FM dial scan highlights CIX

Here are six standout tracks, five of which I heard today and one I heard Sunday:

KDHX 88.1 FM

• Hurdy Gurdy Man-The Spectres (Based on the intro, I half-expected to hear a calliope rendition of "The Little Drummer Boy."  This is a fun, swirling, of-its-time tale of a street musician. "The Proper Ornaments" by Super Furry Animals could segue with this.)
• They Remind Me Of You-Billy J. Kramer & The Dakotas (I was reminded of early Beatles music and The Dave Clark Five's "Because" as I listened.)

WSIE 88.7 FM

• Araignee-Emily Bear Trio (Tasty piano bossa nova.)
• Chicago Song-David Sanborn (A memorable saxophone hook, fit for talk show bumper music.)
• Somehow Our Love Survives-Joe Sample with Al Jarreau (One of many highlights from keyboardist Joe Sample's excellent release, "Spellbound."  Sample lays down an appealing, uptempo keyboard part, and Jarreau's vocals invite the listener to sing along.)

KWMU 90.7 FM

• Everything Happens To Me-Charlie Haden & Brad Mehldau (Bass and piano elegance fit to underscore a black and white movie.  This effect is even more pronounced on Charlie Haden Quartet West's "Always Say Goodbye" album rendition.)

Online radio sampler highlights LXXXIX

Five standout tunes heard today:

KVMR (Nevada City, CA)

• I Won't Be Here-The Marcus King Band (The forthright, bluesy, emotive vocals remind me of The Subdudes.)

KXCI (Tucson, AZ)

• The Immigrants-Gaby Moreno & Van Dyke Parks (If the "America Rock" segments of "Schoolhouse Rock" were starting now instead of in the '70s, they might sound something like this.  In a sense, this is a modern version of "The Great American Melting Pot."  Those who lack compassion ought to adopt the outlook in these lyrics.)
• If You Want To Sing Out, Sing Out-Cat Stevens (There are a lot of avenues open to all of us; it's a pleasure to be reminded of that through lyrics that don't hector the listener.)
• Yah Mo B There-James Ingram & Michael McDonald (I was sorry to learn of James Ingram's passing.  This hit shows the range and power of his vocals--and McDonald's, as well.  Also recommended: "Just Once," the Quincy Jones/James Ingram track whose vocals hold up compellingly after hundreds of listens.)

WRTI-HD2 (Philadelphia, PA) 

• Light In The Dark-Claudio Roditi (A strong trumpet number that segues with multiple versions of "Blue Bossa.")

The up side of taking over

Sometimes, I wonder if conductors are secretly pleased when they inherit an ensemble that doesn't play well.  After all, that situation gives a new conductor the chance to tell the group sternly, "This is a cacophony," and be a superconductor who turns the group around.

Movin' on up--to orchestra class

Considering that I'd done well in sixth grade orchestra class, I was puzzled when the class didn't appear on my seventh grade schedule.  I went to my assigned class on the first day of school, but on the second day, I showed up at the orchestra room.

"Am I being moved up into this class?" I asked Mr. D., the director.

"Moved up?" he replied.  "There's nothing above this ceiling."

I took that as a yes and selected a double bass from the storage rack.

A linguistic irritant XI

Sometimes, I'll read, "(So-and-so) taught music," in a feature story or obituary.  My reaction is always, "What does that mean specifically?  Was this person a band director, orchestra director, or choir director?  Did (s)he teach general music classes, music theory, or give lessons in a specific instrument?  Did (s)he teach elementary, middle school, high school, or college students?"

Just saying that someone taught music is insufficiently vague.

A more popular obscurity? II

A manager at one of my previous jobs held a meeting, where he announced some company restructuring.  He started comparing the changes to the paths members of The English Beat took after the band ended.  He dropped the reference, however, upon seeing so many blank faces.  I wanted to say, "No, go on.  I used to play that band's music on the air in college, and I get the reference."

For the sake of the meeting, it was probably best that he abandoned the analogy.  For the sake of music snobs, however...

KCOU playlist flashback: Jazz Odyssey--1/25/93

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

   1.  Moonlight Serenade-Charlie Haden Quartet West
(When you start your show with an elegant, expansive piano, bass, and saxophone instrumental, that sets a certain mood...)
   2.  The Passion Theme-Warren Hill
(...that would be appropriate to continue during your first music set.  I still think this segue from traditional jazz to a smooth jazz saxophone melody works.  I remember "The Passion Theme" coming up fairly often on the playlist during my KNJZ days.)
   3.  Lullaby For Shana Bly-Charles Fambrough
(I wanted to up the tempo while staying true to the mood I'd established.  Fambrough's bass-anchored melody for saxophone accomplished this.  I also recommend Grover Washington, Jr.'s version.)
   4.  Air-Ron Carter
---
   5.  Down The Avenue-Wynton Marsalis Septet
   6.  J Mood-Wynton Marsalis
   7.  All New Meaning-Christopher Hollyday
   8.  At The Crossroads-Bobby Watson
(The bounce of this Watson track would segue smoothly with Gene Harris's version of "Strollin'.")
---
   9.  Things Are Getting Better-David Benoit
(I never hear any smooth jazz station play this, and it's a missed opportunity; Benoit's appropriately titled piano melody maintains its optimism...)
 10.  Mountain Dance-Dave Grusin
(...and flows with this optimistic piano-based tune.)
 11.  Strawberry Letter 23-Phil Upchurch
(A fine jazz/funk instrumental cover of the Shuggie Otis tune that The Brothers Johnson popularized.)
 12.  Our Time Has Come-Sala Brothers
 13.  Bassically Taps-Stanley Clarke
(I'd forgotten how much this bass track, with fancy footwork from Gregory Hines, reminds me of Victor Wooten's bass playing.)
 14.  My Place In Space-Jimmy Smith
---
 15.  Just Like The Movies-Betty Carter
 16.  It's Like Reaching For The Moon-Billie Holiday
(I like that there was a place on KCOU for throwback vocal and instrumental elegance from 1936.)
 17.  Purple Avenue-Holly Cole Trio
(In the wrong voice, reflective lyrics such as these could easily be oversung.  Fortunately, Cole avoids this trap in her vocals.  I hadn't listened to this cover or the Tom Waits original in years, and I regret it.)
 18.  You Must Believe In Spring-Abbey Lincoln
 19.  Friends In High Places-Tuck & Patti
(Patti Cathcart's vocal delivery here reminds me of Tracy Chapman.)
---
 20.  Bernie's Tune-Lee Konitz with The Gerry Mulligan Quartet
(You might not recognize this 1953 tune by name, but If you're over a certain age, you've probably heard this tune's seeming gangster movie riff used as background music.)
 21.  There'll Come A Time-Bix Beiderbecke
 22.  Double Date-Metronome All-Stars
(A stellar meeting of the bebop minds in 1950, featuring such luminaries as Dizzy Gillespie, Stan Getz, and Max Roach.)
 23.  Rosetta-Henry "Red" Allen All -Stars
---
 24.  Turtle Rock-Bela Fleck & The Flecktones
(Some ear-catching, contemporary-for-its-time spacey jazz rock, featuring the aforementioned Victor Wooten on bass.)
 25.  Scuttlebutt-Bela Fleck & The Flecktones
(One of the more memorable rock-ish banjo melodies from the strong "UFO Tofu" album.  Something about the way this track comes together reminds me of John Scofield.)
---

--- indicates a station break between songs.

Overthinking the obvious II

About four months ago, while listening to SiriusXM, I thought I'd read a Rosanne Cash song title as "A Father's Not A Bird." 

"That's a cryptic song title," I thought.  "I wonder if it means that no one parent can be expected to take care of everything for his family, including the human equivalents of building a nest, securing worms for his baby birds, and warbling to soothe them when they can't sleep."

Then, I put my glasses on.

"Oh," I realized.  "The song is actually called 'A Feather's Not A Bird.'"

Admittedly, that makes more sense.

Online radio sampler highlights LXXXVIII

Six noteworthy tunes heard today:

KCR (San Diego, CA)

• Strawberry Fields Forever-La Santa Cecilia (I can't imagine anyone topping the original Beatles version, but this strong cover features emotive vocals and accordion accompaniment.)

KRUI (Iowa City, IA)

• Remember This-Partner (I had a flashback to the '90s--more specifically, the vocals and guitar of Veruca Salt, as I listened.)

KUVO (Denver, CO)

• 24K Magic-Greg Murphy Trio (Murphy leads the rhythm section on piano in a selection from his new release, "Bright Idea," due out Friday.  These rhythm players cook on this track and the title track.  Also recommended: Murphy's cover of the Seals & Crofts hit, "Summer Breeze.")

KVSC (St. Cloud, MN)

• You Needed Love, I Needed You-Angelo de Augustine (There's a thoughtful delicacy in the lyrics and guitar on this new release.  A modern Nick Drake?)
• For Now-Blue Sails (A compelling midpoint between alt rock and techno in the vocals and instrumentation.)

WJPC (Chicago, IL)

• Come Go With Me-Pockets (This 1977 Earth, Wind & Fire-inspired groove must spark a lot of listeners to move or at least feel glad to be alive.  Face To Face's "10-9-8" would sound great before it.)

"Let's see...What to play next?"

Some dialogue I once heard on the radio:

DJ 1: I'm kind of looking around here. You have some CDs in here in recent months that I'm not that familiar with.  Where's that "Sleepless In Seattle" CD?  Where's it at?
DJ 2: It looks like it's right there.
DJ 1: Right here?
DJ 2: Wait a minute.  Wait a minute.  No.  The other carousel...
DJ 1: This one?
DJ 2: Yeah.
DJ 1 (reading CD label:) Jack Jones...
DJ 2: No.  Keep turning. (Pause) No.  Keep turning.  There it is.  There it is.
DJ 1: Right here?
DJ 2: Yeah.
DJ 1: That was a great movie.  I loved it.  Tom Hanks, Meg Ryan...I've heard all you folks (play tracks from this CD...)  Alright, what should I play here?  Ah, let's see, Gene Autry, "Back In The Saddle Again?'"  I think I'll pass on that.  Uh, Dr. John and Rickie Lee Jones...I know (another DJ at the station) likes to play that one.  What's your favorite on here?
DJ 2: I like the Rickie Lee Jones and Dr. John (song), too.  (Of) course, there's a good version of, uh, let's see, of "Make Someone Happy" with Jimmy Durante.  That's (track) number 12, I think.
DJ 1: "Make Someone Happy?"  Jimmy Durante?
DJ 2: Yeah.
DJ 1: For real?
DJ 2: (It's) pretty good.
DJ 1: I don't remember that.  Was that...?
DJ 2: That's at the end of the film when...
DJ 1: It's cut (number) 12?
DJ 2: I think so.  Isn't it?
DJ 1: No, that's "When I Fall In Love..."
DJ 2: Oh.
DJ 1: Oh, "Make Someone Happy"'s number 11.
DJ 2: Yeah.
DJ 1: Jimmy Durante, huh?  "Sleepless In Seattle," the CD.  Tom Hanks and Meg Ryan.  That was a good movie.  Good love story from 1993, on...(...the station's call letters.)

This on-air pondering about which song to play would make a consultant, concerned about listeners tuning out, apoplectic.  A consultant, however, might not consider that this is how people often converse in real life.  If the audience is OK with it and there's a place for humanity, especially from veteran DJs, on your station, why not let the dialogue unfold naturally like this?

Persistent earworm alert CXX

While sleeping, I imagined a commercial for medication that treats depression set to the tune of Terry Stafford's oldie, "Suspicion."  I imagined the jingle as, "Depression...There is hope for you..."  Maybe it's not surprising, with suspicion and depression both having three syllables, that my mind would make that connection.  Still, I haven't heard "Suspicion" on the radio in about 40 years. 

How disparate ideas fuse themselves in the brain remains a mystery to me.

Out of tune

My high school orchestra director once stopped a rehearsal when at least two instrumentalists in the same section played a wrong note.

"Hmmm," he said.  "That must be a misprint."

He then looked at the players' scores.

"No," he said.  "Misplayed."

That was the only time I remember him conveying, "Be careful and play in tune," that way.  It's an effective method, provided you don't use it too often.

Composing while uninspired

It isn't always a bubbling brook or serene countryside that inspires a composer's work.  Composers face publish-or-perish deadlines, just as authors do.  If it hasn't already been done, it would be refreshing to see a piece with movements titled "Stuck for inspiration," "Pacing the floor," and "A sudden burst of inspiration." 

That might not be the most enjoyable work to hear, but the composer would deserve credit for honesty.

Persistent earworm alert CXIX

I'm not in a bad mood today, I'm not deliberately trying to avoid anyone, and I'm not waiting for anyone to return my calls.  For some reason, though, The Alan Parsons Project's "Don't Answer Me" has been lodged in my mind for several hours.  I'd like to know why those lyrics resonate so much with me today despite not hearing the song recently.  Am I feeling subconsciously passive-aggressive?

An unknown statistic

I wonder what percentage of those who chose to play the glockenspiel in grade school or middle school did so out of a reflexive desire to be different--or to have a conversation starter.

Online radio sampler highlights LXXXVII

Wednesday night standouts:

KAFM (Grand Junction, CO)

• If All I Was Was Black-Mavis Staples (Inarguable lyrics about treating fellow humans with dignity and respect; the tune's lyrics and beat could segue with Taj Mahal and Keb' Mo's "Waiting On The World To Change.")

KGNU (Boulder, CO)

• Auld Lang Syne-Madelaine Cave (I don't ordinarily seek out any version of this well-worn New Year's Eve tune, but I like the sincerity in the guitar and Cave's vocal delivery.)

KUAF-HD2 (Fayetteville, AR)

• Benjamin Britten: The Young Person's Guide To The Orchestra (Royal Philharmonic Orchestra/Andre Previn, conductor) (For anyone new to Classical music, this is a fine primer on the differences between strings, brass, winds, and percussion.)

WTMD (Towson, MD)

• You Can't Get What You Want-Joe Jackson (I haven't heard this on the radio much since it charted in 1984.  That's a shame, as it's a great workout for the horn section and one of Jackson's most powerful vocal performances.)
• (If You Were) In My Movie-Suzanne Vega (Vega's voice fits the delivery of her artfully suggestive lyrics perfectly.)
• King For A Day-XTC (Songwriters should strive to compose lyrics with this level of literacy while pairing them with such a memorable upbeat melody.)

What's in a name? Your brand.

When not everyone knows how to pronounce your company's name, what tone should your radio commercials take?  Should you hector people or correct them subtly?  Or, should you make no reference to the confusion and pronounce the company's name correctly in the commercial as often as possible?

In the early '80s, Imo's Pizza opted to steer into the skid.  Even as a kid, it surprised me to hear their commercial spokesman say, "E-moes, Eye-moes, Who knows?  You know," when not everyone knew the correct pronunciation. 

For at least three decades since then, however, the company has wisely pronounced its name correctly--E-moes, for those who don't know--in all of its commercials.

"We all know it's cold..."

One curmudgeonly St. Louis talk show host, in his later years, set one ground rule for callers early in the year.

"We're not going to talk about how cold it is," he said.  "It's January.  January is supposed to be cold."

I don't blame him for staving off a barrage of "Cold enough for you?" calls.  If I'd been a talk show host, I probably would have set the same restriction.

Only in college LXI

I wasn't surprised when the person giving me a ride in college said, "I have a tape of my high school choir..."  I was surprised, however, with the mock sinister tone that followed, "...and you have to listen to it because you're stuck in the car with me!"

I'd never felt so literally like a captive audience before.  With all the weather-related traffic delays we've had here in recent days, however, I'd like to believe a scene like this took place in someone else's car.

Still have to prove yourself

My high school orchestra director, Mr. D., told me about a high school cellist's humbling audition experience.  This cellist, a strong high school musician, went on to perform and record professionally.  Due to another commitment, she was unable to audition for a high school state ensemble at her scheduled time.  Mr. D.  told the cello audition coordinator, "Leave first chair open for (this person.)"

At the ensemble's venue, the coordinator revised Mr. D.'s remarks, telling him the committee left the last chair open for the cellist.  Mr. D. asked how that happened.  

"She didn't prepare for the audition," the coordinator responded.  "No one does that."

You can have talent, and everyone can know it.  The hard part is, you have to keep proving it.

Online radio sampler highlights LXXXVI

Five standout tracks heard this morning:

KUTX (Austin, TX)

• You Never Know-Wilco (I hear echoes of two commendable, possible influences in the song's hook--George Harrison's "My Sweet Lord" and "The Other Side Of Town" by The Beckies.)

WERS-HD2 (Boston, MA)

• Day By Day-"Godspell" Original Motion Picture Soundtrack (Robin Lamont's sincere, Carole King-style vocals never wear out their welcome.)

WTJU (Charlottesville, VA)

• Hipsippy Blues-Jack Kilby & The Front Line (Bandleader Kilby anchors this fine walking jazz riff on drums; every instrument you could reasonably expect or want in this type of arrangement--trombone, trumpet, tenor sax, and rhythm players--contributes considerably to the tune.  This could segue with Art Blakey's or Lambert, Hendricks & Ross's versions of "Moanin'.")

WTUL (New Orleans, LA) 

• Dragons-Princess Nokia (Appealing vocals over a fast, trance-like beat; the lyrics say nothing more than they need to say.)
• Mossage-Maritime (This would be suitable new age instrumental underscoring for a documentary about plant growth.)

FM dial scan highlights CVIII

Sunday through Thursday highlights:

KDHX 88.1 FM

• The One Who Really Loves You-Rosie & The Originals (I wonder if Todd Rundgren heard this before recording "I Saw The Light."  For me, the feel of the tune falls somewhere between "I Saw The Light" and Barbara Lewis's take on "Hello Stranger."  If you have any heart, soul, or rhythm, how could you not want to be part of the recording sessions for this tune--as the lead singer, a backup singer, or instrumentalist?  Mary Wells recorded this Smokey Robinson tune, as well, but Rosie and company's version grabbed me from the first note.)
• The Music Of The Night-Steve Forbert (Something about Forbert's delivery on this tune reminds me of Tom Petty.  Kudos to "Feel Like Going Home" host Roy for having the knowledge of singer-songwriter music and indie rock to put together a top-80-of-2018 countdown.  The following two songs were also in yesterday's countdown.)
• You Wouldn't Like Me-The Beths ("Happy Unhappy" made it into my top 25 countdown of last year's best songs, but this tune's self-deprecating lyrics are just as ear-catching to me.)
• Love Like Before-Erin Rae (How do you make a fresh start when you're still you at your core? Rae sets up this scenario endearingly with vocals that remind me of Kristin Andreassen's delivery on "The New Ground.")

WSIE 88.7 FM

• J.B.'s Waltz-Virginia Mayhew Quartet (A percolating tribute to composer-pianist Mary Lou Williams; a fine sax-led melody with more-than-able support from the rhythm section.)
• Across The Midnight Sky-Al Jarreau (The song's dreamy vibe catches fire early and makes this one of Jarreau's best, most overlooked tracks.  In 1989, I saw a great Al Jarreau concert at The Muny, with stellar opening act Take 6.  My ears perked up when Jarreau said, "Here's a tune that doesn't get played on the radio a lot," before launching into the tune.)

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

• Three Kings Of Orient (Cambridge Singers/John Rutter, conductor) (Known more commonly as "We Three Kings," it was refreshing to hear this Sunday; overall, the vocals convey more of the wonder the three kings must have felt on their way to Bethlehem instead of fixating on their royal status.) 

A more popular obscurity?

I was pleased to hear a semi-obscure R&B tune played on the radio recently.  I was hearing it for only the third time, and it was only the second radio station on which I've ever heard it played.  For a moment, I thought, "Aw, I liked being one of the few people who know this tune."  Fortunately, that gave way quickly to the thought, "I'm glad they're playing this.  The artist and this song deserve the recognition, so I hope people like it and buy it."

I'll admit to being a musical snob there; fortunately, it was only momentary.

No easy job, being a conductor

A follow-up thought about my post from three years ago: I hope everyone realizes that there's far more to being a conductor than just getting a piece started. 

For anyone who still isn't convinced, read Leonard Slatkin's Conducting Business.

Persistent earworm alert CXVIII

I wish I knew which song triggered this, as I was able to sing the Hamburger Helper "Make a great meal" jingle over it recently.  

I haven't eaten Hamburger Helper in many years, but that jingle won't leave my memory.  I'll just have to accept that it'll be there at opportune and inopportune times. 

Such is the blessing--and curse--of a musical memory.

Creating a persona--or a name for it, at least

Aside from taking a pen name as an author or cartoonist or a stage name as an actor, DJs are among the few people who can use fake names in their profession.  You wouldn't likely hear bank presidents introduce themselves as "Sam Smooth" or "Alexis Van Nightwind."

And yet, in radio, it's perfectly normal for some or all of a radio station's DJs to use made-up names.  I remember being introduced to a fellow DJ once.  Without thinking, I introduced myself by my DJ name, and he responded with his on-air name, as well.

Later, I thought, "How great of a business is this?  He's not who he said he was, and I'm not who I said I was.  How many other businesses function that way?"

When specificity is key

A program director once told me about his least favorite type of call from listeners.  While he was glad that people were listening and enjoying the music, it drove him crazy when a listener would ask, "There was this piece you played last week, I think, or maybe it was a week or two before that.  I think there was a flute in it.  Do you know what piece that is?"  When having such a vague description to go on, the p.d.'s answer was, "No."

I wonder if some of those same listeners ever went into a bookstore and asked, "You know that book with the brown cover...?"

Selective friendships

Over 30 years ago, I received a brochure in the mail promoting a Summer music camp.  One of the brochure's main pitches was the opportunity to meet new friends, or as the advertisement put it, NEW FRIENDS.  That phrase appeared repeatedly in all caps throughout the ad.  (i.e. "You'll have the opportunity to make NEW FRIENDS.  Is the opportunity to make NEW FRIENDS important to you? You'll have the chance to rehearse and perform great works with NEW FRIENDS.")

I declined the offer.  I was content with the friends I already had.

Just missed my favorite song(s)...

Sometimes, through no fault of your own, you just miss the song you wanted to hear without knowing it.  I've forgotten which songs I requested, but in the early '80s, I called a radio station and had this exchange:

Me: Hi.  Would you please play (my song request?)
DJ: Oh!  Sorry, but I just played that one.
Me: Oh, OK.  How about (another song), then?
DJ: I already played that one, too.
Me: Well, would you be able to play (a third song suggestion?)
DJ: I just played that one, as well!  Now, you're pullin' my leg here.
Me: No, I just turned on the radio.
DJ: I see.  What's the temperature outside?

I didn't know the temperature.  If I had known it, though, I wonder if the DJ would have responded, "You already know everything.  You don't need to hear a request," or if he would have relented and let me make a fourth song request.

Getting the bass from here to there

A TV segment producer, looking back at memorable stories covered last year, cited the performance of a string ensemble in the desert.  He talked about how difficult it was to lug TV gear across the desert but noted that it must have been even more difficult to be the musician who had to lug a double bass all that way.

Although I've never lugged a bass across a desert, I've carried it plenty of other places.  I was impressed that he acknowledged a bass's relative lack of portability.

Putting conventional wisdom aside

Conventional wisdom would have me believe that my attitude and energy level today are supposed to be up in the stratosphere.  It's the start of a new year, so ostensibly, I'm advised to have the attitude in The Call's "Let The Day Begin."

However, after weeks of not being able to sleep all that well, my actual attitude mirrors John Lennon's Beatles tune, "I'm So Tired."

As far as I'm concerned, today is not some exciting, great new beginning of a year that's going be one of the best ever.  It's just another day--and, for me, a day of much-needed hibernation.

Take that, conventional wisdom!