The Shape I'm in

"The Shape I'm in", sung by the late Richard Manuel, The Last Waltz, The Band

I've written about The Last Waltz concert film elsewhere. Here's one of my favorite servings of this rock n' roll gumbo.

Duane Allman Wednesdays at The Florida Cracker

Wednesday October 21st's Duane Pic Florida-Cracker.org

Come join the merry band of Duane fans who gather `round on Wednesdays to check out a new, sublime phone of the legendary guitarist and band leader. One can learn a lot from webmistress Donnah and this diverse group, brought together by a continuing appreciation of one of our eras greatest slide guitarists.

Stop on by and shout out a "Wail on Skydog!" some time.

Bonnie Raitt & Norah Jones: Tennessee Waltz

*****

*****

Everyone from Patti Page to Otis Redding has covered this tune, one I first discovered as a deep album cut on Emmylou Harris' Cimarron (1981). Here Bonnie Raitt, giving us a taste of her patented slide guitar style, and Norah Jones, playing superb electric piano, turn in a timeless duet performance of the Tennessee Waltz.

Chasing Carol: A Review

Chasing Carole

Though on a much smaller scale, in this novel Barbara Washburn gives us a simplified version of The House of the Spirits (Isabel Allende), set in present-day America, the Golden Age of Hollywood (1930s and 40s) and the spirit world that connects them. This fine novel calls upon us to open up to spirits not of this world, spirits interacting with very real women of this world.

Here we have interwoven narratives: a remarkably personal view of Carole Lombard -- one of the foremost stars of the depression era screwball comedy -- during her affair with and marriage to Clark Gable. At intervals comes the story of a fictional modern-day granddaughter of Lombard (Cass) and her almost-partner Cameron.

I must admit, the modern-day relationship between college professors Cass and Cameron are my favorite part of the book. While I liked the firsthand stories of Lombard, set in her Golden Age of Hollywood world, Ms. Lombard doesn't come to life the way Cass and Cameron do. Perhaps it's a generational bias of mine -- the characters of Cass and Cameron are my contemporaries, very easy for me as a reader to identify with. These modern parts of the book look very much like real life to me, flesh and blood women facing the challenges of life.

Yet I also like stories that challenge skeptical views of the spirit world. And here, as with Isabel Allende's novel noted above, I found myself wanting to believe in the supernatural elements of the story. This is a strength of the novel for me. I'm one of those spirit world skeptics, but not here. The intimacy of the the portraits of Lombard and Gable are startling; "how could Ms. Washburn know that?" I kept asking myself. The details ring very true. And the Hollywood insider information on their contemporaries strike me as have come from a very accurate source.

With Chasing Carole, Barbara Washburn provides us provides a novel at once fearless in its frankness yet tender and loving at its core.

Ray Charles: In Tribute

I saw the late Ray Charles live twice -- sequential gigs on a tour in the late seventies. Both show were great, but they couldn't have been more different. The first show was in Mobile, Alabama and Ray was playing to -- what can I call it -- his "commercial" audience. This show was designed to entertain anybody with even the smallest appreciation for his talent. He was playing to a mostly white audience, and entertain he did. He blew me away.

But I didn't know what was to come. The next show was at the New Orleans Performing Arts Center. Here he played a completely different set, this time to take serious jazz fans and blow their socks off. Striped down, improvisational, personal; I was awestruck by both his polished talent as an artist and also charisma as a showman.

I hear the recent film Ray is a good one, but I intentionally haven't seen it. I'm still savoring my memories of those two live show more than a generation ago. Ray, your genius will always live on in my heart and my soul.

Another Gem from Santana: "Song of the Wind"

*****

*****

Santana, "Song of the Wind", Caravanserai (1972)

By 1972, the original Santana band, brought to international prominence with their appearance at Woodstock, and their second album, Abraxas, had broken up. Carlos was taking control and entering an intensely spiritual period that would last through the mid-seventies. But their fourth album, Caravanserai, contains a gem. It's not the perfect latin / rock fusion of the early days, but rather a shimmering, searing example of Carlos at his studio best. (I say studio best because, for the hard core fan, the jazz / rock / fusion of a full concert from these days, Lotus, is unsurpassable.)

So for those who have never heard it, hear's a treat for you ears, heart, and mind: Song of the Wind from 1972.

A Drum Set for the Ages

This is a follow-up to Barbara Washburn's post below on drummer Jim Tilton. Jim wanted to add a description of his drum set -- a work of art for the ears and eyes. Here's Jim's description:

My Drum Set
By Jim Tilton

After forty plus years of playing the same set of Ludwig drums, a decision was made in the winter of 2007 to treat myself to a new set. It took a lot of self-convincing and excuses to place an order for one of the most extravagant drum sets available. The set is a Drum Workshop Collector’s Series, custom built, with an exotic finish.

The set is a fourteen piece maple construction with built-in matched low timber tone. The wood finish is Macassar ebony vertical grain, and is highlighted by twenty-four karat gold plated hardware and stands.
The set consists of 5x10, 6x10, 7x10, 8x10, 9x13, 10x13, 11x14, and 12x14 suspended toms; 16x16 and 16x18 floor toms, two 18x20 bass drums with beta 52 internal systems, and 5x13 and 7x14 snare drums of 10+6 maple construction.

The cymbals are Amedis Zilijian 15 inch new beat hi-hats, 6, 8, and 10 inches, a custom splash 16 and 18 inches, a custom fast crash 16, 18, and 20 inches, and a custom medium crash, along with an Amedis Zilijian 18 inch China High. Completing the cymbal set is a Sabian 22 inch paragon fade.

Rounding out the set is an assortment of five Latin percussion cow bells. All drumheads are DW coated and clear heads. Mics are Sennheiser Instrument and Drum, sticks are Pro-Mark Portnoy, jazz, and 727 as required. Finally, the most important parts are the SKB fabric and foam-lined cases for every drum.