An atypical standout II

I've praised Nickel Creek's music many times on this blog.  The core trio of Chris Thile on mandolin, Sara Watkins on violin, and Sean Watkins on guitar has shown from its first release how skilled it is, instrumentally and vocally.  Prior to their "Why Should The Fire Die?" album, most of their songs were either pleasant, infectious instrumentals,  such as "Ode To A Butterfly" and "Smoothie Song," or generally optimistic vocal numbers, such as "This Side" or "Out Of The Woods."  Even the lyrics with more tempered outlooks, i.e. "Reasons Why" or "Beauty And The Mess," are gripping in a thoughtful, genteel way.  In contrast, many of the tracks on "Why Should The Fire Die?" convey a much more downcast outlook.  "Somebody More Like You," "Jealous Of The Moon," and the title track suggest a more world-weary view on how a relationship falls apart.  "Best Of Luck" stands out most in this regard.  The ominous mandolin intro--When do you ever read that phrase in a music review?--sets the tone.  Telling the tale of a relationship disintegrating due to one partner's temptation to cheat, Sara Watkins pulls off a spitfire, in-your-face vocal style that's a huge departure for her, while Chris Thile and Sean Watkins join her in wishing the tempted one "best of luck."  Unlike many of Nickel Creek's songs, "Best Of Luck" isn't intended to make the listener feel comfortable, and that makes it all the more striking.

Shuffle mode results XXII

iTunes shuffled the tracks in my music library today, and here's what came up:

   1.  Blue Sky-Jill Andrews
(Counting one's blessings doesn't always require a church organ and a solemn choir; in this case, a light techno beat works.)
   2.  Right Place Wrong Time-Dr. John
(Who can't relate to these lyrics?)
   3.  Shine-Liberty Horses
(I first heard this on KPNT in 1994, and it's still as appealing to me now.  For days when you're loving life, the song reflects that mood.  On days when your mood is more downcast, the band's "King Of A Rainy Country" might match your outlook; it might also remind you of XTC's more accessible songs.)
   4.  Will o' the Wisp-Leon Russell
(The '70s--a time when synthesizers and pianos came together to produce thoughtful mood pieces.)
   5.  Denny's Lounge-The Sun Sawed In 1/2
(This St. Louis band, with a lot of solid power pop-sounding tunes to its name, pulls off a good uptempo instrumental interlude; it would segue well with "Acapulco (Sunrise)" by The Explorers Club.)
   6.  Nengueleru-David Sanchez/Stefon Harris/Christian Scott
(Appealing piano and drum lines weave their way through this jazzy, cross-categorical instrumental.)
   7.  All Again-Josh Nelson & Erin Bode
(Nelson's piano underscores Bode's vocals effectively.  As usual, Bode sings them with sincerity.  It's easy to believe that the song's protagonist would "do it all again." A good soft rock station should make this a staple track.)
   8.  Rainy Day-Shuggie Otis
(Stuck inside as the rain falls?  This is an ideal staring-out-the-window-while-thinking instrumental.)
   9.  Send In The Clowns-Dori Caymmi
(A subtle, contemplation-at-sunset arrangement of this song, which Judy Collins made famous; guitar, harmonica, and occasional vocals set the mood.)
 10.  The Jug Of Punch-Altan
(I should have included this in my previous post, "Favorite music by Irish artists," as it's my favorite version of this Celtic tune.)
 11.  The Symmetry-Erik Voeks
(A highlight of a strong power pop CD, "Sandbox."  With vocals and jangling guitar playing like this, Voeks should have had more national acclaim.)
 12.  The Speed Of Soul-Carrie Newcomer
(Newcomer's beautiful alto voice tells a story compellingly and knows how to make listeners sympathize with those who haven't had their fair share of breaks in life.)
 13.  Happy Song-Victor Wooten
(Wooten's bass anchors this cool uptempo instrumental that segues well with George Benson's "Good King Bad.")
 14.  Give Me The Simple Life-Denny Berthiaume
(A good jazz piano waltz.)
 15.  Ray's Shoes-Lydia's Trumpet
(A quirky local track, with an unusual call and response, i.e. "I can't find my shoes." "Ray, you have 'em on.")
 16.  So Many Stars-Carolbeth True
(I praised the Sergio Mendes & Brasil '66 version of this previously; this piano instrumental deserves the same recognition, as it captures the song's sense of wonder equally well.)

An atypical standout

Today, I'm starting another recurring feature.  I'll elaborate on the appeal of a song that isn't typical of the way an artist or group usually sounds.  First up: "Maureen" by Sade.  Many listeners tend to think of "Smooth Operator," "The Sweetest Taboo," or "Your Love Is King" in connection with her first; those songs, with their sultry vocals and mid-to-uptempo arrangements, typify her usual sound.  If you prefer her slower numbers, "Is It A Crime" might be one of her first songs that comes to mind.  In my opinion, "Maureen" is her most appealing song.  Maureen won't get to meet the protagonist's new friends, according to the lyrics, but Sade sings this lament with such a breezy bounce that you get the feeling she's at peace with it.  Instrumentally and vocally, the tune has a spring in its step that makes it an atypical Sade song.  Also, as I discovered this morning, my cat seems to like washing herself in time to it; apparently, she likes the song's energy, as well, so there's an endorsement I trust.

Speaking of eardrum-shattering...

...I will never forget a concert I attended in 1986.  Jazz trumpeter Maynard Ferguson performed.  I knew, from listening to his albums, that he played in an extremely high register, hitting double high Cs routinely--and loudly.  I heard how those piercing notes resounded, when amplified, through an auditorium that night.  I wouldn't have been surprised if residents of neighboring streets had been able to hear them perfectly from their front lawns.  Among the best-played (and loudest) highlights: "Central Park," "Sunday Morning," well before it appeared on an album, and Ferguson's cover of "Body And Soul."  (Seriously, listen to a recording of "Central Park" and imagine how loud the trumpet would sound played into a microphone.)  KMOX jazz announcer/programmer "Cactus" Charlie Menees was the emcee, and I still remember his intro.  He said he would have been on the air that night, but "KMOX has a little thing going on called the World Series.  But my heroes have always been musicians, not ball players."  Menees had had a long career as a jazz authority by that time, and I always thought that was a smart way to pump up the audience for an evening of high voltage jazz.

An eardrum-shattering wake-up call

The volume level, not the song, was all the incentive I needed to shut off the alarm.  In 1987, I stayed in a college dorm while attending a music camp for bass players.  To make sure neither of us overslept, my roommate set the alarm on the clock radio to a soft rock station.  I didn't realize the alarm had been set to go off at top volume, though.  The next morning, I was blasted out of bed with, "AND MAYBE WITH A CHANCE, YOU WILL FIIIIIINNNNDDDD...!"

...Stevie Wonder's "Overjoyed," louder than I'd ever heard it before...

I still like the song as much as any other on Wonder's "In Square Circle" album; I just can't hear that lyric without remembering what it sounded like at a volume level of approximately 500 on what I thought was a 1-10 scale.

It's puzzling what stays in your mind, 28 years later.

The orchestral prelude that has to be there

Most radio stations, when they play ELO's "Strange Magic," air the edited version that starts with the guitar instead of the album version, which has a 22-second string orchestra prelude.  The last time I remember hearing the full version on the air was in 1983.  KYKY played it, and the prelude made a great music bed for the weather forecast, which, as the DJ said, was "going to be downright nice."  The strings fit perfectly with the mentions of sunny skies and pleasant temperatures.   Although you still get the meat of the song in its shorter form, it's still a bit compromised when the prelude isn't there.

It's puzzling what stays in your mind, 32 years later.

"Here we are in this record store, acting hip and cool!"

A memory of two record store customers from 1994:

Customer #1: Do you see the latest from FRENTE here?  I don't see it.
Customer #2: It should be in the ALTERNATIVE ROCK section.  (going to alternative rock section:) Here it is.  It's here in ALTERNATIVE ROCK.
Customer #1: Cool...There's FRENTE.

Some thoughts come to mind, thinking about this conversation now:

• I still wonder if the record store hired those two people to pose as shoppers and talk up current music that the store was trying to sell.  Even the most self-consciously cool people didn't emphasize artist names and musical genres in their everyday speech so blatantly.
• The modern rock station here, KPNT, was attracting a solid audience then, so I imagine exposure on that station alone to Frente's cover of New Order's "Bizarre Love Triangle" would have been enough to drive shoppers in.
• Considering how many people in the same age range listened to so-called alternative rock, a lot of it wasn't a true alternative to the mainstream.  (That contradiction reminds me of a conversation I witnessed in college; one student was touting the benefits, without irony, of being in "a fraternity for nonconformists.")  In the early '90s, certain magazines and radio stations classified Peter Gabriel and 10,000 Maniacs as alt-rock artists, and I suppose they were, technically.  Still, if there has to be an industry label on it, "modern rock," the term media outlets adopted later in the '90s, is a better, more accurate term. 
• The day after I heard this pitch for Frente, I mentioned it to a co-worker.  Later that week, he said, "I went music shopping yesterday, and I saw the section for Frente.  I considered shouting it out."

It's puzzling what stays in your mind, 21 years later.

FM dial scan highlights XXXIV

Some of the better tracks I've heard today:

KDHX 88.1 FM

• Real June-Seoul (One of 2015's most tuneful melodies, so far; it would segue well with a Beach Fossils tune, "Fall Right In.")
• Ship To Shore-Dub Narcotic Sound System (It was good to hear this tune from '96; being on the receiving end of a loss goes down at least a little easier with a groove like this.)

WSIE 88.7 FM

• Almost Blue-Cava Menzies & Nick Phillips (Sublime, smoky trumpet and piano.)

WFUN 95.5 FM

• O-o-h Child-The Five Stairsteps (When I hear this, I think, "Things are gonna be easier."  The song's sunny optimism carries it.)

KEZK 102.5 FM

• Roll To Me-Del Amitri (Suddenly, it's 1995 again, and WVRV is playing this frequently.  I wonder if they'll segue it with a Sonia Dada tune this time...I'd forgotten how much this song packs into just 2:12 or 2:14, depending on which version is played.)

Admittedly, I could've just listened online...

...The show had already started, however, and I didn't want to miss anything.  I wanted to hear the first edition of "Inside Classical Guitar" on the Radio Arts Foundation station, K297BI 107.3 FM.  The low-power station hadn't boosted its signal yet, so in order to hear the show without it turning to static, I had to stand in front of the right stereo speaker.  I stood in front of that speaker for an hour as my right foot fell asleep.  It was worth it, though, to hear such beautifully performed music.  As people say when they can't defend something logically, it built character.

Persistent earworm alert V

Driving in a heavy downpour this morning reminded me, ironically, of a Dar Williams CD, "The Beauty Of The Rain."  After enduring what feels like the 400th storm we've had here in just over a week, I kept thinking about my go-to track on that disc, "I Saw A Bird Fly Away."  It's still running through my mind; something about the joyous clavinet opening draws me right into the song and keeps me there.  Williams sings it with genuine curiosity, and her enthusiasm sounds just as contagious as it did in 2003.  Lyrically, the song asks, indirectly, why people make impulsive, ill-conceived decisions.  It's appropriate, I think, that the lyrics don't provide an answer.

A grade school memory: A nod to rural life

In elementary school, our vocal music classes sang a few songs that took place on a farm or mentioned a farmer in their lyrics.  Only one song that I recall, though, extolled the virtues of rural living.  "Life Is Just Fine On The Farm," a tune in the Silver Burdett music book, has stayed in the back of my mind all these years because it was unusual for a bunch of kids raised in the suburbs to sing about a person who "used to love the city" but found that living on a farm is as good or better.  The lyric I remember most is, "Milking the cows in the same old way, roosters to tell me it's another day; life is just fine on the farm."  Considering how vital farms are to the food we all consume, appreciation for rural life is a good subject for a song--and a good one for city slicker kids to acknowledge.

In memory of Wendell Holmes

In honor of Wendell Holmes, lead singer, songwriter, and instrumentalist of The Holmes Brothers, who passed away today, I recommend listening to "We Meet, We Part, We Remember."  I recommended the song in a previous post for its realistic take on nostalgia and second chances.  Holmes sings it with reflection and understanding.  I also recommend the group's rendition of Lyle Lovett's "If I Had A Boat."  It's one of Lovett's best sets of lyrics, and The Holmes Brothers cover it effectively.

Shuffle mode results XXI

The results of my latest iTunes random play:

   1.  Take The Short Way Home-Dionne Warwick
(This doesn't get played on the radio these days; its strong hook and Bee Gees backing should have made it a hit.)
   2.  Takes Two To Tango-Raul Malo and Shelby Lynne
(This version got my attention when I heard it on WXPN several years ago.  This effective pairing conquers a tune I wouldn't have expected to hear remade this way.)
   3.  On The Red Clay-Mark Murphy
(Something about Murphy's approach to the vocals reminds me of Ben Sidran's music.)
   4.  Mar De Paixao-Jazzamor
(Sounds like a Sergio Mendes & Brasil '66 throwback with its breezy vocals; the vinyl sound effect is appropriate.)
   5.  Dulaman-Celtic Woman
(I can't imagine anyone topping Altan's version, but this is a well-sung, well-played rendition.)
   6.  Annan Waters-Kate Rusby featuring Bob Fox
(I recommended Rusby's original version in a previous post.  This version, with guitar and backing vocals, is just as strong.)
   7.  Trio-Michael Spriggs
(A pleasant guitar, violin, and mandolin with tremolo instrumental.  Its long fade-out suits the song's thoughtful nature.)
   8.  Kanou-Regina Carter
(Carter's violin sets a jig-like tone in this spirited instrumental.)
   9.  Everybody's Talkin'-Nilsson
(Still a great anthem for those who follow their own path.)
 10.  Take A Chance On Me-Bluey
(These midtempo vocals and piano are ideal for a smooth jazz station.)
 11.  Human-Daughter
(Good indie rock with serious vocals; I would've played this on KCOU if it had been around in the early '90s.)
 12.  Let The Stars Shine-Swing Out Sister
(One of the group's strongest, best-arranged tunes.  The vocals mesh effectively with the '60s-style lounge backing.)
 13.  Down To The River To Pray-Alison Krauss
(Krauss sings with devotion, leading the choir effectively.)
 14.  Finale-The Waking Hours
(A vocal piece without lyrics; listeners who like Fleetwood Mac's "Caught In The Rain" will probably find this appealing.)

Online radio sampler highlights XVIII

Some of the better selections I've heard this morning:

KAMP (Tucson, AZ)

• Port Arthur-Beat Funktion (A leisurely paced trumpet and sax groove with an impressive '70s jazz vibe, despite being recorded last year.)

KZSC (Santa Cruz, CA)

• Ornette Coleman: Birthdays And Funerals (London Symphony Orchestra/David Meaghan, conductor) (A gripping, somber Coleman composition, played in memory of the recently departed saxophonist; at one point, I was reminded of Charles Ives' take on "America (My Country, 'Tis Of Thee.)"

WHWS (Geneva, NY)

• Rescue-The Movement (A good reggae-based track about making decisions sensibly yet quickly.)

WMBR (Cambridge, MA)

• Crumbs Off The Table-Laura Lee (A good track, sung with conviction, from 1972; lyrically, instrumentally, and vocally, this tune segues well with...)
• Going Down A One Way Street (The Wrong Way)-Little Ann (...this tight, infectious R&B song that should have been a hit.)

WTJU (Charlottesville, VA)

• Ntyilo Ntyilo-Abdullah Ibrahim (A beautiful, moving instrumental, anchored by Ibrahim's piano and featuring Carlos Ward's excellent alto saxophone playing.)

Teaching broadcasting: Seven approaches

After graduating from college, I went to broadcasting school for a year.  The instructors, who all had professional broadcasting experience, encompassed a wide range of teaching styles and temperaments.  One or more instructors fell into at least one of the following categories:

• The actor: This instructor was consistently full of energy, always seeming to be on stage.  He once told an announcing class that hosting a radio show is like hosting a party.  The "Got enough ice?" approach you'd use at a party with your guests is similar, in his view, to the way you communicate with radio listeners.  I didn't agree completely with this approach to broadcasting, but his advice to end a sentence on an upward inflection is generally correct; your statements sound more positive that way, and you keep the momentum going.
• The generic advice dispenser: A few instructors fell into this category.  Although they presided over announcing critique sessions, their comments were often brief.  (i.e.  "Could use more energy," "Slow down the pace a little," "Sound more enthusiastic.")
• The hard-to-please instructor: The instructor who was most frequently in this category was the most rigid stickler about announcing and producing in a by-the-book, rigid manner.  Not surprisingly, this instructor was also the toughest grader.  This person once told me that my announcing delivery had a '70s California, soft rock style, and that I wouldn't get hired using it on the air.  When program directors at two radio stations hired me because of that very style, I was pleased to disprove the instructor's assertion.
• The laid-back, like-minded instructor: Two instructors were consistently in this category.  Their low-key announcing styles, similar to mine, meant that we were almost always on the same page during announcing critique sessions.
• The news veteran: One instructor had been a longtime newscaster and commercial voice-over artist.  He was particularly adept at sharpening the phrasing, timing, and inflections of a student's newscast.  Another younger instructor with radio news experience was also adept in these areas.
• The Socratic Method inquisitor: One instructor's approach to announcing critiques differed from everyone else's style.  Before offering his critique, he would play a student's mock radio shift tape and ask the group, "What are we hearing here?"  Sometimes, he would ask this after only playing the first sentence on the tape.  He would then ask question after question of each person in the session, getting us to pinpoint the tape's strengths and weaknesses.  (i.e. "What was most effective about the way (s)he delivered that intro?  How would you have phrased it?  What could (s)he have done differently to make it even more effective?")  As one student put it, "When he's here, we all shred each other."  He was one of two instructors who always asked if everyone had a notebook handy in which to write down his feedback.  Students also had to remember not to back announce any of the music during his sessions.  In his view, announcers should move their broadcasts forward, not pause to reflect on where they've been.  I don't agree with that approach, because a DJ's basic function, even in an age of online playlists, is to tell the listeners what they've heard and provide relevant, interesting facts about the music and/or artists, when appropriate.
• The value-for-the-money, everything-including-the-kitchen-sink evaluator: Two instructors consistently gave long, thorough evaluations of every tape, in a matter-of-fact delivery.  They would tell you, at length, about your tape's good and bad points and always have compliments and suggestions for improvement ready.

Looking back, it was mostly positive to learn from so many instructors with different announcing and teaching styles.  After all, no two radio listeners are exactly alike, so it's good for an aspiring announcer to remember this while listening for common threads among different instructors' critiques. 

FM dial scan highlights XXXIII

Five of the better tunes I've heard over the last five days:

KDHX 88.1 FM

• Leave Me Be-The Zombies (Sometimes, one just needs to be left alone.)
• Femme Fatale-Girl In A Coma (This reworking of a Velvet Underground tune gives it more of a kick and grabs the listener more effectively.)

WSIE 88.7 FM

• U.M.M.G. (Upper Manhattan Medical Group)-Cyrus Chestnut featuring Curtis Lundy & Victor Lewis (All hail the rhythm section; any piano, bass, and drum ensemble that can sustain a groove like this for 8 1/2 minutes deserves the listener's respect.)

KWMU 90.7 FM

• Four Brothers-Art Pepper (An ear-catching big band arrangement of a tune best known in its Woody Herman and Manhattan Transfer incarnations; this version stays faithful to the original, and that's a sound choice.  It was a pleasure to hear this on "Jazz Unlimited.")

KEZK 102.5 FM

• Harden My Heart-Quarterflash (I never disliked this song, but I've come to appreciate it more on its own merits instead of just thinking of it as one of many decent early '80s hits.  Quarterflash's follow-up hit, "Find Another Fool," showcases the band's ability to rock out in a faster tempo.)

Recommended music for July 4

Here, in my opinion, is some of the best music to listen to on Independence Day:

• America-Simon & Garfunkel (This tune about looking for America doesn't get much radio airplay these days, so it was refreshing to hear KDHX play it on July 4 one year.)
• America The Beautiful-Ray Charles (Charles puts his unique stamp on arguably the most beautiful of American anthems.)
• America The Beautiful-Nathan East (Jazz bassist East and the accompanying choir do America proud with this dignified rendition.)
• America The Beautiful-Pete Seeger (A succinct guitar and harmonica version.)
• American Tune-Paul Simon (or Simon & Garfunkel from the concert in Central Park) (Considering how thoughtful and moving these lyrics are, it's puzzling that this wasn't a bigger hit.  Both versions warrant repeated listening, not only on July 4.)
• But, Mr. Adams-"1776" movie soundtrack ("1776" is a captivating movie and stage production about the struggles that led up to the Declaration Of Independence being adopted.  You know that Thomas Jefferson will write the Declaration, but hearing the supposed account of how he becomes the author is amusing.)
• God Bless America-Beegie Adair (A stirring piano rendition that takes just enough liberties without overdoing them.)
• National Anthem-LeAnn Rimes (A soaring, well-sung, respectful rendition.)
• William Schuman: New England Triptych, "Chester" (St. Louis Symphony Orchestra/Leonard Slatkin, conductor) (The orchestra conveys the brassy, powerful patriotic themes of this movement.  The orchestra's rendition of John Philip Sousa's "The Stars And Stripes Forever" is also recommended.)
• Shenandoah-Ferrante & Teicher (Two pianos, a flute, and strings pull off a lyrical, moving instrumental.)
• Song For America-Kansas (Ten minutes of orchestral rock; a respectful, powerfully played salute to America's beauty.)
• This Land Is Your Land-Peter, Paul & Mary (Few ensembles can match Peter, Paul & Mary's sincerity here.)

Persistent earworm alert IV

I don't know what triggered it, but Art Of Noise's "Close (To The Edit)" has run through my mind numerous times in recent days.  Released in 1984, it's a mostly instrumental track with occasional vocals.  Whenever I hear it, I imagine robots in a factory assembling cars.  I can't say that about any other song offhand.  I still think, all these years later, that it would work as a theme song for a sitcom about soulless worker bees.

A conductor's backhanded compliment

The conductor of one of the ensembles in which I used to play once said this about a new piece, after the composer left the room: "Within those 20 minutes is a brilliant 10-minute piece."

In memory of Ornette Coleman

In memory of jazz saxophonist Ornette Coleman, who passed away today, these are three of his best tracks that I recommend:

• When Will The Blues Leave? (Released in 1958, this is solid straight ahead jazz, with Coleman's alto sax leading the way.  I also recommend Kenny Kirkland's version.)
• Una Muy Bonita (Articles written today are citing this 1960 track, for good reason.  Its central theme conjures up images of a joyous festival.)
• Bourgeois Boogie (I discovered this 1988 tune at KCOU and played it on the air several times.  It proves that a melody doesn't have to be precisely on the beat at all times to be infectious.)

WEW playlist flashbacks: The first half-hour

It's exciting to be the person who sets the trend for the day.  During my time at WEW 770 AM, I especially enjoyed the times when I got to turn on the transmitter, sign the station on, and choose the first 4 1/2 hours of music played that day.  I enjoyed being the only person in the building before sunrise, selecting my first group of songs, and waiting for the clock to strike 5:30.  There were few or no commercials between 5:30 and 6 a.m., so I got to set the mood musically and break in occasionally to back announce music and give a weather forecast.  When selecting the music, I kept in mind that a large percentage of the audience was at least three times older than me.  My goal was always to play the best mix of big band music, oldies, and jazz that would draw a wide-ranging audience while not being overly predictable.  Here were four of the first half-hours of my shows that I thought flowed well:

Sunday, June 16, 1996 (possibly the most mainstream mix I ever programmed:)
   1.  Feels So Good-Chuck Mangione
   2.  Love's Theme-Love Unlimited Orchestra
   3.  Yesterday's Songs-Neil Diamond
  --- 
   4.  Love Is Blue-Paul Mauriat
   5.  Love Theme From "Romeo And Juliet"-Henry Mancini
   6.  Carousel Dreams-April Stevens
  ---
   7.  There's A Kind Of Hush (All Over The World)-Engelbert Humperdinck
  ---

Saturday, June 29, 1996
   1.  I've Got You Under My Skin-Renee Rosnes Trio with string orchestra
   2.  Cool Blue Stole My Heart-Joan Armatrading
  ---
   3.  God Bless America-Kate Smith
   4.  Dream A Little Dream Of Me-Mama Cass
   5.  Out Of This World-Mary Cleere Haran
  ---
   6.  Laura-Erroll Garner
   7.  Lullaby-John Pizzarelli
   8.  In My Life-The Beatles
  ---

Saturday, July 6, 1996
   1.  Good Morning Heartache-Laura Fygi
   2.  In A Sentimental Mood-Vanessa Rubin
  ---
   3.  I've Got The World On A String-Mel Torme
   4.  You Stepped Out Of A Dream-Lee Konitz
  ---
   5.  Goin' Out Of My Head-Little Anthony & The Imperials
   6.  Suspicious Minds-Elvis Presley
   7.  Lisbon Antigua-Nelson Riddle
  ---

Saturday, July 13, 1996
   1.  When Lights Are Low-Herbie Mann
   2.  Deep Purple-Artie Shaw with Helen Forrest
  ---
   3.  Moanin'-Lambert, Hendricks & Ross
   4.  I Need You Now-Eddie Fisher
   5.  Wimoweh-The Weavers
   6.  Lazy Mary-Lou Monte
  ---
   7.  Here's That Rainy Day-Bill Evans
   8.  Crying-Roy Orbison
  ---
--- indicates a short break for a slogan and time check or a longer break for back announcing the music.

FM dial scan highlights XXXII

Some of the better selections I've heard since Saturday:

KDHX 88.1 FM

• When The World Is Running Down, You Make The Best Of What's Still Around-The Police (This isn't usually the first song most listeners think of in connection with this band, and that's a shame.  In addition to its strong title and lyrics conveying one of the most accurate truisms about life, it's one of the best driving rhythms the band ever played.)
• Greet The Day-Beth Bombara (Listeners should find Bombara's lyrics about the grind of life relatable.  She reprises the tune as an instrumental at the end of her self-titled release, due out in two weeks.)
• False Hope-Laura Marling (Another highlight of Marling's latest release, "Short Movie."  If I didn't know otherwise, I would have guessed Fiona Apple was singing.)

WSIE 88.7 FM

• Steppin'-McCoy Tyner (Smokin' piano and rhythm section.  Talk about needing to let the instruments cool off...)

K297BI 107.3 FM, a.k.a. KNOU-HD2 

• Sky Dive-Freddie Hubbard (A great trumpet and rhythm section jam.  Even after 7 1/2 minutes, I wanted to hear more.  No surprise there, when you have a lineup of heavy hitters such as George Benson, Ron Carter, Keith Jarrett, and Hubert Laws.  It was good to hear this track on "The Jazz Collective" Saturday.)
• In The Still Of The Night-Aaron Neville (For a minute this morning, I wondered if Radio Arts Foundation had changed the station's format abruptly.  They hadn't; Jim Doyle played this in honor of Cole Porter's birthday.  Neville sings it with just the right amount of vibrato.)
• J.S. Bach: Brandenburg Concerto No. 3 in G major, BWV 1048 (San Francisco Saxophone Quartet) (This is a piece for strings, so I never expected to hear this instrumentation.  The four saxophones carry it off quite well, however.  For anyone who has only tiptoed into Classical music waters, I recommend this concerto.  I remember playing it on the bass in middle school, and it was the first piece I played that made me truly appreciate good music.  The melodies of its first and third movements are particularly memorable.)

SiriusXM highlights XIII

Some of the best tracks I heard yesterday morning:

'60s On 6

• Angel Of The Morning-Merrilee Rush & The Turnabouts (This isn't played a lot on the radio these days, but it's a well-constructed, well-sung oldie that was also a hit for Juice Newton in the '80s.)

'80s On 8

• Total Eclipse Of The Heart-Bonnie Tyler (An '80s hit that doesn't skimp on emoting; Meat Loaf would have done a credible version of this, as well.)

Enlighten

• Take My Hand, Precious Lord-Chet Atkins (A moving guitar and harmonica rendition.)

The Loft

• Everything Waits To Be Noticed-Art Garfunkel with Buddy Mondlock & Maia Sharp (Garfunkel's voice shines, as always, while conveying lyrics suggesting that "Yes" is clearly the right answer to the philosophical question, "If a tree falls in the forest, and no one is around to hear it, does it make a sound?"  Also strongly recommended: "Perfect Moment.")
• Walk To The Point-Dave Mason & Cass Elliot (An overlooked deep track from a pair that harmonizes well in the style of Crosby, Stills & Nash.)

Real Jazz

• Do Nothing 'Til You Hear From Me-Johnny Griffin (I can't imagine anyone topping Nat King Cole's interpretation, but Griffin's sax-based instrumental is certainly recommended.)

Soul Town

• I Can't Stop Dancing-Archie Bell & The Drells (If the vibe of the band's biggest hit, "Tighten Up," appeals to you, you'll probably enjoy this hit, as well.  Also recommended: "There's Gonna Be A Showdown.")

Spa

• Last Train Home-Pat Metheny (Conjures up exactly the image the title suggests; one of Metheny's strongest '80s tracks.)

SiriusXM highlights XII

Highlights heard yesterday:

1st Wave

• Cruel To Be Kind-Nick Lowe (Lyrically, the tune expresses a philosophy that's questionable, at best.  It's extremely catchy power pop, though.)

'60s On 6

• Venus-The Shocking Blue (A great guitar lick in a memorable one-hit wonder tune.)

'70s On 7

• Right Back Where We Started From-Maxine Nightingale (An ear-catching hook that doesn't leave the listener's mind easily.)

The Bridge 

• Blue Bayou-Linda Ronstadt (One of Ronstadt's best hits; it segues well with Stephen Bishop's "On And On.")
• From The Beginning-Emerson, Lake & Palmer (A haunting guitar line propels one of the band's best tunes.)

The Groove

• I Wanna Be Rich-Calloway (There's no hidden subtext in the lyrics; the protagonist wants "money, lots and lots of money," in this fun melody from 25 years ago.)

Real Jazz

• June In January-Wes Montgomery (Straight ahead jazz from an ensemble that cooks.)

Siriusly Sinatra

• Bewitched-Charlie Watts Quintet featuring Bernard Fowler (Extremely smooth vocals with lush orchestral backing; it's one of the highlights, along with "My Ship," from the "Warm & Tender" CD.)

Spa

• Wish-James Sera (Appealing, meditative guitar.)

The Spectrum

• Ode To Billie Joe-Sarah McQuaid (A good cover of the Bobbie Gentry tune that smooths out quirks within the original version's tempo.)

Stingray Music highlights VI

Compelling selections I heard this morning:

Baroque

• J.S. Bach: Sonata No. 3 in C major, BWV 1005 (Paul Galbraith, guitar) (Galbraith transfers this violin sonata effectively to the guitar.  The third movement, Largo, is particularly lyrical.  If I hadn't known that Bach composed this piece, I don't think I would have guessed that this sonata was originally composed for the violin.)

Cocktail Lounge

• Campus Crowd-The Seventy Sound Group (Dig this groovy, decadent instrumental...)

Cool Jazz

• Midnight Blue-Kenny Burrell (A sly, swingin' bounce; one of guitarist Burrell's standout tracks.)

Folk Roots

• The Loneliest-Heidi Talbot featuring Louis Abbott (Talbot's voice has an interesting blend of Kate Rusby and Petra Haden qualities; both are used effectively here.)
• The River Jordan-Lindsay Lou & The Flatbellys (Tasteful, engaging lead singing, harmonizing, and pickin'.)

Jazz Masters

• I Don't Stand A Ghost Of A Chance-Benny Carter Quartet (A smooth, sax-led ensemble; despite his long odds, the protagonist seems at ease.)

Jazz Now

• Wednesday Morning-Chris Parker Trio (Tasteful, elegant combo playing.  Also recommended: "Waltz For Apple" and "C'est Possible.")

Soul Storm

• You Go To My Head-Cassandra Wilson (One of the highlights of Wilson's latest release, "Coming Forth By Day."  Another Billie Holiday cover that stands out: "I'll Be Seeing You.")

Swinging Standards

• Without A Song-George Benson & The Count Basie Orchestra (Benson is right at home singing with big band accompaniment.  It's no surprise coming from an accomplished vocalist and guitarist who has been recording for more than 50 years.)

Ingredients of smooth showmanship

After watching a good concert by longtime St. Louis artist Ralph Butler and his band last night, it occurred to me that there are three things any good band that performs mostly covers should do.  Butler and his band nailed all three aspects:

• Getting the crowd on its feet: Two of the band's strongest performances, of the Santana/Rob Thomas tune, "Smooth," and Jeffrey Osborne's "Stay With Me Tonight," got audience members of all ages dancing.  Butler sang with conviction, and the band echoed his commitment.
• Interacting with the audience without overdoing it: Butler did this several times throughout the night and was especially effective when singing to two young girls from the audience during Louis Armstrong's "What A Wonderful World."
• Presenting a mix of slow, midtempo, and fast songs by various artists that appeal to a wide age range: I was especially glad to hear the quintet play Stevie Wonder's "You Are The Sunshine Of My Life," "Lovely Day" by Bill Withers, and Bruce Hornsby & The Range's "Every Little Kiss."  Each of those songs has held up over the decades and should appeal even to audience members who aren't immediately familiar with them.  Butler prefaced "Lovely Day" with "If there's anyone in the audience who knows this song and would like to sing it, we'd like to invite you to forget about it. No, really...If you want to sing, come on!" 

Another smooth move: Butler worked the names of the concert's sponsors and what they sell into the lyrics of Marc Cohn's "Walking In Memphis."  After seeing Butler and his musicians play twice at Station Plaza in Kirkwood over the last two years, I see why they've had such long careers.  When you have talent, a welcoming set list, and you acknowledge the audience, you've got the makings of a strong concert.

A bassist's baccalaureate memory

Seeing footage of various graduation ceremonies in recent weeks reminds me of my high school's baccalaureate service.  I remember it as a tasteful service in which the minister and various class representatives talked about what had been accomplished and what it might be like to face the future.  It was a thoughtful service of prayers, reflections, vocal and instrumental music--and a challenge to see if any of the choir singers about to take center stage would trip over the upright basses on the floor and go sailing into the risers.  Fortunately, no one tripped over the basses, but I cringed each time someone approached them, as one of them was mine.  I got a laugh from the minister as I whispered before leaving the stage, "At times like this, I wish I played the flute."

Online radio sampler highlights XVII

This morning, I sampled some of the most appealing radio stations I highlighted earlier this year.  Some of the better selections I heard were:

WNMC (Traverse City, MI)

• The Sun, Moon, And Stars-Nanci Griffith (Griffith sings and writes without pretense, resulting in an honest, refreshing consistency from album to album.)

WPRB (Princeton, NJ)

• The Castle At Sunrise-Jennifer Castellano (Do you feel ambivalent about facing the new day, thinking it's best to ease into it with a piece that becomes more commanding as it progresses?  This piano instrumental is for you, then.)

WRTI (Philadelphia, PA)

• Sugar-Dave Stryker featuring Javon Jackson (A smooth saxophone and organ groove.)

WUMB (Boston, MA)

• Left Of Center-Suzanne Vega (A convincing argument in favor of getting to know someone and finding common ground with someone who's quirky and not so accessible.)

WXPN (Philadelphia, PA)

• I Got The News-Steely Dan (One of the band's stronger non-hits, thanks to a great piano riff.)
• Starry Eyes-The Records (One of the catchiest power pop songs about severing ties with someone.)
• It's Only Natural-Crowded House (One of many excellent tracks on the "Woodface" album showcasing the vocal harmonies of Neil and Tim Finn.  Strongly recommended from the same album: "Chocolate Cake," "Fall At Your Feet," "Tall Trees," "Weather With You," "Four Seasons In One Day," and "How Will You Go.")

FM dial scan highlights XXXI

Some of the better selections I've heard this morning:

KDHX 88.1 FM

• Warrior-Laura Marling (Marling channels Suzanne Vega in this haunting tune; it's one of the more captivating songs of 2015, so far.)
• Why Can't We Be Friends-War (Listen to this tune, and tell me that it doesn't make you take life at least a smidgen less seriously.  If I didn't already know otherwise, I would never have guessed that this band also recorded "Slippin' Into Darkness.")
• Time-Jackie Moore ("Precious, Precious" was Moore's one top 40 hit.  "Time" should have charted, as well, as it's a good R&B tune appealing to a listener's social conscience.)

WSIE 88.7 FM

• Body And Soul-Mulgrew Miller (A sublime piano arrangement of this standard.)

KCLC 89.1 FM

• Satellite-Guster (Thanks, KCLC, for reminding me of this 2006 track that's ideal for driving.)

KEZK 102.5 FM

• St. Elmo's Fire (Man In Motion)-John Parr (Parr emotes on one of 1985's best hits in a style reminiscent of Meat Loaf.)
• Hit Me With Your Best Shot-Pat Benatar (One of the stronger, more accessible '80s album rock tracks.  "Little Too Late," another '80s hit, deserved more radio airplay; if you like the feel of "...Best Shot," you'll probably like "Little Too Late.")

K297BI 107.3 FM, a.k.a. KNOU-HD2 

• Franz von Suppe: Light Cavalry Overture (Montreal Symphony Orchestra/Charles Dutoit, conductor)  (An up-and-at-'em way to start the day.  KMOX could have used this piece as its morning march decades ago.)

Hearing album tracks in their intended order

In today's era of purchasing individual songs more frequently than entire albums, the effect of hearing a great flow between songs on an album sometimes gets lost.  One triple play that needs to be heard in its original order falls on the "Where Have I Known You Before" album by Return To Forever featuring Chick Corea.  The second through fourth tracks on side one form a captivating, keyboard-anchored fusion trilogy.  Chick Corea's short solo piano composition, "Where Have I Loved You Before," is an effective prelude to drummer Lenny White's piece, "The Shadow Of Lo."  "The Shadow Of Lo" continues the theme that Corea starts in "Where...," switching it from piano to keyboard, and provides over seven minutes of spacy jamming from guitarist Al di Meola, bassist Stanley Clarke, White, and Corea.  The next piece, which Corea wrote, is "Where Have I Danced With You Before."  This fast solo piano piece is an effective bookend, and its last, slower measures punctuate the triple play with a definitive ending.  Although some songs on other albums can be heard in any order, these three tracks need to be heard in their original sequence; the effect is compromised otherwise.