This Historic Day In Music: “Guitar Rag” by Sylvester Weaver

My post of November 2, 2010 started thus:

“On November 2, 1923, African-American Blues guitarist Sylvester Weaver sat in front of the large horn/”microphone” of the acoustic recording machine in the New York City studios of OKeh Records. He played and recorded two original instrumental guitar pieces that day: “Guitar Blues” and “Guitar Rag.” The resulting 78-rpm record stands as the first recordings of solo acoustic Blues guitar music.”

With the following essay, I added a link to the original recording of “Guitar Blues.” (It’s still there. Check it out!)

For this post, I did my usual search of YouTube for a video/recording of “Guitar Rag” to embed for your listening pleasure. However, the only recording of “Guitar Rag” I could find was not from 1923. The version of the guitar instrumental that’s on YouTube is the re-recording of the piece that Weaver cut on April 13, 1927 in New York City for OKeh Records.

Though the 1927 recording is of much better fidelity (due to the change over to electric recording that transformed the recording industry in 1925) than the 1923 take, there is, in my mind, no substitute for an original.

So, here it is, from 89 years ago today. (It is still November 2 here in NH as I write this.)

“Guitar Rag” by Sylvester Weaver

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Mighty Storm

For the past several days, with every weather report and TV news story that mentions the name “Sandy,” the voice of Bruce Springsteen singing his song “4th of July, Asbury Park (Sandy)” has gone through my mind.

But today, another singer and song has been pushing Bruce aside.

“Wasn’t that a mighty storm, wasn’t that a mighty storm in the morning.”

That’s the first line of the chorus of a song called “Galveston Flood” as recorded by Tom Rush in 1966 on his Take A Little Walk With Me LP. I first heard it on the 1971 compilation Classic Rush.

I decided to look around on YouTube for a video with the song to post and I found something rather incredible.

On September 8, 1900, a hurricane boasting 145 mph winds slammed into the town of Galveston, Texas, leaving somewhere between 6,000 to 12,000 people dead in its wake.

On September 24, Thomas A. Edison sent a film crew to document the destruction.

The following video uses Tom Rush’s recording of “Galveston Flood” as the soundtrack to some of Edison’s film.

The song/video is a bit more than five minutes long. I highly recommend that you take the time to listen and watch.

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Autumn Leaves

The story goes that the land my neighbors and I live on was once home to a farmer.

In the late 1970’s, long after the farmer passed on and the fields turned fallow, a real estate developer bought the large property, stripped off the still-valuable topsoil and divided the many acres into 59 house lots. In the beginning, a tall sign stood at the entrance to the developement and welcomed prospective home buyers to “Brittany Park.”

Thanks to the foresight and insistence of the city planners at the time, the developer begrudgingly planted two maple trees along the street side of each lot when a house was finished. Though one of ours did not survive the first winter, the front lawn of our half acre is now graced with a tall, broad and beautiful tree.

Over the years, thanks to my parents’ generosity and, specifically, my father’s expertise, a variety of other trees came to decorate our property. As of now the landscaping includes four red maples, six clumps of white birch, a dogwood, a blueberry bush and, bordering the back yard, a u-shaped hedge  made up of 18 hemlocks. All on our own, my wife and I have contributed another maple, two forsythia, two pines and an oak.

On this October afternoon, as I survey my yard with its newly raked and mowed lawn, there is much that I am grateful for.

I am very grateful that hemlocks are evergreens.

I am also grateful (so far, at least) for the song that’s been running through my head all day: “Autumn Leaves.”

There is a reason, after all, that we call this season “Fall.”

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This Historic Day In Music: Barney Kessel

Barney Kessel played Jazz on an electric guitar. He was considered by many to be one of the best Jazz guitarists in the post-Charlie Christian decades of the 1950’s, ’60’s and ’70’s.

I became acquainted with his playing through a pair of albums that I acquired back in my Down Beat, Guitar Player and Stereo Review magazine reading days. (There was, and still is, nothing like a well-written cover story or a rave record review in the latest issue of a monthly publication to start me planning on making a trip to my favorite record store.)

The first album I owned, “Straight Ahead,” came out in 1975. It featured Barney Kessel with bassist Ray Brown and drummer Shelly Manne. This was the fifth collection that this trio recorded under the name: The Poll Winners.

My second purchase was titled “Poor Butterfly.” This Concord Jazz LP released in 1976 and showcased Barney trading licks with fellow Jazz guitarist Herb Ellis.

The analog tracks on both of these highly recommended albums are overflowing with the quintessential Jazz electric guitar sound that can only emanate from one source: a single pick-up, hollow-body archtop guitar strung with flat-wound strings and amplified through a basic, tube (not solid state!) amplifier with the lone enhancement of just a touch of spring reverb.

When such a rig is placed in the control of the hands, mind and heart of a player like Barney Kessel, the result is…

Well, why don’t you decide.

Listen to this.

Barney Kessel was born on October 17, 1923 in Muskogee, Oklahoma.

He recorded his first album, “Swing Guitars,” in 1953. His brilliant and prolific career was cut short by a serious stroke that he suffered in 1992.

Barney Kessel passed away on May 6, 2004 in San Diego, California.

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A Song For My Daughter’s Wedding

Late in the afternoon of Saturday, September 29, under cloudy but miraculously rain-free skies, with about 140 of their dearest friends and family members in attendance, my daughter Kristin and Andrew Robertson were wed.

That evening, at the brilliantly conceived, magical and exuberantly joyous reception, I played and sang this song to the bride and groom and their guests.

“The Embrace of Love” – Guitar & Vocals, Words & Music by Eric Sinclair

Click on the blue link above to hear the song. (Wait for it!)

I wrote the song for Kristin and Andy not long after they announced their engagement. Only the mother of the bride had heard the song before the reception. I hope you enjoy it, too.

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Wrestling With The Angel, Chapter 4

It was the fourth stop of the tour.

Bruce Springsteen & The E Street Band were performing in support of their fourth album, Darkness On The Edge Of Town. They’d hit the road on May 23, 1978 in Buffalo, NY. On this night, the venue was The Music Hall (now called “The Wang Theatre”) in downtown Boston, MA. For each of three sold-out nights, May 29, 30 & 31, the place belonged to Bruce, the E Street Band and about 3600 fans.

The night we were there – May 31, a Wednesday – Andrea and I had great seats, located in a what is now called the “orchestra box right.”

About 45 minutes into the show, as the applause started to die down after a loud, majestic, full-band rocker, the stage and the room went black. Out of the darkness came the haunting but declarative sound of a grand piano: arpeggiated chords strode steady and sure beneath a shimmering, insistent melodic phrase. (The pianist was Roy Bittan.) After a minute or so, one white spotlight came on, front and center, from directly above the stage. Shining down, it illuminated Bruce, standing at the microphone, at first seemingly entranced by the piano music, but then beginning to sing.

Listen.

If you’re a new (since May 2010) visitor to this blog, the purpose of my Wrestling With The Angel series (or category) is to highlight and share individual songs that are on a list of mine entitled: Devastatingly Great Songs. The title phrase, “Wrestling With The Angel,” is my paraphrase of a line from a poem by Herman Melville called Art. You can read the complete poem in my archived post of November 4, 2011: The Source.

P.S.: Happy 63rd Birthday, Bruce Springsteen.

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While We’re On The Subject… The Tommy Gallant All Stars

The only live performances of New Orleans/Traditional Jazz that I’ve had the pleasure of hearing were back in the late 1980’s and 1990’s. The group that I had the very good fortune to hear was made up of some of the best Jazz musicians from around New England. They were known as The Tommy Gallant All Stars.

Tommy Gallant was a Jazz pianist, teacher, colleague and a friend.

Besides being a deceptively brilliant, delightfully swinging and always entertaining player, he was, throughout his long career, a tireless promoter and supporter of Jazz in the seacoast New Hampshire area and beyond. His music and his work have been memorialized and perpetuated in the annual Tommy Gallant Jazz Festival, which celebrated its 17th season this past summer as part of the Prescott Park Arts Festival in Portsmouth, NH and in the Tommy Gallant Memorial Jazz Concert held every Spring at Phillips Exeter Academy, Exeter, NH.

Tommy taught Jazz piano and directed the Stage Band at Phillips Exeter from 1968 to 1998.

Thanks to the kindness of Mr. Charlie Jennison, President of the Seacoast Jazz Society, I have been given permission to share with you the only commercially-released recording (that I know of) of The Tommy Gallant All Stars.

This recording is taken from a 2002 CD entitled: Tommy Gallant and Friends – Live at the Press Room, Volume 1. It was put together by the Seacoast Jazz Society to raise funds for the Tommy Gallant Scholarship Fund.

All of the eight recordings on the CD were recorded live at the Press Room, the legendary (and still going strong) music venue located on Daniel Street in downtown Portsmouth, NH. The Tommy Gallant Trio was the house band at the Press Room most Sunday nights for many years. Besides their own extraordinary, bring-the-house-down performances, they provided first-rate accompaniment to a long list of locally distinguished and nationally known guest artists.

The members of the Tommy Gallant All Stars on this February 18, 1996 recording are: Dick Creeden, cornet; Jerry Fuller, clarinet; Don Doane, trombone; Tommy Gallant, piano; Jim Howe, bass; and Les Harris, Jr., drums.

Click on the blue link below for six minutes and thirty-five seconds of pure joy.

“Shine” – The Tommy Gallant All Stars

Tommy Gallant passed away on September 28, 1998 at the age of 63. 

Still miss him.

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This Historic Day In Music: “Black Bottom Stomp”

As much as I find New Orleans or Traditional Jazz to be among the most smile-inducing music ever made, my LP/cassette tape/CD/iTunes collection contains only four volumes of this remarkable genre of music.

I own Volume 1 & Volume 3 of the Columbia/Legacy CD series compiling the complete recordings of Louis Armstrong & His Hot Five and Hot Seven. The yellow sticker on the outside of the plastic jewel box for Volume 3 proclaims that these recordings are “THE MOST IMPORTANT RECORDINGS IN THE HISTORY OF JAZZ.” I can’t say it any better.

(If you want to add some of Louis Armstrong’s New Orleans Jazz to your music collection and only want to spring for one CD, purchase the Columbia/Legacy album Louis Armstrong: Best Of The Hot 5 & Hot 7 Recordings.

The one bit of vinyl in this group is a copy of the 1968 Coral Records LP by clarinetist Pete Fountain called Walking Through New Orleans. Pete Fountain – born July 3, 1930 in New Orleans – is considered by some to be the greatest living New Orleans-style clarinet player and was once a featured member of the Lawrence Welk Orchestra. (My parents loved Lawrence Welk and used to watch his nationally broadcast television show quite often, much to my teenage chagrin.)

The most recent addition to my miniscule collection is a quite remarkable CD on the RCA/Bluebird label with the long title of Jelly Roll Morton: Birth Of The Hot – The Classic Chicago “Red Hot Peppers” Sessions.

The first track on the Jelly Roll Morton CD is “Black Bottom Stomp,” written and arranged by Mr. Morton. It was the first piece recorded by Morton’s Red Hot Peppers in a session that was held on September 15, 1926 in the Webster Hotel, in Chicago, Illinois, for Victor Records.

You absolutely have to listen to this.

Isn’t that something?

The members of the Red Hot Peppers on that track are: Jelly Roll Morton, piano; George Mitchell, cornet; Kid Ory, trombone; Omer Simeon, clarinet; Johnny St. Cyr, banjo; John Lindsay, bass; Andrew Hilaire, drums.

The Peppers had four more recording sessions over the next nine months, all held in Chicago, Illinois, with the last one held on July 10, 1927.

Jelly Roll Morton was born Ferdinand Joseph LaMothe (Lemott? LaMotte? LaMenthe?) on October 28, 1885 in New Orleans, Louisiana. He passed away on July 10, 1941.

According to him, he invented Jazz.

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This Historic Day In Music: A Triple Header

What do the Stephen Foster song “Oh! Susannah,” master fingerstyle guitarist Leo Kottke and the single version of The Beatles’ song “Love Me Do” all have in common?

They were all (kinda, sorta) born on September 11.

“Oh! Susannah” had its first public performance in Pittsburgh. PA on September 11 in  1847.

Leo Kottke was born in Athens, Georgia on September 11, 1945.

The version of “Love Me Do” that was released as the first single by The Beatles was recorded on September 11, 1962.

For more detailed information about these three historic events, please visit my blog archives for September, 2010 and find the September 11 post titled “On This Day In Music History: A Triple Header.”

A splendid read is guaranteed for all!

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Road Songs

My wife Andrea and I recently returned from a truly delightful and action-packed  Labor Day weekend visit with our son, our daughter and her fiance`in Washington, D.C. With overnight stops to see family and friends in New Jersey on both the way down and the way back, this road trip took eight days and added 1218 miles to the odometer of our trusty, dark red, Ford Taurus station wagon.

Now, to me, on a long trip, conversation is the best stimulant. However, putting together the right collection of music CD’s, for those times when the conversation wanes, is one of the most essential parts of preparing for such a journey.

The first and foremost requirement for any disc that makes it into our zippered, black and silver, “Honda”-emblazoned, CD travel case is that it must contain music that both Andrea and I enjoy. Driving music also needs to be energizing, invigorating and endowed with a high degree of something I call “sing-along-ability.” I don’t think there’s anything that can make driving the New Jersey Turnpike enjoyable, but belting out “Spirit In The Night” or “Rosalita (Come Out Tonight)” as you cruise on past Newark certainly elevates the experience.

The CD’s that passed muster for this trip were: So Far by Crosby, Stills, Nash & Young; All That You Can’t Leave Behind by U2; Greatest Hits Volume One The Singles from The Goo Goo Dolls; and Volumes 1 & 2 of Motown 1960s from the 20th Century Masters/The Millennium Collection series.

Complementing those six albums were four carefully compiled mix CD’s containing a wide variety of classic tracks that also easily fit the bill. There was a two disc set entitled “Songs To Be Sung” and another two disc set simply called “Rockers.” These collections included songs by The Beatles, Bob Dylan, Joni Mitchell, The Rolling Stones, John Hiatt, Bonnie Raitt, The Doobie Brothers, The Band, Jackson Browne, James Taylor and a stellar list of many more of our  favorite artists.

Thus prepared and finally packed, off we drove.

From Southeast New Hampshire to Northern New Jersey: RiverVale and Washington Township; then to central NJ: Chatham and Cherry Hill; finally arriving in Washington, D.C.: Connecticut Ave., NW, just above Dupont Circle. While based there, we paid visits to Arlington, VA; Potomac, College Park and Silver Springs, MD; the White House and the Watergate, to name a few.

We talked.

As usually happens, Andrea and I found many topics to discuss and we never listened to all the music we brought. The discs by U2, CSN&Y, The Goo Goo Dolls and one each from the Songs to Be Sung set and the Rockers set did find their way into the disc player and all served their purpose admirably.

We sang. 

With our voices raised to the strains of “Slide,” “Our House,” “A Hard Day’s Night,” “Beautiful Day,” “Wouldn’t It Be Nice,” “Mr. Tambourine Man,” “The Weight” and many more incredible songs, we happily passed the time and covered the miles, rolling down that long ribbon of east coast highway. At the start, eagerly anticipating the sight of our children’s smiling faces and then, as we headed home, longing for a good night’s sleep under our own roof and together in our own bed. Home, sweet home.

Road Songs.

What songs drive you?

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