Is Albert King The Source of Clapton’s Crossroads Riff?

Who knows Albert King’s music really well and can help me answer this question? Cream’s 1968 version of Crossroads uses the identical riff that Albert King uses in the tune For The Love of a Woman (except for the last bars) which he first recored in 1971 for the album Lovejoy. I can’t find an earlier version of that tune. But considering how often Clapton borrowed riffs and solos from King I would be surprised if King took a riff from Clapton rather the other way around. It’s not unusual for bluesmen to reuse a riff in different tunes. So does anyone know an earlier Albert King recording that uses this riff. (There is just a hint of the riff in both of Johnson’s recording of Crossroads. But his accompaniment is far more complicated, varied and subtle than the King / Riff. ) Continue reading

RIP Steve Cropper

RIP Steve Cropper. He made more beautiful music with fewer notes than any guitarist I ever heard. The the first Booker T and the MGs tune I ever heard was Groovin’. IIRC their cover came out not that long after the Rascals original in 67. But I liked it better. Cropper overdubbed the piano. I didn’t hear Green Onions until later. (I was 7 when it was first released.) Continue reading

This was not my first reaction to a trumpet!

Trumpet player tend to believe that the horn is wonderful torture. This was posted by Peter Bond is a wonderful trumpeter who was in the Metropolitan Orchestra for many years. His videos and book have really improved my playing. I was a drummer and one day I cam for my lesson and some other kids had returned the rented trumpets and cornets at the end of 5th grade.I was curious about it and the music instructor asked me if I wanted to take it home. I did. I enjoyed it. And then took lessons over the summer and was hooked. Continue reading

It’s Best Done with Scissors: Improvisation and Editing in the work of Miles (and Groucho)

What problem were Miles and his produce Teo Macero trying to solve by their methods of constructing music in the studio in the late 60s and 70s?[1] What was the point of Teo turning the tape machines on while Miles and his colleagues played in the studio and then constructing long pieces of music from different parts of these tapes? One answer, I think, is this: Miles and Teo was trying to develop a new solution to the problem of combining three elements in jazz: collective improvisation, the density of a large band, and what I will call a long form of music. [1] This is the first of two papers on Miles electric music. It originated in an email to the fabled Miles list  in 1998. Eric Siegel, Patrick Brown, Steve Asseta, and the late Walter Oller, made very helpful comments on it at the time which has influenced… Continue reading

Miles Davis on the Post-Modern Corner

This is the second of my short papers on Miles Davis’s electric works. The first, “It’s Best Done With Scissors” seeks to explain Miles’ new direction in music in the context of his own interests and history. It was very much improved by the comments of Eric Siegel, Patrick Brown, and Steve Asseta. This paper is based on another email I sent to the list in which I compared On The Corner to a work by John Adams that I heard the composer conduct with the Philadelphia Orchestra. The email listed five ways in which these two pieces of music by Miles and Adams were not only similar but in which they both exemplified a post-modern aesthetic. I haven’t been able to find that email but I do remember Eric Siegel appreciating it–including my little joke of saying, twice, that one point of similarity between the two works was repetition.… Continue reading

Chuck Berry and the Invention of Rock and Roll

In the mid-90s, when I was in my forties, a friend of mine, the late political theorist Jean Elshtain, came to deliver a talk at the university at which I was teaching and hung out for a few days at my house. We talked  gossiped, talked about politics and, as we frequently about music. At that time I was well into jazz and didn’t much listen to contemporary pop or what had become of rock music. But Jean was a still a rocker who loved Bruce, whose music I knew, and a bunch of others whose music was new to me. She asked me if I had been into jazz when I was a teenager. I said, “yes, but rock was what really moved me, then.” She seemed a little surprised. “Rock is the music of angry teenagers and I was an angry teenager,” I replied. I was thinking about… Continue reading

Bonnie Raitt in Philadelphia, June 16, 2012

I have absolutely no capacity for objectivity about Bonnie Raitt. But I think her performance last night in Philly was the best of the four I’ve seen. (Pictures are here.) She was energetic and engaging, powerful and emotional. Both the ballads and the rockers were great. And, as always, it was just wonderful being the presence of her because, well, she’s just a mensch. I saw her for the first time in the fall of 1972 as a college freshman—sitting right in front of her at McConaughy Dining Hall as she sang, played guitar and joked around. I was 16, she was 22. (Maria Muldaur, who had just released Midnight at the Oasis, was the warm-up!). I developed a bit of a crush. And I’ve admired her voice, musical choices, activism, and sense of humor ever sense. Amazingly enough, I’m 56 and she’s 62 now. And at least she has aged well!… Continue reading

A short observation on sensory experience and age

I really have trouble listening to music while I write now. And that’s because, even though I have always love music love, the intensity of the pleasure I get from is stronger now than it has ever been. Something similar seems to be true for all my senses. They are all duller in some ways than they were twenty years ago. I’m starting to have trouble hearing things and not only am I as nearsighted as ever but I’ve totally lost my near point and have to take my glasses off to see close up. My touch is still pretty good but I’ve started to notice that I can’t pick up quite the level of details on a surface as I once did. But the intensity of my sensual experience is much greater than before. Continue reading

It’s got to be love: twenty-five favorite songs

We saw a revival of Guys and Dolls last week in New York. While we heard “If I were a bell.” I whispered to my daughter that “This is one of my ten favorite songs.” I immediately knew that was a rash statement. My daughter being my daughter, she of course, asked what the other nine were. So in moments snatched here or there over the last few months, when I was too exhausted to do anything productive, I’ve made a list. There was no way to get the list down to ten. So I settled for twenty five. And even then, I have a waiting list of another twenty. Continue reading