wondered how rock stars ended up with tinnitus?
Did you think of Jimi as coming out of the blues tradition?
Stevie Ray Vaughan: Some people don’t see it. Some people really do see it. See, I don’t know whether to call Hendrix a blues player along with a lot of the originals, but he did go and play with a lot of those people. He did do a lot of it during that heyday, before he got famous. It’s like he was on the tail end of something.
- That whole R&B movement.
SRV: Yeah. And a lot of it wasn’t even the tail end. A lot of it was the peak of it. He was doing that stuff as it was going on, you know. See, in his music, I hear not just the newer stuff that everybody seems to think was a lot different – and a lot of it is – but to my ears, there’s just as much of the old-style warmth.
- The blues style.
SRV: Yeah! Like “Red House.” I hear it in that. I hear it in just the way he approaches things. Even though he was not ashamed at all of doing some things different, I still hear the roots of the old style. I mean, not just roots, but the whole attitude of it.
I think a lot of it’s his touch and his confidence. I mean, his touch was not just playing-wise, but the way he looked at it, like his perspective. His perspective on everything seemed to be reaching up – not just for more recognition, but more giving. I may be wrong about that, but that’s what I get out of it. And he did that with his touch on the guitar and his sounds and his whole attitude – it was the same kind of thing.
Interview By Jas Obrecht - 1989
Stevie Ray Vaughan - Voodoo Chile Live in Austin Texas
Dr. John:
I would like to have done enough good stuff so that maybe somebody who does remember something will say, "He did the best he could with it all". That’s all anybody can do. I’d like to have that thought somewhere along the line, if there’s a thought at all. I mean I come from the city of spirits. N’awlins has more people in touch with the spirit kingdom than most places. The point is that we respect our ancestors. In day by day livin’ and survivin’, it’s not your first thought. Right? Music keeps things alive in its own way. It’s a powerful thing. That’s why I believe if you touch someone with music, then we’ve done something. I’ve been tryin’ to reach different angles of hittin’ people with some truths, making nice music and hittin’ them with something that’s not really a nice thing to say. If you hit them from both angles, maybe they’ll get something out of it because it doesn’t seem like a real dismal event
Listen, nobody’s perfect. We all make some serious, crucial mistakes. We all do some things that sidetrack us from the direction you was goin’ on. You wind up takin’ a detour somewhere and you didn’t intend that, but it happens. You’ve got to do everything you can that’s possible to make a better world to live in, to get to a point where you can say, "Hey – I feel good about this". It’s hard to do. N’awlins has been through a lot of mess. I’ve been through a lot of mess. Everything goes through a lot of mess. The way to get past all of that is to take action. If you do it right, you’ll get somewhere beyond all that. Sometimes you take a path that feels right and down the line, it turns out not be the path you wanted. It may have wound you up in some place you never wanted to be in the first place. Well, you gotta get a look at that and make an ol’ manoeuvre and so something else. This kind of stuff happens. Freq-uently.
Cian Traynor , June 25th, 2010 - Quietus
2 comments:
Very cool indeed!
Why thank you kind sir! Thanks for dropping by notBob!
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