les doigts de l’homme

All That Jazz

I got a message this week that said, “Hey Jude, don’t make it bad, but that back-order of discs you’re expecting? Ain’t gonna happen. Remember… to order from us again…then you’ll begin to make it…better…” The discs in question were from the order that included the Howlin’ Wolf and Davey Graham CDs I’ve already reviewed…and yes being the guy I am, I did make it better, but not at the same online retailer. We haven’t finished with the replacement for the broken Wolf discs yet…so it’s best to proceed cautiously. But there was a bunch of music listening done this week so here are a few down-and-dirty reviews.

Moonlight in Vermont ***** This album was probably the high point of Johnny Smith’s career and is viewed as one of the most influential guitar classics of the period by many, including prominent guitarists such as Barney Kessel, Wes Montgomery, and Jimmy Bruno. Charlie Parker was also rumored to be a huge fan. The album is still a great disc to listen to because of its high level of musicality and the emotional romance that music of this period contained. The material on the album was actually a compilation drawn from 2 10-inch discs that Johnny had recorded while at NBC during the early 1950s (It was the song, Moonlight in Vermont, not the album, that was jazz magazine’s Downbeat #2 song of the year (in 1952). The album Moonlight… was released in 1956 and Smith picked his band from a group of fellers he met while was on staff at NBC. This group included the incomparable saxophone superstar Stan Getz, who is the perfect foil for Smith on this album as the two of them drive each other to thrilling and precipitous heights on several cuts. It’s easy to imagine that in lesser hands what is attempted would fall apart spectacularly, but they both had a level of mastery that enabled them to play cleanly, clearly, and brilliantly no matter the tempo or difficulty of the musical passages; a reason many of the performances on the disc are flat-out breathtaking, even by today’s standards.

Many reviews of Moonlight in Vermont allude to Smith’s chord melody style having the quality of a piano and his single line playing recalling the great saxophone lines of someone like Lester Young, and this is true. He also had a pure, very crystalline tone delivered either on an Epiphone or Guild archtop and there is at times a very distinct Western Swing vibe and a nod or three to the great Chet Atkins. Throughout the album there is a very Lush Musicality, that is well supported by the great rhythm section and piano players that appear on the disc. Moonlight in Vermont includes the original composition Jaguar with Smith and Getz playing the dual lead head and middle passages at breakneck tempo. Then there is the Caravan-esque Tabu with its bebop harmonies and dark guitar tone…also a dual lead by Smith and Getz. Smith’s picking is clean and forceful and he has said he imagined that he would have to execute lines in the same smooth fashion as a violin player (going from a bottom note all the way to the top in one crescendo movement). The breakdown middle during the solo choruses of Tabu illustrates this very well with both players blowing out a flurry of notes. The best ballads: Tenderly, Stars Fell on Alabama, I Don’t Stand a Ghost of a Chance, and the title cut all feature Johnny’s beautiful chord melody (tight-closed voice) playing that he pulls off with the harmonic and melodic sense of a classical/jazz pianist. At other times, the sound of Johnny’s guitar almost approaches that of a pedal steel and that tone adds an extra level of sweetness, ambiance, and emotionalism to the tunes and juxtaposes very nicely with Getz’s very throaty, resonant sax solos. Sometimes it also sounds like Hawaiian slack key slide guitar as on the bouncy Vilia and I’ll Be Around. Then there are the tunes that are completely early 50s bop: Cherokee, Nice Work If You Can Get It, and Cavu. All in all it’s a perfectly balanced listening experience and though it serves as such, it is much more than just a very inspired guitar study. Trust me when I say that if you throw it on the next time you want to set a romantic mood, you won’t be sorry!

Soft Guitars***1/2 The Al Caiola (w/Don Arnone) Soft Guitars disc is another lush and very swanky jazz disc, released in 1961. Both Caiola and Arnone were well-regarded studio musicians in New York in the 1950s, so obviously this is top-level, well-arranged music for the swank set of that time. This is very typical of the Cool Jazz/Space Age pop/Bachelor-Pad style of music of the time; lots of playful sounds, swinging guitars, bongos, vibes, bells, whistles, sound effects, and lots of album covers with hot babes. This album was originally part of a two-LP set called Great Pickin’ and Soft Guitars and then was a 2 LP on 1 CD set and somewhere along the line the set was split. It is a marvelous snapshot or earshot, if you will, of a time in music that is long gone, yet recalls the exuberance, optimism, and class of the pre-rock era. People like me, who came of age during the 60s and 70s still heard this type of music and this type of musician all of the time on television and in movies. It didn’t really go away permanently until the 80s.

There is a well-arranged duet style that permeates the record and given that both of these guys were first call session guitarists, I’m sure they came to this kind of arranging naturally. There isn’t a whole lot of wild improvisation or flashy stuff; they keep it to some great instrumental jazz/popular music of the time, played exceptionally well. They cover Stella by Starlight, Try a Little Tenderness, The Sound of Music and More Than You Know. Leading off the album is their take on They Can’t Take That Away From Me, a song that was later associated with jazz guitar titans Ted Greene and Martin Taylor. Since this album was recorded way back in 1961, I would say Al and Don got there first! In addition to other jumpin’, jivin’ tunes like S’ Wonderful and S’Nice they do a great take on Imagination, the old jazz warhorse I Can’t Get Started, and Clair de Lune as Debussy might’ve imagined it. I wrote about Debussy and the complicated history of Clair de Lune here and was very surprised to find it on an album like this. Because both guitarists are obviously playing electric (archtop) guitars their version has a much different, trebly, ringing quality that one doesn’t hear when the piece is performed classically as it usually is. But I enjoy the very ethereal and dreamy feel that is augmented with beautiful harp accompaniment from Gloria Agostini. Though this isn’t the genre-defining album that Moonlight in Vermont was and is, it is still a great listening experience.

There were two other discs that I previewed, but ultimately passed on…and they were both Django Reinhardt CDs if you can believe that! The first disc was Django and His American Friends, a 3 disc set that is mostly Django backing up the likes of early jazz superstars like Coleman Hawkins and Benny Carter as well as lesser-knowns like Rex Stewart and Dickie Wells. There are some Freddie Taylor vocal cuts (After You’ve Gone, Georgia, Ilse Muggin’) too, but they (as well as some of the Hawkins material) can be found elsewhere and I already have. While the disc gets great reviews, most of this stuff is the big-band era kind of jazz that doesn’t really feature guitars or Django. Of course he was a GREAT rhythm player and there is something to be said for the historical value, but I do have some of this stuff on other comps and truth be told, it’s not really my go-to Django stuff. I prefer him playing his compositions.

Another Django disc I previewed and passed on was Django in Brussels, which is not the same as this disc that I have and have already reviewed and is very good. Culled from 1942 sessions, this new disc (new to me not NEW) sounds like it was recorded off of someone’s copy of a scratchy record in the back of a caravan somewhere. The sessions themselves are the stuff of legend: recorded beneath Stalag 13 while Colonel Klink and the rest of the oblivious Nazis slept, Django and his band recorded a bunch of rare and unheard tunes…at least for those who are familiar with his catalog. Of course, this is the major selling point of what I found to be a ho-hum collection. Also…I can’t get past the fidelity. That’s probably all that survives of this session at this point, but I didn’t think the songs themselves were so great that I could ignore the sound quality. Others make think differently about that equation and that is the beauty of musical opinions just BEWARE! If you are thinking about buying a Django in Brussels CD and it doesn’t look like this, better preview some of the audio first is all I’m saying!

Jimmy Page and Improvisation

It occurred to me the other night that Led Zeppelin was, at the height of their career, the world’s best JAZZ band! Of course the concept began began with, and revolved around, Jimmy Page. Onstage he was the lead soloist of a combo that would sometimes do 30-minute versions of Zeppelin studio material/cover songs. In the studio, whether as a guitarist or producer, he constructed Zep’s body of work with the precision and care of Mozart or Wagner, layering instruments and tracks into sonic artworks of beauty, power, mystique and awesomeness. Everybody knows all that already, but approaching it from the angle that they weren’t really a rock band means you might hear something different the next time you encounter a Zeppelin tune. I’ve been listening to them since the 1970s and believe it or not, this happened to me recently. So let’s have a go! (as they say in the (UK)

As the Yardbirds were dissolving in 1968, Jimmy Page and Peter Grant came up with a strategy for the group that would become Led Zeppelin based on what they had seen in the USA on the Yardbirds’ final tour – music that was outside the milieu of the radio-friendly singles market. Both Grant and Page thought that the group that would be Zeppelin could take on American heavies like Vanilla Fudge and Iron Butterfly and do way better with the same formula. Interestingly enough, as related in Hammer of the Gods, Page had been considering a group in the Pentangle mode, because of his love and respect for artists like Bert Jansch, in particular, and acoustic music in general. Page is quoted as saying, “At one point, I was absolutely obsessed with Bert Jansch. When I first heard that LP, I couldn’t believe it. It was so far ahead of what everyone else was doing. No one in America could touch that.” However, once Page heard and saw John Bonham play he quickly scotched the acoustic idea (at least full-time) and heard everything Zeppelin would become. From the beginning, Zeppelin focused on albums in the studio and explored a wide range of improvisations live. Many of these improvs were blues-based but because of Page’s wide range of influences and the outstanding abilities of Jones and Bonham, the music careened into many different directions with dynamics, including acoustic-based music, that would eventually be known as Zeppelin’s Light and Shade. Robert Plant would also help take the band into interesting directions as he became a more confident frontman and writer. As the group was in the process of launching their career, the world’s first supergroup, Cream, was calling it quits. Not only was Cream lauded by fans in the same way that Zeppelin would be soon (for their ability to just play), they were also taken to task by critics for their “excesses”, which would become a major point of attack by critics against Page and Zeppelin as the 60s gave way to the 70s.

Led Zeppelin has never said their approach had more to do with jazz than pop music, which was still the only alternative at the time. CLASSIC ROCK didn’t exist and even though The Beatles had been successful releasing a 7 minute single (Hey Jude), they were The Beatles and had earned the right to do that. Conventional wisdom at the time dictated that music be produced in the conventional format and many bands like The Yardbirds and Cream, were constantly pressured by management that valued hit singles over a sound or a good album that would’ve sold in the newly emerging markets. Led Zeppelin didn’t have to worry about this because their manager, Peter Grant, never pressured the band for music and took anyone who did to task. He was savvy enough to see where the money was in the coming decade and left Jimmy and company alone to do what they wanted. While there are some to this day who view Grant as a gangster and bully because of his tactics, he was the first manager who ensured that the artists he represented got a huge percentage of the credit and compensation for their music and performances. Page insisted on complete creative control as a bargaining chip for Zeppelin’s record deal and Grant made sure he got it. He was the fifth member of Led Zeppelin and was a major factor in their success and has been recognized as a major game-changer in the history of popular music. With his help the band racked up album and concert sales that blew away everyone’s expectations. Not only was the writing and playing good enough to swing multiple generations of fans into Led Zeppelin’s corner, the band took their improvisation ethic to new heights and their live shows became an ever-changing exercise in a variation on a theme. This isn’t what most people think of when JAZZ is discussed, and heavy rockers and serious jazz artists would be equally offended by the term, but the basic drive and aspirations of Miles Davis and Jimmy Page or any of a number of ALT artists, which Zeppelin definitely were at the time, are primarily the same. It matters little what ends up on the disc. So much of that genre classification is all about selling units to consumers. A Led Zeppelin concert from the early days always had “songs”, but the highlights of the show were long improvised workouts on certain studio recordings — How Many More Times, Dazed and Confused, Trampled Underfoot, No Quarter, Whole Lotta Love,Moby Dick and whatever Jimmy picked as his “solo” spot (White Summer/Black Mountainside). As time went on the band was able to create long pieces that didn’t contain the same amount of improvisation but were arranged and conceptualized extended pieces of art: Stairway to Heaven, The Song Remains the Same/The Rain Song, Kashmir, Ten Years Gone, In My Time of Dying, Achilles Last Stand. None of this stuff is really ROCK music even if it sounds like ROCK music. It’s played with rock instruments and played at high volumes but the combination of instrumental prowess and artistic vision in the writing and live interplay produced something more than what most bands, even of that era, were capable of. It really does compare favorably to the best jazz and how the best jazz bands functioned without sacrificing any of the heaviness or youth signals (lyrics, stage theater, drama) that fans responded to.

LZ_1Before I started playing jazz music I always thought the version of Dazed and Confused (from The Song Remains the Same movie) was a bit too long and went through one too many “movements”. If it had been up to me, I thought there were two that could have been cut without losing anything from the performance (and this still might be true…improvisers are always in the process of editing and perfection is completely relative). Watching it recently, I thought the band’s performance was and is completely phenomenal. I’ve never liked the “fantasy” sequences in this movie because the band’s ability to take an audience through a half hour of music, power, drama and performance is totally cool and would certainly have been enough even in 1976. Is some of the drama silly? Of course, but the band didn’t take themselves as seriously as everyone else did and the limits of what could be done in a live performance were still expanding. Throughout the song Jimmy Page employs power chord thud, blues and country fills, dramatic wah-wah arpeggios and harmonics, slashing funk chords, avant-garde bowing and noise ripples and plenty of ripping riffs and zipping lines. When he was at his best Jimmy, like all of the great guitar improvisers, was a great synthesizer of all his influences and whatever was floating in his imagination at the time. By 1973 not only was the band firing on all cylinders live, their confidence level was completely off the charts. There is also maturity seen (and heard) in these shows that doesn’t exist in the early days and there is none of the dissipation and exhaustion that creeps into the band by later in the decade.

In 1973 Dazed and Confused was still a major centerpiece of Zeppelin shows. Typically, it occupied the 10th slot of the set, preceding Stairway to Heaven. In 1997 artist and Led Zeppelin bootleg expert extraordinaire Luis Rey analyzed Dazed and Confused in his book Led Zeppelin Live: An Illustrated Exploration of Underground Tapes. He split the song (1975 live version, which ran even longer than 1973) into 12 basic sections as a means of identifying the changing parts and progression of the piece. You can check the Wiki link for the actual sections and I think they’re pretty close in general to this version, at least the overall substance. Obviously some of this was rehearsed prior to the tour and Zeppelin played the set they rehearsed pretty much at all shows on a tour with only the encores varying from show to show. BUT…as was said at the time and what is obvious if you listen to enough copies of shows from their tour, within the general framework, there was plenty of room for improvisation and spontaneity, especially as far as Page is concerned and he certainly took advantage of that freedom.

Dazed and Confused was originally “picked up” by The Yardbirds after seeing Jake Holmes perform it in New York City when he opened for the band in summer of 1967. The title, bassline and general vibe of the song were lifted intact, but the lyrics were rewritten and even before Led Zeppelin came into fruition it served as an instrumental vehicle for all of Page’s guitar wizardry. (In 2010 Holmes filed a copyright infringement suit and is credited with inspiration and no doubt got a bunch of cash as the writing credit remains with Page). Zeppelin started playing Dazed at its first rehearsal and did a brisk 6+ minute version on their first album. But the song was in a constant state of evolution and serves as a very good barometer of how the bad grew over five years. As the song begins the confidence level I was talking about is evident in the dramatic intro and sung verses. Nothing is rushed and Bonham’s drum punctuations keep the song from being a dirge. Notice how Page varies the main riff every time he plays it, either with different phrasing, bends or playing the harmony notes of Jones’ bass riff at one point. At about the 4 minute mark the band is off!! and the camera starts to focus on Bonham and then Jones and Bonham as they follow and react to what Jimmy is doing. Along with all of his many other talents, John Bonham was easily one of the most reactive drummers that ever rock and rolled and Jones is also amazing. The fact that all of his brilliant lines are finger-picked also adds a layer of fluidity and depth to the song. Notice how Jimmy breaks his first set of riffing with some funky slash chords, setting up his next high-register solo. That’s improvised composition in action. As the song comes to it’s first breakdown the camera catches Bonham and Jones trying to puzzle out where Jimmy is going (5:38). Even though the band has been playing this song for 5 years at this point, but there is obviously no formula employed here. It’s called spontaneity and there was never a band as heavy as Zeppelin who pulled off this type of spontaneity so well. I love the interaction between Jones and Bonham at the 6 minute mark — it shows the essence of what I’m talking about so well. As guitar players we are usually told to “sing” our lines to make better improvisation. Notice how Bonham seems to sometimes “sing” his hits (6:19-6:25). You can hear snatches of the 3-years in the future riff for Achilles Last Stand in the arpeggios that set up the “San Francisco” bit. Excellent casual flamenco-esque strumming by Page on the “San Francisco” bits before bringing the wah-wah to lead to another heavy crescendo. Up and down the band goes, bringing everyone in Madison Square Garden with them. Isn’t this exciting? Robert Plant’s various vocalizations (scatting) have the same dynamic spontaneity throughout the song. He knows when to sing and then drop out and let the band play again. The “I Knows” that he brings in to accentuate the heavy part that comes in around 7:50 don’t mean anything and he isn’t really singing. His voice is just another instrument in the mix that adds another layer of excitement as the final bit of CRUSH and the segue before the song devolves into complete and total weirdness (and I mean that in a good way). Same with the “Aahs” and “Oohs” as the bass and drums are dropping out. The band leaves as Jimmy takes over on bow at about 9:00. So far the song has been paced beautifully highlighting the band’s talents for improvisation and live drama. Ethereal swoops and echo feedback replace the power of the band and it becomes a completely sonic “event”. The “song” has been left far behind. At 10:20 the Tolkien theater or Mars the Bringer of War (whichever you prefer) is in full effect with bow smacks on an echo-driven guitar with accompany send-outs to the audience. While I’m sure this was the inspiration behind Spinal Tap’s Nigel Tufnel” violin solo“, it doesn’t look as silly in hindsight as it was made out to be. Sure, it’s not a 4 minute rock song, but John Cage and others outside the mainstream were doing stuff like this for years and Led Zeppelin’s fans, while maybe not classical music aficionados, ate it up. You don’t hear anyone screaming or heckling or any audience noise at all until Page does the dramatic slaps… and there is much rejoicing!! As Page continues bowing [the fantasy takes over and] Plant joins him with vocal accents as they fill the Garden with horror movie sounds that I’m sure were pretty awesome to an audience looking for a trip to another world (and under the influence of whatever they could get their hands on before the concert). See the internet and smart phones didn’t exist then kids. The rest of the band joins in with ambient noise effects before they return with the crunch and the blast at around the 16 minute mark. Once again the segue, helped by those little touches of Jones’ and Bonhams’ ambiance and impeccable timing, is perfect. There is another shot of John Bonham as the song kicks into the familiar riff that leads into the guitar/vocal interplay between Plant and Page. Bonham looks like such a serious (and sober) drummer on this performance doesn’t he? Very attentive to what Page and Jones are doing. A whole bunch of awesome, rapid-fire Page soloing follows on the same rhythm gallop. Back in the 70s this is what earned Page universal acclaim as the best guitarist of the era and it’s pretty impressive even today. The song breaks down into a funky rhythm that employs a prominent Hendrix-y 9th chord as it’s anchor. Jimmy has been playing guitar for almost twenty continuous minutes and has yet to repeat himself. Another dramatic major, happy sounding break leads into a different interaction with Plant (along with a bit more theater that totally pleases the audience). And once again Page is off with an Over, Under, Sideways Down-style riff and Jones and Bonham follow him until the song breaks again for another interaction with Plant in a higher register. The scene with the longhair is puzzling and says to me “we don’t have the film of that part of the performance.” Why that bit is chosen or what it’s supposed to represent I’ve never been able to puzzle out. At about 23 minutes the song breaks down again and goes into something that sounds vaguely like Black Sabbath before climaxing into chaotic noise and spiraling to earth and the final familiar strains of Dazed and Confused as you know it from the record are heard again. On the familiar outro figure Page once again takes off with screaming obbligatos and fleet-fingered wah chording and Jones and Bonham turn the rhythmic vibe into something that gets them smiling at each other (26:35-26:50) before a final burst of feedback and Plant’s echoes signal the ending chord slam and Bonham drum thrashing that finishes the song. While there was probably some post-production employed to really tighten the song up, other versions from the tour are extremely close and sound almost as good. Silly or dated as this might seem to some there is literally no one else in the history of rock who pulled this off as well, then or now.

LZ_3Given the nature of the above song and performance, Led Zeppelin has a lot in common with other “jamming” bands like The Grateful Dead, Cream and The Allman Brothers, much more than most “headbangers” would give them credit for. It’s interesting that many of the heavy bands that Zeppelin influenced picked up on the heaviness and the occasional acoustic ballad, but were not adept at either live improvisation or long orchestral-like pieces of music. All of that more or less faded out with the 70s. Eddie Van Halen, Randy Rhoads and everyone who followed into the 80s did not play 30 minute songs and did very little improvisation, except for their feature solos. That whole approach to writing and performance became strictly the domain of “jam bands” most of whom descend from the California sound of the 60s and 70s. Coincidentally, there is a lot of that to Zeppelin as well — Robert Plant in particular was a huge fan of San Francisco bands and it definitely shows in his Zeppelin lyrics and his solo material. This is probably why Page and the rest of the band take umbrage of the title Heavy Metal to describe their music, because they weren’t, especially when compared with what came along in the 80s and beyond. (Notice that most of the time Page isn’t using that much distortion live compared to heavy guitarists of later years). The heaviness that Zeppelin brought was always balanced with nuance and other elements, which is very clear by analyzing Dazed and Confused, always one of their heaviest songs. Guitarists of the next generation would by and large take the obvious and simplest elements of Zep’s heavy music and make it louder, heavier, faster and, in some cases, more intricate and in the process lose the elements that gave Zeppelin’s music it’s timeless depth, dynamics and (live) spontaneity.

LZ_6Of course, I was and am a big fan of the later heavy music and have seen many of those bands and played more than a few of those longs in my own bands. However, there is something slightly intense and magical about the ability of a group of musicians being able to improvise or approach music with the type of dynamics and movement inherent in the Led Zeppelin catalog. Call it rock, call it jazz, call it what you like, there comes a point when the quality of the music or performance renders all description and classification useless because there ain’t enough adjectives to really convey what goes on!