xc. GENTLE GIANT: Black Cat

xc. GENTLE GIANT

Black Cat (1971)
Gary Green, 12-string electric wah-wah guitar, donkey's jawbone, cat calls
Kerry Minnear, vibraphone, cello, maracas, tambourine
Derek Shulman, vocals
Phil Shulman, claves, vocals
Ray Shulman, bass, violins, viola, skulls
Martin Smith, drums
Tony Visconti, bass drum, triangle
(3:54)

from Acquiring the Taste.

Don't get upset -- when you open up the whole cover, it's a peach!

It is our goal to expand the frontiers of contemporary popular music at the risk of being very unpopular. We have recorded each composition with the one thought -- that it should be unique, adventurous and fascinating. It has taken every shred of our combined musical and technical knowledge to achieve this. From the outset we have abandoned all preconceived thoughts of blatant commercialism. Instead we hope to give you something far more substantial and fulfilling. All you need to do is sit back, and acquire the taste.

in SEVEN.

Any "rock band" with jazz violin is an immediate check-out. My friend, Danny Seidenberg, turned me on to this band. What they say is true:

All you need to do is sit back, and acquire the taste.

lxxxix. BEATLES, THE: If I Fell

lxxxix. THE BEATLES

If I Fell (1964)
(2:19)

From A Hard Day's Night.

Apparently the album title came from a Ringo malapropism!

Primarily a John song, the intro has some sophisticated chord changes ... look how cleverly he sets up D Major:

Eb / D / Db / Bbm7 / Ebm / D / Em7 / A7 = D

What harmonies!

I was 11.

lxxxviii. McCARTNEY, Paul: The Songs We Were Singing

lxxxviii. McCARTNEY, Paul (1942-       )

The Songs We Were Singing (1997)
PM, vocals, guitars, bass, harmonium
Jeff Lynne, guitars, keyboards, background vocals
(3:54)

From Flaming Pie.

Paul.

Nostalgia.

lxxxvii. LENNON, John: Woman

lxxxvi. LENNON, John (1940-1980)

Woman (1980)
JL, vocals, acoustic guitar
Earl Slick, guitar
Hugh McCracken, guitar
Tony Levin, bass
George Small, keyboards
Andy Newmark, drums
Arthur Jenkins, percussion
Michelle Simpson, backing vocals
Cassandra Wooten, backing vocals
Cheryl Mason Jacks, backing vocals
Eric Troyer, backing vocals
(3:34)

From Double Fantasy.

After five years of being a househusband, Lennon returned to the studio with his wife to make a classic of classics. He still knew how to write a song -- I think Woman is one of the finest Lennon tunes of all of 'em ...

We lost him way too early; one's imagination can't even begin to process what might have been produced in the last 40 years. God damn that asshole.

lxxxvi. HARRISON, George: Any Road

lxxxvi. HARRISON, George (1943-2001)

Any Road (2001)
GH, vocals, slide guitar, ukulele, backing vocals
Jeff Lynne, acoustic & electric guitar, bass, Wurlitzer, backing vocals
Dhani Harrison, acoustic guitar, backing vocals
Jim Keltner, drums
(3:53)

From Brainwashed.

His final shout-out.

If you don't know where you're going
Any road'll take you there

Sort of a paraphrase of Lewis Carroll's Alice's Adventures in Wonderland from an exchange between Alice and the Cheshire Cat:

**

Would you tell me, please, which way I ought to go from here?

That depends a good deal on where you want to get to ...

I don't much care where --

Then it doesn't matter which way you go

-- so long as I get SOMEWHERE

Oh, you're sure to do that, if you only walk long enough.

lxxxv. STARR, Ringo: Standing Still

lxxxv. STARR, Ringo (1940-       )

Standing Still (2017)
RS, vocals, percussion, claps
Nathan East, bass
Gary Burr, acoustic guitar, backing vocals
Greg Leisz: dobro
Steve Dudas, guitar
Bruce Sugar, drum programming, claps
Georgia Middleman, backing vocals
(2:54)

From Give More Love.

Love that cover!

Always fourth of four, Ringo has proved that he's not only durable, but still capable of rocking out at age 77!

Song written by RS and Burr. Great positive lyrics:

When you wake up
You gotta make up
Your mind, what you gonna to do
You can't lie there
And sigh there
That life's too hard for you

Take your time now
Change your mind, now
There's nothing that can't be done
Somebody's has to go live your life
And you're the only one

lxxxiv. FLEETWOOD MAC: Don't Stop

lxxxiv. FLEETWOOD MAC

Don't Stop (1977)
Lindsey Buckingham, vocals, guitars, dobro, percussion
Stevie Nicks, vocals
Christine McVie, vocals, keyboards
John McVie, bass
Mick Fleetwood, drums, percussion
(3:10)

From Rumours.

Even though Bill Clinton co-opted the song for political purposes, it's still a great song!

Written by Christine, it reflects her optimistic attitude about her break up with John. 

If you wake up and don't want to smile
If it takes just a little while
Open your eyes and look at the day
You'll see things in a different way

Great advice.

lxxxiii. CAPTAIN BEEFHEART: Clear Spot

lxxxiii. CAPTAIN BEEFHEART (Don Van Vliet) (1941-2010)

Clear Spot (1972)
CB, vocals, harmonica
Zoot Horn Rollo (Bill Harkleroad), guitar, slide guitar, mandolin
Rockette Morton (Mark Boston), guitar, bass
Ed Marimba (Art Tripp), drums, percussion
Oréjon (Roy Estrada), bass
Milt Holland, percussion
Russ Titelman, guitar
The Blackberries, backing vocals
(3:40)

From Clear Spot.

Beefheart and especially the band members were hungry. Yes for food and shelter, but also -- particularly Beefheart -- greater commercial success.

Trout Mask Replica (see Post iii)-- the masterpiece produced by Frank Zappa -- didn't sell very well, despite the producer's name-check. The music was (and still is) too dense for most people.

So the Captain went to Ted Templeman, a well-known and respected producer (Van Halen, The Doobie Brothers, Van Morrison) and the result was an album filled with the typical Van Vliet weirdness tied up in a quite palatable rock 'n roll package.

The album originally came in a clear plastic sleeve so you could see the vinyl through the "clear spot."

The title tune is a satisfying rocker, with CB singing his "Chicago blues" voice loud and CLEAR. In spots.

lxxxii. THE BEATLES: The End

lxxxii. THE BEATLES

Two versions

The End (Take 3) (1969)
(2:11)

The End (2019 remix)
Paul McCartney, guitar, bass, keyboards
John Lennon, guitar
George Harrison, guitar
Ringo Starr, drums
(2:21)

From Abbey Road.

Take 3 begins with Paul fooling around, and the you can hear John yell, "OK, let's hit it! One, two three ..."

Ringo's first and only drum solo is just starting to develop into the final version, at 0:18.

On Take 3, they play the two chords (A7 and D7), but no soloing.

The final version features one of the most interesting set-ups in their entire catalogue:

Start at 0:52. Three different guitarists:

Paul solos for two bars.
George takes the next two bars.
John takes the next two bars.

They repeat that pattern two more times, with John ending in a crunchy series of eighth-note triplets, leading into the piano and the final lyrics.

The love you take is equal to the love you make.

lxxxi. WEATHER REPORT: Cannonball

lxxxi. WEATHER REPORT

Cannonball (1976)
JZ, keyboards
Wayne Shorter, soprano and tenor saxophone, Computone Lyricon
Alphonso Johnson, bass
Jaco Pastorius, bass
Narada Michael Walden, drums
Alex Acuña, percussion
(4:33)

From Black Market.

Zawinul -- who played with Cannonball Adderly for most of the 60's -- wrote this gorgeous elegy to the great alto saxophone genius.

It was also Jaco Pastorius's first session with the group. He came in and sight-read the part. His contribution is exquisite.

lxxx. TAKE 6: I L-O-V-E You

lxxx. TAKE 6

I L-O-V-E You (1990)
Claude V. McKNIGHT III, first tenor or first voice
Mark Kibble, first tenor or second voice
Mervyn Warren, second tenor or third voice
David Thomas, second tenor or fourth voice
Cedric Dent, baritone or fifth voice
Alvin Chea, bass or sixth voice
(3:45)

longer version
(4:19)

From So Much 2 Say.

Warren and Kibble wrote it. "Love is patient / love is kind" is from 1 Corinthians 13:4-8, perhaps the best description of love ever written. (longer version only)

What this group does is so special and amazing. They write tight phrases of harmonic beauty and complexity and yet look like they're just making it up as they go along. It is exquisite music, accompanied by bass and percussion coming right out of their mouths.

The video is also quite striking and a little coy. The old days when VH-1 played jazz videos -- that's when I heard/saw them for the first time.

But not the last.

lxxix. SHORTER, Wayne: Miracle of the Fishes

lxxix. WAYNE SHORTER (1933-2023)

Miracle of the Fishes (1975)
WS, soprano and tenor saxophone
Milton Nascimento, guitar, vocals
David Amaro, guitar
Jay Graydon, guitar
Herbie Hancock, keyboards
Wagner Tiso, organ, piano
Dave McDaniel, bass
Robertinho Silva, drums
Airo Moreira, percussion
(4:46)

From Native Dancer.

Still a founding and working member of Weather Report, Shorter took a break to record this highly celebrated work of Brazillian music with the great Milton Nascimento.

Beginning with quiet guitar and Portuguese lyrics, the song begins to pick up energy and soon Shorter is blowing phrases into the lines, making for a rich, satisfying ensemble sound. By the end of the song, Shorter is playing his ass off.

The whole album is filled with mellow, but energy-rich songs with Milton and Wayne each contributing beautiful, lingering expressions of intelligent musical thought.

lxxviii. METHENY, Pat: Are You Going With Me?

lxxviii. METHENY, Pat (1954-       )

Are You Going With Me? (1982)
PM, guitars
Lyle Mays, keyboards
Steve Rodby, bass
Dan Gottlieb, drums
Nana Vasconcelos, percussion, voice, berimbau
(8:56)

From Offramp.

I love reading the YouTube comments about how much this album (and this tune, in particular) affected people's lives. Memories of old girlfriends, friends and relatives who turned you on to Pat ...

Pat's eighth album, but only the third as PMG.

This tune is in a kind of samba beat -- definitely a Brazilian feel -- and features a simple, long hushed vamp which culminates in a Mays solo (synth-harmonica), followed by a long solo by Pat on his synth-guitar.

lxxvii. MAHAVISHNU ORCHESTRA: Sanctuary

lxxvii. MAHAVISHNU ORCHESTRA

Sanctuary (1973)
John McLaughlin, guitars
Rick Laird, bass
Billy Cobham, drums, percussion
Jan Hammer, keyboards
Jerry Goodman, violin
(5:02)

From Birds of Fire.

In NINE (4+5), McLaughlin's tune flies like a bird on fire (sorry). Goodman's violin plays the head and then everything opens up for a blistering McLaughlin solo. The head returns and McLaughlin continues soloing. This was early 70s Fusion at its best.

lxxvi. KENEALLY, Mike: Hallmark

lxxvi. KENEALLY, Mike (1961-       )

Hallmark (2009)
MK, piano, acoustic guitar, vocals
Bryan Beller, bass
(5:00)

From Scambot 1.

A truly great Keneally composition, full of surprise and instrumental madness.

Mike wrote a full-scale scenario in the booklet for the CD.

"A married couple in their living room are watching a cooking show about rectangles."

The introduction to "Hallmark" begins:

"Dissolve from Scambot's photo to his face on a pillow. Dreaming fitfully of his childhood, of a dream he had as a child, a fever-induced hallucination.
(Eight-year-old Ian's perspective, from his pillow:)

The lyrics:

What did you see?
Can you remember?
Fever gripped your baby head.
Can you recall a stately procession of dinosaurs, cats,
God's seahorse, your favorite ball?

What did you think when the dinosaurs joined forces and
Staged a little passion play at the foot of your bed?

Shake off the sweat which gathered in your slippers when fever gripped your baby head.

Baby baby set my soul on fire, look at me
You and brother do not have to worry 'bout a thing
I'll bring the kandy korn that rights the wrong existence
That less elegant reality which don't make nobody sing

These will be our clothes for walking 'round in the night air.
If life's a joke, it's very very good.
But if you were to make starbursts in the air . . .
Bless the little children.
Flow, you should

Flowers, flowers -- try again!
In London's towers cry again.
So on you go, forgetting all your passwords.
I ran so fast, you ran so far.
Let's run away, let's fly to Spain, let's eat a clam,
let's buy a car.
I ran so fast, you ran so far.
This is no last hurrah.
We ran so fast, we've come so far.
Make your world of string and paper,
send it past the rooftops.
Dance into it, not glance into it.
Boldly advance into it.
Leave your footprints in the sound of windchimes.

lxxv. THE BAND: Time to Kill

lxxv. THE BAND

Time to Kill (1970)
Rick Danko, bass, fiddle, vocals
Levon Helm, drums, guitar, percussion, vocals
Garth Hudson, organ, electric piano, accordion, tenor saxophone
Richard Manuel, keyboards, drums, vocals
Robbie Robertson, guitar, autoharp
(3:27)

From Stage Fright.

Of all their albums, this one really stuck with me year after year.

The actual story behind the recording is both sorbid and fascinating. It's hard to feel sorry for millionaires, but here goes Rick Danko:

"If you've never made a million dollars overnight, like we did, you have no concept of what it can do. We saw it ruin people -- kill them! Suddenly we had all the money we needed, and people were falling over themselves to make us happy, which meant giving us all the dope we could stand. People wanted to turn us on for free, do us favors, and some of us were happy to be taken care of like that. There wasn't anything real dramatic about it, because it was a fact of life, and probably still is. I'm here to tell you that it's a crying shame to see what success can do to some people. I'm sure it wasn't the best thing that could have happened to The Band."

"'Shine a light on 'em and see if they can handle it.'"

This Robertson tune is an ironic look at all that. Lots of time to kill.

Don't know what we got
But it feels like a lot
We don't need no more

lxxiv. BARENAKED LADIES: Be My Yoko Ono

lxxiv. BARENAKED LADIES

Be My Yoko Ono (1992)
Andy Creeggan: congas, tambourine, vocals
Jim Creeggan, bass, vocals
Steven Page, lead vocal
Ed Robertson, guitar, vocals
Tyler Stewart, drums
(2:56)

From Gordon.

It seems a fine line whether or not they're making fun of her. Written by Page and Robertson, the song seems to hug that particular line. But one couplet seems to clear everything up:

I know that when I say this, I may be stepping on pins and needles
But I don't like all these people slagging her for breaking up the Beatles

The video is adorable and the music is punchy and these guys can sing!

lxxiii. THE BEATLES: Strawberry Fields Forever

lxxiii. THE BEATLES

Strawberry Fields Forever (1967)
(4:23)

From Sgt. Pepper's Lonely Hearts Clubs Band [4 CD/DVD/Blu-ray Combo] [Super Deluxe Edition].

Wikipedia.

This deluxe edition contains Takes 1, 4, 7 and 26, as well as the 2015 stereo remix.

A John song, it is fascinating to hear it develop from take to take, and how important George Martin was in putting it all together (some parts were in different keys and had to be modulated electronically) ...

lxxii. GANGER, Ted: This Might Be Happiness

lxxii. GANGER, Ted

This Might Be Happiness (2019)
TG, piano. vocal
(6:25)

From Inside and Out.

I've written one song with lyrics in my lifetime -- for my daughter's wedding. It took me six months to write it, because the lyrics and rhymes always sounded corny to my ears. I'm not a songwriter.

But Ted -- who wrote his first song at age 57 -- is a great songwriter. I think of him as a modern-day Schubert, who carefully balances his poetic lyrics with a sophisticated piano accompaniment, which occasionally becomes a solo part.

This is a touching song and should appeal to any of us who sometimes wonder "whether or not we are happy."

lxxi. WONDER, Steve: Power Flower

lxxi. WONDER, Stevie (1950-       )

Power Flower (1979)
SW, everything
(5:30)

From Stevie Wonder's Journey Through "The Secret Life of Plants."

The soundtrack to the amazing documentary film, The Secret Life of Plants directed by Walon Green -- this music is unjustifiably considered "lesser" Stevie.

It is not. Filled with exquisite short instrumentals and longer songs with lyrics, it is an amazing double-album/CD which deserves to be heard more often.

Power Flower lyrics by Michael Sembello.

**

Well excuse me I have so much more to do.

lxx. STEELY DAN: Black Friday

lxx. STEELY DAN

Black Friday (1975)
Donald Fagen, vocals, keyboards
Walter Becker, bass, guitar
Michael Omartian, keyboards
David Paich, keyboards
Hugh McCracken, guitar
Wilton Felder, bass
Chuck Rainey, bass
Jeff Porcaro, drums, dorophone
Victor Feldman, vibraphone, percussion
Michael McDonald, background vocals
(3:41)

from Katy Lied.

Fagen and Becker were reportedly so dissatisfied with the noise-reduction system that failed (and was then repaired), that they refused to ever listen to the album.

The term "Black Friday" is infused with so many different meanings that getting to the heart of these lyrics is a challenge. The 1929 definition seems the most likely.

lxix. WEATHER REPORT: Between the Thighs

lxix. WEATHER REPORT

Between the Thighs (1975)
JZ, steel drums, keyboards
Wayne Shorter, soprano saxophone
Alphonso Johnson, bass
Leon "Ndugu" Chandler, drums, timpani
Alyrio Lima, percussion
(9:35)

From Tale Spinnin'.

"We always solo and we never solo."

This Zen koan from Zawinful perfectly describes Weather Report's music. On this tune, the six players are completely in tune with each other's vibe, and the result is a wonderful mix of sexy, silky sound ... well, the name of the song says it all, I guess.

Written lines pop up and then everything relaxes into a group groove.

WR recorded one album a year -- missing only 1979 and 1981 -- between their 1971 debut album, Weather Report, and the final This is This! in 1986.

Personnel changed frequently with the exception of Zawinul and Shorter. Every band sounded different. Every album is different.

Weather Report's legacy in contemporary jazz is indisputable and I thank the musicians for every single track.

lxviii. SIDRAN, Ben: Ani Ma'amin

lxviii. SIDRAN, Ben (1943-       )

Ani Ma'amin (1993)
BS, keyboards
Lynette, vocals
Bob Mintzer, bass clarinet
David Rivkin, guitar
Howard Levy, harmonica
Deb Dobkin, percussion
Danny Gottlieb, drums
Mike Richmond, bass
(3:59)

From Life's a Lesson.

This beautiful album features many of the most famous Jewish hymns and prayers set to jazz feels. It also features some of the finest (Jewish) musicians in the contemporary jazz field.

From Sidran's liner notes:

"This song was sung by Jews as they rode in boxcars to the camps during the Holocaust. In the face of the most unspeakable horror, there was this majestic affirmation of hope. The words come from a prayer written in the 12th century by the great Judaic philosopher Moses ben Maimon, who believed, literally, in the coming of the Messiah. The poignancy of people going to their deaths singing his words of affirmation reminds us both that there is nothing new under the sun, and there is nothing more powerful than 'perfect faith'."

Beginning with the sound of train, this mournful song features tasteful interjections by Mintzer's bass clarinet and Levy's harmonica.

Ani ma'amin beemuna shelema
beviat hamashiach
B'af al pi sheyitmameya
im kol zeh ani ma'amin

I believe with complete faith
In the coming of the Messiah, I believe

Believe in the coming of the Messiah
In the coming of the Messiah, I believe
Believe in the coming of the Messiah
Believe in the coming of the Messiah

And even though he may tarry
Nonetheless I will wait for him
And even though he may tarry
Nonetheless I will wait for him

Nonetheless, I wait for him
I will wait every day for him to come
Nonetheless, I wait for him
I will wait every day for him to come

lxvii. SPALDING, Esperanza: Black Gold

lxvii. SPALDING, Esperanza (1984-       )

Black Gold (2012)
ES, vocals and electric bass
Algebra Blessett, vocals
Raydar Ellis, sounds
Savannah Children's Choir, choral voices
Lionel Loueke, guitar, voice
Raymond Angry, organ
Tivon Pennicott, tenor saxophone
Igmar Thomas, trumpet
Corey King, trombone
Terri Lyne Carrington, drums
(6:47)

From Radio Music Society.

Not content to just be a fabulous musician, Spalding is a true educator.

The video opens with a Black father and his two young boys discussing what they learned in their History class, where they covered Africa in one lesson, while barely touching on the proud narrative of Black culture. After dinner, he'll sit down with them and get deep.

The song is so achingly beautiful -- telling Black children that they are gold. The melody is catchy -- fluid and natural -- and the chorus joyful and uplifting.

Should be required viewing in all schools.

Hold your head as high as you can
High enough to see who you are, little man
Life sometimes is cold and cruel
Baby no one else will tell you so remember that

You are Black Gold, Black Gold
You are Black Gold

Now maybe no one else has ever told you so
But you're golden, baby
Black Gold with a diamond soul
Think of all the strength you have in you
From the blood you carry within you
Ancient men, powerful men
Built us a civilization

There'll be folks hell-bent on putting you down
Don't get burned
Not necessarily everyone will know your worth
Think of all the strength you have in you
From the blood you carry within you
Ancient men, powerful men
Built us a civilization

Think of all the strength you have in you
Powerful, powerful men
Built us a civilization

Hold your head as high as you can
High enough to see who you are, little man
Life sometimes is cold and cruel

Baby no one else will tell you so remember that
You are Black Gold, Black Gold
You are Black Gold

Think of all the strength you have in you
From the blood you carry within you
Ancient men, powerful men
Built us a civilization

All the strength
All the blood
That you carry
Ancient men
Powerful men
In you
Built us a civilization

Hold your head as high as you can
High enough to see who you are, little man
Life sometimes is cold and cruel

Baby no one else will tell you so remember that
You are Black Gold, Black Gold
You are Black Gold

You are Black Gold, Black Gold
You are Black Gold

You are Black Gold, Black Gold
You are Black Gold

You are Black Gold, Black Gold
You are Black Gold

Hold your head as high as you can
High enough to see who you are, little man
Life sometimes is cold and cruel
Baby no one else will tell you so remember that

You are Black Gold
You are Black Gold
You are
You are
You are
Hold your head up
Don't give up
You are Black Gold
You are
You are
Black Gold
Black Gold, Black Gold, Black Gold

lxvi. METHENY, Pat: Acid Kiss

lxvi. METHENY, Pat (1954-       )

Acid Kiss (2016)
PM, guitar
Cuong Vu, trumpet
Stomu Takeishi, bass
Ted Poor, drums
(9:04)

From Cuong Vu Trio Meets Pat Metheny.

Pat was 22 when he released his first album, Bright Size Life in 1976.

He was 62 when he recorded this album. Forty years can bring about a lot of changes in one's musical personality.

No longer content to jam over traditional chord structures and tightly thought out forms -- here he makes a new kind of music that is hard to classify. There's a lot of interest in pure sound -- the combination of the guitar and trumpet is used to produce unusual timbres.

It's still Pat -- it's still great music.

lxv. EVANS, Bill: Stella By Starlight

lxv. EVANS, Bill (1929-1980)

Stella By Starlight (1963)
Bill Evans, piano
(4:50)

From Conversations With Myself.

All Evans, on three separate tracks.

At the time, overdubbing was a fairly new, controversial technology. You hear his left hand in the left channel and then it switches to the right channel -- all the while, he is grooving on top with his unbelievable grace and style.

Stella was written by Victor Young for the 1944 film, The Uninvited, starring Ray Milland, Ruth Hussey and Gail Russell -- a gothic, haunted-house piece of cinema that still stands up well.

lxiv. LADY GAGA: 911

lxiv. LADY GAGA (Stefani Joanne Angelina Germanotta) (1986-       )

911 (2020)
(4:42)

From Chromatica.

Contemporary pop music is not my genre in most cases.

This Lady Gaga video definitely got my attention when I was studying the Armenian filmmaker Sergei Parajanov's brilliant, unusual and eye-popping 1969 film, The Color of Pomegranates.

Lady repurposes many images from the film, which is sort of a tableaux vivant -- static scenes that are filmed with little movement and are meant to evoke the work of an ancient Armenian poet.

Then there is the very personal experience of Gaga and her use of antipsychotic medication ("Pop a 911").

The video is a thing of beauty. She's a real talent.

lxiii. LES ESCROCS: Expulsés (The Expelled)

lxiii. LES ESCROCS

Expulsés (The Expelled) (2005)
Salim Diallo, principal vocals
Mamadou Tounkara, vocals
Sekou Kanté, bass
Samba Diabaté, N'goni
Mahamane Diabaté, Balafon
Moussa Sissoko, Tamani
Yacouba Sissoko, Callabashe
Aminata Coulibaly (Mimi), vocals
(5:14)

From Mandinka Rap from Mali.

Mixing traditional African instruments with Western-style rap beats, Les Escrocs makes hip-hop music that doesn't deal with guns, girls, or ganja.

Their lyrics focus on local problems, like AIDS, polygamy, corruption, and the changing role of women in society.

This song is about France expelling Africans accused of being illegal aliens. (Michael Haneke made a great film about this, Code Unknown [2000].)

"It showed them no respect. They weren't even allowed to take money out of their bank accounts. Some were thrown out after working as many as twenty years in the country. After all the history of Africans helping France, Africans deserve better. If you must expel people, do so respectfully."

lxii. ERSKINE, Peter: Solar Steps

lxii. ERSKINE, Peter (1954-       )

Solar Steps (2017)
PE, drums
John Beasley, keyboards
Bob Sheppard, saxophones, flutes
Benjamin Shepherd, bass
(6:39)

From Second Opinion.

The Dr. Um Band.

A Sheppard tune that cooks through and through. The ensemble playing is exquisite. Sharpened ears react to each other through some sort of magic ESP.

Peter's solo (4:12) takes off just as Sheppard plays his last note -- it is like a perfect baton hand-off in a relay race.

Dr. Um = Drum

lxi. JARRETT, Keith: I Fall In Love Too Easily

lxi. JARRETT, Keith (1945-       )

I Fall In Love Too Easily (1993)
KJ, piano
Gary Peacock, bass
Jack DeJohnette, drums
(9:48)

Recorded live in Tokyo, July 25, 1993 at Open Theatre East.

Jarrett always said he didn't even know he was moaning and groaning during his soloing.

Okay. It's all good.