Vince Guaraldi: "The Very Best Of Vince Guaraldi" (2012) CD Review

Pianist Vince Guaraldi recorded a lot of excellent music during his lifetime, but I think I'll always associate him with the composition I first heard as a child, the theme from Peanuts, "Linus And Lucy." That theme, along with several written for A Charlie Brown Christmas, are included on the new compilation, The Very Best Of Vince Guaraldi.  This collection contains mostly original compositions, but also some good covers, like "Softly, As In A Morning Sunrise," which is a fun tune featuring some nice work by Eddie Duran on guitar (Although, is the word "morning" really necessary in that title?). That song was written by Sigmond Romberg and Oscar Hammerstein II for The New Moon.

Whether performing one of his own compositions, or giving his spin to someone else's song, there is something so truly happy in Vince Guaraldi's playing that absolutely transfers to the listener.  If a musician's style of playing is any indication of personality, then Vince Guaraldi must have been extremely kind and generous of spirit. And also a lot of fun, for there certainly is a playful quality too.

"Cast Your Fate To The Wind"

The Very Best Of Vince Guaraldi opens with "Cast Your Fate to The Wind." The first section of this song is so pretty and joyful. I'd be surprised if it didn't make you feel good. And then some wonderful drumming by Colin Bailey announces the change to a groovier jazz section, which is equally wonderful. This song was actually a hit on the pop charts.

"Cast Your Fate To The Wind" was originally released on Jazz Impressions Of Black Orpheus, which was re-issued in 2010. ("Mahnã De Carnaval," from that record, is also included in this collection.)

"El Matador"

"El Matador" likewise has some interesting changes. What's impressive is how the changes can be both abrupt and smooth. This is a live track, originally released on Live At El Matador. El Matador was a club in San Francisco where Vince Guaraldi frequently performed.  Vince Guaraldi's playing is particularly wonderful on this track.

"Treat Street"

"Treat Street" is a fun, catchy pop-jazz tune with a Latin feel. It was named after the street in San Francisco where Fantasy Records was located. This is a seriously happy tune, and according to the liner notes, it was intended to be a follow-up hit to "Cast Your Fate To The Wind." And although it's a great tune, it was never a hit.

"Linus And Lucy"

"Linus And Lucy" is probably the tune that Vince Guaraldi will always be remembered for, and that's not a bad thing. I love this song. According to the liner notes, it was originally written for a television documentary on Charles M. Schulz. It was then, of course, included on A Charlie Brown Christmas, which is the best Christmas special ever made. And the music is a big reason for that special's appeal. This is a song everyone can dance to. Just pick your favorite Peanuts character dance, and imitate it. (I like the one with arms straight out.)

(It must have been interesting to see him perform this one live before the Christmas special came out - to hear it without the associations, to hear it simply as a great piece of music.)

"The Lady's In Love With You"

"The Lady's In Love With You" is is fast-paced gem that really blew me away. Vince Guaraldi is incredible, and doesn't let up. His playing is absolutely delicious. There is also great work by Eddie Duran on guitar and Dean Reilly on bass. "The Lady's In Love With You" was written by Burton Lane and Frank Loesser.

A Charlie Brown Christmas

This collection concludes with three more Peanuts tunes. The first, "Charlie Brown Theme," was also written for that half-hour special, and has a great groove. The other two were written for the Christmas special. "Christmastime Is Here" is that beautiful, sweet (even sad) tune that you all know and love. I always enjoy that great constant work with brushes on the snare and hi-hat (That's Jerry Granelli on drums). Plus, there's a nice bass lead by Fred Marshall a few minutes in.

CD Track List

1. Cast Your Fate To The Wind
2. El Matador
3. Softly, As In A Morning Sunrise
4. Ginza
5. Treat Street
6. Django
7. Linus And Lucy
8. The Lady's In Love With You
9. Star Song
10. Outra Vez
11. Manhã De Carnaval
12. Charlie Brown Theme
13. Christmas Is Coming
14. Christmas Time Is Here

The Very Best Of Vince Guaraldi was released on August 7, 2012 through Concord Music Group. Also released on that date were Cannonball Adderley: The Very Best Of,  Dave Brubeck: The Very Best Of: The Fantasy Era 1949 - 1953, The Bill Evans Trio: The Very Best Of, and Thelonious Monk: The Very Best Of.

Vince Guaraldi died from a heart attack in 1976.

Dave Brubeck: "The Very Best Of Dave Brubeck: The Fantasy Era 1949 - 1953" (2012) CD Review

Dave Brubeck has been one of my favorite pianists since my uncle gave me a copy of Time Out when I was in my late teens. That album has what is still probably his most famous tune, "Take Five."  Concord Music Group is releasing a series of The Very Best Of compilations, including one of Dave Brubeck's music.

The Very Best Of Dave Brubeck: The Fantasy Era 1949 - 1953 is early Dave Brubeck, featuring music years before the release of "Take Five."  Most of these pieces are short, with the exceptions of the live tracks that close out the collection. All but one of these tracks are covers, including four Rodgers and Hart tunes, one Gershwin song and one Cole Porter composition. Most of these tunes features Paul Desmond on alto saxophone. 

All of the tracks were previously released.

"Blue Moon"

The Very Best Of Dave Brubeck opens with a fast-paced, bright rendition of the famous Rodgers and Hart composition, "Blue Moon." Performed by The Dave Brubeck Trio, this might be the most fun version I've ever heard of this tune. It still retains something of the song's inherent beauty, of course, while finding new areas within its structure. And I dig that brief bass section. The song has an interesting ending.

By the way, this song is the earliest recording in this collection, from September of 1949.

"Let's Fall In Love"

Dave Brubeck's version of "Let's Fall In Love" also has a quick tempo, and he highlights the fun elements of this tune (without, of course, the lyrics, which always felt like the most delightful part of this song to me). Dave Brubeck makes this his own, and adds some wonderful touches on piano. It's over so quickly. I'd like to hear what else he would have done with it, had he been given another two or three minutes.

"Body And Soul"

"Body And Soul" starts off slower, but Carl Tjader is on bongos rather than the kit, and that provides a certain type of energy. And soon the tempo picks up. It's interesting how well piano and bongos can work together, with sections where it's almost a sort of strange duet.  "Body And Soul" was written by Johnny Green, Edward Heyman and Robert Sour.

"My Heart Stood Still"

"My Heart Stood Still," a Rodgers and Hart song, is performed as a piano solo. It starts slow and sweet, but then takes on that strange energy that a lot of Brubeck's well known work has. You can really hear at times in this piece where he was heading. And then he returns to the song's opening feel, to end softly, which is just perfect. This track was recorded in October of 1953.

"This Can't Be Love"

I love Dave Brubeck's piano lead section on "This Can't Be Love." It has an untamed, almost aggressive quality that is fantastic, over that great steady rhythm by Wyatt "Bull" Ruther on bass and Herb Barman on drums. I also like Paul Desmond's part on alto saxophone, but once Brubeck takes over, it's honestly hard to recall what Desmond had done. "This Can't Be Love" is definitely one of my favorites from this collection. This track was recorded in 1952, and was originally released on Jazz At Storyville.

"A Foggy Day"

Dave Brubeck's rendition of the Gershwin tune "A Foggy Day" is an exciting and delightful piece of music. Really, this song feels like a living, breathing character. The changes in the song are like the changing emotions and gait of a person. "A Foggy Day" was written by George Gershwin and Ira Gershwin, and was included in the 1937 film A Damsel In Distress.

"Lyons Busy"

"Lyons Busy" is the sole Dave Brubeck composition in this collection. The song's title comes from a radio program hosted by Jimmy Lyons, a San Francisco DJ. This track comes on strong, and the bass is powerful, even during Brubeck's lead. I like Paul Desmond's work on this song, in his early lead section, and particularly toward the end of the track.

Live Tracks

The album concludes with three live tracks, all recorded in 1953. The first is "Stardust." I absolutely love what Paul Desmond does on this song, so cool and so sweet. And then Brubeck comes in, and offers such moments of quiet beauty that he feels like an angel, able to sweep away misery, at least for a time. This track is from The Dave Brubeck Quartet's Jazz At Oberlin.

The last two tracks were recorded in December of 1953 at the College of the Pacific in Stockton, California.  I love the energy on "Give A Little Whistle" - and this is probably the coolest track in this collection. And as great as Dave Brubeck's lead section is, I'm actually even more enamored of the moments just before that when he and Paul Desmond are playing together.

This collection ends with a sweet version of "For All We Know," writen by Samuel Lewis and J. Fred Coots.

CD Track List

1. Blue Moon
2. Let's Fall In Love
3. I Didn't Know What Time It Was
4. Body And Soul
5. I May Be Wrong
6. My Heart Stood Still
7. This Can't Be Love
8. Frenesi
9. Me And My Shadow
10. A Foggy Day
11. Lyons Busy
12. Just One Of Those Things
13. Stardust
14. Give A Little Whistle
15. For All We Know

The Very Best Of Dave Brubeck: The Fantasy Era 1949 - 1953 was released on August 7, 2012 through Concord Music Group. Also released on that date were Cannonball Adderley: The Very Best Of,  The Bill Evans Trio: The Very Best Of, Vince Guaraldi: The Very Best Of and Thelonious Monk: The Very Best Of.

Glen Campbell And Jimmy Webb: "In Session..." (2012) CD/DVD Review

Glen Campbell is known for several hits songs, including "Wichita Lineman," "Galveston," "By The Time I Get To Phoenix," "Honey Come Back" and of course "Rhinestone Cowboy."  The writer responsible for most of those songs is Jimmy Webb.  The two have performed together often over the years. And in 1988, Glen Campbell and Jimmy Webb recorded a show for the television series In Session. On that show, they performed many of the songs that Webb wrote for Campbell, and also talked a bit about several of the songs.

Now Concord Music Group is releasing a 2-disc edition of that performance. The first disc is a CD, and the second is a DVD of the program.

If you don't own any Glen Campbell or Jimmy Webb albums, this is probably not the album to start with. This is for fans, for the tracks include some spoken introductions, and even some mistakes and interruptions. If somehow you haven't heard these songs before, this stuff will likely be of little interest. But for those who are fans, these discs work as an truly interesting document, and feature some wonderful performances. And of course a lot of these songs will be familiar to many people, particularly "Wichita Lineman" and "Galveston." All the songs were written by Jimmy Webb, who plays piano on these tracks. Glen Campbell is on guitar and vocals.  (The other musicians are not listed - and that's talked about in the liner notes.)

CD

The CD opens with Jimmy Webb talking about meeting Glen Campbell on a Chevrolet commercial. He says how at the time he had long hair, and that the first thing Glen said to him was "Why don't you get a haircut?"  Jimmy adds, "He and I were sort of on the opposite side of the political spectrum at that time, and I don't know whether we really liked each other very much. But as time went on, we became very, very close." They then go into "Light Years" (which, yes, is a cheesy song).  (On the CD, the spoken introductions are not presented as separate tracks, but are on the same tracks as the songs.)

There is a really nice rendition of "If These Walls Could Speak." It's a simple version, letting the vocals tell the story, and Glen's voice sounds so good.  There is no spoken introduction, just the song.

Regarding "Galveston," Jimmy Webb talks about how when Glen Campbell recorded it, it was faster than he'd intended. And in the intervening years it has slowed to where it should have been originally. "Songs know how fast they want to be sung," he says. It's interesting, because he's essentially boasting that he was right, and Glen was wrong. The track then has a really good version of that famous song.  (By the way, a live version of this song was released earlier this year on Glen Campbell's Live In Japan.)

"MacArthur Park" features the lines, "Someone left my cake out in the rain/And I don't think that I can take it/'Cause it took so long to bake it/And I'll never have that recipe again." Glen gives an earnest delivery on what are possibly the goofiest (if not stupidest) lyrics ever. And then - shockingly - there is an interruption in the song. Jimmy Webb talks about the lyrics right after that moment, as the song continues to play in the background, which is very odd. It's as if after lyrics that ridiculous, they felt that an explanation was needed immediately, that it couldn't wait until the end of the song. Jimmy says about the lyrics, "I guess the controversy is, Are they any good? Or do they mean anything? Or is this guy putting us on?"  Then: "No, I'm not putting anybody on." Okay, then. Nearly five minutes in, the song takes on a new energy that is really cool, and features some nice work on electric guitar.

The CD also features a nice version of "Wichita Lineman," which is such a good song. I like the lines,  "And I need you more than want you/And I want you for all time." There is also some really nice acoustic guitar work by Glen Campbell.

There is no introduction to "Sunshower," just the song. I really like this track. It's kept simple, and so the beauty of the song shines through plainly. According to the liner notes, this is the only recording of Glen Campbell performing this song. It's really good, though near the end he makes a mistake and stops, saying, "I'm going to get that right."

There is also no introduction to "Still Within The Sound Of My Voice," the album's final track, and, to my ears, one of the strongest tracks on this release.

DVD

The DVD contains all of the songs from the CD, plus more stage banter from both Glen Campbell and Jimmy Webb, as they discuss various songs. For this performance, Jimmy Webb is seated at the piano, and Glen Campbell is seated, facing him. That setup creates a nice, intimate, close feel between them.

Oddly, the DVD begins in the middle of "By The Time I Get To Phoenix." Then it goes to a bit of an interview with Jimmy Webb. He's at the control booth, so this was clearly shot separately from the performance. This is the "Get a haircut" bit before "Light Years." And then after the song, there is a bit of Glen talking about the take, which is a cool moment (and which is not on the CD).

When talking about "If These Walls Could Speak," Glen asks if it's true that Jimmy wrote the song for Waylon Jennings. And then after the song, Glen jokes that he sounded like Waylon there in a couple of places. These are the moments that make this DVD wonderful.

There is no introduction to "MacArthur Park." And yes, the interview interrupts this song on the DVD as well. It cuts to it, then back to the song. In the video we see that it's Glen Campbell who is playing the wonderful electric guitar part in this song, as well as the acoustic guitar. The electric was recorded later, and we get a bit of split screen action showing both at once, which is pretty cool. I really like that electric guitar part.  The end credits come up toward the end of this song. Apparently this was presented as two programs.  (Oddly, the first part is approximately twenty-four minutes, while the second is only eighteen.)

Like the first section, the second section comes in toward the end of a song - this time "Almost Alright Again."  During "Wichita Lineman," you can see how much Glen loves this song. Watch his face especially near the beginning.

Glen stands for the performance of "The Moon Is A Harsh Mistress," doing just vocals, not playing guitar. And for this song he's wearing an Angels baseball jacket.

Glen and Jimmy talk about "Honey Come Back," a cool moment that is not on the CD, and they play a bit of that song. They then talk about "Sunshower." This is probably my favorite section of the DVD. It was my favorite track on the CD, and I love it even more on the DVD. You can really see how much Jimmy Webb is enjoying watching Glen play it.

CD Track List

1. Light Years
2. If These Walls Could Speak
3. Galveston
4. Where's The Playground Susie
5. MacArthur Park
6. Wichita Lineman
7. The Moon Is A Harsh Mistress
8. Sunshower
9. Still Within The Sound Of My Voice

In Session... is scheduled to be released on October 9, 2012.  Two years ago, another In Session performance was released as a two-disc set, that by Albert King with Stevie Ray Vaughan.

Merl Saunders/Jerry Garcia: "Keystone Companions: The Complete 1973 Fantasy Recordings" (2012) CD Box Set Review

Back in Boston in the late 1980s there was a weekly radio program called "Dead Ahead," which played Grateful Dead concert tapes along with a few interesting album tracks. It was on that show that I first heard music from the Keystone recordings by Merl Saunders and Jerry Garcia. Specifically, what I first heard was "Mystery Train."  And I loved it. It was quite a bit different from what Jerry was doing with the Dead, but of course in a way just as good. And now, twenty-five years after I first heard that tune, Keystone Companions: The Complete 1973 Fantasy Recordings is being released. 

This 4-disc box set includes the recordings from the two shows they performed on July 10 and 11, 1973, including seven previously unreleased tracks.  Yes, this music is from 1973, the year that is considered by many Grateful Dead fans (myself included) to be the best year of Dead concerts. And even though the Dead did seventy-two concerts that year, Jerry Garcia and Merl Saunders performed somewhat regularly at the Keystone, keeping the group low-key (and unnamed). And when Jerry wasn't playing in either of those bands, he played in a bluegrass band called Old & In The Way. Did he ever sleep?  Part of what made the Grateful Dead so great in 1973 was the jazz-like way the band approached the material that year, often stretching out in jams that were fairly open-ended. And that same spirit is heard throughout these Keystone recordings.  There is really only one somewhat short track here, that being "That's All Right, Mama."

There are a lot of extra goodies in this box set. Keystone concert calendars from 1973 are included on the back of each disc's sleeve - a nice touch. There is also a 28-page booklet, with photos and notes, a poster of the July 1973 concert calendar, a coaster, a button and a scratchbook disguised as a matchbook. But it's the music that is key here.

Disc 1

The first disc opens with "Hi-Heel Sneakers" and Jerry sweetly singing, "Put on your red dress, baby, because we're going out tonight." I've always thought this song was a bit silly, mainly because of the phrase, "your wig hat." Right off the bat, we get that first groovy jam. "Keepers" is a seriously funky instrumental, fantastic fun, and unlike most of what you've heard from Jerry Garcia. An awesome groove that you can dance to. It's one of the tracks that was previously unreleased.

"It Takes A Lot To Laugh, It Takes A Train To Cry" is one the Grateful Dead did a few times. Jerry gives a fairly soulful delivery in this rendition, which has a bit of a slower groove than Bob Dylan's original. And holy moly, listen to Jerry on "I could not get across" - he does something with his voice I don't think I've ever heard before. This track was previously unreleased.

Jerry Garcia covering Rodgers & Hart? Yup. Not only does this band do a cool version of "My Funny Valentine," but they really jam on it. At 18:14, it's the longest track in this set. They do a jazzy instrumental rendition, with some really nice work by Bill Vitt on drums. Jerry really gets into it, and there are some truly phenomenal moments.  The first disc ends with that great groovy version of "Mystery Train."

Disc 2

The second disc opens with "I Second That Emotion," and then goes into a really great slow, funky bluesy groove on "Someday Baby." Jerry really stretches on this, doing some interesting things vocally - and of course with his guitar. He was always about exploring new territory musically, and you can really sense a certain freedom here, and definitely a joy as well. There is a nice jam, with Merl doing some particularly wonderful things. This band is having a really good time, and that joy transfers to the listeners. I love this track.

"Merl's Tune" is an interesting instrumental track with lots of changes. As you might expect from the title, Merl Saunders does some great stuff. But Jerry offers some pretty impressive moments on guitar, and the track quickly becomes a free-form jam.

Jerry's voice sounds so sweet on "Positively 4th Street," which might be odd for this song. Dylan's somewhat angry delivery is more appropriate. But it's always a treat to hear Jerry sounding so good. And David Grisman sits in on mandolin for this one. This disc ends with "How Sweet It Is (To Be Loved By You)," a song I saw the Jerry Garcia Band do later.

Disc 3

The third disc has a few songs repeated from the first disc, and that's fine. It opens with a slow, thoughtful rendition of Dylan's "It Takes A Lot To Laugh, It Takes A Train To Cry."  Jerry sings, "Don't the sun look good shining through the trees" and "Don't the moon look fine setting down over the sea," a lyric flub that was in the version on the first disc too (switching "sun" and "moon").  We also get another cool version of that funky instrumental, "Keepers." This one comes on strong with keyboards, and has that same great groove - it's totally tight, yet simultaneously loose enough for interesting discoveries. It's a bit shorter than the first version.

Okay, do the first few notes of "One Kind Favor" sound just like the beginning of "Mississippi Half-Step Uptown Toodleoo"? Or is it just me?  This disc also features a high-energy, fast-paced light version of "That's All Right, Mama," a song I've always dug. Man, I love some of the stuff John Kahn does on bass. Fantastic. This is the shortest track in the set, at a mere four minutes.

There is a cool, long version of "The Harder They Come," a track that was previously unreleased. I think Merl Saunders' approach on this is really interesting and unusual. The third disc also has another long instrumental rendition of the standard "My Funny Valenine." Listening to this track, it's easy to believe Jerry Garcia could have been a great jazz guitarist if he'd decided to go that route. This track is truly wonderful, and includes a somewhat spacey jam.

The third disc ends with a pretty good version of "Money Honey." I love what Jerry does during the jam section toward the end.

Disc 4

The final disc starts with another groovy version of "Someday Baby," this one previously unreleased, then goes into a second version of "Merl's Tune," also previously unreleased. This is a pretty good jam, with some spacey elements.

The real treat on the fourth disc is "Like A Road," with a soulful delivery on vocals. This is one that Jerry played in later years with the Jerry Garcia Band. Those versions had those great backing vocalists. But in this version Jerry handles the vocals by himself, giving it a very different, more personal, feel.  The fourth disc ends with a second version of "How Sweet It Is," and it's a really good rendition with lots of energy.

CD Track List

Disc 1

1. Hi-Heel Sneakers
2. Keepers
3. The Harder They Come
4. It Takes A Lot To Laugh, It Takes A Train To Cry
5. It's Too Late (She's Gone)
6. My Funny Valentine
7. Mystery Train

Disc 2

1. I Second That Emotion
2. Someday Baby
3. Merl's Tune
4. It Ain't No Use
5. Positively 4th Street
6. How Sweet It Is (To Be Loved By You)

Disc 3

1. It Takes A Lot To Laugh, It Takes A Train To Cy
2. Keepers
3. One Kind Favor
4. That's All Right, Mama
5. The Harder They Come
6. My Funny Valentine
7. Money Honey

Disc 4

1. Someday Baby
2. Merl's Tune
3. Like A Road Leading Home
4. How Sweet It Is (To Be Loved By You)

Musicians

The musicians on these discs are Merl Saunders on keyboards, Jerry Garcia on guitar and vocals, John Kahn on bass, and Bill Vitt on drums.  As mentioned, David Grisman plays mandolin on "Positively 4th Street."

Keystone Companions: The Complete 1973 Fantasy Recordings is scheduled to be released on September 25, 2012 through Concord Music Group.

Keller Williams With The Travelin' McCourys: "Pick" (2012) CD Review

Keller Williams seems to always be involved in several projects at once, and all of them are worth paying attention to. His newest album is with the bluegrass band The Travelin' McCourys.  In July, they put out a CD titled Pick. This album has several original tunes, as well as a lot of interesting choices of covers, like the John Hartford tune (a song I love). They also do a great rendition of Steve Earle's "The Graveyard Shift" (a song that appeared on the Steve Earle And The Del McCoury Band CD The Mountain). The fiddle and mandolin are particularly excellent on that one, and listen to those vocals. I love the lines, "I've got what all the women want/I never say I do 'cause I really don't." There are a lot of fun, spirited songs like "What A Waste Of Good Corn Liquor," written by Murray Lewis and Bill Long.  And I'm particularly fond of "I'm Amazed," a tune written by James Edward Olliges, Jr. Again, the vocals are wonderful.

There are no instrumentals on Pick, something odd for a bluegrass album. The CD packaging's interior artwork includes photos of various picks - not just guitar picks and banjo picks, but toothpicks and lock picks and so on.

"Something Else"

Pick opens with "Something Else," an original tune written by Keller Williams. It's a groovy tune with a prominent bass line, and opens with the lines, "She, she was looking for something different/She, she was looking for something else/She, she was searching for higher meaning/She, she was searching for a song." I dig the fiddle, but the song's starts and stops keep it from going wild, which is a bit of a tease, because as soon as the fiddle comes in, I want it to take over, to fly.  And I sure do appreciate the adverb in the line, "She makes me think differently."  (Many people these days seem to have forgotten how adverbs are used.)

"American Car"

"American Car" was written by Mike Doughty and Daniel Dodd Wilson. I like how it playfully turns an idea on its head, yearning to leave the circus to run away to join the office.  I also love the harmonies on this song, particularly on the chorus: "How sweet you are in your long black American car/And you know just where to find me/If I don't know who you are, you will remind me." Like in most bluegrass tunes, the players take turns at leads, and that instrumental section is wonderful, with an easy, bright energy

"Messed Up Just Right"

"Messed Up Just Right" is a cool tune about a memorable date, written by bass player Alan Bartram. It's a fun tune with a certain sense of humor, which is obvious right from the count-off at the beginning:  "One, two, you know what to do." Here is a taste of the lyrics: "Her heels on high enough to excite/I'm sportin' my granddad's cuff links/And she's rockin' my mamma's fur/There's a lot of gals out tonight/But they don't look as good as her."  Her dress is "hot enough to burn" and his hair is "messed up just right." The song ends with morning and it's her hair that's messed up just right. And of course this song features some nice work on bass.

"I Am Elvis"

It's interesting that they include "I Am Elvis" on this CD, because Keller Williams just released this song on last year's Bass. On that record it has a bit of a Paul Simon feel to it, with also a reggae thing at times. As you might guess, the version on the new release is quite a bit different. This version begins tentatively, like it's emerging from the fog.  The vocals are wonderful - listen to the way they blend on the lines, "It's all in my mind/I live inside my imagination/Yes, it's all in my mind/My imagination stays on vacation/And I like to go there when I have the time." Bass still has a prominent place in this rendition. And there is a really nice bluegrass instrumental section, which I wish were longer. This song seems to fly by, though this version is actually more than a minute longer than that on Bass.

"Price Tag"

"Price Tag" is a slower, softer tune that's really nice. I immediately love the feel of this one. And when it kicks in for the chorus, it's the vocals that are really impressive, though the groove is good too. Written by Lukasz Gottwald, Claude Kelly, Bobby Ray Simmons, Jr and Jessica Cornish, "Price Tag" is a song about trying to enjoy the moment and the music. "We want to make the world dance/Forget about your price tag." I believe them. This is one of my favorites from this disc, and is definitely one of the more surprising choices for covers. This one was done by Jessie J, and appeared on last year's Who You Are.

"Sexual Harassment"

"Sexual Harassment" is one I've always loved since I first heard it. This is a song asking if various things that were once considered courting and wooing are now a call for legal action. It's a very funny tune, but also sad and somewhat serious because it has a base in reality. It begins, "If I send you flowers and ask you to dine/If I tell you how I feel over burgundy wine/If I whisper your name in some fake foreign accent/Would that be the same as sexual harassment?"  The song asks, "If I fall in love, what should I do/How can I not come onto you/Is this serious, or is this silly/Or should I plan on pleading guilty?" 

"Sexual Harassment" was written by John Hartford, and originally appeared on his 1994 release, The Walls We Bounce Off Of.

"Bumper Sticker"

Pick concludes with "Bumper Sticker" How can you not love a bluegrass song that has the line, "It's hard to mow my lawn when my grass is blue"?  And the instrumental section is great. Enjoy all the references (Sam Bush, Peter Rowan, Lester Flatt, etc.).

"Bumper Sticker" was written by Keller Williams.

CD Track List

1. Something Else
2. American Car
3. Messed Up Just Right
4. Mullet Cut
5. The Graveyard Shift
6. I Am Elvis
7. What A Waste Of Good Corn Liquor
8. I'm Amazed
9. Price Tag
10. Sexual Harassment
11. Bumper Sticker

Musicians

The musicians on this album are Keller Williams, on guitar and vocals, Jason Carter on fiddle and vocals, Ronnie McCoury on mandolin and vocals, Alan Bartram on bass and vocals, and Rob McCoury on banjo and vocals. Del McCoury provides special guest vocals.

Pick was released on July 3, 2012 through SCI Fidelity Records.

Grateful Dead: "The Closing Of Winterland" DVD Review

The greatest rock band ever - and don't even think about arguing with me on this - was the Grateful Dead. I caught forty-one shows (actually a small number in Dead land) between 1988 and 1995. Most of them were excellent. Some of them were magical.  All of them are memorable for one reason or another. Ten years before my first show, the Grateful Dead played their final gig at Winterland, a venue that will forever be associated with the band. This show was on December 31, 1978, and New Year's Eve shows were known to be wild nights for the band.  This night was particularly excellent. There were some wonderful guest musicians, and two great opening bands (The Blues Brothers and New Riders Of The Purple Sage). Plus, Winterland was a home for the Grateful Dead, and its closing seemed to bring out the best from the band. Other changes were to happen soon - the next year saw the departures of Keith and Donna Godchaux, and the arrival of Brent Mydland.  So this was the last New Year's show with Keith and Donna.

We're all fortunate they filmed this one. It was actually broadcast live on television (as well as on radio). And sure, there are some awkward camera movements at times, mostly when they're trying to get shots of Phil Lesh (who is standing behind Keith due to the relatively small stage).  And sure, every once in a while they lose focus. But it's all good.  It's all part of capturing the moment, all part of the magic that was a Grateful Dead concert.

Disc 1

The first disc contains the first and second sets. It starts with Bill Graham dressed as Father Time riding in on a giant lit joint. Yes, it was midnight, and that was the start of the show. The band played three sets that night.

Set I

That night the band opened with a rousing rendition of "Sugar Magnolia." It's hard to see at first because of all the balloons in the crowd, but man, look at Jerry smiling!  "Sugar" segues into "Scarlet Begonias" (something they did to start the second set of my very first show ten years later). Donna adds some nice vocals to the end of "Scarlet" in the jam before it becomes "Fire On The Mountain."  Holy moly, check out Jerry grooving to the beginning of "Fire," just before he starts the first verse.  After "Fire," Bill Graham thanks the crowd for thirteen years. Bob leads the audience in saying, "Thank you, Uncle Bobo," and then tells the story of the band being too broke to get Bill Graham something for his birthday and so they gave him a new name.  There is a nice slow, pretty "Friend Of The Devil," which they follow with a good rockin' rendition of "It's All Over Now" (Man, I'd love to know what Jerry and Donna were laughing about).  Before "Stagger Lee," Bob jokes, "We're going to play a selection from our latest chart-buster."  Then Donna gets a turn at lead vocals with "From The Heart Of Me," a tune they only played in late 1978 and early 1979, a song included on Shakedown Street, released earlier that year.

Set II

The band opens the second set with "Samson And Delilah" (which of course has the appropriate lyric, "If I had my way I would tear this whole building down"). I dig the Steal Your Face with dancing skeletons projected above the stage. Then they do a really nice, groovy version of "Ramble On Rose" - just a fantastic rendition. Some guy in the audience is really adamant about them playing "Dark Star." Some audience members were keeping a running tally of how many days had passed since the last time the band played that song in San Francisco: 1,535. But  band goes into a powerful version of "I Need A Miracle" - and they're joined by Matt Kelly on harmonica, which is awesome. A nice jam leads into a pretty vocal refrain, then eases into "Terrapin Station," one of the best songs ever written. And holy moly, look at Phil during this one. They go into "Playing In The Band," which of course basically guarantees a great jam. It's wonderful and it slides into "Drums."

This is a fantastic drum solo. And they're joined by Ken Kesey in Thunder Machine, a ridiculous contraption that's brought on stage. They're also joined by Lee Oskar on harmonica, and Greg Errico on drums. This is one of the highlights of the show. Bill and Mickey switch to hand percussion and keep it going. It is certainly one of the best "Drums" segments ever. And it leads naturally into "Not Fade Away."  It's kind of a slightly slow version, but has a great jam, including a lead guitar section by John Cipollina. That goes right into "Around And Around," which feels just a bit slow too - but Bob is clearly having a good time, goofing, and Donna screams, surprising him. And then it speeds up at the end to a nice respectable Chuck Berry pace.

Disc 2

Set III

They open the third set with "Dark Star," all the band members standing together to start it just right, and the audience erupts with joy at those first notes. ("Dark Star" was always a special song to Dead fans, and I remember being thrilled the first time I saw the band perform it in 1990.) After the first verse, the jam leads to "The Other One." It's Phil who brings in the tune with that heavy bass line. Only one verse of "The Other One," before going back into "Dark Star," but they stick with that for only a minute or so before easing into "Wharf Rat," another of my personal favorites. The vocals in that one section are beautiful, and I like what Keith's doing on piano. That leads to "St. Stephen," another fan favorite (one I never got to see them perform). They end the set with a really fun version of "Good Lovin.'" Toward the end, Bob says the sun's about to rise, and Uncle Bobo will have breakfast ready for everyone.

Encore

After some technical difficulties, the band launches into "Casey Jones." Jerry's having so much fun that he doesn't seem to want it to end, but it does, and they go right into "Johnny B. Goode." Bill Graham then introduces the band. "The greatest rock and roll band that ever was." I agree.  Then we get "And We Bid You Goodnight," but oddly there is no video - just audio and stills.

Bonus Features

The second disc has several bonus features.  The first is a documentary titled "Winterland: A Million Memories," which features interviews with Mickey Hart, Bob Weir and Steve Parish.  They all talk about the venue, of course, Mickey mentioning how Bill Graham would oversell the place. Bob Weir talks about NRPS, and about the balloon problem.  There is also some old footage from the day. The interview with the chick from Boston is funny. What's really awesome, though, is that there is an interview with Dick Latvala from that time. And then he was identified simply as a "Dead Head."  But he would go on to be the tape archivist for the band, and to start the Dick's Picks series of concert releases in the 1990s. But back in 1978 he says, "The most important thing in life is to get to a Grateful Dead concert."  Plus, there is a shot of two Coneheads/Deadheads.

There is also footage from The Blues Brothers' set from that night. John Belushi talks a bit about Steve Cropper and Donald Duck Dunn, and they go into "Soul Man" and then "B Movie."  For some reason the set by New Riders Of The Purple Sage was not filmed that night. Why not?  But the bonus features include the audio of their performance of "Glendale Train" (one of my favorites from that band), with old photos and archival footage to accompany the tune.  (That's a song that gets in my head every time I drive through Glendale.)

There is also a short "Making Of" the DVD, with interviews with David Lemieux and Jeffrey Norman. They talk about Mickey Hart's involvement, and also about Dick Latvala (apparently, Dick had said that this concert was the greatest night of his life).

Another wonderful feature is a series of interviews done between the first and second sets - with Bob Weir, Mickey Hart and Ken Kesey. Bob and Mickey encourage people to write to Bill Graham to have him build a new venue, and they talk a bit about Egypt (they had played near the pyramids just a few months earlier). Kesey talks about the Thunder Machine and about Egypt.  There is also an interview with Bill Graham from earlier that day.

The bonus features include a chronology of the Grateful Dead at Winterland, listing each of the shows, and including a tidbit or two about each of them.

The Closing Of Winterland was released on September 11, 2012 through Shout! Factory.

Christa Couture: "The Living Record" (2012) CD Review

I fell for Canadian singer/songwriter Christa Couture a year ago when I first listened to Loved, a best-of EP. I was drawn to her voice, and intrigued by her lyrics and song structure.  There is something adventurous (and yet incredibly personal) in her songwriting. And besides being an incredible songwriter, Christa Couture is able to do so much with her voice, to convey so much with just a certain inflection on a word, or even a syllable.

She can create beauty when she wants to, and she often does, like in "Hopeless Situation" (I love the way she sings, "What are we? Are we artists here?" - those lines have already gotten stuck in my head).  But it's like the journey is the most important element in these songs. "I don't need a destination, I just need to walk/I need to gather my thoughts and take a stock of my words/Give me music," she sings in "Sing For Me."  And there are plenty of surprises on her new album, The Living Record. She can dip into indie pop, as well as folk. And then a song like "An Invitation In Three Parts" has more of a country feel at times, partly because Steve Dawson plays pedal steel.  "Paper Anniversary" is another surprise, in that it's a duet. It's an unabashed love song, sung with Jim Byrnes.

The Living Record features all original songs.  It's interesting - there are moments when she reminds me a bit of other artists, like The Nields, Tori Amos or Dar Williams, but those moments are fleeting. There is no one quite like Christa Couture.  The Living Record is a really strong album, and each time I listen to it, I am more enamored of it.  Different songs stick out as favorites on each listen.

"You Were Here In Michigan"

The Living Record opens with "You Were Here In Michigan," a pop-folk tune that has a bright feel, due in part to its drum beat.  I love Christa's delivery of "when I told her no" - just that quick quiet way she says "no," like an actor tossing away a great line to make it even funnier. The full line is "She said, 'well isn't Canada part of America now?' and was surprised when I told her no."  The refrain is, "I am lost in the city, but don't take pity on me," a line a lot of folks can relate to.

"Good Bayou"

"Good Bayou" is more of a folk tune, and right away I really like the guitar work. The silly title actually made me laugh. Christa does some seriously adorable things vocally on this one, and I can't help but love this song about her "boy from down the bayou." She describes him as her "favorite phone call." This one too has a bright, positive feel. Then there is an interesting change for the line, "Anywhere in Canada is so far from Louisiana."

"Lucky Or Lost"

"Lucky Or Lost" is a slower, softer, sadder tune that opens with the line, "It's hard to say if I'll ever gain capacity for joy again because where I'm broken is so very broken." She is amazing with this kind of song, and is adept at breaking your heart if she wants to. But you get the sense that's not what she's trying to do, for her music has something of a healing about it.

This song is driven by piano and her voice. I love the way some of the lines are given as almost a whisper, like she almost doesn't want to admit them, like, "I'm a witness of catastrophe, a kind of nightmare." Then suddenly the song changes three and a half minutes in, taking on a strange vitality, almost a forced brightness as she sings about going through the motions and getting closer to the life she wants to live, before taking on a more naturally dark tone ("deep down in the soil/deep down in the hole") before turning more to its main feel.

"Pirate Jenny And The Storm"

"Pirate Jenny And The Storm" is a truly unusual song, and is one of my favorites from this album. Christa tries lots of different things with this one, and is successful at each turn (and this song takes several).  It begins almost like an explosion, and at times sounds like a demented sideshow. It then slips into a pretty realm, when she sings, "How your body is never touched/How your singing is never heard/I've never cried so much, little bird." And the piano part sounds almost like a lullaby toward the end, before the song builds with the repetition of "Sail, set sail." I love this song. She really takes us on an interesting journey with this one.

Steve Dawson plays banjo on this song, and JP Carter plays trumpet.  Christie Rose and Maya Siegel provide backing vocals.

"Pussycat Pussycat"

"Pussycat Pussycat" is maybe the most surprising tune on the album. This one has a funky edge. Seriously. And there is something flirtatious and sexy in her vocal delivery. This song has a catchy rhythm, even in her vocals, particularly on "What a year, what a year, what a year."  I completely dig this song. She gives an impressive vocal performance throughout, but especially in that section in the middle. (There are moments when she is up there with the great jazz singers.)

And check out these lyrics: "I went to take the tube and got stuck/I went to take the train and got mugged/I went from pub to pub to pub to pub/Oh yeah and then I fell in love."  I love that falling in love is presented almost as an afterthought, not nearly as memorable as trouble on the subway. But it's also included in a line that lists troubles.  And then listen to that organ (that's some wonderful stuff by Chris Gestrin).  This is one of the coolest songs I've heard this year.

"Wooden Shoes And Windmills"

"Wooden Shoes And Windmills" is another that I love, in no small part because of the presence of cello, an instrument that always does it for me. But the lyrics are also wonderful. Here is a taste: "I was gone before you were gone/I didn't know the best way to pack up our days/Recall that night on your lawn - a drunken display of my rot and decay/You were kind at the perfect time."  This is a gorgeous song.

"The Way Of The Dodo (The Living Record)"

The album concludes with its title track, a beautiful song on which Christa Couture plays piano. I'm continually struck by how well she crafts a song, and by her vocal delivery, how she's able to draw you in. In this song, a line that really hit me (partly because of the intimate, sad way she presents it) is "This is the closest we'll ever be again, and when you take your last breath, I'm going to take it in and never let it go."

CD Track List

1. You Were Here In Michigan
2. Good Bayou
3. Lucky Or Lost
4. Pirate Jenny And The Storm
5. Parasite
6. Hopeless Situation
7. Sing For Me
8. An Invitation In Three Parts
9. Pussycat Pussycat
10. Paper Anniversary
11. Wooden Shoes And Windmills
12. The Way Of The Dodo (The Living Record)

Musicians

Musicians on this album include Christa Couture on vocals, acoustic guitar, piano; Rob Becker on bass; Steve Dawson on acoustic guitar, electric guitar, pedal steel, ukulele, mandotar, Mellotron, vocals; Niko Friesen on drums; Chris Gestrin on organ, keyboards and tack piano; JP Carter on trumpet; Cris Derksen on cello; Christie Rose on vocals; Maya Siegel on vocals; Jim Byrnes on vocals

The Living Record was released on September 4, 2012. It was produced by Steve Dawson.