An appreciation of Garrison Keillor

Garrison Keillor will host his final edition of "A Prairie Home Companion" tomorrow.  The show will air here on KWMU 90.7 FM Saturday at 5 p.m.  In recent months, I've thought a lot about how Keillor's show, in its "...Prairie Home..." and "American Radio Company Of The Air" incarnations, has been such a constant in my life for the last three decades.

I was a freshman in high school when a classmate recommended the show, and Keillor's "News From Lake Wobegon" monologues, in particular.  Intrigued, I started listening to the show in November 1985.  I heard tales of Bruno the dog's antics and what it felt like to be sick on Thanksgiving, delivered in Keillor's calm baritone, and thought, "It speaks well of humanity that there's an audience for this type of show."

I still feel that way.  The aspects of the program that drew me in when I was 15 still keep me tuned in at age 45.  The music, which encompasses a wide range of talented singer-songwriters and acoustic instrumentalists, has always been one of the show's strongest attributes.  In my earlier years of listening, I remember being impressed by Leo Kottke and Richard Dworsky's romp through Kottke's tune, "Little Beaver," Chet Atkins playing a tasteful rendition of Don McLean's "Vincent" on the guitar, Taj Mahal admonishing bean counters who want musicians "to face the tape recorder (instead of) the audience," and Acme Vocals performing a stellar a cappella medley of "Stand By Me" and "On Broadway."  In later years, performances by Nickel Creek (featuring incoming "...Prairie Home..." host Chris Thile, who takes over the show on October 15), Sarah Jarosz, Erin Bode, and The Wailin' Jennys impressed me so much that I wondered why each of those artists aren't at the top of every listener's must-purchase list.

Keillor, through his amusing memories and compellingly written and delivered "News From Lake Wobegon" monologues, has held the show together since its inception.  It's a testament to his talent that I can recall so many highlights of his show.  Among my favorites:

• Keillor discussed the angst one student in the Lake Wobegon High School class felt after she thought it might be a good omen if her class of '86 had 86 members instead of 87.  She then feels guilty as her eye falls upon a yearbook photo of one student.  "He's going to die because I said that," she thinks.  Despite never having called him before, she phones him and says, "I just called to see how you are."  Keillor said "it was a short, awkward conversation."
• Keillor recalls a dinner during which two guests participate in an extremely long, silent table grace before dinner.  As Keillor explained it, finishing your prayers first would have indicated that your faith wasn't as strong as the other person's.  "So, they went at it," he said.
• An aunt in Keillor's "...Lake Wobegon" monologues is known for her excellent "chocolate angel food cake" baking skills, but she downplays them too much. (Per Keillor, it wasn't called "devil's food cake," as that would have given Satan the credit.)  As people were eating delicious pieces of a cake she'd baked, she'd say, "Oh, I meant to throw that to the dog!"
• Keillor's recollection of "The Best Things In Life," a radio show Studs Terkel and he used to perform, sparked one of his funniest monologues.  In one week's show, Terkel's character offered Keillor's character a chance to go to Chicago.  Keillor's character was supposed to think it over.  Keillor, however, lost his place in the script.  When offered the opportunity to travel, Keillor ad-libbed to Terkel, "No, I don't think so."  Consequently, they had to skip many pages of dialogue and end the show early.  After delivering the show's closing lines about appreciating "the rainbow that lies in our own backyard, Millville," Keillor looked up and "saw the engineer pulling his hands apart in a gesture that we all understand to mean, 'More.'"  "Oh, yes," Keillor improvised. "Oh, yes.  It's true, it's true, it's true.  Oh, Millville, Millville...Where I learned the value of hard work and the true meaning of Christmas..."  He then said he was sure that some of the positive attributes of Millville could be found in so many other towns and then started to name other cities, pausing between them for dramatic emphasis.  By the time he'd finished filling the requisite amount of time, he was "laying prostrate on the floor."    

Sometimes, when I feel pessimistic about the state of the world, I remind myself that there's hope for the human race.  After all, Keillor has elicited an audience's rapt attention for 42 years with monologues that begin, "It's been a quiet week in Lake Wobegon..."  That speaks well of Keillor and the fans who have listened to his program for all this time.

Keillor once said, "Life is so sweet.  There's enough for all of us."  Idealistic?  Maybe.  But who doesn't want to believe it's true?

Online radio sampler highlights XLI

Wednesday night listening highlights:

KXCI (Tucson, AZ)

• Aht Uh Mi Hed-Shuggie Otis (Considering how easily his music fit in with the '70s pop and R&B scenes, it's surprising that Otis didn't have commercial success.  Also recommended: "Strawberry Letter 23," which was a hit for The Brothers Johnson.)
• What Cha' Gonna Do For Me-Chaka Khan (Khan takes a good Ned Doheny/Average White Band album track to the next level.  Her vocals soar over strong, rhythmic backing.)

WEMU (Ypsilanti, MI)

• Mercy, Mercy, Mercy (Live)-Cannonball Adderley (I've praised other versions of this tune previously, but this version is especially noteworthy.  Hearing it in a slower tempo, with feeling behind every note on the saxophone and piano, before an appreciative audience, should make a listener enjoy the song all the more.)
• Wayfaring Stranger-Eva Cassidy (Scores of artists have recorded this folk tune, but Cassidy's excellent version stands out.  I was surprised to hear Cassidy on a jazz program, but it was immediately apparent that there's a strong jazz vibe in her vocals here--as well as a strong blues bent and a compelling soul influence.)
• Detour Ahead-Stan Getz & The Oscar Peterson Trio (Quiet elegance; equally tasteful tenor sax playing from Getz and piano playing from Peterson.)
• Africa-NEXT Collective (A captivating, close-your-eyes-and-listen instrumental cover of the D'Angelo tune.)

WXPN (Philadelphia, PA)

• Behind The Armory-Case/Lang/Veirs (A seemingly unlikely blend of voices--from Neko Case, K.D. Lang, and Laura Veirs--comes together impressively on this new release.  The first half of 2016 has seen a lot of strong vocal releases and some commendable instrumental ones.  If the second half of the year is anything like the first half, compiling my annual favorite-music-of-the-year list will be quite a challenge.)
• One Overlord-Brian Reitzel (How Richard Thompson might sound as a new age vocalist while traveling through space.  The ethereal arrangement of the tune segues well with...)
• Daydream-Britta Phillips (...this one.  All three of these tunes were on Wednesday night's "Echoes" program.)

Getting off to a positive start

I always looked forward to the first day of school.  I enjoyed getting caught up with people I hadn't seen since the previous school year ended, and it was reassuring to know that I wouldn't be given any insurmountable assignment that day.  This was especially true in high school orchestra class.  Per the director, we'd begin each school year with a free-for-all of introductions,"so the old get to know the new and vice versa."  The director would relay some thoughts about the year ahead, and we'd spend the rest of the hour chatting and introducing ourselves.  At the end of the hour, Mr. D. would tell the class, "Bring your horn tomorrow, and we'll start making some noise right away."

I always thought that was a good, matter-of-fact way to tell the string orchestra, "We'll get down to business tomorrow," while using the word "horn" metaphorically.

Persistent earworm alert XXVIII

Unlike yesterday's persistent earworm, there's no mystery behind today's song being stuck in my mind.  I read a reference to Tennessee this morning, and immediately, the Johnny Rivers version of "Memphis" started playing in my mind.  It has stayed there ever since.  Now, that's what I expect from a persistent earworm--a simple, direct chain of cause and effect.

Persistent earworm alert XXVII

Usually, I have some inkling why a persistent earworm sprang to mind and stayed there.  I might have heard the song on the radio, pulled it from my collection and played it, heard it in a store, or read a phrase that reminds me of the song's lyrics.  Sometimes, however, I'm stumped.

In recent days, "Too Many Walls" by Cathy Dennis has stayed firmly in my mind.  I remember KYKY playing it during its Summer '91 ascent up the charts.  I haven't heard it on the radio in ages, though, nor have I seen any recent reference to it online.  I also haven't felt claustrophobic lately.  Why, then, has it been on my mind recently?

As my high school principal once said, "I am not all-knowing.  I cannot answer every question in life I want to answer."

Making the most of a station ID

If you've listened to a baseball game on the radio for any length of time, you've probably heard an announcer say, "We owe you a station break.  This is the (name of team) baseball network."  That's the cue for a local announcer to say or a board operator to play a recording of the local station's call letters and city.  In the mid '80s, I remember hearing an announcer take this a step further and say, "It's 74 degrees on the outside.  I'm on the inside listening to Cardinal baseball on (station's call letters), Fulton."

I always thought that was a good ID.  Another option, perhaps: "How many innings will the starting pitcher hang in there?  Will the (team that's currently ahead) maintain their lead?  Keep it here on (name of station and city), and find out."

Only in college XVI

Another bass player and I were in a class in which we had different answers to the question, "Are people basically good or bad?"

Later that day, during an orchestra rehearsal, that bass player's stand partner had to leave the room for several minutes.  She held onto her bass and her stand partner's until he returned.

Just before her stand partner came back, I told her, "You've been holding two basses for all this time, without complaint.  I take it back.  People are basically good."

FM dial scan highlights LXI

Tuesday and Wednesday standout selections:

KDHX 88.1 FM

• Breakaway-The Lewis Sisters (An interesting lead alto voice, appealing backing vocals, and cool Motown instrumentation make this album track a winner.  I'm surprised this wasn't a hit.  Dr. Jeff, the host of "The Big Bang," has a knack for choosing overlooked tunes like this.)
• Too Late-Shoes (This was a go-to power pop track of choice for me at KCOU.)

WSIE 88.7 FM

• Coyote-Joni Mitchell (Listeners who like "Free Man In Paris" or "Help Me" should enjoy this tune, as well; it combines vocal and guitar styles similar to those in those two songs.)
• Newborn Friend-Seal (One of Seal's best blends of lyrics, vocals, and uptempo instrumentation.)
• Give It All You Got-Chuck Mangione (This instrumental's title is perfect, as it captures the feel of determination and effort one needs when faced with a tall task.  It's no wonder that it was once the theme song of the Olympics.)

WFUN 95.5 FM

• Golden Time Of Day-Maze featuring Frankie Beverly (Fit for unwinding at the end of a long day.)

K297BI 107.3 FM, a.k.a. KNOU-HD2

• Enrique Granados: Spanish Dance No. 4 in C (Alicia de Larrocha, piano) (A modest, engaging melody that works equally well on piano and guitar.)
  

WEW playlist flashback: 6/22/96

This was the music I chose for my 5:30-10 a.m. shift on this day 20 years ago:

   1.  A Sleepin' Bee (Live)-Phil Woods
(A classy, uptempo version, with Woods taking the lead on sax.  If you prefer a vocal rendition, Johnny Hartman's cover should do the trick.)
   2.  In The Blue Of Evening-Tommy Dorsey and his orchestra
---
   3.  In The Still Of The Night-The Five Satins
   4.  Unchained Melody-The Righteous Brothers
   5.  I'm Old-Fashioned-Fred Astaire
---
   6.  Moonlight In Vermont-Billy Butterfield and his orchestra
   7.  Moonlight Becomes You-Mary Cleere Haran
(Some segues almost program themselves.)
---
   8.  Star Eyes-Charlie Parker
(One of Parker's best uptempo sax melodies, in my opinion.)
   9.  You'd Be So Nice To Come Home To-Coleman Hawkins & Ben Webster
 10.  Only 'Cause I Don't Have You-Harry Connick, Jr.
---
 11.  Autumn Leaves-Roger Williams
 12.  Do Nothing 'Til You Hear From Me-Nat King Cole Trio
(Pure elegance.  Vocals are seldom smoother or classier than Cole's are on this tune.)
 13.  You Stepped Out Of A Dream-Johnny Mathis/Henry Mancini
(Also recommended: John Pizzarelli's version.)
 14.  This Magic Moment-Jay & The Americans
(This hit is from 1969, although it sounds as though it would have been at home on the charts during the mid to late '50s.)
---
 15.  Classical Gas-Mason Williams
 16.  Winchester Cathedral-New Vaudeville Band
 17.  Johnny's Theme ("The Tonight Show" Theme)-The Tonight Show Band/Doc Severinsen
(One of the safest big band choices for a mainstream audience.)
---
 18.  Samantha-Sammy Nestico
(I played bass on this beautiful ballad with my high school jazz band.  Although I was glad to provide rhythmic support on the piece, it was one of those times when I also wished I played the saxophone.)
 19.  Count Every Star-Ray Anthony and his orchestra
 20.  It's A Big, Wide, Wonderful World-Buddy Clark
---
 21.  Do You Know The Way To San Jose?-Dionne Warwick
(Tales about leaps of faith are rarely this tuneful, and they rarely sound this pleasant.)
 22.  Everybody's Boppin'-Lambert, Hendricks & Ross
(As impressive as the trio's fast-as-humanly-possible enunciating is, it would be ill-advised to set a metronome for this tempo.  It might well break after clicking out a tune this brisk.)
---
 23.  Just A Sittin' And A Rockin'-Scott Hamilton
 24.  Rockin' In Rhythm-Duke Ellington
---
 25.  All The Way-Lena Horne
 26.  Mack The Knife-Ella Fitzgerald
(Bobby Darin takes the edge off of the tune's ominous lyrics; so does Fitzgerald.)
 27.  You Send Me-Sam Cooke
---
 28.  Our Day Will Come-Ruby & The Romantics
(I always thought this was always an appealing vocal choice for WEW.  Does anyone else hear the quirky segue potential with Miss Li's "Bourgeois Shangri-La" that I hear?)
 29.  Midnight Blue-Melissa Manchester
---
 30.  There Goes That Song Again-Russ Morgan and his orchestra
 31.  I'm Sitting On Top Of The World-Les Paul & Mary Ford
 32.  Boogie Woogie Bugle Boy-Bette Midler
(Not a track I'd choose for listening on my own time, but I remembered how well the girls in my high school's swing choir sang it.  I imagined a large percentage of the audience knew the tune, as well, so it deserved the air time.)
---
 33.  Paradise-Nat King Cole (*)
 34.  Someone To Watch Over Me-Linda Ronstadt & The Nelson Riddle Orchestra
(I'm certain that I could have chosen any Ronstadt interpretation of any great American songbook tune, without even hearing it first, and it would have segued gracefully with whatever I'd played before it.)
---
 35.  What A Wonderful World-Louis Armstrong
 36.  Comes Love-Billie Holiday
 37.  Turn Around, Look At Me-The Vogues
---
 38.  I Think I Got It-Nat Adderley Septet
(This tune, and this ensemble, should be better known.  Talk about a synchronicity between players...)
 39.  I Wonder Why-Louis Bellson
 40.  Whipped Cream-Herb Alpert & The Tijuana Brass
 41.  Goin' Out Of My Head-Sergio Mendes & Brasil '66
---
 42.  Harlem Nocture-Les Brown
---
 43.  C'est La Vie-Sarah Vaughan
 44.  Love Won't Let Me Wait-Nancy Wilson
 45.  Skating-Vince Guaraldi Trio
(Out of season, admittedly, but still a beautiful piano melody that one can't hear too often.)
 46.  Promises, Promises-The Jazz Crusaders
(This would be a fun rendition for a trombonist to tackle.)
---
 47.  Tuxedo Junction-The Manhattan Transfer
 48.  Sophisticated Swing-Michael Feinstein
 49.  Angel Eyes-The Four Freshmen with The Stan Kenton Orchestra
 50.  Busted-Ray Charles
(This tune isn't usually played on the air today, but its melody stays with you.)
 51.  26 Miles (Santa Catalina)-The 4 Preps
---
 52.  Beyond The Sea-Bobby Darin
 53.  Sleepy Time Gal-Glen Gray (*)
 54.  On A Clear Day (You Can See Forever)-Robert Goulet
---
 55.  They Can't Take That Away From Me-Tony Bennett
 56.  (CLOSING THEME) Closing Time-Tom Waits 
---

(*) indicates a listener's request.
--- indicates a short break for a slogan and time check or a longer break for back announcing the music.

Online radio sampler highlights XL

Late-night selections that got my attention:

KBCS (Bellevue, WA)

• Hungry, So Angry-Medium Medium (A bass-heavy new wave single from 1981; if I didn't know otherwise, I would have thought David Byrne was singing an early Talking Heads hit.)

KCOU (Columbia, MO)

• Tu Nac Tu Ej-Mirdza Zivere (I'm pretty sure I'd never heard this Latvian dance vocalist until just a little while ago.  This upbeat groove, whose English title is "You Come, You Go," cements itself in the mind effortlessly.  In doing some research, another tune of hers, "Zozefino," which is "Josephine" in English, jumped out at me; it brings to mind some of the best elements of Willie Wright's "I'm So Happy Now" and Swing Out Sister's "Am I The Same Girl?")

KPTZ (Port Townsend, WA) 

• Yardbird Suite-Chuck Easton/Ted Enderle/George Radabaugh (When you choose a Charlie Parker tune that cooks so easily, you're bound to click with an audience.)

WHRB (Cambridge, MA)

• Lights Out-John Fahey (A bluesy, easy-going guitar trot that proceeds in its own good time.)

WREK (Atlanta, GA)

• Parasailing-Ducktails (Indie new age?  So it seems.  A pleasant, repetitive, trance-inducing rhythm anchors the tune for six minutes.)

Blending in as a student?

At a rehearsal before the annual solo/ensemble festival, my high school orchestra director attempted to help two students performing a duet by singing the melody.  "That was good," one of them responded.  "Maybe you should pretend to be a student and participate with us."  The director's deadpan reply: "I'll wear my beanie."

A format diversion you didn't expect

I've heard from more than one source about an incident that supposedly took place at WEW decades ago.  I was told that the station, at that time, was in the general manager's house.  It was an icy day, and the first scheduled DJ hadn't shown up yet.  Supposedly, the station manager turned on the radio and heard that the station hadn't been signed on yet.  He turned on the transmitter and went back to sleep.  Later, he turned on the radio to see if the DJ had shown up.  Instead of hearing the announcer's voice, he heard his dogs barking.  Apparently, they'd gotten into the studio, turned on the microphone, and started the show themselves.

One's pets don't get such an on-air platform very often, so I started thinking about how each of my family's cats might handle being on the radio, if given the chance.  Here's how I suspect each cat would react or would have reacted:

Sylvia: Given her generally peaceful, good-natured demeanor, I suspect she'd use her air time to talk about being a force for good in the world.  She'd likely mention several inspiring quotes that justify maintaining a positive outlook on humanity, while punctuating her encouraging quotes with loud purrs.
Likely music choices: "Get Together"-The Youngbloods, "What A Wonderful World"-Louis Armstrong, and "Have You Never Been Mellow"-Olivia Newton-John

Nemo: Given his dislike of vet visits, I suspect he'd rail against veterinarians.  His frequent hissing while making his points would show that he means business.  He might grudgingly concede that vets have made him feel better, but his overall message would be one of self-reliance and avoiding vet visits, at all costs.
Likely theme song choice: "Fight The Power"-The Isley Brothers

Sammy: Considering how much he enjoys watching the world go by, especially when birds are on the balcony, I suspect that Sammy would regale the audience with bird-watching stories.  During particularly exciting moments in his stories, his grizzled voice would change to an enthusiastic squeal.
Likely audio choices: Any track from the "Wild Bird Songs" compilation album, but morning doves, especially

Rosie: If Rosie were still around, I'm sure she would use any radio station as her soap box.  As the most outspoken cat of the quartet, she would talk easily and forcefully, in her inimitably sharp, soprano mews, about anything and everything that irked her.  After hearing her editorials, no listener would doubt where she stands on an issue.
Likely theme song choice: "Really Rosie"-Carole King, and then, right into Rosie's filibuster...

An all cat (or dog) voices radio format hasn't been tried in this market, as far as I know, so maybe there's a place for it on the airwaves.  Surely, there must be at least one unused AM frequency that would be game for it.

Motivating the orchestra

The day after the annual high school orchestra festival, our orchestra director would read the judges' grades and comments on our orchestra's performance to us.  One year, one judge consistently gave our ensemble lower grades than the other two judges.  After reading that judge's grades and comments, he told the class, "Of the three evaluations, this is the one I would have gone with."

Looking back, I'm not surprised.  He might or might not have agreed with the harder-to-please judge's evaluation, but he was trying to motivate the orchestra to always play as well as possible.  I wouldn't have expected any orchestra directors to tell their ensembles, "The judge who gave the orchestra the highest grades was obviously correct.  Pay no mind to the judge whose marks were the lowest.  Clearly, he was having a bad day and was being overly persnickety."

Personally, I thought the judge whose grades fell between those two extremes was most accurate.  Still, you don't expect any director to motivate an ensemble by saying, in effect, "Everything in that performance was perfect.  It's all downhill from here."

"Enjoy the music! Don't fixate on the rankings!"

Considering that many radio stations post their playlists online, I'm sure this doesn't happen as often as it once did.  Still, countdown shows must be the bane of a DJ's existence.  When you're trying to cue up music and commercials, fill out program logs, and obtain newscasts, weather forecasts, and calendar items to use on the air, it's mildly irritating to have one listener after another call in and ask, "Where's that song ranked?"  Admittedly, it's a compliment to the station.  It's gratifying to know that listeners care enough to want to know where a song placed in a listener survey or end-of-year countdown.  Still, I can't blame the KYKY DJ who, during a countdown of listeners' favorite songs in the '80s, handled my call this way:

DJ: Y98 FM.
Me: Hi.  What number are you on?
DJ: 98.1.
Me: In the countdown, I mean...
DJ (sighing:) Oh.  Let's see...We're on song number 23.

Looking back, if our roles had been reversed, I might have reacted similarly.

Retro FM dial scan highlights II: 6/16/84

It's enjoyable to unearth an old cassette and recall the music radio stations were playing at the time.  A sample of what was on the air 32 years ago today:

KSD 93.7 FM

• I Pretend-Kim Carnes (Best known for her smash 1981 hit, "Bette Davis Eyes," Carnes released this low-key midtempo album track in 1983.  Considering that it wasn't a hit, I'm impressed that KSD was still playing it the following year.  It's a good tune for driving, however, so I'm surprised it didn't have more of a following.)

KSHE 94.7 FM

• It's All I Can Do-The Cars (Although I'm not the biggest fan of the band's hits, this is one of their better efforts.  It's a good example of album rock power pop; listeners who like it might also enjoy such Shoes tunes as "Too Late" and "Tomorrow Night.")

KADI 96.3 FM 

• Spinning Wheel-Blood, Sweat & Tears (This oldie still gets played today.  That doesn't surprise me, as it doesn't leave a listener's mind easily.  Lyrically, it's a good, eccentric reminder that bleak situations can change for the better.)

KYKY 98.1 FM

• The Longest Time-Billy Joel (Not only is this the song used in one of the stronger "How I Met Your Mother" tag scenes, it's some of Joel's best harmony singing.  When I was in high school, I remember waiting during a solo/ensemble festival to play my piece, and I heard a great, impromptu college choir performance.  I was glad my performance time was delayed; if my session had started on time, I'd never have seen one vocalist in the hallway start singing this, to be joined by the rest of the choir.  Every section--soprano, alto, tenor, and bass--was on its game.  If that was the tune on which the judges were grading them, I hope they received top marks.)  
• Heart Of The Night-Juice Newton (Newton emotes convincingly on this downcast hit.  It's a shame this tune isn't usually played on the radio today.  The adult contemporary format used to include more tunes such as this, but today, it often gravitates toward higher energy tunes by younger artists.)

KHTR 103.3 FM

• When Doves Cry-Prince (The haunted house-style guitar and keyboard intro sets the tone for one of Prince's most unique hits.  Recently, I thought back to the first time I heard it and was jolted back to the present day; in recognition of his passing, Walgreens had Prince's "Purple Rain" and "1999" CDs for sale by the checkout counter.)
• Love Will Show Us How-Christine McVie (Earlier in 1984, McVie had a big solo hit with "Got A Hold On Me."  "Love Will Show Us How" was the Fleetwood Mac singer's follow-up single.  It wasn't as big of a hit, but its pleasant, uptempo arrangement should have elicited more airplay.)

Online radio sampler highlights XXXIX

Wednesday night standouts:

KAFM (Grand Junction, CO)

• Such A Night-Dr. John (A fun romp of a tune for piano and voice.)
• No Road Is The Right Road-Christine Perfect (Perfect, later to be known as Fleetwood Mac's Christine McVie, sings these downcast lyrics about a breakup compellingly.)

KCRW (Santa Monica, CA)

• Rule The World-Michael Kiwanuka (Lyrically and vocally impressive, with a trippy guitar part; this new, strong track uses some of the chords from Morris Albert's "Feelings" and expands on them.)
• Lime Habit-Polica (Hypnotic vocals over a techno beat; another highlight of 2016.)

KSDS (San Diego, CA)

• Baltimore-Roseanna Vitro (Vitro takes Randy Newman's bleak tale of tough living, smooths it over, and makes it more lush.  I would never have imagined she'd cover this tune, but she sings it well.)
• Glory Of Love (Alternate Take)-Lou Donaldson (Captivating sax with a bounce over a cool walking bass line and able piano support.)

Context? XIII

Heard on a Delaware radio station late Tuesday night:

"I want you to be a blessing to someone this week.  You got it?"

An announcer on a non-religious station said this as smooth jazz played over his show outro.  If he hadn't said it so kindly, his admonition might have been off-putting.  Although I didn't hear the complete context in which he said it, it's not a bad way of saying, "Let's treat each other with decency instead of contempt."

Dance music for the young and young-at-heart

Three years ago, I saw Blues, Incorporated, a solid cover band, in concert. I noticed that the least inhibited audience members--the ones who got up and danced the most--were approximately four-to-seven-year-olds and couples in the 50-plus age bracket.  The kids were especially uninhibited about running around and improvising dance moves.  It was the first time I'd ever seen "Stormy Monday" inspire anyone to turn cartwheels or "Folsom Prison Blues" serve as an aerobics workout...

...And, why not?  When the music moves you, who says those aren't appropriate reactions?

Still want to conduct? Seriously?

While listening to a recording of a high school and college orchestra concert, my ears caught one surprising intonation error that I didn't remember hearing during rehearsals.  Immediately after the wrong note, I heard what sounded like a sharp snap on the tape.  Most likely, the conductor didn't break the baton in half, walk off the stage in the middle of the William Schuman piece, decide to give up on conducting, and go live in the woods, where he wouldn't be held responsible for students' out-of-tune playing.  Most likely, he hit the stand with the baton...

...At least, I'm fairly certain that's what happened--maybe...

Knowing the answers in pre-Internet times

Without question, it's easier to learn most types of information, including the titles and artists of most songs, than it used to be.  Every now and then, though, I miss a few aspects of pre-Internet times:

• During the brief time I worked at a record store, it was satisfying to help customers by using my musical knowledge.  Examples:

1. Q: "What song has the lyric, 'I get off on '57 Chevys.  I get off on screaming guitar?'"  A: "That's Eric Clapton's 'I've Got A Rock 'N' Roll Heart.'"  
2. Q: "Who sings that song, 'Mambo To The Moon?'" A: "Tom Grant."
3. Q: "I'm looking for a song.  I think it's by an artist named Marcone.  It's about walking in Memphis." A: "That's 'Walking In Memphis' by Marc Cohn."

• A trivia expert, such as Dave Strauss on KMOX, impressed listeners in pre-Internet years by knowing the answers to many of the questions they would call in.  In 1985, Strauss answered my trivia question on-air, recalling that in 1973, Ron Blomberg became the first designated hitter.  It impressed me that Strauss knew the year and player offhand.

• I enjoyed playing "Name That Tune" for extra credit in two classes.  Why not get an extra point, when it's offered, for knowing that KYKY is playing Stephen Bishop's "Unfaithfully Yours?"  Somehow, today, it wouldn't be the same.  I can just imagine a class full of students taking out their phones, holding them up to the radio, and waiting for the app to identify a title and artist.  

Undeniably, it's great to have apps, search engines, and Wikipedia for learning more about music, but there's even more satisfaction in recalling a bit of knowledge, especially when it's obscure, from memory.

Record label t-shirts for a song

What do you do when you're a music store proprietor, and your Flying Fish record label t-shirts aren't selling?  Try Mr. H.'s solution.  He ran a local store, Backroads Music, during the '90s.  Per his newsletter, this was his solution:

"Our t-shirts, which sold at a glacial pace, are marked down to sell.  Anyone wishing to name their softball team 'The Flying Fish' can obtain further quantity discounts."

FM dial scan highlights LX

Among the more appealing tunes I've heard recently:

KDHX 88.1 FM

• Gentle On My Mind-Glen Campbell (Some of the more compelling lyrics, and one of the more uptempo songs about a couple's chemistry that I've liked.  It's puzzling that this wasn't a bigger hit.)
• Couldn't I Just Tell You-Todd Rundgren (One of many well-produced, well-played, and well-sung Rundgren tracks.  It sports a great sing-along hook and a guitar part that could make potentially great players resume taking lessons.)
• One Fine Summer Morning-Britta Phillips (An appealing new release, with optimistic vocals and sunny instrumental backing, especially from the flute.)

WSIE 88.7 FM

• Royals-Monika Herzig featuring Jane Bunnett (Herzig anchors this new, pleasant midtempo jazz combo track on piano.  I also recommend her "Come With Me" album.)
• Soft Winds (Live At The Vanguard)-Kenny Burrell (This is a relatively early recording in Burrell's vast discography.  Burrell swings the rhythm on guitar and does this Benny Goodman tune justice in concert.)

KCLC 89.1 FM

• Satellite-Sara Hartman (Other artists would overemote when singing such lyrics, but Hartman doesn't.  Her controlled alto voice serves the lyrics well, and she lets loose during the chorus, when it's most appropriate.  Hartman sings the tune, released in April, effectively against a spacey, fitting backdrop.)

Context? XII

One night in the late '90s, a co-worker stopped by my desk, and, sounding as gravely serious as he possibly could, quoted the opening lyric of Third Eye Blind's "Jumper," and walked off.

"I wish you would step back from that ledge, my friend," he said.

Was this co-worker concerned that I was taking on too much work?  Did he have qualms about my mental health?  Did he think I was on the brink of going crazy?  Probably not.  After all, this was the same co-worker who sang "Do You Know The Way To San Jose?" as on-hold music when we were testing a new phone system.

Pitch pipe: Tuning device or call-to-order signal?

Which definition of a pitch pipe is more accurate?  Is it a device that a chorus teacher uses primarily to get his or her class to sing at least one note in tune?  Or, is it a device a chorus teacher uses primarily to remind everyone, "I'm in charge here.  Stop fooling around, and start singing?"

"Laugh! Chortle! Guffaw! Now, play it correctly."

Imagine you're conducting a high school orchestra.  Your violinists have just made an inadvertently imprecise entrance, in which numerous players started playing within nanoseconds of each other.  This unintended domino effect makes the entire orchestra burst out laughing.   In my experience, most conductors will bring the piece to a halt and tell the offending section, "Violins, please count (or focus, or concentrate.)"  Sometimes, conductors might sigh, shake their heads, or roll their eyes before telling the offending players, "Make sure you practice that section thoroughly before the concert."

There's another option, however, that I've only seen a conductor use once.  During an All-State Orchestra rehearsal in which such a ragged entrance occurred, the conductor waited until everyone had finished laughing.  He then did an exaggerated, deliberately enunciated imitation of our laughter.

"OH, HA, HA, HA!" he said.  "HEE, HEE, HEE!  HO, HO, HO!"

This had the orchestra in stitches all over again, but the conductor's unexpected reaction did the trick.  Everyone relaxed, got the laughter out of their system, and nailed the entrance on the next attempt.

Relating to your audience

I watched from the sidelines one morning as a DJ I knew talked with a listener on the phone.  He had returned to the station after being away for the better part of a year, and listeners were calling in to welcome him back.  I noticed that the CD he was playing was about to end, and he risked having dead air.  I thought, "I'm not on the air here, it's not my responsibility, and I have almost no time to mention this, but should I wave my arms and point to the CD player?  Should I hold up a note?"

My concern wasn't necessary.  The song ended while he was still talking to the listener, so he turned on the microphone and finished the chat on-air, saying, "Thanks for calling.  Goodbye."  He then said the call letters, turned to another DJ in the studio, and talked on-air about how he hadn't answered that particular telephone in months.

I learned something that day about connecting with an audience.  Starting an on-air break by ending a phone conversation was unorthodox, but it worked.  The announcer talked between music sets about everything from enjoying "a big old shaker of salt" on all types of food--even apples!--to his car with the three-cylinder engine that he joked became a one-and-a-half-cylinder engine whenever the air conditioner was turned on.

After sitting in that day, I thought, "That's something to keep in mind.  An announcer doesn't always have to talk about just the music and the weather.  That guy has been in radio for over 20 years, and his on-air approach clicks with the audience--so much so that people have been calling the station all morning to ask how he is and how life has treated him since he was last here."

It's worth remembering; if you want an audience to listen to your show, do your best to be more than an announcer.  Relate to your listeners as a human being.

Cool cat digs cuckoo easy listening sound

I wish I had video footage of an incident from 2003.  I had just put on an LP.  Shortly after the music started, Sammy the cat walked over to the stereo, stood up on his hind legs, and started scritching the stereo door in time to the music.  What prompted Sammy to start scritching so rhythmically?  The Hollyridge Strings, performing a cover of an early Beatles tune, "I Saw Her Standing There."

Then again, I'm sure you must have guessed that.  What can I tell you?  Sometimes, writing a blog post necessitates stating the obvious.

Online radio sampler highlights XXXVIII

Intriguing tunes heard this morning:

KBEM (Minneapolis, MN)

• Kurt Vibe-Brad Mehldau (I picked up on a Vince Guaraldi vibe in Mehldau's piano playing here.  I half-expected Snoopy to walk by as Joe Cool.  To hear Mehldau's more contemplative approach, check out his new "Blues And Ballads" album, being released today.  His covers of "Since I Fell For You," "I Concentrate On You," and "These Foolish Things" are highlights.)

KXCI (Tucson, AZ)

• Moon Over Bourbon Street-Victor & Penny (Given the throwback arrangement of the instrumentation, I wouldn't be surprised to walk past the musicians playing and singing this cover of a Sting tune in the park.  These artists make a good case for the relevance of roving troubadours.)

KZSC (Santa Cruz, CA)

• Try Me On-Mia Borders (Forceful vocals, backed by rock-steady guitar and bass.)
• Ting-A-Ling-Aaron Neville (The vocal harmony intro alone should convince listeners they're in good hands.  The Clovers had a big hit with this in 1952, and Neville and company show that the tune holds up.)

WCBN (Ann Arbor, MI)

• More Than It Seems-Salvation (Moby Grape meets Jefferson Airplane.)

WTMD (Towson, MD) 

• Divine Intervention-Matthew Sweet (Midtempo power pop, with blistering guitar.  Also recommended: "I've Been Waiting" and "Evangeline.")

Speaking of Rickie Lee Jones...

...Her hit, "Chuck E.'s In Love," was one of the tunes KNJZ added to its playlist in May 1995.  The powers that be severed their arrangement with the consultants that month and decided to program the station in-house.  It was an adventurous time to work there, as the playlist started to encompass everyone from Eddie Money to Sarah Vaughan.  I was on the air during the first hour of this new arrangement.  During that hour, the following three songs came up in a row:

• Angel Eyes-Jim Brickman
• Come To Me-Milt Jackson
• Chuck E.'s In Love-Rickie Lee Jones

In my opinion, all three songs are good, but for different reasons.  "Angel Eyes" is a moving, concise new age piano instrumental.  "Come To Me" is a good traditional jazz vibraphone piece.  "Chuck E.'s In Love," as I mentioned in yesterday's post, doesn't fit solidly in any particular category.  It has elements of pop, rock, country, singer-songwriter music, and jazz.

I enjoyed working at a station that would play those three songs in a row, as different as they were.  As for how this musical whiplash went over with listeners, however...I imagine other listeners reacted the way one reader of this blog did.  Around 2 a.m., he called the request line and said, "I've been listening for the past two hours, and I just have one question.  Are you all being let go in two weeks?"

Well, no...We weren't being let go in two weeks.  Three-and-a-half months, later, however...

Unfortunately for those of us who worked there, such an eclectic approach to the music didn't lead to higher ratings.  In September 1995, the station changed formats and personnel, as stations often do.  To this day, I wonder what would have happened if the station had eased into the transition more subtly and adopted the slogan, "Smooth jazz--and more."  No way to know now, alas...Looking back, I have some inkling of how actors on abruptly cancelled TV shows must feel.

FM dial scan highlights LIX

Late-night listening standouts:

WSIE 88.7 FM

• I Can't Stand The Rain-Ann Peebles (Strong vocals paired with a strong instrumental backdrop.  It's compelling to hear WSIE expand its format to include such gems as this R&B hit...)
• Virago-Billy Joe Walker, Jr. (...and this cross-categorical guitar piece that would be at home on a smooth jazz or new age station.)

KCLC 89.1 FM 

• Chuck E.'s In Love-Rickie Lee Jones (Name another hit song that sounds remotely like this.  Jones made a huge splash with her self-titled debut album, and this tune, in particular.  Her voice, and the instrumental arrangements, don't fit squarely in any one category, making it a gem that holds up.  Also recommended: "After Hours.")
• My Favorite Mistake-Sheryl Crow (One of Crow's best hits, right from the opening guitar pluck.  One of her strongest guitar riffs, and some of her best lyrics.)

WFUN 95.5 FM

• Don't Stop The Music-Yarbrough & Peoples (An assured, sly hook from 35 years ago can still cement itself in the listener's mind.  If you listened to KMJM for any length of time in the early '80s, you heard this.)

K297BI 107.3 FM, a.k.a. KNOU-HD2

• Antonin Dvorak: Symphony No. 9 in E minor, Op. 95, "From The New World" (New York Philharmonic/Leonard Bernstein, conductor) (Admittedly, this is a safe choice, as it's one of the most well-known symphonies.  Few pieces use brass, woodwinds, and strings so tenderly during slow movements and all of these sections, plus percussion, so forcefully in dynamic movements.  The final movement's nod to the previous movements is a tribute to the piece itself.)