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Today ON VINYL VIBRATIONS I FEATURE THE MUSIC OF the MULTI-TALENTED, Camille Saint-Saens. M1 Saint-Saens: Symphony No.1 in E Flat, Op 2, III Adagio, (Saint-Saens 1853), Capitol Records/Angel, 1973 (10:00)  M2 SAINT-SAENS: Symphony No.2 in A Minor, Op 55, II Adagio, (Saint-Saens 1859), Capitol Records/Angel, 1973 (3:59)  M3 Symphony No.2 in A Minor, Op 55, IV Prestissimo, (Saint-Saens 1859), Capitol Records/Angel, 1973 (7:19)  M4 Saint-Saens: Symphony No.3 in C Minor Op 78 (Organ Symphony), Philadelphia Orchestra, I Allegro Moderato, Poco adagio, (Saint-Saens 1886) Columbia Records, 1963 (9:00) M5 Saint-Saens: Symphony No.3 in C Minor Op 78 (Organ Symphony), Philadelphia Orchestra, II Maestoso, Allegro, (Saint-Saens 1886) Columbia Records, 1963 (7:20) M6 The Swan – The Carnival of the Animals XIII, (Saint-Saens 1886), Silhouettes -Virgil Fox/Organ” Capitol Records, 1960 (2:39)  Saint-Saens lived from 1835 to 1921, and was born in PARIS. He was a composer, organist, conductor and pianist of the Romantic Era, that’s music that was featured throughout the 19th century. He was a musical prodigy, of course. He had perfect pitch. A grand aunt taught him some piano basics at three, and he was a music pupil at the age of 7. He gave informal performances at the age of 5, and his public debut was at age 10 performing the music of Mozart and Beethoven. He and studied at the Paris Conservatoire starting at age 13 to age 18. His first “job” was a ORGANIST at the Saint Merri Church – 26,000 parishioners. That sounds like a typical trajectory for a young musical prodigy. But, unlike other music students, Saint-Saens had a broad focus. He was a multi-tracker of the day, with varying and distinguished interests such as the study of Latin, Greek, Divinity and Mathematics. He was talented amateur Astronomer throughout his adult life.   In today’s podcast I review portions of 4 SAINT-SAENS COMPOSITIONS, pieces composed between 1853 and 1886, or when Saint-Saens was from the age of 17 to 50. We will hear 6 movements from 4 works – those 4 works are Symphony No. 1 Symphony No. 2 Symphony No. 3 Carnival of the Animals

M1 “Idiot Bastard Son”, King Kong Jean-Luc Ponty Plays the Music of Frank Zappa, (Frank Zappa) World Pacific Jazz Records, 1970 (4:00). M2 “Twenty Small Cigars”, King Kong Jean-Luc Ponty Plays the Music of Frank Zappa, (Frank Zappa) World Pacific Jazz Records, 1970 (5:35). M3 “Bowing-Bowing”, Jean Luc Ponty-Stephane Grappelli (Jean-Luc Ponty), Inner City Records, 1976, recorded 1973, (6:28)  M4 “Valerie”, Jean-Luc Ponty-Stephane Grappelli (Jean-Luc Ponty), Inner City Records, 1976 (7:00)  M5 “Upon The Wings Of Music”, Upon The Wings of Music, (Jean-Luc Ponty), Atlantic Recording/Warner Communications, (5:24). M6 “Now I Know”, Upon The Wings of Music, (Jean-Luc Ponty), Atlantic Recording/Warner Communications, (4:25)  WELCOME TO THIS EPISODE OF VINYL VIBRATIONS – musical exploration into sounds and grooves from artists whose works are produced onto vinyl records. The Vinyl Record has stood the test of time- – Vinyl is durable and delivers stunning sound. With Vinyl Records, we capture a rich period in music history  including pop, rock, jazz, and classical genres. In each show I explore a topic in the artist’s music that makes their work unique and timeless. From these podcasts, the actual vinyl LPs played in this show go back to the 1950s – I am enjoying these discs some 70+ years after their production date. Tangible music, always available great quality. …  I’m your host, Brian Frederick.  WELCOME to this episode of Vinyl …  Vibrations. ABOUT TODAY’S PROGRAM ABOUT THE ARTIST Today our featured artist is Jean-Luc Ponty – He is a French JAZZ-ROCK and JAZZ FUSION violinist and composer, born in 1942. Ponty graduated from Conservatoire National Supérieur de Musique de Paris with the PREMIER PRIX the first prize, a great accomplishment. Then he was hired by Orchestra Lamoureux. He also had a side job playing in a college jazz band and he evolved and developed a jazz interest. In his 20’s, Ponty went on to play at jazz clubs in Paris as the “JAZZ FIDDLE” role. Ponty was at the right time and the right place. In 1965, the VIOLIN did not have a place in the jazz world or in the jazz sound. Ponty has a unique sound, and he has made a huge impact in JAZZ-ROCK and in JAZZ FUSION. (pause) One characteristic of Ponty’s style is his spared use of vibrato. His style favors powerful long notes, with just a trace of vibrato.. Another characteristic is that he plays the electric violin, and thirdly, he uses effects processing. He is truly a modern and pioneering violinist with his jazz and fusion roots starting in the 1960s. In the1970’s he collaborated as sideman with FRANK ZAPPA- and with CHICK COREA- and with the MAHAVISHNU ORCHESTRA- resulting in 18 sideman records between those three groups. Before that PONTY had many recording accomplishments – with 8 recordings as LEADER going back to 1964 when he released his premier record [JAZZ LONG PLAYING]  In 1967 he played at the MONTEREY JAZZ FESTIVAL, and this landed him a recording contract with the WORLD PACIFIC label.  In 1970, he was working with Frank Zappa on the KING KONG album, and working with Elton John on the HONKY CHATEAU album. I was lucky and thrilled to see PONTY live in 1972 at  the BROWN SHOE, a bar in the Chicago Old Town neighborhood. He played an electric violin, and had floor pedals with basic effects, and played a mind-boggling 45-minute set of ROCK FUSION music. That was during his MAHAVISHNU-ZAPPA-COREA days. I had my proof, he was the real thing. And now, let’s go into the music of Jean Luc Ponty. In today’s podcast I review three records of Jean Luc Ponty AS LEADER, his early years, 1970 to 1975. King Kong Jean-Luc Ponty Plays the Music of Frank Zappa 1970 Jean-Luc Ponty-Stephane Grappelli 1973 Upon The Wings of Music 1975

SONGS in this podcast episode: M1 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) M2 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20). M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40). M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55). M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06). M7 JESU, JOY OF MAN’S DESIRING, JS BACH, 1723, BWV 147 (2:56) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) PROGRAM NOTES Johann Sebastian Bach was a German composer and organist from the late Baroque period. He was born in Eisenach, in what is now central Germany. Bach lived from 1685 to 1750, The Baroque period was a 150-year period in music, dating from 1600 to 1750. Baroque music is Western Classical Music that followed the Renaissance period. Baroque music features drama, ornamentation, major and minor tones, and was presented in new ways – – like the Opera, Concerto, and Sonata, Baroque composers included BACH, HANDEL, VIVALDI. M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27). Bach probably used the CLAVICHORD to compose most of his music. The Clavichord is small, lightweight and would not disturb people. The clavichord was very temperamental, because it required tuning before each play, just like a violin or guitar.  The keyboard instruments of the day were referred to as a general category: the “KLAVIER”….these included HARPSICHORD, CLAVICHORD, ORGAN and PIANOFORTE. Bach’s favorite KLAVIER instrument was the LAUTENWERK or LUTE HARPSICHORD with animal gut strings.  The writing of music was in support of GOD and KINGS. Over time, Baroque Music evolved into what is today known as the modern Orchestra. Bach was a prolific composer, writing hundreds of pieces for solo instruments, particularly the organ. He also wrote pieces for orchestra and choir. Bach is MOST known for writing two or more  melodies or voices against each other. Also called point against point, or, Counterpoint. Bit Bucket A BWV catalog number is a unique identifier for musical works composed by Johann Sebastian Bach, standing for Bach-Werke-Verzeichnis (Bach Works Catalogue).  Today I will present 9 compositions, dating from 1710 to 1731, during the time Bach was about age 25 to 45. M1 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20) Our first piece — TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). an ORGAN COMPOSITION.     It is taken from a 1959 album of BACH ORGAN WORKS   . The movement is called ADAGIO ….which indicates “At Ease”, or “Slow and Stately”. Tempo is only 66-76 BPM. like the resting heart rate for many people. Great liner notes. HERE IS AN  excerpt from the liner notes on that album – – QUOTE “OUR BACH” said the obituary notice, “was the greatest organ and clavier player that ever lived”. Though it may seem strange to us now, Bach’s genius during his life was recognized only as a master of the organ—not as a composer. It was actually over a hundred years after his death that his works revealed him as a unique and mighty composer. His reputation as an organist brought many invitations to test new organs and advise on the construction of them.  UNQUOTE As with most of his organ works , there is no autograph or manuscript score from Bach, his organ work manuscript copies are lost.  This song has a CONCERTO style and rhythm.  We will hear the 2nd or ADAGIO movement. . It is all very calm and beautiful and pastoral and serene…until Bach pulls out all the stops in the last minute of this ADAGIO movement. He is really rocking the walls and windows of that church. Without any further adieu, here is TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). PLAY M2 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M2 MUSICAL CREDIT: This Bach organ work  was recorded on the Luneburg Organ at St. Johanniskirche, in the town of Luneburg, in northern Germany, the organist is Professor Michael Schneider. This LP was produced and released on the SOMERSET label here in the US in 1959 The album title is BACH The Majesty of the Luneburger Organ. M2 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) Our next piece is the most famous church cantata written in 1714 for THE FIRST SUNDAY IN ADVENT. NUN KOMM DER HEIDEN HEILAND or in English “NOW COME, SAVIOR OF THE HEATHANS” A HEATHAN is a person with no religion, i.e., a PAGAN. In this chorale, Jesus is asked to …  come and save the pagans.  In 1714, Bach would have been 29 years of age. It turns out that this song goes back almost two centuries before BACH’s time.  It’s based on a LUTERAN CHORALE with words written by Martin Luther for the 1523 first Advent Sunday.  For centuries, this was the first hymn for the first Sunday of ADVENT.  What I will play next is an arrangement for as modern symphony orchestra (the Philadelphia Orchestra) and it is definitely JS BACH heard in those phrases. But it is a large orchestra – – Conducted by Leopold Stokowski.  This is an extremely restrained, demure, and understated interpretation of a Bach piece the most restrained I have ever heard. The recording you will hear next is performed by the Philadelphia Orchestra, with conductor   Leopold Stokowski. This recording is on a Vinyl LP titled THE SOUND OF GENIUS, produced by COLUMBIA MASTERWORKS, in 1960. It was one of many records that were shipped by mail to members of the Columbia Record Club. My parents were enthusiastic members. A new disc would arrive in the mail every month, such as this LP of classical music. Without further delay here is NOW COME, SAVIOR OF THE HEATHANS PLAY M1 SHOW PLUG – SHOW PLUG – DON’T TOUCH THAT DIAL ! ! That was…M1 NOW COME, SAVIOR OF THE HEATHANS” MUSICAL CREDIT: Arranger and Composer JS Bach, sometime between the years 1708-1717 Performance: Philadelphia Orchestra, conducted by Leopold Stokowski. Album: The Sound of Genius Limited Edition LP (1960) Members Only ! Label: Columbia Master Works BIT BUCKET This piece also is based on a song listed in the ZAHN Lutheran chorales catalog. ZAHN 1174 M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40) The next three pieces are called TWO PART INVENTIONS, composed by JS Bach around 1720   The inventions were composed for use in instruction of Bach’s oldest son WILHELM FRIEDEMANN BACH who was 12 years old. Today, these inventions are introduced to music students in school grades 4-7. Learning the Two-Part Invention requires ROTE learning, practicing over and over until the two hands work completely independently of one another. The inventions teach, among other things, the use of COUNTERPOINT. Bach is MOST known for writing two melodies against each other. Also called point against point, or, Counterpoint. That is the feature of these inventions, in each one there are TWO PARTS, left and right hand parts. COUNTERPOINT is found mostly in Bach’s FUGUES and in his INVENTIONS. Perhaps a brief demonstration is in order. Here is an excerpt from one of Bach’s inventions. FIRST the right-hand part or first point – the melody SECOND the left-hand part or second point – the bass line LAST both parts played in counterpoint. In some of Bach works, the roles reverse, The left hand plays the first point – the melody And the right hand plays the second point – the bass line Could you do this by crossing hands on the keyboard – yes, but, the roles are reversed, so no cross-hand playing. I will now play  WENDY CARLOS’s rendition of three BACH TWO-PART INVENTIONS from her 1969 recording titled “SWITCHED ON BACH” .. I will play all three, back-to-back. Each one is short – – average length ONE MINUTE EACH! PLAY M3 PLAY M4 PLAY M5 Credits: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) And now….. PLAY M4 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M4 MUSICAL CREDIT: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55) PLAY M5 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M5 We heard three inventions – – Bach’s 2-PART INVENTION in F MAJOR And the 2-PART INVENTION in B-FLAT MAJOR And the 2-PART INVENTION IN D MINOR Each invention is very different than the other. Not just a key change like the work title would suggest ! Bach stated that he wrote his inventions “to be models of composition” in other words, to enable the student to form ways of developing musical ideas and “acquire a strong taste of composition” Bach wrote the inventions, one for of the notes A to G and one for each minor and major key. Today these inventions are over 300 years old ! MUSICAL CREDIT: Composer JS Bach Estimated dates between 1720-1723 Performer – Wendy Carlos – early prototype Moog Synthesizer Arranger and Recording Engineer – Wendy Carlos on MOOG SYNTHESIZER in 1968. Record and label:  Switched-On Bach, Columbia/CBS BIT BUCKET M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06) Next is Bach’s “The Well-Tempered Clavier” written in 1722. He was 37. The title page to the Well-tempered Clavier song book reads : “The well-tempered Clavier, or Preludes and Fugues, through all the tones and semitones, both the [major] and [minor]. For the profit and use of the studious musical young…” Bach wrote these preludes and fugues in all keys in the chromatic scale … 12 major and 12 minor keys I have the version in D MAJOR. It’s two sections – the prelude, and the fugue The Prelude is the introduction. LISTEN FOR the Stride Piano on the left hand !! It’s a short 1:10. The Fugue is the second section. It’s slower but with a mo

VV-030 PROGRAM LIST M1 Squeeze Me (Fats Waller) Rec. 2/14/1926, FATS WALLER EARLY UNDISCOVERED SOLOS, Riverside Records RLP 12-103, 1955 (2:55) M2 Handful of Keys (Fats Waller) Rec. 3/1/1929, HANDFUL OF KEYS, FATS WALLER AND HIS RHYTHM, RCA Victor, LPM-1502, 1957 (2:45) M3 Ain’t Misbehavin’ (Fats Waller, Harry Brooks) Rec. 8/2/1929, AIN’T MISBEHAVIN’, FATS WALLER AND HIS RHYTHM, RCA Victor LPM-1246, 1956 (3:00) M4 Tanglefoot  (Fats Waller) Rec. 8/24/1929, THE RAREST FATS WALLER, Volume 1,  RFW-1, 1955. (3:10) M5 Honeysuckle Rose (Fats Waller) Rec 5/13/1941, AIN’T MISBEHAVIN’, FATS WALLER AND HIS RHYTHM, RCA Victor LPM-1246, 1956 (3:21) M6 Bouncin’ on a V-Disc (Fats Waller) Rec. 9/23/1943, FATS WALLER PLAYS, SINGS AND TALKS, Jazz Treasury JT-1001, 1956 (4:46) Background songs for this episode: M7 Please Take Me Out of Jail (Fats Waller) Rec. 12/1/1927, THE RAREST FATS WALLER, Volume 1, RFW-1, 1955. M8 Sometimes I Feel Like a Motherless Child  (Fats Waller) Rec. 9/23/1943, FATS WALLER PLAYS, SINGS AND TALKS, Jazz Treasury JT-1001, 1956 ABOUT THE ARTIST Today’s show features the LATE GREAT Thomas Wright Waller, a jazz pianist and organist, composer and singer, born in New York City in 1904  The 7th of 11 children, his mother was a musician, and his father was a trucker and pastor in NYC.  Fats started playing piano when he was 6. He played the organ at his father’s church at age 10. PAUSE He was home-schooled early-on by his mother and worked in a grocery store. He quit high school after just one semester at age 15 to work as an organist at the Lincoln Theater in Harlem. PAUSE At the Lincoln Theater, he earned $32 a week.  That was 1929.  He became known as “Fats Waller” because he was big — both in body and in mind.  PAUSE Fats Waller laid some of the building blocks for what is NOW ‘modern jazz piano’. He popularized the use of The stride piano style,  which is widely used by jazz pianists today. He toured internationally and two of his biggest hits were Ain’t Misbehavin’ and Honeysuckle Rose. PAUSE You are listening to Sometimes I Feel Like a Motherless Child by  Fats Waller) Recorded back in 1943.PAUSE Waller copyrighted over 400 songs. He probably composed many more, but, when he was in financial difficulty, he would sell songs to other writers and performers, who would not acknowledge the real composer, claiming the songs as their own.   Today’s podcast features Fats Waller and a few of his SOLO piano and organ compositions that were recorded between the years 1926 and 1943, or from the age of 22 to 39.  Some of these songs are not available today, except where they are rediscovered – – – on my old and treasured Fats Waller record collection! SHOW PLUG – SHOW PLUG – DON’T TOUCH THAT DIAL ! ! BIT BUCKET Waller is also credited with his composition and performance work in Broadway Musicals. Waller is perhaps the FIRST BLACK composer to write the score and perform for a mostly all-white show on Broadway. That was the 1943 Broadway musical EARLY TO BED, produced by Richard Kollmar – the Broadway Flyer for EARLY TO BED reads “Music by Thomas (“Fats”) Waller”. . M1 M1 Squeeze Me  (Thomas Waller) Rec. 2/14/1926, FATS WALLER EARLY UNDISCOVERED SOLOS, Riverside Records RLP 12-103, 1955 (2:55) Our first recording is titled “SQUEEZE ME” It’s a piano solo, and the composer and performer is Thomas Waller.He is not billed as “Fats” Waller yet, as he is not that unusually large at the young age of 22. This song SQUEEZE ME was recorded for production of piano rolls in 1926, making this among Waller’s EARLIEST recordings. Waller recorded his piano solos for the production of Piano Rolls between 1926 and 1927.These rolls operate on player pianos. Insert the roll, and the piano plays the song. PAUSE The player piano is a specialty item, affordable by the wealthy, and not a great way to release new music to the masses. Decades later, in 1955, Riverside Records discovered these and many other piano rolls, and realized they contained a treasure trove of long-lost songs, including songs from Jazz great Thomas “Fats” Waller. Riverside tracked down the manufacturer of the rolls, “QRS” founded in 1900, located in NYC. PAUSE Riverside Records secured many piano rolls, and released several LP records in the 1950s. This song SQUEEZE ME is one of a dozen that Fats Waller recorded in 1926. The music is really alive. Waller shows remarkable skill as a jazz pianist. You can hear the stride piano on the left hand. Play SQUEEZE ME CLIP That was from SQUEEZE ME. Here’s another short example of stride piano… Play HANDFUL OF KEYS CLIP That was from A HANDFUL OF KEYS by Fats Waller. The Stride Piano is found throughout Fats Wallers catalog of songs. It is called stride because the left hand, which is the rhythm hand, is actually running or striding back and forth, left and right. The left hand is playing two parts really, with stride. It is playing the bass note, and then quickly playing the chord. The bass note and the chord could be just one octave apart ….or 3 octaves apart. Nonetheless, the left arm moves back and forth base bass to chord, bass to chord, in perfect time. On a song like SQUEEZE ME that’s in 2/4 time, at 160 beats a minute would sound like this: PLAY METRONOME at 160 bpm in 2/4 time Bass Chord Bass Chord Bass Chord Bass Chord And now, with no further adieu…lets listen to a piano roll song, SQUEEZE ME, recorded in 1926 by Thomas Waller. PLAY M1 SHOW PLUG – SHOW PLUG – DON’T TOUCH THAT DIAL ! ! That was…M1 Squeeze Me MUSICAL CREDIT: Performance and composed – Thomas Waller – played on SOLO PIANO Recorded in 1926, for production of Piano Rolls by the QRS Company and later found on Riverside Records,  1955. BITBUCKET RCA Victor featured the dog listening to a victrola, with the subtitle “His Master’s Voice”, M2 M2 Handful of Keys  (Fats Waller) Rec. 3/1/1929, HANDFUL OF KEYS, FATS WALLER AND HIS RHYTHM, RCA Victor, LPM-1502, 1957 (2:45)  Our second track is a 1929 recording of HANDFUL OF KEYS, released by RCA Victor in 1957. This is the second RCA Victor LP, (LPM-1502), It is a compilation of works recorded between 1929 and 1942. This is a PIANO SOLO, a ragtime piece, composed by Fats Waller. It features the stride style ……but in an upbeat tempo of 130 beats per minute, plus or minus, with Fats in total control PAUSE According to the liner notes on this LP, “After classical studies and playing in church and at prayer meetings when he was a boy, Fats became increasingly fascinated by the whirling world of RAGTIME, Jazz and Theater Music.” The liner notes indicate that his father, a deacon and later a pastor in NYC, regarded his son’s diversion from church music to Ragtime and Swing as being … “ ”. And STRIDE PIANO PIONEER James P. Johnson, had Waller as his student. He had direct influence on Waller, and put it this way: “Some little people has music in them, but Fats, he was all music and you know how big he was.” This album comes from my father’s collection of Fats Waller records. Looking at the disc, it must be one of the MOST PLAYED albums in that collection. So pardon the popping sounds. Here is HANDFUL OF KEYS. PLAY M2 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M2 Handful of Keys MUSICAL CREDIT: Performance and Composer – – Fats Waller – Piano Solo Recorded in March, 1929, and reproduced onto LP record in 1957 by RCA Victor. M3 M3 Ain’t Misbehavin’  (Fats Waller, Harry Brooks) Rec. 8/2/1929, AIN’T MISBEHAVIN’, FATS WALLER AND HIS RHYTHM, RCA Victor LPM-1246, 1956 (3:00)  Next, I feature perhaps the most popular of Fats Waller tunes, AIN’T MISBEHAVIN’ This was 1929, the year that Fats signed a recording contract with RCA Records. This was the first RCA volume of Fats Waller. The beginning of the Great Depression. Fats was just 25. Fats strength was playing and composing with an effortless style. His works are polished and precise – practically at a CLASSICAL QUALITY level. This was the result of long training in music theory …starting at the age of 5, and …..endless practice. By his teenage years, he was accomplished at… piano, organ, violin, and the bass fiddle. Some say Fats was a musical prodigy. He wrote between 360-400 songs in his short lifetime, The story goes that Fats procrastinated on doing composition work. For a typical recording session, he was supposed to show up with a completed piece well-rehearsed by the musicians. Instead, he would show up band members unrehearsed, and with NO composition. The musicians were flustered, and the studio personnel were frustrated, but Fats settled his huge 300-pound bulk at the piano and worked out a new piece that was acclaimed by everyone in that studio. PAUSE One of Fats Wallers MOST FAMOUS and MOST PLAYED pieces is Ain’t Misbehavin’”. More of the classic STRIDE STYLE is featured here. This is an unusual instrumental version and was recorded in August, 1929 It appears on an RCA VICTOR compilation LP from 1956 titled “Ain’t Misbehavin’”, “Fats” Waller and his Rhythm”. And now….here is the SOLO PIANO version of AIN’T MISBEHAVIN’ PLAY M3 SHOW PLUG – DON’T TOUCH THAT DIAL ! That was…M3  Ain’t Misbehavin’ MUSICAL CREDIT: Performed and composed  Fats Waller – Piano Solo Recorded in 1929, and found on RCA as an LP reproduced in 1956 M4 M4 Tanglefoot   (Fats Waller) Rec. 8/24/1929, THE RAREST FATS WALLER, Volume 1,  RFW-1, 1955. (3:10) Our next piece is a Pipe Organ solo that was composed and played by Fats Waller, and it’s a very old recording dating back to August of The song is titled TANGLEFOOT, and that is rare —- because the song has evidently not been re-released in any form, and I am not finding it in today’s market. Between 1926 and 1939 Thomas Waller recorded dozens of songs on the pipe

SONG LIST* M1 How Can You Believe (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (3:10) M2 Which Way the Wind (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (2:40) M3 Contusion (Stevie Wonder) Songs in the Key of Life, Motown Records 2LP, 1976 (3:45) M4 Easy Goin Evenin’ / My Mama’s Call (Stevie Wonder) A Something’s Extra for Songs in the Key of Life, Motown Records 2LP, 1976 (3:58) M5 The First Garden (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (2:32) M6 Voyage to India (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (6:23) M7 Tree (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (5:55) Today’s Vinyl Vibrations episode features Stevie Wonder in his early years, and more specifically his Instrumental compositions. Stevie Wonder is an international pop icon, a singer-songwriter, a record producer, AND a multi-instrumental musician (for example…harmonica, keyboards, drums, bass guitar, guitar, and an incredibly talented singer. Wonder is an innovator – he pioneered the use of the early analog synthesizer during the 1970s. His albums are individual works of art, carefully crafted and thematic. Stevie Wonder’s influence extends across a range of genres that include R&B, pop, soul, gospel, funk, and jazz. He has often been referred to as a “ONE MAN BAND” because of his broad range of talents in music composition, music production and most of all – – music performance. Born Stevland Hardaway Morris, Stevie Wonder was born on May 13, 1950, in Saginaw, Michigan. That’s near Saginaw Bay off Lake Huron, about 100 miles northwest of Detroit. In the 1950s, Saginaw County had several General Motors plants and many companies building parts that went down to the big DETROIT assembly plants. It was a booming economic period for the entire US auto industry. It was a difficult birth. Wonder was born six weeks premature and placed in an oxygen-rich incubator, which  resulted in retinopathy of prematurity – causing his blindness. When he was 4, his Mother divorced with his father, and along with her 3 kids, moved 100 miles down the road to bustling Detroit…. home of MOTOWN RECORDS.  At age 8, Steveland attended the Whitestone Baptist Church on Detroit’s west side. There, he developed his musical talents — playing piano, drums and harmonica — and he also sang in the choir and there became a soloist. Stevie was quickly recognized as a prodigy.. He further developed his singing talent with a friend …and they performed as Stevie and John on street corners. When he was just 11, this musical prodigy was discovered by Ronnie White of the MIRACLES, and that in-turn resulted in a meeting with Motown Records founder Barry Gordy, who signed him with the TAMLA label of Motown Records. At that time, he was given the professional name Little Stevie Wonder. That was 1961 and Wonder had a 5-year rolling contract with royalties that were to be held in trust until he was 21. The weekly pay for this young artist was meager – a stipend of just $2.50 a week plus a tutor for Stevie when he was on tour. That $2.50 weekly stipend would be worth about $25 a week today. At age 12 he enrolled in Michigan School for the Blind in Lansing, Michigan. BIT BUCKET Saginaw is also where I was born, just 2 years after Stevie. My family also moved from Saginaw to Detroit, around same year as Stevie – 1954. ­­ M1 How Can You Believe (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (3:10)   PLAY BACKGROUND – HOW CAN YOU BELIEVE   To start today’s podcast, I feature the album titled Eivets Rednow. There is some humor in the album title. Eivets Rednow is Stevie Wonder spelled backwards, and on the first release of the album, Stevie’s name did not appear on the cover. The album is also UNIQUE for Stevie as it is an INSTRUMENTAL album. No lyrics. No poetry. This an easy listening POP and R&B instrumental album, released on the Gordy Records label in 1968. Gordy was one of the four MOTOWN labels – those labels were Gordy, Tamla, Motown, and Soul. The release I have was released on the MOTOWN LABEL and adds “How do you spell Stevie Wonder backwards?” …on the cover.  Stevie was only 18 at the time of this release, although this is Wonder’s ninth studio album! Prolific. Boundless energy. Featured on this song is the skillful harmonica melody. Wonder plays the harmonica, drums, piano, but most notably, his harmonica style is unique, very melodic, rich with feeling, and unmistakably Stevie Wonder, listening to it 55 years later. Have a listen to this wonderful song and Stevie Wonder’s distinctive harmonica line. And Now How Can You Believe PLAY M1 Don’t Touch That Dial that was M1    M1 How Can You Believe (Stevie Wonder) Eivets Rednow, LP 1968 a short 3:10 in length, a pop tune. Song credits Credits go to Stevie Wonder, music composer arranger and producer Stevie Wonder Instruments – Harmonica for the song melody Percussion Piano and Synthesizer Benny Benjamin – drums James Jamerson – bass guitar The Funk Brothers – instrumentation More on the FUNK BROTHERS later. M2 Which Way the Wind (Stevie Wonder) Eivets Rednow, Motown Records LP, 1968 (2:40) PLAY BACKGROUND – WHICH WAY THE WIND Now from that same album Eivets Rednow, on the track titled WHICH WAY THE WIND, there is a clavinet instrument on this song. The CLAVINET was a new instrument – –  an electrically amplified CLAVICHORD and it was first manufactured by the HOHNER Company in Germany, starting in 1964. HOHNER is known for harmonicas, accordions, and recorders. We all played the recorder in elementary school, remember? The CLAVICHORD itself is a very old keyboard instrument from the LATE MIDDLE AGES and was used from years 1500 to 1800. Here is a sample of what a CLAVICHORD sounds like. This instrument was made in about the year 1600.    It is an amazing sound coming from this 400-year old instrument…. PLAY EXAMPLE CLAVICHORD SAMPLE Also featured on this album is THE FUNK BROTHERS. THE FUNK BROTHERS is a Detroit-based collective of first-call studio session musicians that backed most MOTOWN records in the 1960s. Similar concept to THE WRECKING CREW collective over in LA. The FUNK BROTHERS eventually moved to LA in 1972. You will hear this ensemble on hits like “My Girl”, “I Heard It Through the Grapevine”, “Baby Love”, ” I Was Made to Love Her”, “Papa Was a Rollin’ Stone”, “The Tears of a Clown”, “Ain’t No Mountain High Enough”…. …and of course on this earlier song with Stevie Wonder WHICH WAY THE WIND. And now,  Which Way the Wind, 1968 with the brass and strings of THE FUNK BROTHES and Stevie drives the Melody on the HOHNER CLAVINET. Play M2 Don’t Touch That Dial That was M2  M2 Which Way the Wind (Stevie Wonder) Eivets Rednow, LP 1968 Stevie Wonder also used that Hohner Clavinet in his 1972 hit “Superstition”. Here is a bit from “Superstition”…….. PLAY SUPERSTITION CLAVINET EXAMPLE Credits Stevie Wonder Music composer, arranger and producer, and the Hohner Clavinet Benny Benjamin – drums James Jamerson – bass guitar The Funk Brothers – “instrumentation” session musicians In 1972, four years after this album’s release, Stevie Wonder toured the US with The Rolling Stones American Tour. I was fortunate to have seen that show at the Rubber Bowl in Akron, Ohio. Stevie did the warm-up show. He was truly a one-man band. He was guided around the stage by his team and played the bass, drums, keyboards, percussion, harmonica vamps – – plus his pop hits… quite a show that evening at the Rubber Bowl. Frankly, I was more impressed by Stevie Wonder’s incredible performance than the main act. BIT BUCKET The album failed to get much attention A single was then released with one of the catchy songs, that is the song ALFIE, by Burt Bacharach and Hal David and the ALFIE single reached number 66 on the U.S. Pop charts.   M3 Contusion (Stevie Wonder) Songs in the Key of Life, Motown Records 2LP, 1976 (3:45) PLAY BACKGROUND – CONTUSION The double album- Songs in the Key of Life, was released in September 1976. This double album has many different styles and is complex. Some find the album hard to absorb, but I believe this is one of the three best Stevie Wonder albums. The marketplace responded …. this album became the first by an American artist to debut straight at No. 1 in the Billboard charts, where it stood for 14 non-consecutive weeks. On this instrumental, Stevie is the composer, however the musical performance features Philadelphia session guitarist MICHAEL SEMBELLO. Sembello was featured on the earlier album, FULFILLINGNESS FIRST FINALE (1974) and also is A CORE ARTIST on this album, SONGS IN THE KEY OF LIFE. And now Contusion Play M3 DON’T TOUCH THAT DIAL That Was M3 M3 Contusion (Stevie Wonder) Songs in the Key of Life, Motown Records Inc, 1976 Credits M3 CREDITS Gregory Phillinganes – Keyboard Mike Sembello – Lead guitar Raymond Pounds – Drums Nathan Watts – Bass Stevie Wonder – Composer Producer Arranger BIT BUCKET Michael Gray, Josie James, Shirley Brewer, Artece May – Background vocals (doo sound) M4 Easy Goin’ Evening / My Mama’s Call (Stevie Wonder) A Something’s Extra for Songs in the Key of Life, Motown Records 7”EP, 1976 (3:58) PLAY BACKGROUND – EASY GOIN’ And now, one more from the SONGS IN THE KEY OF LIFE album. The other very cool thing about vinyl records was that some artists went the extra step of providing liner notes. These liner notes would include things like music and production credits, maybe the lyrics, and maybe some analysis or critique. These notes are informative, and the idea is that you are captivated while listening and reading the notes on these new songs. In this case, Wonder went overbo

SONG LIST* M1 Bright Size Life (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (4:55) M2 Sirabhorn (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (5:27) M3 Unity Village (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:38) M4 Unquity Road (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:36) M5 So May It Secretly Begin (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (6:24) M6 Last Train Home (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (5:38) Pat Metheny is an American guitarist and composer. He has worked as a soloist, in duets and small jazz ensembles, and, for decades, with the Pat Metheny Group. His musical styles include Jazz Fusion, Jazz (both progressive and contemporary jazz) …..and also Latin Jazz. He was born in Lee’s Summit, Missouri in 1954. Lee’s Summit is a suburb on the southeast side of Kansas City. His main influences have been other musicians, his musical family and the British Invasion. Musicians influencing Metheny include trumpeter Miles Davis, Gary Burton on vibes, jazz guitarists Jim Hall and Wes Montgomery and Jazz Sax players John Coltrane and Ornette Coleman. PAUSE A major foundational influence for Metheny is his musical family. His father played trumpet, his brother Mike Metheny plays jazz trumpet, and Pat’s maternal grandfather was a professional trumpeter. Brother Mike taught Pat how to play the trumpet, and so trumpet is actually Pat Metheny’s first Musicians in the family. Metheny attributes his early success to the local musical environment he was brought up in – the years 1964-1972, in Kansas City. Much of this is described in his biography titled BENEATH MISSOURI SKIES. Seems like Metheny is destined to become a great trumpeter, with all that musical environment…. PAUSE .. there was a bump in the road at age 10. The BRITISH INVASION was in full force. Metheny saw the Beatles perform on TV in 1964, probably the Ed Sullivan Show, because that year the Beatles appeared. The Beatles are what inspired Metheny to defect from Trumpet to Guitar. Metheny persuaded his father to buy him a guitar for his 12th birthday. That first guitar was a Gibson ES-140. PAUSE That’s a hollow-body guitar, built in ¾ scale for young players and small hands. It’s a scale model of the Gibson ES-175 hollow body. Metheny soon got bigger hands and acquired a Gibson ES-175 …and that guitar is featured on his early albums like those in this podcast episode… Metheny started playing in pizza parlors at age fourteen (that’s 1968). At age 15, Metheny won a scholarship from Down Beat Magazine to attend a jazz camp (1969). That camp led to a meeting with Jazz guitarist Jim Hall, and bassist Ron Carter. So, by the time he graduated from high school (1972) he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Metheny had A LOT of support from his musical environment. Even though he switched from trumpet to guitar.   Metheny briefly attended college at U of Miami in Florida, but quickly realized after practicing on guitar for years all day long… he was unprepared for a college program … He realized then he was first and foremost, a serious guitarist and composer.   Metheny moved to Boston to teach at Berklee College of Music at the age of 19, where he met Jazz Vibraphonist Gary Burton. Teaching Jazz Theory and Performance was in demand.   BIT BUCKET and for those not familiar, the ES-175 is sought-after by jazz country and rock guitarists – – – these vintage guitars today sell for $3,000 to $25,000. Back in the day, made in Kalamazoo MI. How about that for your first guitar? I am jealous, my first guitar was a Kay (named after John Kay) and it was … a very basic and cheap and crude electric starter guitar. Metheny, on the other hand, got a wonderful instrument, because There have been many collaborations with Metheny and Burton over the decades since then. that guitar was retired 20 years later- – in 1995. ­­ M1 Bright Size Life (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (4:55)   Metheny released his debut album, Bright Size Life (ECM, 1976), with Jaco Pastorius on electric bass guitar and Bob Moses on drums. This is a studio album, recorded in Ludwigsburg Germany. It is amazing to think that this is a debut album. Released in 1976, BRIGHT SIZE LIFE is still fresh today.  In this  title song, Metheny begins his work in a signature way, his entrance is unmistakable with a quick ascending line. Many of his solos begin with the signature Metheny sound….and Pastorious  presents an equally inmistakable bass guitar part.  Here’s that fabulous BRIGHT SIZE LIFE INTRO SAMPLE Play that intro ascending line with Jaco solid bass line in Bright Size Life   Pastorius and Metheny are weaving together guitar and bass lines in this song.  The bass is so much more than a rhythm support role, Pastorius is playing in parallel improvisation with Metheny.  Bright Size life sets the table for a fine album of jazz fusion by 22-year old Metheny.   And now, BRIGHT SIZE LIFE, 1976   Play M1 Don’t Touch That Dial That was M1  BRIGHT SIZE LIFE, 1976   At the time of this recording, Metheny was living in Boston and teaching at the Berklee School of Music. His mentor was Gary Burton, the jazz vibraphonist. They collaborated on the arranging of the songs to be recorded for this album, and Burton attended the recording sessions in Germany. Interesting that Burton did NOT receive a PRODUCER or ARRANGER credit on this album.   Credits   Pat Metheny – 6-and 12-string electric guitar Jaco Pastorius – electric bass Bob Moses – drums   BIT BUCKET PASTORIUS FOR ANOTHER PODCAST ! M2 Sirabhorn (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (5:27)   Now we review the second track on side 1…. the song is titled SIRABHORN I attempted to analyze the magical sound of this song and how that  never heard before /from another planet sound is structured. Surely it is structured, with a Pastorius bass line and with Bob Moses supplying the heartbeat throughout this song. The song is so difficult to describe in words . A skilled composer named Dr. Guy Shkolnik described SIRABHORN this way:      The beautiful harmony is made of chromatic alterations of pure​ diatonic harmony​ and three modulations. PAUSE Millions of amateur guitarists, myself included, remain in awe of Metheny. He is a trained musician from childhood, with composition, arrangement and performance skills and teaching skills. His guitar performance is complex and mind-bending.  Decades later, his signature sound is imitated but never duplicated. PAUSE A little info about the bassist JACO PASTORIUS. The SIRABHORN song features a Jaco electric fretless bass solo and is from the earliest recording of Pastorius. He employed the use of a fretless bass, a 1962 Fender Jazz Bass that he called the Bass of Doom. As a youngster, he had modified the bass by removing the frets (which is outrageous) using a butter knife, then smoothing the gaps on the fretboard. Along with his use of distortion, 2-note power chords, the use of harmonics, and bass solos that sound lyrical…he is regarded today as one of the best electric bassists of all time. Here is an example of a LYRICAL SOUNDING SOLO from Pastorius…. SAMPLE Insert example of a LYRICAL SOLO by Jaco. Suggest Sirabhorn, about 60% into the song a solo that runs 60 seconds. Alternate is the solo in BRIGHT SIZE LIFE song.   What about that equally strange song name? Sirabhorn is named after a jazz guitar student of Metheny’s at Berklee. And now here is SIRABHORN 1976 PLAY M2 Don’t Touch That Dial that was M2    Sirabhorn (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (5:27) Song credits M2 go to Pat Metheny – on a chiming twelve-string guitar with alternate tuning Jaco Pastorius – electric bass guitar with lyrical bass solo Bob Moses – drums providing the hearbeat of this song   In this same year, Pastorius released his own debut, self-titled, solo album.   BIT BUCKET Sirabhorn is an alteration of C – Am – F – Dm  a common musical theme. This is altered to become    C – B flat m –  G flat – E m  – “Sirabhorn” Metheney said that The chiming opening bars have that open, pastoral sound that Metheny has said is rooted in his Missouri upbringing.  The vast majority of guitar enthusiasts never get beyond 3-chord popular songs and their evolutions from the 1960s.     M3 Unity Village (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:38)   I do recall distinctly seeing Metheny TWICE at the Amazingrace, a small speakeasy in Evanston. It was 1977 and I have my tickets from the January show and the August show. This was early in career of Pat Metheny, playing then at a BYOB event in a shell of a building on Chicago Ave. Metheny was 22. Large hair. Large hollow body Gibson guitar. Seeing this kid just nail the songs from the Bright Size Life album drove it home and made Metheny a lifetime favorite jazz guitarist. This kid is for real.   Now the song UNITY VILLAGE. Here we have a deep  guitar solo. The song is named after a tiny 100-person village UNITY VILLAGE bordering Kansas City and Lee’s Summit in Missouri. It’s the headquarters for a spiritual movement, the UNITY Movement which “offers positive, practical Christianity” and describes itself as being “for people who might call themselves spiritual but not religious”.  The church was a part of the Metheny family history, with his grandfather working there, and both his dad and his brother had played in the church’s Unity Village Band.  The song  “Unity Village” is back down to earth. Peaceful and pastoral. It has two gui

TODAY’S PROGRAM…… M1 For What It’s Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00)… M2 Bluebird  (Stephen Stills) Buffalo Springfield Again, Released ATCO, LP 1967, (4:28)… M3 Suite: Judy Blue Eyes (Stephen Stills), Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (6:33)…. M4 Wooden Ships (Stills, Kantner, Crosby) Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (2:26)… M5 Carry On (Stephen Stills) Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (4:25)… M6 4+20  (Stephen Stills), Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (1:55)… M7 Sugar Babe (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (4:04). M8 Change Partners, (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (3:14)… Stephen Stills is an American musician, singer, and songwriter best known for his work with Buffalo Springfield Crosby, Stills & Nash Manassas … and as a SOLO ARTIST. He was born in 1945 in DALLAS TEXAS. He is 78 at the time of this podcast’s production. He is still active. He plays guitar, bass guitar, keyboards… he’s not only a singer and songwriter… also an arranger and producer. Stills has had a long and prosperous career. Starting out in 1963, he has given us some 60 years of songwriting and musical performance. Today I FEATURE original compositions by singer songwriter Stephen Stills. From my collection we will hear 5 albums: Buffalo Springfield album and For What It’s Worth, Buffalo Springfield Again album with Bluebird Stephen Stills’ demo tape album JUST ROLL TAPE with Suite: Judy Blue Eyes, and Wooden Ships Crosby Stills Nash and Young’s DÉJÀ VU album with 4+20 and Carry On And finally, the STEPHEN STILLS 2 solo album with Sugar Babe and Change Partners.   We are now listening to ROCK AND ROLL WOMAN from BUFFALO SPRINGFIELD AGAIN.   These selections were each recorded between 1966 and 1971. Just a small time slice of this singer/songwriter’s career.   Stills was between the ages of 21 and 26. These works are important because these songs are each hand crafted by Stills. I also wanted to showcase his array of talents like multi-instrumental musician, arranger, and producer. In addition to being a successful singer/songwriter, who work has had a large musical impact.   Much more for future podcasts.   M1 For What It’s Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00)   Stephen Stills’ first HIT recording was FOR WHAT IT’S WORTH (or “Stop, Hey, What’s That Sound”). It was 1966. Stills was just 21 years old. This was his first big break. He had written several songs, by now.. Not only did he have an inventory of original songs, he had helped to form a new band. Along with two other singer-songwriters, Richie Furay and Neil Young… they formed Buffalo Springfield out in Los Angeles. Neil Young came from Winnipeg Alberta, and Furay and Stills left a New York City gig with the Au Go-Go Singers, a 9-member group performing at the Café Au Go-Go. Two other Canadians — bassist Bruce Palmer and rock drummer Dewey Martin were added — 5 band members in all. 2 Americans, 3 Canadians.   “For What It’s Worth” became one of the most recognizable songs of the 1960s. It was first released as a 45 RPM single in late 1966. In t1967, For What It’s Worth featured on the first Buffalo Springfield LP.   The lyrics in FOR WHAT ITS WORTH are all about a confrontation Stills had with LAPD Riot Police in Los Angeles’ earlier that year. There had been many summer nights of rowdy crowds of kids causing late-night traffic issues in the Sunset Strip neighborhood. LA responded by announcing a curfew of 10PM. As a result, there were reported to have been over 1,000 persons out on the Strip protesting and trouble broke out. There were clashes between police and young people. Peter Fonda was handcuffed by police. Jack Nicholson was also on the scene. Whisky a Go-Go was a nightclub on the Sunset Strip, where many great bands have performed. At that time, in 1966, their house band was Buffalo Springfield. Because of continuing issues of unrest, some clubs on the Sunset Strip were forced to close their doors for weeks. It was because of these civil disturbances on Sunset Strip that Stills recorded “For What It’s Worth”.   And now, For What It’s Worth (Stephen Stills)   Play M1 Don’t Touch That Dial That was M1  FOR WHAT ITS WORTH – STOP HEY WHATS THAT SOUND Credits Stephen Stills – Guitar and Vocals and songwriter Richie Furay – Guitar and vocals Dewey Martin – Drums Bruce Palmer – Bass Record Company ATCO, a division of Atlantic Records     “For What It’s Worth” became a top ten hit, reaching No. 7 on the US Billboard 100 in Spring of 1967.   BIT BUCKET I was a very impressionable age 14 at the time of this song’s release… the song chorus lyrics were very impactful on me… I think it’s time we stop. Hey, what’s that sound? Everybody look, what’s going down?       M2 Bluebird  (Stephen Stills) Buffalo Springfield Again, Released ATCO, LP 1967, (4:28)   The Buffalo Springfield band was really about their two biggest egos, those of STEPHEN STILLS and NEIL YOUNG. Buffalo Springfield was still a young band, only 9 months old at this point in late 1966. After their hit “For What It’s Worth”, they were eager to have a repeat success. For a SINGLE, two songs, “Bluebird” Mr. Soul were available for a single. Stills writing Bluebird, Young writing Mr. Soul. These were recorded and released by ATCO Records as a single. The version I will play today is from the LP, titled Buffalo Springfield Again, released later that year 1967. This LP version is much improved with lots more guitar work by Stills and Young. BLUEBIRD features the trading off of guitar solos between Neil Young and Stephen Stills. Stills plays the acoustic guitars, some is finger-picking. Young the rocker plays the distorted lead guitar part, on Les Paul guitar. In this song, Stills is ALL ACOUSTIC, Young is ALL ELECTRIC. PAUSE EXAMPLE GUITARS About that acoustic guitar we hear –  Stills had just purchased a fine old guitar, a 29-year old acoustic Martin D-28. It was first used in the recording of Bluebird. On this song, Stills uses D-modal tuning … he tuned his guitar DOWN a full note to DADGAD, tuning DOWN 3 of the guitar’s 6 strings. EXAMPLE: Record yourself d-tuning an acoustic guitar to DADGAD. It’s a full rich sound used in Celtic music, Folk and Rock. The acoustic guitar work and this recording is sharp and clear because of some early recording expertise in SOUND PROCESSING, the use of compression and equalizers to highlight the picking and full dynamic range of that acoustic guitar. This is an ultra clear recording of Stills on that Martin D-28.  AND there is also a BANJO PART. PLAY BANJO BACKGROUND   The banjo part is played by Charlie Chin, bluegrass style, from Greenwich Village – Stills’ worked earlier there. This LP VERSION with the added guitar and banjo parts, lengthens this 2-minute single to 4:28.   And now here is Bluebird … complete with dueling guitars and banjo. PLAY M2 Don’t Touch That Dial that was M2    BLUEBIRD (Stephen Stills) Buffalo Springfield Again, Released ATCO, LP 1967, (4:28) Song credits M2 go to Neil Young electric lead guitar Bobby West Bass Rich Furay vocal Dewey Martin drums Charlie Chin – Banjo Stephen Stills – singer, songwriter, producer along with Atlantic Records, acoustic rhythm and lead guitars   The single reached number 58 on the Billboard chart, some critics see the song as their most accomplished piece.  It spent 7 weeks on the HOT 100 chart. Buffalo Springfield did not last / could not last, with 3 egos as large as a house, all of this talent had dismantled by 1968 and  each artist went on to their own individual successes…Neil Young departed to form Crazy Horse, Richie Furay departed to form Poco, and Stephen Stills went on to form Crosby Stills Nash and Young. BUFFALO SPRINGFIELD is a foundation of ROCK AND ROLL.   BIT BUCKET On the lyrical side, lyrics are usually lost on me. I am identifying much more with the guitar, drum, and bass parts on these songs. Some say the lyrics in this song Bluebird have to do with Stills’ musings about Judy Collins. He would soon be writing a tong he titled Suite Judy Blue Eyes. More on that later.  The closing verse in the SINGLE is: DO YOU THINK SHE LOVES YOU?  DO YOU THINK AT ALL? M3 Suite: Judy Blue Eyes (Stephen Stills), Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (6:33)   The next piece is titled Suite: Judy Blue Eyes” and is written by Stephen Stills and performed by Crosby, Stills & Nash (CSN). It appeared on the group’s self-titled debut album in 1969 and was released as a single.   The song is indeed a SUITE…. it imitates a classical music suite with a set of THREE musical pieces, in this case.   The inspiration for this Crosby, Stills & Nash classic “Suite: Judy Blue Eyes” is Stills’ romantic relationship with Judy Collins They were both singer songwriters and had a romantic relationship that lasted only two years, but numerous songs written by Stills down the road, would muse about Judy Collins.   The recording features a UNIQUE version of the Suite. This recording is from a DEMO tape made in April of 1968. It was done at a recording studio where Judy Collins had just finished a recording session and there was remaining studio time. Stills evidently paid the recording engineer privately to help him record the demos. He asked the engineer to “JUST ROLL TAPE” and Stills proceeded to perform 13 of his originals – – solo. The tape is available in LP form (very expensive) and on CD. PAUSE AND PLAY EXAMPLE   OF THE EEEEBE tuning at beginni

Wendy Carlos Electronic Composer VV_026 SONG LIST* M1 Air on a G String (JS Bach 1730, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:27) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M2 Two Part Invention in F-Major,(JS Bach 1723, W Carlos, 1968), Switched-On Bach, Columbia/CBS, 1968 (0:40) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M3 Jesu, Joy of Man’s Desiring ,(JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:56) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M4 Chorale Prelude “Wachet Auf”, (JS Bach 1731, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (3:37) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M5 Brandenburg Concerto #3 in G Major 2nd Movement, (JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:50) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M6 Brandenburg Concerto #3 in G Major 3rd Movement, (JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (5:05) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M7 Title Music from A Clockwork Orange), (Purcell, 1695, W Carlos, R Elkind 1972) , Columbia/CBS, 1972 (2:21) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer M8 Theme from A Clockwork Orange (Beethoviana), (W Carlos, R Elkind 1972) , Columbia/CBS, 1972 (1:44) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer   M9 Timesteps (Excerpt), (W. Carlos 1970, Tempi Music BMI), Stanley Kubrick’s A Clockwork Orange, Warner Bros Records, 1972 (4:13) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer M10 March from A Clockwork Orange/Ninth Symphony, 4th Movement, (L v Beethoven 1824, W Carlos, R Elkind 1970) Stanley Kubrick’s A Clockwork Orange, Warner Bros Records, 1972 (7:00) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer and Articulations Today’s Vinyl Vibrations podcast features the artistry of Wendy Carlos, an American composer, arranger, and electronic musician. Wendy Carlos was born Walter Carlos in Rhode Island in November 1939. She is the first transgender recipient of a Grammy Award, her album SWITCHED-ON BACH won three Grammys in 1970. Later, in 2005 she was the recipient of the SEAMUS Lifetime Achievement Award for her contribution to the art and craft of electro-acoustic music. Wendy Carlos is best known for her electronic music such as SWITCHED-ON BACH…and film scores such as A CLOCKWORK ORANGE, THE SHINING and TRON. Her studies of music composition at Columbia University in New York City in the 1960s led to her working with electronic musicians and technicians where she helped in the development of the MOOG SYNTHESIZER. This was the first commercially available keyboard instrument from Robert Moog. During her time at Columbia, Carlos ordered components of a custom designed synthesizer from Robert Moog, and she collaborated with Moog on the design of that early instrument, which became known as the MOOG SYNTHESIZER. Some of the modules included a touch-sensitive keyboard, a portamento control, which slides notes in the scale between one note and the next, a filter bank, and a 49-oscillator polyphonic generator bank that could create chords and arpeggios, arpeggios are the individual notes of those chords played in cycles. Today, we take the synthesizer for granted. The keyboard synthesizer has become widely-available, and most keyboard musicians today, including me, use a synth keyboard such as BEHRINGER, KORG, NORD, ROLAND, YAMAHA, and yes… even the brand Carlos herself helped design with Robert Moog, the MOOG synthesizer. After getting her Masters in Music Composition from Columbia University in 1965, Carlos worked for three years at Gotham Recording Studios in New York City, to support herself. She also used her Moog Synthesizer to record jingles for TV commercials. The recording engineering job would prove to be extremely valuable just three years later as she self-recorded the entire SWITCHED-ON BACH album, which is featured in today’s podcast. In 1968, Carlos, then Walter Carlos, released her first LP, SWITCHED-ON BACH, containing several pieces written by Johann Sebastian Bach, which she arranged and recorded from her Moog Synthesizer. SWITCHED-ON BACH was released on Columbia Masterworks as part of a two-record recording contract. Carlos negotiated a good royalty arrangement, because the label really didn’t expect the album would sell many copies. Classical music rarely, if ever, achieves Gold let alone Platinum unit sales. What makes this first album fascinating is knowing that the MOOG Synthesizer was in a very early state – – – barely a usable product. …You could not sit down and bang out a song like you could on a piano or organ. The first Moog Synthesizer could play only one note at a time. No chords! No two-handed playing ! No buttons with presets for sounds and effects! Instead, a lot of patch cables and knobs to adjust. Every individual part had to be recorded, note for note, and then layered over the previously recorded parts. This was all done on an eight-track recorder. State of the Art at that time. Recorded parts were time-aligned with use of a click track. Carlos did not document her settings for knobs and patch cable connections – –  These were complex, but she was able to recall each part’s sound from her own memory, a living library of hundreds of settings for all the knobs and cables. To add to the laborious nature of early electronic music, the Moog, being an analog device, would frequently drift out of tune. This made the recording and layering process very repetitive, tedious and laborious. The story goes that Carlos would use a hammer to bang on the Moog casing to get it back in-tune, and then re-record the part. According to Wendy Carlos, the Switched-On Bach song recordings required 8-hour days, 5 days a week for 5 months to complete. In other words, Carlos invested some 900 to 1,000 man-hours of her own recording time to lay down what was published That is one-half man-year resulting in 12 songs for a total play time of 40 minutes on the Switched-On Bach LP. And this was moonlighting for Wendy Carlos, she was also working full-time job at the Gotham Recording Studios! That is extreme PASSION for arranging and creating electronic music! Today we will hear selections from three early LP productions of Wendy Carlos. These three albums are: SWITCHED-ON BACH WALTER CARLOS’ CLOCKWORK ORANGE And STANLEY KUBRICK’S CLOCWORK ORANGE Each of these albums are in my collection, and each album refers to and gives credit to WALTER CARLOS, her name at that time. There is also a Corporate ID and a self-credit to Walter Carlos stating on the album liner notes: THIS ALBUM WAS DEVISED AND PRODUCED BY TRANS ELECTRONIC MUSIC PRODUCTIONS INC. We can see that Wendy Carlos has been very protective of her copyrights and ownership of this music. Wendy Carlos has released some 13 studio albums, created 5 film soundtracks, including A Clockwork Orange, The Shining, Tron, and Rediscovering Lost Scores, in two volumes. Sadly, as of 2020, much of Carlos’s discography is out of print and has not been released for digital streaming or other platforms. BUT WE HAVE THE VINYL LPs, WHICH HAVE STOOD THE TEST OF TIME. Fortunately, there is a treasure trove of information on Wendy’s personal website, www.wendycarlos.com There are many many pages painstakenly updated through about 2009, this is Wendy Carlos’ personal database of information. Carlos is also an accomplished solar eclipse photographer, and her work has been published by NASA. She has developed techniques for extending the dynamic range in eclipse photography. Carlos remains very private, but I believe she continues to live at her music studio in New York City. At the time of this podcast recording she is 83-1/2 years old. Perhaps we can visit two other soundtracks THE SHINING and TRON in a part 2 podcast of Wendy Carlos soundtrack skills. That’s it for today’s show “WENDY CARLOS, ELECTRONIC COMPOSER and ARRANGER “, on VINYL VIBRATIONS. 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M1 Oh, Lady Be Good (George and Ira Gershwin, 1924), Django,  CBS Realm Jazz Series 1969/1934 (2:50)… M2 Dinah, (Akst, Lewis, Young, 1925) Django, CBS Realm Jazz Series 1969/1934 (2:30)… M3 I Saw Stars (Sigler, Goodhart, Hoffman, 1934), Django, CBS Realm Jazz Series 1969/1934 (2:20)……. M4 Confessin’, (Daugherty, Reynolds, 1929), Django, CBS Realm Jazz Series 1969/1935 (2:40)…. M5 The Sunshine of Your Smile, (Ray, Cooke, 1913) Django,  CBS Realm Jazz Series, 1969/1935 (2:50)….. M6 Swannee River (Old Folks at Home), (Foster, 1851), Django, CBS Realm Jazz Series, 1969/1935 (2:50)… M7 Lover Man (Oh, Where Can You Be?)(Davis, Ramirez, Sherman, 1941)  Best of Django Reinhardt, EMI / Columbia, 1970/1947 (3:10) M8 Golden Green (Ponty, 1972), Ponty/Grappelli, Inner City Records, 1976/1973 (4:42) Today’s Vinyl Vibrations podcast features the artistry of French Violinist Stephane Grappelli. Stephane Grappelli is best known as the founder of the Quintette du Hot Club de France along with guitarist Django Reinhardt in 1934. This was a GYPSY jazz band. Grappelli is considered the grandfather of jazz violinists. He lived 90 years, from 1908 until 1997. He began playing violin at the age of 12, early on, preferring to learn in the streets by watching how other violinists played, such as at the Barbes (pron BAR-bez) metro station in Paris. Then he was enrolled by his father at the Conservatory of Paris to learn music theory, sight reading, and ear training. He graduated three years later. Starting at age 15, he worked in the pit orchestra at the Theatre Gaumont, accompanying silent films, then at the Ambassador Hotel orchestra, where jazz violinist Joe Venuti was playing. For a while, Grappelli abandoned violin — in favor of playing piano in a big band, it was easier to get paid for big band work. Jazz violinists were a relatively unknown and rare breed. In this big band, Grappelli met gypsy jazz guitarist Django Reinhardt. It was 1931 and Grappelli was just 23, Django was 21. Three years later, Django and Grappelli formed the Quintette du Hot Club de France . This was an all-string jazz band, and they performed regularly at the Montmartre district, an artistic village on the hill in the northside of Paris. This continued until 1939 when the Quintette disbanded due to the outbreak of World War II. ‘’ When the war was over, the original Quintette never did reform. Django and Grappelli did continue to perform together in Paris. In 1949, they briefly toured in Italy, where some 50 tunes were recorded. That would turn out to be the last time the two would record together, 1949, due to Django’s untimely death at the age of 43. Many of those recorded songs were released as an album titled Djangology in 2005 on Bluebird Records. Most of the recordings featured in today’s podcast were recorded between 1934 and 1947 and were recorded in Paris, as performed by the Quintette du Hot Club de France. Stephane Grappelli is a master of improvisation. He had said that he was not a fan of BEBOP jazz, which was then very fashionable in the jazz world.   Instead, he was a strong proponent of SWING music, another popular jazz style. Swing developed in the US in 1935-1945  ….. This was the SWING ERA in America.

M1  Cripple Creek (Traditional), Mudlark, Capitol Records 1971 (1:56)………………………………………………………….. M2 Stealing (Kottke), Mudlark, Capitol Records 1971 (1:35)………………………………………………………………………… M3 Machine #2 (Kottke), Mudlark, Capitol Records 1971 (3:00)……………………………………………………………………. M4 Bourree (J.S. Bach), Mudlark, Capitol Records 1971 (1:26)……………………………………………………………………… M5 Easter (Kottke), My Feet Are Smiling, Capitol Records 1973 (3:18)………………………………………………………….. M6 June Bug (Kottke), My Feet Are Smiling, Capitol Records 1973 (2:20)……………………………………………………… M7 Jesu, Joy Of Man’s Desiring (J.S.Bach), My Feet Are Smiling, Capitol Records 1973 (2:00)……………………….. M8 Twilight Property (Kottke), Dreams and All That Stuff, Capitol Records 1974 (3:11)…………………………………… M9 Vertical Trees (Kottke), Dreams and All That Stuff, Capitol Records 1974 (2:34) Today’s Vinyl Vibrations podcast features the artistry of American composer, arranger, and acoustic guitarist LEO KOTTKE.  Leo Kottke was born in 1945 in Athens Georgia.  As a youth he  lived in several states, including Oklahoma ,,and Missouri and Minnesota  and eventually settled in the Twin Cities. He released his first record on the Oblivion label in 1969 … and just 2 years later he signed on with Capitol Records … it was 1971 he was just 25 years old. Kottke produces instrumental songs, mostly…. but on a few songs he adds his vocals. I selected the instrumental songs because I believe these best showcase his unique guitar and arrangement talent. For his guitars, Kottke uses signature Taylor 12-string and Taylor 6 string.. Kottke plays guitar by an innovative style of fingerpicking, and his style is considered “unconventional”. His style enables the mimicking of a rhythm section, His genres of music include jazz, rock, bluegrass, classical, and folk. Kottke has also been “Different” as far his guitar tuning. He’s used different variations ranging from open tuning to tuning his guitar two steps below the traditional tuning.  This produces a full and warm guitar sound. When Kottke was younger, he suffered significant hearing loss from two events – –  first from a firecracker incident as a youngster, and later during live-fire exercises while serving in the Naval Reserves. He was inducted into the Guitar Player Hall of Fame in 1978 and scored two Grammy nominations — 1988 and 1991 Kottke has released 40 records in 40 year period.

Today’s Vinyl Vibrations podcast features the great trumpeter, arranger and producer, Herb Alpert. M1  The Lonely Bull, (Sol Lake), Herb Alpert & the Tijuana Brass, The Lonely Bull, A&M Records, 1962 (2:29). M2 South of the Border (Jimmy Kennedy and Michael Carr), Herb Alpert’s Tijuana Brass, South of the Border, A&M Records, 1964 (2:06)    M3 I’ve Grown Accustomed to Her Face (Alan Jay Lerner and Frederick Loewe), Herb Alpert’s Tijuana Brass, South of the Border, A&M Records, 1964 (2:25)    M4 A Taste of Honey, (Bobby Scott), Herb Alpert & The Tijuana Brass, Whipped Cream & Other Delights, 1965, (2:43). M5 More and More Amor (Sol Lake), Herb Alpert & The Tijuana Brass, Going Places, A&M Records, 1965 (2:44). M6 Mae (Riz Ortolani), Herb Alpert & The Tijuana Brass, Going Places, A&M Records, 1965 (2:27). M7 Shades of Blue (Julias Wechter), Herb Alpert & The Tijuana Brass, Sounds Like, A&M Records, 1967 (2:44 ). M8 Wade in the Water” (Traditional) – Herb Alpert & The Tijuana Brass, Sounds Like, A&M Records, 1967 (3:03). M9 “Treasure of San Miguel” (Roger Nichols), Herb Alpert & The Tijuana Brass, Sounds Like, A&M Records, 1967 (2:14) Herb Alpert was born in 1935, and is an American trumpeter who led the band “Herb Alpert & the Tijuana Brass” in the 1960s. He was born and raised in the Eastside Los Angeles. His parents were Tillie and Louis Alpert —they were Jewish immigrants to the U.S., coming here from the Ukraine and from Romania. Alpert was born into a family of musicians. His father was a mandolin player and his mother taught violin. Herb’s older brother was a drummer.  Herb began to play trumpet at the age of eight. While attending the University of Southern California in the 1950s, he was a member of the USC Trojan Marching Band for two years. In the 1960s Alpert co-founded A&M Records with Jerry Moss, A for Alpert and M for Moss. There are many, many measures of success in the area of popular music by which to measure the success of Herb Alpert – – ….here are just a few: He sold some 72 million records worldwide. And 28 of his albums landed on the Billboard 200 chart 5 of his albums became No. 1 albums He achieved #1 on the U.S. Billboard Hot 100 as instrumentalist He has had 14 platinum albums (sold 1 million) and 15 gold albums (sold 500,000). He has received a Tony Award, eight Grammy Awards, and the Grammy Lifetime Achievement Award He was inducted into the Rock and Roll Hall of Fame in 2006…. and was awarded the National Medal of Arts by Barack Obama in 2013. One of the recording techniques Herb Alpert used in these early records was the overdubbing of the trumpet part, Starting with his first album, THE LONELY BULL, and the title track 1 on side 1.  According to Herb Alpert, he said that he had been trying to find the right trumpet voice. He tried emulating the trumpet styles of Harry James, Louis Armstrong, Miles Davis and Clifford Brown. Oddly enough, he got inspiration NOT from these famous trumpeters, but from a guitarist named …Les Paul. Les Paul had been using multitracking his guitar  recordings. So Alpert tried multitracking his trumpet … and that multitracking became one of the signature sounds we will hear. Here is an example of the overdubbed trumpet from the song A QUIET TEAR……. (Play an example of Herb’s overdubbed trumpet on the song   A QUIET TEAR  song side 2 track 6) In this overdub Herb Alpert is recording each part with the same phrasing and time … but playing the second part in harmony. Additionally Alpert does a fair amount of overdubbing and playing both parts in unison. This double-recording of one part gives Herb’s trumpet an even more rich and full sound, added resonance of the instrument and added reverb or echo of the room. So overdubbing while playing the trumpet part in unison or in harmony was a signature sound of Herb Alpert & the Tijuana Brass. Here is an example from THE LONELY BULL intro…. (Play an example of Herb’s overdubbed trumpet on the song THE LONELY BULL  song side 1 track 1) That’s overdubbing and playing the dub in unison with the first part. It creates a richer and deeper sound of the trumpet.

Today’s show features Frank Zappa, an American musician, composer, arranger, bandleader, multi-instrumentalist,  and record producer. He lived from 1940 to 1993. Zappa composed rock, pop, jazz, jazz fusion and orchestral works. He is known for his work with the band The Mothers of Invention, producing over 60 albums with the Mothers, and he is also known for his prolific work as a Solo Artist. Zappa was one of the great guitarists of our time, and he was a sophisticated composer and highly accomplished multi-instrumental musician. Zappa was a self-taught composer and performer. He studied and wrote classical music in high school, played drums in R&B bands. He later took to the Electric Guitar. He has been described as the godfather of comedy rock, a critic of mainstream education and organized religion, advocating for freedom of speech and political participation. The phases of his life included different musical genres including experimental rock, jazz, classical, comedy rock, doo-wap, prog-rock, avant jazz, and pop. Frank Zappa was prolific. His discography contains 62 albums produced during his lifetime. Zappa died much too early… at the young age 53, from prostate cancer. Following his death in 1993 , The Zappa Family Trust has overseen the release of another 57 official albums…that’s a total of 129 albums of songs recording the genius of Frank Zappa. In the book, Frank Zappa: A Biography, by Barry Miles, Zappa describes his works in these words: “It’s all one album. All the material in the albums is organically related and if I had the master tapes and I could take a razor blade[2] and cut them apart and put it together again in a different order it still would make one piece of music you can listen to…. I could do this twenty ways. The material is definitely related.” Which brings us to the subject of today’s show. Each album seems like an eclectic work, combining songs of Rock, Jazz and Classical genres. It is a difficult assignment for anyone to make the right selection from those 129 albums… let alone a proper selection of the individual songs that would best capture the genius of Frank Zappa in a few sound impressions. One way to accomplish this selection is to attribute each of Zappa’s songs as being either a Song with lyrics, (and this is 401 songs, about 2/3 of his works), and instrumental compositions, (there are 172 instrumentals).  I then compiled an instrumental list from my own vinyl collection, and then shortened that list down to just to 8 instrumental pieces that would fit into this podcast format.  Each instrumental piece is brilliant. This short list of Frank Zappa Instrumentals is what we will review today. M1 Chunga’s Revenge, Frank Zappa, Chunga’s Revenge, 1970, Reprise/Warner Brothers, (6:16)……………………………. M2 Twenty Small Cigars, Frank Zappa, Chunga’s Revenge, 1970, Reprise/Warner Brothers, (2:17)………………………….. M3 Idiot Bastard Son, Frank Zappa, Jean-Luc Ponty Plays the Music of Frank Zappa, World Pacific Jazz, 1970, (4:00) M4 The Little House I Used to Live In, Frank Zappa Music, The Mothers – Fillmore East June 1971 (4:58)………………… M5 Peaches En Regalia, Frank Zappa Music, The Mothers – Fillmore East June 1971 (3:22)………………………………….. M6 The Grand Wazoo, Frank Zappa Music, The Grand Wazoo, 1972 Warner Records, (13:24)……………………………… M7 Eat That Question, Frank Zappa Music, The Grand Wazoo, 1972 Warner Records, (6:41)……………………………… M8 Blessed Relief, Frank Zappa Music, The Grand Wazoo , 1972 Warner Records, (6:41)………………………………….

Today’s show features John McLaughlin, an English guitarist, composer and band leader, born in 1942 in Doncaster, a city in South Yorkshire, that’s located in northern England. His mother was a concert violinist. He studied violin and piano as a child and then took up the guitar at age 11. His childhood musical influences included MILES DAVIS and LUDVIG VON BEETHOVEN, and more contemporary artists were JOHN COLTRANE and JIMMY HENDRIX McLaughlin is a pioneer of Jazz Fusion. In his music, one can clearly pick out elements of ROCK, JAZZ and BLUES…and also additional elements later on such as WORLD MUSIC, and Western Classical Music. In the 1960s at about age 20, he moved to London where he contributed to several British groups and did session work. One of those British Groups was the Graham Bond Quartet with Jack Bruce and Ginger Baker of Cream. Another rare opportunity was working with Miles Davis.  And he gave guitar lessons too, and one of his students was Jimmy Page, founder of Led Zeppelin. M1 Arjen’s Bag (John McLaughlin) EXTRAPOLATION, Marmalade Records, released 1969 in UK, Re-released on Polydor Records, 1972, 4:25. M2 Goodbye Pork Pie Hat, (Charles Mingus 1959) My Goal’s Beyond, Mahavishnu John McLaughlin, Douglas 9 Released 1971(solo album) 3:15            . M3- Dawn (John McLaughlin), Inner Mounting Flame, The Mahavishnu Orchestra with John McLaughlin, Columbia, Released 1971 (5:15) M4 Birds of Fire(John McLaughlin), Birds of Fire, Mahavishnu Orchestra, CBS Columbia, Released 1973 (5:50).. M5 Sanctuary (John McLaughlin), Birds of Fire, Mahavishnu Orchestra, CBS Columbia, Released 1973 (5:05). M6 WINGS of KARMA(John McLaughlin), Apocalypse, Mahavishnu Orchestra, with London Symphony Orchestra, CBS Columbia, Released 1974 (6:12) M7- La Danse du Bonheur, Shakti with John McLaughlin, Columbia, 1977 (4:48). rev4 04Jan2023 17:30

DAVE BRUBECK Today’s show features Dave Brubeck, an American jazz pianist and composer, living between 1920 and 2012. Dave Brubeck’s music is often referred to as COOL WEST COAST JAZZ. It is JAZZ INSTRUMENTAL genre. Brubeck’s work is characterized by unusual time signatures and superimposing contrasting rhythms and meters. One example of unusual time signature is TAKE FIVE, the biggest selling single in jazz history, a Paul Desmond composition, done in FIVE time. M1 What Is This Thing Called Love? (Cole Porter 1929) From earlier recordings, DAVE BRUBECK OCTET, Compilation. Fantasy, 1956 [ from original recordings 1946-1948], 2:40. M2 Laura (Johnny Mercer, David Raskin 1944) DAVE BRUBECK OCTET, Compilation. Fantasy 1956 [ from original recording 1950], 2:09 M3 I Found a New Baby – Live at College of the Pacific (Jack Palmer, Spencer Williams, 1926) Recorded Dec 1953, THE DEFINITIVE DAVE BRUBECK, Fantasy, Concord Jazz and Telarc on CD 2010, 1:40 M4 Blue Rondo a la Turk (Dave Brubeck 1959) Recorded 1959, TIME OUT, Columbia 1959, 6:44 M5 Take Five (Paul Desmond 1959) TIME OUT, Columbia 1959, 6:44 M6 Time In (Dave Brubeck) Recorded Oct 1965, TIME IN, Columbia CL2512, 1966, 3:57 M7 40 Days (Dave Brubeck) Recorded Oct 1965, TIME IN, Columbia CL2512, 1966, 4:38

JEFF BECK EARLY YEARS 1975-1976 Today’s show is JEFF BECK GUITAR EARLY YEARS — PART 2 During the two years of 1975 – 1976, two Jeff Beck albums BLOW BY BLOW and WIRED, set a standard for instrumental rock.  In today’s podcast episode, JEFF BECK GUITAR PART 2, we review 4 works from the album BLOW BY BLOW, released in 1975, and 3 works from the album WIRED, released in 1976.  In the previous episode JEFF BECK GUITAR PART 1, we reviewed the early years of British, blues-based fusion guitarist Jeff Beck during his recordings with THE YARDBIRDS in 1966, and then his formation of the JEFF BECK GROUP in 1968. By 1975, Beck’s band consisted of Phil Chen on bass, Richard Bailey on drums and Max Middleton on keyboards. Middleton continued on from the earlier Jeff Beck Group. The sound with this new group and this album is instrumental Jazz Fusion It is a sound with influences from Miles Davis, and Mahavishnu Orchestra. PROGRAM LIST Cause We’ve Ended as Lovers (Stevie Wonder) Rec Oct 1974, BLOW BY BLOW, Epic Records/Sony Music Entertainment, 1975, 5:42 Freeway Jam (Max Middleton), Rec Oct 1974, BLOW BY BLOW, Epic Records/Sony Music Entertainment, 1975, 4:58 Diamond Dust (Bernie Holland) Rec Oct 1974, BLOW BY BLOW, Epic Records/Sony Music Entertainment, 1975, 8:26 Led Boots (Max Middleton), Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 4:03 Goodbye Pork Pie Hat (Charles Mingus, 1959) Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 5:31 Blue Wind (Jan Hammer) Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 5:54 Love is Green (Narada Michael Walden) Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 2:30 9-4-20 at 1333