Best not to phone in your efforts

I remember a director telling his orchestra, "A professional musician wouldn't approach (the music) that way." A student responded, "(Professional musicians) are being paid, though."  "So are you, by means of a grade," the director shot back.  "And so far, your grade's not too good because once again, you forgot your instrument..."

It's always a risk to tell a teacher you won't put in your best effort.

Retrieving an album from the Offbeat Path room

I knew I'd requested an esoteric album at the main county library, Headquarters, when it had an H+ sticker.  A Beatles album, for instance, would have an H sticker and be out on the floor with the rest of the albums anyone could check out.  The album with Donald Erb's piece, "The Seventh Trumpet," however, was an H+ selection and wasn't in the main area with the other albums.  You could only check it out if you filled out a request form.  When your library only has so much space for a collection that keeps expanding, that system makes sense.  I always wondered who decided what was obscure enough to be kept in a back room for requests only, though.

Difficult-to-accept feedback

Granted, the high school student's performance on a music playing test wasn't very good.  He obviously hadn't practiced much.  Still, I felt sorry for him when the director said, in front of the class, "Well, what do I think of that?  Not much."

I've never been a fan of the dunce cap method of motivation.

How to feel a tad ancient II

As a kid, any record store that stocked 45s for each of Billboard's Hot 100 songs impressed me.  It gave customers the chance to buy songs that were on their way down the chart and songs that, for one reason or another, wouldn't crack the upper echelon of the chart.  Stocking so many records had to have compromised a store's profit margin.  Still, I was glad to buy George Benson's "20/20" before it slipped off the charts.

How to feel a tad ancient

A work memory from about eight years ago: I had KMOX on in the office.  After about two hours, a co-worker who was about 20 years younger than me said, "This is the most I've ever listened to AM radio, I think."

I was surprised when the room didn't take on a sepia tint, and ragtime music didn't underscore the rest of our workday.

Hard to fathom all this shaking--or shakin'

An eighth grade memory: There was light giggling in the classroom after the teacher made a reference to Jerry Lee Lewis.  "You know who Jerry Lee Lewis is, don't you?" Mr. M. asked the class.  "He sang the hit, 'Whole Lot Of Shaking Going On.'"  Mr. M. overenunciated the syllables, sounding like an archaeologist decoding hieroglyphics on the wall of a cave. 

It still amuses me to imagine Lewis singing the song with Mr. M.'s delivery--and without dropping the g in "Shakin'."

KCOU playlist flashback: 1-4 p.m., 4/24/93

The music I selected for airplay on this day 25 years ago:

   1.  (I'm A) Road Runner-Steppenwolf
   2.  Can I Get A Witness-Marvin Gaye
---
   3.  Catch Me-Betty Boo
(The vocals float effectively over a beat that doesn't leave one's mind easily.)
   4.  Feeling Warm-Eagles Prey
   5.  Pulling Mussels (From The Shell)-Squeeze
(Not every song makes you pay attention from the first note, as this one does.  A strong melody, memorable hook, and great keyboard solo are why this has gotten airplay since the '80s.)
   6.  Hard Sun-Indio (*)
   7.  Tuff Skins-Big Wheel
(I never hear this band anywhere these days, and that's a shame, considering their well-written lyrics and all-in performances on the "Slowtown" CD.  Highlights include "Lied," "Storm," and "Down The Line.")
---
   8.  You Move Me Like A Slug-The Boorays
(This was always a fun tune to play on KCOU, and it was a pleasure to hear The Boorays perform this live.  The propulsive drums-and-bass intro draws me right into the tune.  It's easy to find yourself drumming or singing along without realizing it.)
   9.  Pickup Truck-The Boorays
(Relatable lyrics about taking a leap of faith.)
 10.  Different Colored Letters-Sleepyhead
 11.  The Way Up-Suddenly, Tammy!
---
 12.  Golden Blunders-The Posies
(I think most people feel this way once they graduate from college, at least initially.)
 13.  Stroke It, Noel-Big Star
 14.  Rust-Antenna
(Still a strong tune for driving, and a lyrical reminder to not just give up.)
 15.  Heavy Metal Tears-The Pursuit Of Happiness
(This chord sequence almost can't help but make a listener sing along involuntarily.)
---
 16.  Thoko-Juluka
(I was glad to be reminded of this upbeat melody that I wish I'd played more often.  The vocals, guitar, keyboards, and drums coalesce appealingly.)
 17.  DissinForDollars-Bernie Worrell
 18.  Nobody Told Me-M-Base Collective
 19.  Housecall-Shabba Ranks with Maxi Priest
 20.  Swim-Madder Rose
---
 21.  Be My Baby-Mini Skirt Mob
(Committed vocals and energetic instrumental backing make this a strong cover of the tune The Ronettes made famous.)
 22.  I Don't Know-Screamin' Jay Hawkins
 23.  Anarchy In The U.K.-Sex Pistols (*)
 24.  If I Lose-Ditch Witch (*)
(The Ditch Witch tune to which I've listened most; its propulsive guitar part is infectious, and the tune has one of the best intros and racing-to-the-end instrumental closings I've ever heard in an indie rock tune.)
 25.  King Of The Hill-The Minutemen (*)
---
 26.  Stockholm-New Fast Automatic Daffodils
 27.  57 Waltz-Velocity Girl
(Big Wheel's "Lied" segues well after this whirling guitar line.)
 28.  Pickin' Flowers For-Best Kissers In The World
 29.  Outside This Bar-American Music Club (*)
 30.  If I Had A Hammer-American Music Club
 31.  The Happy Song-The Box Tops
---
 32.  All Day Afternoon-Judybats
 33.  Camera Camera-The Teardrop Explodes
 34.  It's Not Unusual-New Duncan Imperials
(An inspired cover of the Tom Jones tune.)
 35.  Blue Bossa-Lou Donaldson
(I felt like hearing some simmering saxophone playing, even if I had to wedge it into the set.)
 36.  Gone-Pond (*)
---
 37.  Have Enough-Mercy Rule

(*) indicates a listener's request.
--- indicates a station break between songs.

SiriusXM highlights LXXXVIII

Standout selections heard Saturday:

The Bridge

• Son Of A Son Of A Sailor-Jimmy Buffett (Lyrically and instrumentally, this is arguably Buffett's best song.)

Classic Vinyl

• Dream Weaver-Gary Wright (The spacey instrumentation meshes well with Wright's equally spacey vocals.  It's good to hear oldies stations still playing this.) 

Love

• Spanish Harlem-Ben E. King (These sentiments don't wear out their welcome when Ben E. King or Aretha Franklin sing them or when The Crusaders play them.)

No Shoes Radio

• Tennessee-Mindy Smith (An endearing tenderness in the vocals.)

Real Jazz

• Now's The Time-Grant Green (A cool blend of guitar, organ, and a snappy walking bass line.)
• That's It-Kenny Garrett (A shimmering, resonant saxophone hook draws the listener in, right from the first note.  Garrett sustains the memorable melody throughout the tune.  This is one of the more accessible jazz tracks I've heard, so I'm surprised I don't hear it played more often.)

Symphony Hall

• Tobias Hume: Captain Hume's Lamentations (Trio Setteceno) (A lyrical, sorrowful piece for strings.)

Persistent earworm alert XCIII

Where did I put my keys?  Let's search my memory...

...That didn't help.  The first thing that came up was a 1984 radio jingle, "York battles inflation and helps you save money and energy now."

Actually, I have my keys with me.  That's often how my mind works, though.

Appreciating the big bands

One late afternoon, when I was 12 or 13, I called into a talk show on a small AM station.  I talked about how jazz was underappreciated and deserved a wider audience.  This was an offbeat topic to bring up out of the blue, but the host said callers could discuss any subject.  The host told me, "You know, maybe big band music could be making a comeback."  At the time, I hadn't heard much big band jazz, but to be polite, I replied, "I hope so."

Decades later, after having heard a good amount of big band music and playing it on the air, I understand why the host wanted it to make a resurgence.  It's a genre in which musicians are typically well-rehearsed, have strong command of rhythm and intonation, and show respect for the notes on the page.  While I don't expect big band tunes to start appearing on Billboard's Hot 100, I understand why it had--and, to some extent, still has--a following.

Stingray Music highlights LVI

Noteworthy tunes heard yesterday:

Alt Rock Classics

• Somebody To Shove-Soul Asylum (The urgency of the track still appeals to me a quarter-century later.)

Canadian Indie

• Stay With Us-Seoul (Seoul pulls off the trick of sounding intimate yet distant in this hypnotic track.)

Classic R&B And Soul

• People Get Ready-The Impressions (Lyrics of hope and salvation that command respect.  This version's gloss is appealing, but if you want to hear an equally or perhaps more poignant rendition, The Persuasions recorded an excellent a cappella version of it.)

Cool Jazz

• I Don't Know Why (I Just Do)-John Pizzarelli (There's a strong consistency to Pizzarelli's subtle crooning throughout his albums.  I knew I could play virtually any song of his on WEW and segue it easily.)

Jazz Masters

• You Go To My Head-Bud Powell (Powell shows this standard is naturally suited for the piano.) 

Retro R&B

• You've Got A Friend-Roberta Flack & Donny Hathaway (Although I'm used to hearing this in its James Taylor and Carole King incarnations, this somewhat overlooked cover deserves its due.)

Smooth Jazz

• In The Name Of Love-Grover Washington, Jr. (A fresh breeze of a saxophone melody; I miss the days when you'd hear this version or the Ralph MacDonald/Bill Withers rendition with vocals on the radio.)

Persistent earworm alert XCII

Lately, when I see one or more birds, I start hearing Mac & Katie Kissoon's "Chirpy Chirpy Cheep Cheep."  Just remembering that goofy chorus from 1971 makes it difficult to take much of anything seriously.  Actually, just thinking of the song's title accomplishes that.

SiriusXM highlights LXXXVII

Standout selections heard today:

'40s Junction

• It's A Long Way To Tipperary-Artie Shaw (I've heard mostly somber versions of this, so it's interesting to hear it in a raucous, joint-is-jumpin' arrangement.)

The Bridge

• It's Too Late-Carole King (Some of the most realistic lyrics about a relationship's end, played and sung with King's customary sincerity.) 

The Coffee House

• I'm Getting Ready-Michael Kiwanuka (Effective vocals and lyrics about seeing a commitment through.) 

The Groove

• Do I Do-Stevie Wonder (The single version still captures the tune's infectious joy, but it's best to hear the full album version with Dizzy Gillespie.) 

Real Jazz

• Dedicated To You-Regina Carter (Elegant, sublime violin, piano, and bass.)  

SiriusXMU

• Easier Said-Sunflower Bean (How Blondie might have sounded as an indie power pop band; subtle soprano vocals drift over a whirling instrumental backdrop.  In the lyrics, the protagonist weighs the positive and negative consequences of choosing a new direction.)

Soul Town

• I Heard It Through The Grapevine-Gladys Knight & The Pips (Knight sings this in the style of Aretha Franklin's "Respect," and it works.)

Symphony Hall

• Frederic Chopin: 24 Preludes, Op. 28 (Vanessa Perez, piano) (Engaging, lyrical playing.  If you hardly ever listen to Classical music, these preludes are a good starting point.  Chances are, you've probably heard at least a few of them before.)
• Maurice Ravel: Bolero (Lyon National Orchestra/Leonard Slatkin, conductor) (One of the best pieces ever composed, played at a perfect tempo and structured so it builds on itself extremely well.)

Watercolors

• Friends-Bobby McFerrin (Considering how immediately accessible this is, lyrically, vocally, and instrumentally, I wonder why I don't hear it more often on smooth jazz stations.)

Stingray Music highlights LV

Monday and Tuesday highlights:

The Chill Lounge

• Warm Sunset-Middle (This engaging midtempo guitar-centric track would segue well on a late night smooth jazz playlist with J. Thompson's "Tell Me The Truth.")

Cocktail Lounge

• Something's Cookin'-Quincy Jones (With an organ vibe this sly and cool, the bar for any movie or TV drama to use it should be pretty high.) 

Flashback '70s

• You Make Me Feel Brand New-The Stylistics  (If the heartfelt feel of "Betcha By Golly, Wow" and "You Are Everything" appeal to you, this tune likely will, too.  Those three ballads segue smoothly in any order.)

Folk Roots

• Say-O-The Early Mays (Endearing old-time pickin' and pleasant vocal harmonies.  I look forward to hearing a lot more from these three women.) 
• Work Hard, Love Harder-Susan Cattaneo featuring The Boxcar Lilies (A gentle reminder of what one's priorities in life should be.  As much I like the vocal harmonies on this version, I also like the faster version Cattaneo recorded with The Bottle Rockets.)

Jazz Masters

• Come Rain Or Come Shine-Ben Webster (Befitting this standard, Webster plays tenor sax with his customary warm resonance.)
• Gee, Baby, Ain't I Good To You?-Kenny Burrell (Burrell plays a tasteful, relatively subtle version of this on guitar.  No surprise there...)

KCOU playlist flashback: Jazz Odyssey--4/16/92

The music I chose to play on KCOU from 11 a.m. to 1 p.m. on this day 26 years ago:

   1.  The World Is Falling Down-Abbey Lincoln
(I started the show on a bluesy note.)
   2.  Rags To Riches-Tony Bennett
   3.  Just One Of Those Things-Ella Fitzgerald
(Cleverly penned lyrics sung movingly, with a great piano intro.)
   4.  Lies-Cassandra Wilson
   5.  Snakes-David Sanborn
(An appropriate title for a saxophone melody that slithers.  Other highlights from the "Upfront" album: "Benny," "Soul Serenade," and "Bang Bang.")
   6.  Let's Just Say Goodbye-David Sanborn
---
   7.  Chameleon-Herbie Hancock
(One of the funkiest riffs in jazz history, sustained for over 15 minutes.)
   8.  Drive-Bobby McFerrin
   9.  Grace-Yo-Yo Ma & Bobby McFerrin
(Also recommended: "Stars.")
---
 10.  The High Priestess-Julian Joseph
 11.  That's Nice-Chuck Mangione
(I never hear this anymore, but it would have made a great sitcom theme 30 years ago.)
 12.  Bye Bye Blackbird-Joey DeFrancesco
 13.  Giant Steps-McCoy Tyner
(If you can play John Coltrane's "Giant Steps" at this tempo and with Tyner's dexterity, I hope you're making a great living playing the piano.)
 14.  Dexter-Stefan Karlsson
---
 15.  What Is This Thing Called Love?-J.J. Johnson
 16.  Air Mail Special-Charlie Christian
 17.  The Blues In Your Flat...The Blues In My Flat-Benny Goodman Quartet (*)
 18.  Woodchopper's Ball-Woody Herman (*)
---
 19.  Ride Like The Wind-Freddie Hubbard
(Hubbard does this Christopher Cross hit justice on trumpet.)
 20.  Dance Beneath The Diamond Sky-Vacca/Moran
---
 21.  Milestones-Roy Hargrove
(From one Miles Davis standout that cooks...)
 22.  Once Upon A Summertime-Miles Davis
(...to a slower standout that lingers in the listener's mind.)

(*) indicates a listener's request.
--- indicates a station break between songs.

SiriusXM highlights LXXXVI

Standout tracks heard this morning:

1st Wave

• On Your Radio-Joe Jackson (Although I don't listen to this as much as "Steppin' Out," "You Can't Get What You Want," or "Nineteen Forever," it's great for driving; if you like the feel of Jackson's "I'm The Man," this will likely appeal to you.)

The Coffee House

• Our Lips Are Sealed-Kevin Kane featuring Neko Case (An appealingly acoustic, slowed-down cover of the first hit by The Go-Gos.)

Enlighten

• Beneath The Cross-Ivan Parker (Sung with emotive sincerity and conviction.)

Escape

• Crazy-Jack Jezzro (Nice Western-style guitar on this cover of the Willie Nelson tune; it's a successful, rather unusual arrangement for a smooth jazz artist.)

The Groove

• Haven't You Heard-Patrice Rushen (This could segue with "New Moves" by The Crusaders featuring Gwen Evans.)

Real Jazz

• Misty-Richard "Groove" Holmes (Holmes tackles "Misty," which Johnny Mathis made famous, on the organ.  Holmes makes it sound as though he wrote the tune and that it was meant to be a slick, uptempo organ vamp.)
• More Today Than Yesterday-Charles Earland (The Spiral Starecase's hit lends itself well to a hip, organ-based jazz arrangement.)

Stingray Music highlights LIV

Highlights from U-verse this morning:

The Blues

• Lord, I Just Can't Keep From Crying-Danielle Nicole (Strong, powerful vocals; I'd be curious to hear Susan Tedeschi cover this.)

Cocktail Lounge

• Do Nothin' Til You Hear From Me-Nat King Cole Trio (Some of Cole's best, most heartfelt vocals; I played this several times on WEW.)

Cool Jazz

• Wintertime-Karen Mantler (Appealingly soft, breathy vocals and subtle underscoring.) 

Folk Roots

• Who Knows Where The Time Goes?-Nanci Griffith (No one can top Sandy Denny's interpretation, as far as I'm concerned, but Griffith's version is appropriately moving and cathartic.)
• Trouble In The Fields-Kyle Carey (Speaking of Nanci Griffith, this is a strong cover of one of her songs.  Carey's vocals are thoughtful, and the folk/Celtic instrumental backing fits the tune well.  It also has one of the most appealing fades I've heard.)

Jazz Latino

• Condiciones Que Existen-Alfredo Falu y su Latin Jazz Ensemble (I'd be curious to hear a cover of this with War on vocals and The Meters providing the instrumentation.)

Latin Lounge

• Tranquility 2001-Mettle Music (A steady, uptempo guitar and bass groove fit for a smooth jazz station.)

You're a true St. Louisan when...

...you hear a newscaster on any radio station say, "We'll be back with sports," and you immediately say or think, in the style of Cardinal baseball broadcasters Jack Buck or Mike Shannon, "We'll check the ticker and come back in a minute."

Setting the scene for a relaxing vacation

I wonder if any airline, division of tourism, or travel agency has ever used Nancy Wilson's version of "Trip With Me" in a commercial.  This track from 1970, in which Wilson sings about inviting someone to go on vacation with her, makes a getaway sound enticing.  Vocally, it reminds me of '60s era Dionne Warwick and The Fifth Dimension.  Its endearing retro vibe would likely catch a lot of customers' ears.

Persistent earworm alert XCI

Since yesterday, a techno song I haven't heard in at least 25 years has been firmly lodged in my mind.  I'll be reading a depressing editorial in the newspaper or online, and the Utah Saints tune,  "Something Good," comes to mind ironically.  In retrospect, its chorus is pretty catchy, and it's one of the rare tunes in which a band shouts out its name without sounding trite.

In memory of Yvonne Staples

Reading about the passing of Staple Singers vocalist Yvonne Staples triggered this memory:

In college, I attended an animated film festival.  Although I haven't seen the short since 1992, I still remember "I'll Take You There" being used effectively in a film about toys suddenly coming to life and marching around a room.  I thought then and still think "I'll Take You There" was the perfect musical accompaniment for that scenario.  Everything about that justifiably chart-topping hit clicks.  As I wrote previously, the tune sports one of the more effective, attention-getting opening notes and a sense of conviction in the vocals that sounds just as convincing today.

I also recommend the driving groove of "Heavy Makes You Happy," which segues well with Sly & The Family Stone's "Dance To The Music."

A more serious recommendation: "This Is A Perfect World."  The tune's lyrics differentiate the world from the people in it effectively.  It also weaves "My Country 'Tis Of Thee" appropriately into the mix.  This energetic track from 1971 about trying to show the creator that people from different backgrounds can coexist peacefully holds up today.

To jazz up Classical music or not?

I knew a violinist in college who didn't care for watered down versions of Classical pieces.  She was not a "Hooked On Classics" fan and thought Classical pieces should be played as they were intended.  It's a given, then, that she wouldn't have liked Walter Murphy's "A Fifth Of Beethoven."  I wonder what she thinks of Pink Martini's "Bolero," though.  Even the most militant Classical purist ought to appreciate the group's reverence for Ravel's masterpiece.

"Stable announcers wanted. Abrupt departures discouraged."

The longtime FM DJ told those of us at a broadcasting school seminar, "If you're going to quit a job, don't just walk out before your shift is over.  That kind of thing follows you.  If I were going to hire someone and came across the resume of someone who had done that, I'd say, 'OK, let's just put this (resume) off to the side.'  No one wants to risk hiring someone who might blow up the station when he's having a bad day."

Obvious advice?  Yes, but it's still valid.

"Your musicianship is excellent, (insert name here.)"

"You played very well and have made it into the orchestra," the letter I received in high school said.

Although I was pleased to be accepted into the orchestra, I was amused to read that phrasing in a form letter.  I trust that no one received an alternate version that read, "The orchestra is pleased to inform you of your conditional acceptance.  Although the judges believe you're a borderline case, dedication and regular practice will likely make you a successful orchestra member."

Best to stay awake

Twice, I've seen DJs fall asleep during their shifts.  Luckily, at one station, the DJ hadn't been asleep that long.  I knocked on the counter, and she woke up while music was still playing.

At another station, however, I'd estimated from the time I started hearing dead air to the time I got to the studio to choose music for my shift that the DJ had been asleep for about 15 minutes.  How do you handle a situation like that?  In that DJ's case, upon hearing the door open, you wake up, go back on the air as though nothing happened, and back announce the track that ended 15 minutes ago.

That's the only time I've heard anyone say, "OK, that was...," 15 minutes after a song ended.

Best to be the best you that you can be

XTC's "Wrapped In Grey" works just as well for drifting off to sleep as it does for waking up.  If you feel like hibernating, you can concentrate on the deliberately grey-sounding, melancholy instrumentation in the intro.  If you're waking up, you can concentrate on the lyrics about remembering to do the things that make you unique instead of sleepwalking through the day.

Nostalgic--to an extent

Several years ago, I watched a video about KCOU, one of the radio stations where I'd worked in the early '90s. I thought, "Good to see that the mission and spirit of the station are still largely the same.  This is like old times."  Then, I saw a notice in the studio telling DJs not to play YouTube clips on the air.

"So, it isn't exactly like old times," I thought.

One voice wearing too many hats

It always sounds peculiar to me to hear a live DJ go to a break and then immediately play one or more commercials featuring his or her own voice.  When I hear a DJ say, "I'll be right back," then play a commercial (s)he recorded for an auto parts shop, a station promo, a commercial for a florist, and then a PSA about the health risks of smoking, I think, "Are there no other smooth voices in this town?  It's like saying, 'I'll be right back,' followed by, 'Actually, here I am again.'"

Not a practical dream, but...

In a recent dream, I was offered a job playing any music I wanted on a radio station.  It involved a one-hour commute, an exorbitant parking fee, and bringing a sword to fend off a dragon who guarded the building. 

Still, in the dream, I wasn't ruling the job out.  Apparently, the allure of playing any music I want on the air is still fairly strong.

Reverential Easter music

If you're looking to celebrate the reverence of Christ's resurrection on this Easter Sunday, or if you simply want to hear two excellent renditions of well-known hymns, you can't go wrong with Harry Belafonte's version of "Were You There When They Crucified My Lord?" or "Amazing Grace," as sung by Judy Collins.  Belafonte and Collins show considerable conviction in their respective versions without oversinging.

Also, if you're looking to smile at some Easter rabbits today, here you are:

2003: Rabbits relaxing at my parents' house.

Happy Easter to everyone who celebrates it.