Sky "Sunlight" Saxon of The Seeds, 1937-2009

2009 has not been a good year for great musicians. We have seen a lot of them pass recently; Michael Jackson, Bob Bogle, Koko Taylor, the list goes on. I would be remiss if I didn't acknowledge another great, and a man considered to be the father of the garage band genre. Sky "Sunlight" Saxon, died on June 25th after a brief illness in Austin, Texas. Saxon, born Richard Marsh, recently collaborated with the Smashing Pumpkins last year and was scheduled to perform as part of the California '66 Revue in August. The Seeds' hits include "Pushin' Too Hard" and "Can't Seem to Make You Mine." Saxon and the Seeds were considered the pioneers of the "Flower Power/Punk" movement and their psychedelic sounds were something that would shape generations of musicians to come.

In 1965, Saxon formed the Seeds, arguably the city's finest punk/garage group, which later evolved into a psychedelic, flower-power attraction. Saxon and guitarist Jan Savage first formed the group with keyboardist Daryl Hooper and drummer Rick Andridge. By the end of 1966, they had secured a contract with GNP Crescendo, releasing "Pushin' Too Hard" as their first single. The song climbed into the Top 40 early in 1967, and the group immediately released two more singles, "Mr. Farmer" and "Can't Seem to Make You Mine." In an attempt to replicate their success, the latter just missed being in the Top 40.

Best known for their rock & roll standard "Pushin' Too Hard," the Seeds combined the raw, Stonesy appeal of garage rock with a fondness for ragged, trashy psychedelia. The band continued to record for the remainder of the '60s, eventually delving deep into post- Sgt. Pepper's psychedelia and art rock. As the April 1967 cover of Teen Scene said, "Flower Power has arrived."

While their singles were garage punk, the Seeds attempted to branch out into improvisational blues-rock and psychedelia on their first two albums, "The Seeds" (1966) and "Web of Sound" (1966). With their third album, "Future" (1967), the band attempted a psychedelic concept album in the vein of Sgt. Pepper's. The record reached the Top 100 and spawned the hit "A Thousand Shadows." Two other albums followed: "Raw & Alive: The Seeds in Concert at Merlin's Music Box" (1968) and "A Full Spoon of Seedy Blues" (1969), which was credited to the Sky Saxon Blues Band.

During the early '70s, Saxon led a number of bands before joining The Source Family, retreating from society and eventually moving to Hawaii. Saxon became Sky "Sunlight" Saxon upon joining the Source Family, and he began an intense spiritual journey that included music with Father Yod, creating and leading a few family bands including the most famous and cult favorite, YaHoWha. A collection of rarities and alternate takes, "Fallin' off the Edge", was released in 1977.

Saxon, who had not produced any new albums since 1978, returned on the U.K. Psycho label in 1984 with "Starry Ride", which featured support from Steppenwolf's Mars Bonfire (composer of "Born to Be Wild"), as well as formermembers of Iron Butterfly and Fraternity of Man. The Saxon/Bonfire collaboration reached full fruition in the group Firewall, who debuted with the album "A Groovy Thing" in 1986 (Destiny's Children features the same songs in a different order).

Firewall featured guest appearances from members of such California neo-psychedelic bands as the Dream Syndicate, the Plimsouls, the Droogs, and Yard Trauma, demonstrating Saxon's enduring influence and appeal, particularly among that set of musicians. That same year, Saxon recorded a largely unrehearsed live album with his Purple Electricity band, a project featuring members of Redd Kross and the Primates, entitled "Private Party". Firewall returned in 1988 with "In Search of Brighter Colors", which was released in the U.S. as "World Fantastic", with several rare '80s cuts replacing the former version's tracks.

The 1990's found Saxon married and settling down for a while but he, with the help of his wife at the time, Marianna DaPello, released an early pre-Seeds album of doo-wop music called, "A Starlight Date", that Saxon did under the name, Richie Marsh. He also released an album called "Golden Vaults". The biggest accomplishment of the 90's was contracting with Captain Trip in Japan to release an amazing YaHoWha collection of music in a beautiful wood box called "God and Hair", which also included three albums of Sky Sunlight Saxon music. It was also during this time that Saxon worked with his friend Ken Dembinski a.k.a. Kenny Roland in Mount Shasta on an album released as "Tyrants in the House".

In 2002, The Seeds reformed and hit Europe and the U.S. three tours in the mid-2000's. In 2004, The Seeds recorded the "Red Planet" album with The Seeds newest lineup at the time: Sky Sunlight Saxon as lead vocalist, drummer Dave Klein, keyboardist Mark Bellgraph and bassist Rik Collins. The Seeds returned to Europe again in 2006 and Saxon left there with two albums under his belt - "Transparency" with Sky Sunlight Saxon and "Lighter" out of Great Britain, released by Jungle Records and "Atlantic Rising" out of Greece.

In 2007, The Seeds lineup changed for the Goodstock Festival and became lovingly known as the Goodstock Seeds with Sky Sunlight Saxon as lead vocalist, lead guitarist and vocalist Jimmy Valentine, rhythm guitarist and vocalist Sean M'Lady, bassist Dave Waller, drummer Tommy Gunn, and harpist Christopher Robin.

That lineup of The Seeds consisted of amazing veteran musicians including Saxon as lead vocalist, drummer Gary Stern, bassist Don Bolles, keyboardist Geoff Brandin, lead guitarist Atomic, and rhythm guitarist Kevin Dippold. Long-time friend Justino also joined Stern on drums. Justino was also the drummer for Sky's band, King Arthur's Court. Saxon also had a solo career as Sky Sunlight Saxon and the Psychedelic Experience, with various musicians backing him as he continued to tour and play as many gigs as he could.

On June 7th, 2007 Saxon married Sabrina Smith on a bandstand at a Summer of Love party in Lagunitas, California and she became his business manager and co-partner. With Suzanne Graeber starting the process of an amazing album released in 2008 as "King of Garage Rock" by Cleopatra Records, Smith helped facilitate the release of this amazing album. King of Garage Rock shows Saxon going back to his roots and performing his favorite hits from the 1960's.

Danny B. Harvey and Clem Burke produced this album with an amazing line-up of musicians backing Sky including guitarist Danny B. Harvey, keyboardist Don Randi, bassist Trent Stroh and drummer Clem Burke. The album was engineered by Gilby Clarke and Danny B. Harvey at Redrum Studios, S.I.R., and Bedworth Studios. A look at the current indie rock tree of life, from The Vines to Brandon Flowers, finds traces of what Sky Saxon and The Seeds planted in the fertile of the 1960's.

"Back To The Garden" was one of the last releases for Saxon The Seeds, and includes many songs that he co-wrote with long-time friend, Mike Oak. In November, December 2008 and January 2009, Saxon was in Europe, touring from November 14 - December 14 and followed by various recording sessions with various bands in Germany including Vibravoid.

It's been said that Sky "Sunlight" Saxon lived to perform and record his music and for that, we are indeed, eternally grateful. The "Flower Power/Flower Punk/Garage" movement, was truly reaped, plowed and sown by the inimitable Sky Saxon and The Seeds. We will certainly miss him.

Bob Bogle of The Ventures, 1934-2009

Growing up, one of my favorite instrumental groups was the Seattle based combo, "The Ventures". I'll never forget my first album, "Hawaii Five-0" and their "10th Anniversary" double record set in 1970. Bob Bogle, lead guitarist and co-founder of The Ventures with Don Wilson, were known for 1960's instrumental hits including "Walk, Don't Run." Bogle died this week at age 75. The Ventures sold millions of albums and heavily influenced a generation of rock guitarists and in 2008, they were inducted into the Rock and Roll Hall of Fame. The Hall's website hailed The Ventures as "the most successful instrumental combo in rock and roll history." "Walk, Don't Run" reached No. 2 on the Billboard chart in 1960, and a revised version, "Walk, Don't Run '64," reached No. 8 in 1964. Among the band's other hits were "Perfidia" and the theme from "Hawaii Five-O."

The band first got its start in 1958 in Tacoma. A native of Wagoner, Oklahoma, Bogle was working as a bricklayer when he walked into a Seattle used-car lot where Wilson was a salesman. “I said, ‘Can you get me a job?’ ’’ Wilson recalled. “I was working on commission, and I wasn’t doing very well and wanted a weekly paying job.’’ Wilson quit the car lot to work as a hod carrier. They discovered that they both had once owned guitars and could play a few chords. They bought guitars at a pawnshop and while learning how to play, began entering talent contests together. After four or five talent shows, they started winning with Bogle initially playing lead and bass and Wilson played rhythm guitar. They were soon joined by Nokie Edwards, another guitarist, and drummer Howie Johnson, later replaced by Mel Taylor. "Our aspirations were to pick up nothing heavier than a guitar," Wilson said last year. "But it just mushroomed into something where we became internationally known."

The Ventures were particularly popular in Japan, where Wilson and Bogle played as a duo during their first tour in 1962 because the promoter couldn't afford to pay the other two band members. The two Americans made such an impression, Wilson recalled last year, that when the band came back in 1964, "there were 6,000 people at the airport." He said he didn't realize at first the Japanese fans were there to see The Ventures.

Needing a permanent drummer for the group, they hired Howie Johnson, and, in the midst of a fast-paced touring schedule, they recorded an album to capitalize on the success of the single. The lineup of Bogle, Wilson, Edwards and Johnson remained intact until 1962. The group found early success with a string of singles, but would quickly become leaders in the album market. The Ventures were one of the pioneers of the early concept album idea, where, starting with 1961's The Colorful Ventures, each song on their albums was chosen to fit a specific theme. Some of the Ventures' most popular albums at the time were a series of records of dance music.

Later in '62, Johnson was injured in an auto crash, which caused irreversible spinal damage. On doctor's orders, he quit the band. Bogle and Wilson already knew Mel Taylor, house drummer at The Palomino in North Hollywood (the venue where they would play numerous shows during their resurgence in the 1980s). Taylor had performed as drummer on the Bobby "Boris" Pickett hit "Monster Mash", The Hollywood Argyles' "Alley Oop" and "The Lonely Bull" by Herb Alpert and The Tijuana Brass. Taylor was known for a very aggressive, hard-hitting style of drumming. They invited him to some recording sessions, which led to him becoming a permanent member of the Ventures.

The combination of Edwards on lead guitar, Taylor on drums, Bogle on bass and Wilson on rhythm guitar created what many fans felt were The Ventures at their very best. This lineup remained unchanged until Edwards left the band in 1968, to be replaced by Gerry McGee. Edwards came back in 1973 and remained with them until 1984, although he has toured and gigged with them dozens of times in the subsequent years. Edwards' replacement in 1984 was, once again, Gerry McGee. Drummer Mel Taylor remained with The Ventures until cancer took his life in 1996. His spot has since been filled by his son, Leon Taylor. (Original drummer Howie Johnson had died in 1988).

Their commercial fortunes in the US declined sharply in the early 1970s due to changing musical trends. In the late 1970s and into the 1980s, a resurgence of interest in surf music led to some in the punk/new wave audience rediscovering the band. The Go-Go's wrote "Surfin' And Spyin'" and dedicated it to The Ventures. The Ventures recorded their own version and continue to occasionally perform the song. Their career was given another rejuvenating shot in the arm by Quentin Tarantino's use of The Lively Ones' version of Nokie Edwards' "Surf Rider" and several other classic surf songs in the soundtrack of the hit movie Pulp Fiction.

The Ventures became one of the most popular groups worldwide thanks in large part to their instrumental approach—there were no language barriers to overcome. The Ventures are still the most popular American rock group in Japan, the world's second largest record market. One oft-quoted statistic is that the Ventures outsold The Beatles 2-to-1 in Japan. They produced dozens of albums exclusively for the Japanese and European markets, and have regularly toured Japan from the 1960s through to the present. According to a January 1966 Billboard Magazine article, The Ventures had five of 1965's top 10 singles in Japan. A recent Japanese pop music poll listed "Ginza Lights" as the most popular song of all time; it was composed and recorded for their 1966 LP Go With The Ventures.

In March 2008, The Ventures were inducted into the Rock and Roll Hall of Fame with John Fogerty as their presenter. In attendance were original members Don Wilson and Nokie Edwards, late 1960s member John Durrill, current guitarist Bob Spalding, and current drummer Leon Taylor who, along with Mel Taylor's widow, Fiona, accepted on behalf of The Ventures late drummer. Bob Bogle and Gerry McGee were unable to attend the ceremony. Fiona Taylor gave special mention to her husband's predecessor drummers Skip Moore and Howie Johnson. The Ventures performed their biggest hits, "Walk Don't Run" and "Hawaii Five-0", augmented on the latter by Rock and Roll Hall Of Fame musical director Paul Shaffer and his band.

Bogle was one of the most influential guitarists of our generation. His legacy and the music of The Ventures will surely live forever.

Remembering Koko Taylor, 1928-2009

In 2001, I had the privilege of working with the incredible, incomparable Koko Taylor at the State Theater, just outside Washington, DC. Koko arrived for sound check right on time and I graciously invited her upstairs to the theater's modern "green room". Koko took one look at the two flights of stairs and said, "Oh no baby, I can't go up and down those all night." Faced with a "MacGyver moment", I quickly fashioned an all new "green room" just off stage, with comfy chairs, a Japanese screen for privacy and a wardrobe rack for her change of clothes. "Now that's what I'm talkin' about baby", she said. "You gonna take care of Koko tonight baby?", she asked. "Trust me Koko, a dash of digital delay and a spoonful of reverb and you'll be good to go", I told her. Dressed and ready to go, Koko thanked me, took the stage and proved she could still bring it with the best of them. Sadly, Grammy award-winning blues legend Koko Taylor, aged 80, died yesterday in her hometown of Chicago, IL, as a result of complications following her May 19th surgery to correct a gastrointestinal bleed. I hope heaven is ready for "the one, the only, "Ko-ko Tay-lor!!!"

On May 7, 2009, the critically acclaimed Taylor, known worldwide as the “Queen of the Blues,” won her 29th Blues Music Award (for Traditional Female Blues Artist Of The Year), making her the recipient of more Blues Music Awards than any other artist. In 2004 she received the NEA National Heritage Fellowship Award, which is among the highest honors given to an American artist. Her most recent CD, 2007’s Old School, was nominated for a Grammy (eight of her nine Alligator albums were Grammy-nominated). She won a Grammy in 1984 for her guest appearance on the compilation album Blues Explosion on Atlantic.

Born Cora Walton on a sharecropper’s farm just outside Memphis, TN, on September 28, 1928, Koko, nicknamed for her love of chocolate, fell in love with music at an early age. Inspired by gospel music and WDIA blues disc jockeys B.B. King and Rufus Thomas, Taylor began belting the blues with her five brothers and sisters, accompanying themselves on their homemade instruments. In 1952, Taylor and her soon-to-be-husband, the late Robert “Pops” Taylor, traveled to Chicago with nothing but, in Koko’s words, “thirty-five cents and a box of Ritz Crackers.”

In Chicago, “Pops” worked for a packing company, and Koko cleaned houses. Together they frequented the city’s blues clubs nightly. Encouraged by her husband, Koko began to sit in with the city’s top blues bands, and soon she was in demand as a guest artist. One evening in 1962 Koko was approached by arranger/composer Willie Dixon. Overwhelmed by Koko’s performance, Dixon landed Koko a Chess Records recording contract, where he produced her several singles, two albums and penned her million-selling 1965 hit “Wang Dang Doodle,” which would become Taylor’s signature song.

After Chess Records was sold, Taylor found a home with the Chicago’s Alligator Records in 1975 and released the Grammy-nominated I Got What It Takes. National touring in the late 1960s and early 1970s also improved her fan base, and she became even more accessible to a wider record-buying public after signing with Alligator. She recorded nine albums for Alligator, 8 of which were Grammy-nominated), and come to dominate the female blues singer ranks, winning twenty five W. C. Handy Awards (more than any other artist). After her recovery from a near-fatal car crash in 1989, the 1990s found Taylor in films such as Blues Brothers 2000, and she opened a blues club on Division Street in Chicago in 1994, but it closed in 1999.

Koko appeared in the films Wild At Heart, Mercury Rising and Blues Brothers 2000. She performed on Late Night With David Letterman, Late Night With Conan O’Brien, CBS-TV’s This Morning, National Public Radio’s All Things Considered, CBS-TV’s Early Edition, and numerous regional television programs.

Over the course of her 40-plus-year career, Taylor received every award the blues world has to offer. On March 3, 1993, Chicago Mayor Richard M. Daley honored Taylor with a “Legend Of The Year” Award and declared “Koko Taylor Day” throughout Chicago. In 1997, she was inducted into the Blues Foundation’s Hall of Fame. A year later, Chicago Magazine named her “Chicagoan Of The Year” and, in 1999, Taylor received the Blues Foundation’s Lifetime Achievement Award. In 2009 Taylor performed in Washington, D.C. at The Kennedy Center Honors honoring Morgan Freeman.

Koko Taylor was one of very few women who found success in the male-dominated blues world. She took her music from the tiny clubs of Chicago’s South Side to concert halls and major festivals all over the world. She shared stages with every major blues star, including Muddy Waters, Howlin’ Wolf, B.B. King, Junior Wells and Buddy Guy as well as rock icons Robert Plant and Jimmy Page. Taylor influenced musicians such as Bonnie Raitt, Shemekia Copeland, Janis Joplin, Shannon Curfman, and Susan Tedeschi. In the years prior to her death, she performed over 70 concerts a year and resided just south of Chicago in Country Club Hills, Illinois.

Taylor’s final performance was on May 7, 2009 in Memphis at the Blues Music Awards, where she sang “Wang Dang Doodle” after receiving her award for Traditional Blues Female Artist Of The Year.

Survivors include Taylor’s husband Hays Harris, daughter Joyce Threatt, son-in-law Lee Threatt, grandchildren Lee, Jr. and Wendy, and three great-grandchildren.

We are going to miss you Koko.

Kelli Rudick Comes to Amnesia in the Mission

Each week, I get a ton of email about music, films, theater and gallery openings. So many in fact, I can't possibly read them all. Once in a while however, I'll get one that intrigues me and just I have to delve deeper. This week, it's the NYC Experimental/Neo Classical artist Kelli Rudick. I'm always amazed by women who are phenomenal instrumentalists and after watching her You Tube videos, Kelli proved she is the real deal. I must credit Adam Baer for sending me the following info on Kelli, who will be playing new material as well as works from her first album at upcoming live performances across the US this Spring and here in San Francisco, where she will headline a stellar line-up of thoughtfully virtuosic musicians at Amnesia in the Mission on June 11th.

Ahead of the curve of New York's burgeoning multi-genre intermix, Kelli's show will feature her virtuosic, complex and inimitable solo guitar work, as well as a one woman sonic immersion created with guitars, loop station, array mbira, and nail violin. The indie / neo-classical artist has played shows across the country, including New York's the Knitting Factory, Blue Note and Joe's Pub; LA's Hotel Cafe; Seattle's Triple Door; and San Francisco's Cafe Du Nord. She recently completed her second US tour as well as an appearance at the Mother Music Festival in Tel Aviv. Kelli returns to California for engagements in Los Angeles, San Diego and San Francisco.

In her ex-industrial Brooklyn loft strewn with guitars and all manner of odd instruments, Kelli creates beautifully crafted and intensely driven compositions. Born in the states but raised in Israel, she spent endless hours playing in the echoing sound of the bomb shelter just outside the family’s house on the outskirts of Tel Aviv. After fulfilling her mandatory military service, Kelli moved back to the US and worked to create alternate playing styles through inventive fingerwork and variant tunings, creating a unique and inimitable musical style. In Brooklyn Kelli continued to develop her unusually powerful and expressive techniques. Using every timbre the instrument has to offer by slapping, tapping, bending, restringing and de-tuning, she causes the instrument to morph and transcend possibility in her hands.

In 2007 Kelli released ‘No One Knows You’re Foreign’, a distinctive work introducing her unique way of accentuating emotionally complex compositions by drawing percussive rhythms from the fretboard and body of the guitar while coaxing chordal melodies and harmonics from the strings. The cumulative effect of this soundscape reveals transcendently beautiful dimensions in an anomolous approach to guitarwork. Live shows in support of this record include intricately crafted arrangements for solo guitar as well as looping beats, bass lines and string driven sound progressions, creating captivating atmospheres though multi-layered melodic structures.

Kelli has collaborated with notable artists including Nick Zammuto of the aleatoric electro-folk duo The Books, Alon Leventon of the project Drops of Conciousness and the electro-indie group Zigmat, and recorded and toured with internationally acclaimed guitarist Kaki King. She’s scored music for Queer Eye For The Straight Girl, Showtime’s hit series ‘The L Word’, and the independent films ‘A Night in the Sunlight’ and 'Absolutely I Do'. Kelli has toured throughout the United States and Europe, and has played extensively in her adopted hometown including shows on the main stage of The Knitting Factory, Galapagos, the Cutting Room, a month-long residency at the Living Room, and fronting her seven piece band at the Blue Note in New York City.

Supporting Kelli at this show is Sean Smith & the Present Moment. Guitarist, composer and improviser Sean Smith has produced several masterful solo-guitar albums since 2005 with his powerfully emotive instrumental songs. He is heavily rooted in the school of Takoma and John Fahey, but never limited to it. Like Kelli Rudick, Sean Smith’s music always pushes the boundaries of instrumental songcraft and technique, speaking profoundly in wordlessness. Sean shows two very different sides of his oeuvre at this show, with one set on solo guitar and another together with his new trio, The Present Moment.

Diego Gonzalez, another stunningly exceptional instrumental artist, joins the bill to perform a solo set on Bass and Oud. He is best known for his work with the noted experimental indie band Citay, as well as the indie / neo classical act The Dry Spells. Gonzalez is an astoundingly talented multi-instrumentalist, who will perform a set of solo material for this evenings show.

Kelli continues writing and recording for her upcoming 2nd release, which adds new dimensions to her work and is a definitive evolution from her earlier record. Accelerating the delicately complex terrain of her first recording, the new songs add precise string arrangements, driving basslines, steely layers of variant guitars, array mbira, nail violin, and powerful drums to her distinctive chordal compositions. Don't miss this one.


Kelli Rudick with Sean Smith & the Present Moment and Diego Gonzales
Amnesia in the Mission
June 11th @ 9:00 pm
853 Valencia St., San Francisco, CA 94110
$8 21+ to enter

Rachelle Revisited

One of the best singers I have ever heard, (and I've heard a lot of them) is the extraordinary Rachelle Farrell. Though she is largely obscure outside of jazz circles (particularly those connected to the festival circuit), Rachelle Ferrell is unquestionably one of the most dynamic talents in contemporary pop music. Very few vocal artists in the industry have Ferrell's potent combination of range, phrasing, and musicianship (she is also and accomplished pianist). Such potency was made powerfully aware to Blue Note Record's head Bruce Lundvall who first heard Ferrell on a demo tape (while driving to the supermarket) and signed her shortly thereafter in 1990 after seeing her perform in Germantown, Pennsylvania. So impressed was Lundvall with her talents, that he signed Ferrell to both the Blue Note Label and the Capitol Label allowing her to funnel her talents through the prism of traditional jazz and R&B.

In short, Rachelle Ferrell's talents transcend generic classification and Lundvall had the foresight to realize such a fact. Lundvall quickly set out to plan Ferrell's coming out party via a showcase at the 1991 Montreux Jazz Festival. In the past, the showcase was used to introduced the talents of Dianne Reeves (also signed to both labels), Stanley Jordan, and Gonzalo Rubalcaba. Live at Montreux 91-97 captures Ferrell's moving debut at Montreux in July of 1991 and subsequent performances at the venue throughout the decade of the 1990s. Ferrell first emerged in the states with her R&B debut Rachelle Ferrell (1992), a solid collection of self-penned originals that featured a striking duet with Will Downing ("Nothing Has Ever Felt Like This"). It was with the release of First Instrument in 1994 (recorded prior to Rachelle Ferrell) that audiences were really introduced to Ferrell's jazz sensibilities.

Many of the tracks eventually recorded for First Instrument were part of Ferrell's program at Montreux in 1991 (she was backed by the Eddie Green trio in both cases), but the live material offers listeners, particularly those who have never heard Ferrell "live", to witness her simply extraordinary live performances. However accomplished Ferrell's studio recordings have been, the studio is simply incapable of capturing an artistic sprit that refuses to be contained and limited by the constraints of making a record. Live in Montreux 91-97 opens with a dutiful hard-bopped rendition of the Sam Cooke classic "You Send Me" which Ferrell sings so effortlessly and gleefully that it's a wonder that more jazz vocalists haven't recorded versions of the song. Ferrell's rather pedestrian (by her standard) scat finish initially gets a solid rise out of the crowd. The standard "You Don't Know What Love Is", similarly gets backed by a spare hard groove courtesy of Tyrone Brown on bass, as Green's bright piano lines are shadowed by Ferrell's dark hues throughout the first half of the track. But it is Ferrell who brightens up after Green's solo, dancing melismatic flourishes on-top of Green and Brown's vamp.

Simply whetting the curiosity of the crowd, Ferrell is well into her thing with the original "Don't Waste Your Time". On the fast paced tuned Ferrell show that she loses neither her timing nor her gift for nuance as the groove begins to overheat (again courtesy of a Green solo). It is in the midst of the song's pulsating close that Ferrell first gets the audience off their feet as she displays the triple-octave screech that has made her such an extraordinary live performer. In some regards "Don't Waste Your Time" is just a set-up for her off-the-chart version of "Bye-Bye Blackbird". Again matching the triple espresso pace set by Brown, midway through, Ferrell vocals literarily apes the sounds of birds in frenzy. But it's the closing of the song (impressive even on First Instrument) that Ferrell, during her first Montreux become Rachelle Ferrell. Seemingly pacing herself through 30 seconds of scats as if she was measuring her tour de force moment, Ferrell unleashes a flurry of bird sounds finally punching out over and over the phrase "Black Bird" (24 fours times by my count) as her lungs sound as if they are about to collapse for lack of air. It is this kind of stream of consciousness modernist frenzy -- where Miles Davis should have met the great Shirley Caesar -- that really sets Ferrell apart from contemporary Jazz vocalists, save rare moment with Al Jarreau.

Despite her ability to hang when the pace is amped, Ferrell perhaps best distinguishes herself on ballads. Ferrell introduces the Rodgers and Hart classic "My Funny Valentine" as a song done by "everybody's mothers sisters grandmothers first cousins aunts kid's sons" before doing a version so personalized that it exists as an aura around her. Dripping like some gin-drenched molasses, Ferrell sings "is your figure less than Greek / Is your mouth a little weak?" and a host of the song's lyrics like a lazy Sunday morning that promises redemption and salvation, without ever having to leave the comfort of Nana's quilt. (You can almost hear Gwendolyn Brooks somewhere in the background saying "When you have forgotten Sunday…"). On her own composition "I Can Explain", which was included on her most recent studio disc Individuality (Can I Be Me?) (2000), Ferrell is also on the piano, giving the audience a glimpse at her dual genius. Ferrell almost stops time midway through the song with the lyric "you wanted me all to yourself / I just found out, you've got somebody else", holding the last syllable for nearly 13 seconds.

Alongside her finish of "Bye, Bye Blackbird", Ferrell's performances of "My Funny Valentine" and "I Can Explain" are the clear highlights of Live at Montreux 91-97. Ferrell is joined by longtime collaborator George Duke on "I'm Special" a track that would later appear on Rachelle Ferrell. Duke is also on keyboards for Ferrell's version of Cy Coleman's "With Every Breath I Take" (drawn from Ferrell's appearance at Montreux in July of 1997. Also taken from that appearance are Ferrell's performances of "Me Viola Seul" and "On Se Reveillera" (both in French) backed by members of the WCR Big Band Cologne. There was a six-year gap between the releases of First Instrument and Individuality, so the release of Live in Montreux 91-97 is a welcomed release from an artist who admittedly has had less than a consistent presence in the studio. Live in Montreux 91-97 is a literally "best of" more so because it captures Ferrell at her best -- on stage and pushing the boundaries.

Trilok Gurtu's "Massical"

Trilok Gurtu wanders between worlds, although his odyssey never went so smoothly from point A to point B. He didn't just come from India to stay in Europe. His sense of direction is much more complex. He drew circles, spanned nets and created intensely woven networks of influences from various regions and musical epochs. Contemporary terms such as jack of all trades or multitasker are highly unsatisfactory in defining Trilok Gurtu’s depth of spirituality, non-judgmental empathy for different cultures, his unending search for new ways to express himself on the solid foundation of a whole arsenal of traditions. Trilok's long-awaited new album "Massical" will be released at the end of May on the BirdJAM label. Trilok will also perform throughout 2009 to promote the album.

Trilok Gurtu was born in Bombay in 1951 in an extremely musical family. His grandfather was a highly respected sitar player and his mother Shoba Gurtu (who died in 2004) was among the most highly renowned Indian singers. There was practically no way for Trilok not to seek a musical career, although his path to percussion was hardly preordained. Today, Gurtu remembers how “my entire family played harmonic instruments and sang and danced. My brother Ravi and I are the only percussionists, although we're not quite sure how we got there. My mother told me when I was three or four years old that she had a percussionist who always came too late or never came in all. Somewhere along the line, my father said: Trilok drums on the table all the time - get him down. And I had to accompany my mother. That's how I chose my instrument - or the instrument chose me. I learned just as much song as percussion when I accompanied my mother.”

That was a talent that was to be very useful to him later. He extended his arsenal of tablas on congas, bongos and drums and then he started a percussion band with his brother and was influenced by John Coltrane and Jimi Hendrix. In the 70s, he toured Europe and later America with the Indian singer Asha Bhosle, performed with Charlie Mariano and Embryo and joined up with Don Cherry in Sweden whose universal musical spirit was driving the future for him. Starting in 1977, he belonged to the Family of Percussion and worked together with innumerable jazz musicians. Then in the mid-80s, he joined the Ethno-Jazz Pioneers of Oregon following in the footsteps of Collin Walcott who had a fatal accident and gave them a completely new way of looking at things with this powerful spirituality. In 1988, he started his virtually historical work with John McLaughlin that was to continue for four years. Just incidentally, he played with musicians such as Joe Zawinul, Jan Garbarek, Pharoah Sanders, Bill Laswell and Pat Metheny.

Gurtu cut his first solo album Usfreth in 1988 whose visionary spirit is far ahead of his own time to be appropriately honoured by the critics and the general public. He tore down the bastions of jazz and world music together with Ralph Towner, Don Cherry, Shankar and his mother Shoba. The rhythmic and harmonic interweaving already contains all of the ingredients that were to rock the world music a decade later in Drum’n’Bass. Since then, he has persistently added elements of various provenance to his musical cornucopia to develop a form of music that finds hierarchies superfluous and has reached its latest high water mark in the new CD entitled Massical. Gurtu turned the pages back and recalls that “I got a lot of flak for my first record because I was trying out something new. It's a lot easier just to imitate somebody else. I tried to forge a bond between my love for Africa and India, but somewhere along the line I had the feeling I was respecting the music too much. I have to remember to maintain my own self respect. Guess what? My music doesn't exist without me! So, I was a little bit more relaxed about my music and concentrated on what I heard myself. On Massical, I didn't think much about music; I just played.”

That's why the songs on Massical feel like acoustic balm. When you're listening, you forget everything you ever learned about music. You drop all your prejudices and surrender yourself to the flow that seems to drive out the gold of the millennia through the present into the future. Gurtu had to drop some ballast himself to be able to credibly transport that feeling. He is an incredible virtuoso who had a tendency to play too much. But virtuosity only plays second fiddle on Massical and just lets the musical process fall into place. Gurtu says "I'm not just showcasing myself. If the music doesn't call for virtuosity, I don't use it. But, let's not forget that there are pieces that are awfully difficult to play and most musicians would not be able to. That music is virtuoso, even though it sounds simplistic. When the musicians cut their first or second record, they usually put their instrument front and centre. But I want to feature my music. There's a difference there. The groove is much more important than virtuosity.“

Gurtu’s music is universal. Of course, he still has a reputation of being an ambassador for Indian music in Europe, but those categorisations are totally unimportant to him. “I was born in India. That's where my roots are. Because I've always played virtuoso, people always categorise me as jazz. There was no category of world music when I started. I don’t come from any American school and I never pretended to. But Indian music is based on improvisation and the music from Bollywood is very groovy - almost like Afro-Brazilian music. I use this repertoire to translate my thoughts and feelings, but I could just as well be from China. My music is my music everywhere and I'm the way my music sounds."

Gurtu doesn't have any problems translating the principles and attitudes of Indian, American and European improvisation. On the contrary, he puts his faith in what all of these musical idioms have in common spiritually. “At the onset, you think everything is segmented into classical music, jazz and all those other genres. But, when you approach music in a more spiritual fashion, you notice that the spirit the music is build on is the same everywhere. People just perceive it differently because they think we come from different traditions. Mozart and Bach also improvised. The first piece in my album is called Seven Notes To Heaven and we only have these seven (and with the semitones) we have 12 notes. That's the same in Africa, Europe, India and America, everywhere. If you hit them right, you come closer to God. For instance, there's a tremendous amount of Mozart in the music from Bollywood. Indians don’t know that and they believe it was written by Indian musicians. Even Stravinsky and the other Russian composers have blossomed in Bollywood because a fit so well. If it's good, it doesn't matter where it comes from.”

Needless to say, the song title Seven Notes To Heaven reminds us of Miles Davis. But if you think that this piece of music is supposed to be a tribute to the man with the horn, you're getting ahead of yourself. Trilok Gurtu is among the few musicians in the sphere of jazz who do not say they hail back to Miles Davis. He discovered how important it is to know that less is more even in cultures that existed before jazz. “My mother always told me that concerts take three hours - so play slowly. Jazz is only the most recent form of improvised music. I respect Miles very much - his courage to change music. But, for me, Don Cherry was much more important because his music changed the world. He had a feeling for Afro-Indian music and I think he would like to play the things that are on this album.”

Don Cherry was also a musician who pushed the basic musical concept out of their glass case and made the highest level of music available to everyone by very simple means. That's exactly how Massical, the title of Gurtu’s album should be understood. His premise is that "music has to be there for everybody – it is the masses who have to decide about music and not the classes. The classes always have the money. But you always have to reach the masses. That's why I say music is massical, not classical.“ That statement is his firm conviction without forcing itself upon you and it has a very human texture that permeates the entire album. Massical is much more than a piece of beautiful music. It is a sustainable contribution to democratising our listening habits and overcoming ethnic and social barriers and art that has long since been overdue.

My Five Year Anniversary and the Music of John Moremen

Time sure flies while writing a weekly column for Beyond Chron. Amidst all the hoopla and our side-splitting April Fool's gag, I'd forgotten my own 5th year anniversary as the Arts and Entertainment editor and original webmaster. When my friend Dean Preston first introduced me to Randy Shaw back in 2004, I had no idea what I would be getting myself into. Little did I know that Beyond Chron would become my window into the world of San Francisco politics, housing and community issues, education, film, music and culture. Alongside my fellow columnist and theater critic Buzzin' Lee Hartgrave, we've seen a lot of shows, plays, concerts and films over the years; mostly good, some bad and thankfully, very few ugly. I am nevertheless, extremely grateful for the experience! So before I get all misty-eyed and nostalgic again, I thought I'd revisit the subject of my first ever column for Beyond Chron, the local guitarist, songwriter, drummer and prolific pop-smith, John Moremen.

One of my favorite musicians, Moremen is a man equally versed in the world of pop, jazz and rock. Recently, Moremen released and re-issued three of his best solo efforts on his Popstatic label; 1991's self-titled "John Moremen", "Punch Me In" from 1996, and his 2002 release, "Vertical", featuring bassist and producer Chris Xefos, guitarist Tim Fuson and drummer D.J. Bonebrake of X and Knitters fame. Moremen is no stranger to the world of California pop, either drumming with the Sunnyvale-based Orange Peels, or playing guitar with Roy Loney; and he is equally at home with the roots rock groups of Northern Virginia that spawned him, groups like the Neighbors, Kevin Johnson and the Linemen and Last Train Home. These albums show Moremen at his best, a wonderfully, rollicking world of rock, pop and wit.

"No Time to be Waiting", the title cut from his last album Vertical, is a fantastic introduction to Moremen's style and harkens back to some of his earliest efforts; a driving, tuneful, yet more matured sound. Like a fine wine, you can really appreciate it after hearing the energetic and younger material from his self-titled first album which nevertheless, is one of my personal favorites. Other guest stars like vocalists John Ashfield, Paul Myers and drummer Jeff Potts round out a great album.

On Punch Me In, Moremen is re-joined by Fuson and vocalist Mark Robinson for more pop fun on the XTC-like "Summer Sauce". Originally recorded in 1996, this CD is a must for Moremen fans. Moremen's use of some very clever chord changes and witty lyrics had me boppin' and bobbin' to "Back Inside (Where I Used to Hide)", a playful, jaunty little tune that reminded me of his days with guitarist Peter Gilstrap and their group "The Neighbors", with a dash of They Might Be Giants thrown in.

The aforementioned "John Moremen" may yet be my favorite, perhaps because Moremen played virtually the entire album by himself. Tight, energetic as hell, and with a little help from Gilstrap and percussionist Peter Yorkunas, turned what began as a demo, into one of Moremen's finest efforts. "You Seem So Happy", "Too Many Times Around My Head", "Broken Heel", and "Sleeping Now", capture the raw essence of Moremen in 1991, a songwriter at "the end of the beginning".

Since that first column in April of 2004, Moremen is still doing it all. From his drumming with the likes of John Ashfield, Alison Faith Levy, Allen Clapp and The Orange Peels; to his work with experimental power trio High Vulture with bassist Bill Raymond and MX-80's legendary guitarist Bruce Anderson. He's also toured as a guitarist with Eric Brace's Last Train Home, as well as a reunion with the famed, Half Japanese. Lately, Moremen has been in collaboration with fellow songwriter Paul Myers and their new project, "The Paul And John". Five years later, Moremen's versatile song writing and playing continues to make him one of the Bay Area's best musicians.