Howling contemplates a new career, says goodbye to an old bluesman and finds it in his heart to forgive Wooden Horse. Yup, once again folks its time to gather on Dick’s porch and grab another fine mix of blues ‘n roots
T Model Ford – We thank you
I think that what got me into programming an almost all-organ show this week—Updoc, Friday at 8PM and next Tuesday at noon, Organic Brooklyn Time—was the unbidden memory of how cool Jimmy Smith’s break was into his solo out of the brassy triplets of Elmer Bernstein’s film theme Walk on the Wild Side (as orchestrated by Oliver Nelson): the rhythm bunches up with Grady Tate’s press roll and then the rhythm section hits the release and Smith plays the perfect churchy-funky lick and the whole thing rolls like a wheel on fire. No wonder it was a radio hit in 1962, six minutes long, with the organ break starting the second side of the 45. I bought it. I still buy it. The rest of the show rolled on from there some Larry Young with the Lifetime and a Blue Note session, Bach’s great Passacaglia and Fugue, Don Patterson with Booker Ervin, a Duruflé fugue, Messiaen’s Apparition de l’Église Eternel—for some of it he clearly hopes that the Eternal Church will scare the shit out of the parishioners—Fats Waller playing St. Louis Blues, and (for the title at least) Count Basie and Pres playing the Upright Organ Blues. Then there’s a piano surprise and Jimmy Smoth’s long Blue Note jam from’57, The Sermon, so churchy-funky it’s got tailfins. The tag from Philip Glass fades out just before it gives you a headache. Bring your liver, kidneys, heart and lungs.
Howling admits to the ageing process, gives 5 long haired blokes from Richmond (UK) a break in their career and gets a surprise package just in time to finish off the show. Once again folks, it’s another hootin’ tootin’ and rootin’ voyage through the world of cool music coming from Dick’s Porch
Percy Mayfield – Poet Of The Blues
I don’t play a lot of short songs on the show—Updoc, Friday at 8PM, noon next Tuesday, Heated Eastern Daylight Time—very often, especially since my colleague Brian Cullman knows more of them than I do and can even put them on toast; but it’s hot outdoors and in and I felt like playing some familiar shorter things, starting out with Mose Allison and moving on to Lady Day, Frank Sinatra—effortlessly fine on One For My Baby, but really impressive on Sammy Cahn’s difficult, chromatic Only the Lonely, which must be even tougher to sing than Lush Life—plus Swamp Dogg and Esther Philips’ great The Love We Got Ain’t Worth Two Dead Flies, the Meters, Bobby “Blue” Bland and Jesse Winchester. Then we chill things down, way down, with Béla Bartók’s one-acter Bluebeard’s Castle. I’m usually wary of playing opera on the show, but this one’s a two-hander with a simple plot: Bluebeard comes home with a new wife, she wants to open the doors and let the light in, he says Don’t do that! and she insists and it works out badly. Classic performance by Christa Ludwig, Walter Berry, Istvan Kertesz and the LSO. If it doesn’t make your hair stand on end it’s because you’re sweating too much or have a hat on. Actually, I picked the Bartók first, and the hook to putting some songs on was Mose Allison’s odd Meade-Lux-Lewis-by-way-of-Bartók piano style, and it’s always good to hear from the sage of Tippo, Miss. Béla “Blue” Bartók’s Ba-Lues Are!
Howling proves he is a man of his word, languishes in memories of days gone by when genres hadnt been invented and proves that there is bad humour in the blues. Once again folks its a fun filled hour of blues, roots and other stuff comin’ at ya straight from Dick’s porch.
Creedence – fashion victims?
Lead Me On 2:06 Bobby “Blue” Bland Two Steps From The Blues
I Have Become A Stranger To This World Dietrich Fischer-Diskau Mahler lieder
Blues On The Ceiling 3:57 Tim Hardin This Is Tim Hardin
The Red Wall 5:10 Rebecca Martin Thoroughfare
Shenandoah (Master Take)1:44 Johnny Smith Chip Stern collection
Too Much Between Us 3:43 Procol Harum A Salty Dog
It Never Fails 2:16 Ron Sexsmith Other Songs
Taqsîm Maqâm ‘Ajam, pt. 2 3:12 Omar Bashir Taqâsîm (Luth arabe, Arab Lute)
Striggio: Ecce Beatam Lucem 9:17 Paul Van Nevel: Huelgas Ensemble Utopia Triumphans
Lago De Almovar 3:06 Pepe Marchena Grands Cantaores Du Flamenco Vol. X
Ambasel 3:49 Hailu Mergia Hailu Mergia & His Classical Instrument: Shemonmuanaye
My Town 3:13 Paul Siebel Woodsmoke & Oranges
If the Law Don’t Want You 2:51 Norah Jones KIN: Songs by Mary Karr & Rodney Crowell
Richmond 3:05 Faces Stay With Me – Anthology
Until The Real Thing Comes Along The Ravens Greatest Group Of Them All
Sueño Mama 3:24 Roberto Poveda Son Electrico
Satisfied Fool 3:52 Nathaniel Mayer I Just Want To Be Held
How Much Can A Man Take 2:31 Big John Hamilton Big John Hamilton
Soulin 2:32 Sir Stan And The Counts The Rustler Presents: Because You’re Funky
Tennessee Blues 5:34 The Sir Douglas Band The Best Of Doug Sahm’s Atlantic Sessions
Oo Debut 1:09 Moondog Moondog, The Viking Of 6th Avenue
Chegada 4:40 Joyce, Nana Vasconcelos, & Mauricio Maestro Visions Of Dawn
Aranis 4:00 Soap Kills/Yasmine Hamdan Cheftak
Divertissement Des Bergers 4:23 Peuhls Bergers Jeux De Flûtes Des Bergers Peuhls
The Devil Bush 2:20 Pell Mell Flow Rock
Life is Funny 0:16 The Fugs It Crawled Into My Hand, Honest
Soré ga mo The Tree of Peace 1 3:08 Arone Singa, Bernard Barbu Centrafrique: Musique pour sanza en pays gbaya
Soré ga mo The Tree of Peace 2 4:51 Arone Singa, Daniel Ngda’dikè Centrafrique: Musique pour sanza en pays gbaya
Tumbalalaika 1:57 Trio Klezele Freylekh from Vladivostok
Patria 5:07 Ruben Blades The World & His Sister
World 4:53 Julia Holter World
Schumann: Fantasiestücke, Op. 12 2:04 Martha Argerich Schumann: Fantasie In C
About fifty years ago today the John Coltrane Quartet recorded the best of its middle-period tour dates, one that has been released several times as Live in Stockholm 1963, sometimes featuring tracks unattributedly lifted from other times and places. The band would play some still more scarifying concerts two years later—anyone remember Impressions, Part 2, from what is sometimes said to be Paris and other times Antibes and featuring, wherever it actually hailed from, Elvin Jones’ menacing impression of a huge oncoming storm?—but the Stockholm set’s virtues are its own, less radical reward, with a striking I Want to Talk About You and a long Traneing In in which you can hear the band struggling to get the thing off the ground and finally doing it, bigtime. There also seems to be a vocal mic on Jimmy Garrison, who sounds like an asthmatic trying to run a marathon.
Meanwhile, in galaxy far, far away—all right, Vienna 130 years ago—Anton Bruckner premiered his Fourth Symphony and for a change the audience liked this one. I heard a radiant and vital performance by Simon Rattle and the Berliners on the radio and decided to put it on the show until I checked out the far more amazing Fürtwangler 1951; but I’m not a dyed in the wool Brucknerian, and although I’m one of Wilhelm F’s most ardent fans, Fürtwangler’s Bruckner is Bruckner squared, or cubed, even. Eugen Jochum’s great recording with the 1960s Berlin Phillies (performing an 1881 revision of the score) squares the circle: no one can say of it, as was cuttingly said of Bruckner’s giants in general, that they have massive limbs but muscles too weak to lift them. It is one of the greatest symphonic performances on record. There are a couple of other things on the show, but that’s pretty much it: two great and different visions of the vasty depths and spaces above us and within. You could bring a telescope or an X-ray machine, but your ears work best of all.