Vinyl Vibrations with Brian Frederick podcast

VV-030 PROGRAM LIST M1 Squeeze Me (Fats Waller) Rec. 2/14/1926, FATS WALLER EARLY UNDISCOVERED SOLOS, Riverside Records RLP 12-103, 1955 (2:55) M2 Handful of Keys (Fats Waller) Rec. 3/1/1929, HANDFUL OF KEYS, FATS WALLER AND HIS RHYTHM, RCA Victor, LPM-1502, 1957 (2:45) M3 Ain't Misbehavin' (Fats Waller, Harry Brooks) Rec. 8/2/1929, AIN'T MISBEHAVIN', FATS WALLER AND HIS RHYTHM, RCA Victor LPM-1246, 1956 (3:00) M4 Tanglefoot  (Fats Waller) Rec. 8/24/1929, THE RAREST FATS WALLER, Volume 1,  RFW-1, 1955. (3:10) M5 Honeysuckle Rose (Fats Waller) Rec 5/13/1941, AIN'T MISBEHAVIN', FATS WALLER AND HIS RHYTHM, RCA Victor LPM-1246, 1956 (3:21) M6 Bouncin' on a V-Disc (Fats Waller) Rec. 9/23/1943, FATS WALLER PLAYS, SINGS AND TALKS, Jazz Treasury JT-1001, 1956 (4:46) Background songs for this episode: M7 Please Take Me Out of Jail (Fats Waller) Rec. 12/1/1927, THE RAREST FATS WALLER, Volume 1, RFW-1, 1955. M8 Sometimes I Feel Like a Motherless Child  (Fats Waller) Rec. 9/23/1943, FATS WALLER PLAYS, SINGS AND TALKS, Jazz Treasury JT-1001, 1956 ABOUT THE ARTIST Today's show features the LATE GREAT Thomas Wright Waller, a jazz pianist and organist, composer and singer, born in New York City in 1904  The 7th of 11 children, his mother was a musician, and his father was a trucker and pastor in NYC.  Fats started playing piano when he was 6. He played the organ at his father's church at age 10. PAUSE He was home-schooled early-on by his mother and worked in a grocery store. He quit high school after just one semester at age 15 to work as an organist at the Lincoln Theater in Harlem. PAUSE At the Lincoln Theater, he earned $32 a week.  That was 1929.  He became known as “Fats Waller” because he was big -- both in body and in mind.  PAUSE Fats Waller laid some of the building blocks for what is NOW ‘modern jazz piano'. He popularized the use of The stride piano style,  which is widely used by jazz pianists today. He toured internationally and two of his biggest hits were Ain't Misbehavin' and Honeysuckle Rose. PAUSE You are listening to Sometimes I Feel Like a Motherless Child by  Fats Waller) Recorded back in 1943.PAUSE Waller copyrighted over 400 songs. He probably composed many more, but, when he was in financial difficulty, he would sell songs to other writers and performers, who would not acknowledge the real composer, claiming the songs as their own.   Today's podcast features Fats Waller and a few of his SOLO piano and organ compositions that were recorded between the years 1926 and 1943, or from the age of 22 to 39.  Some of these songs are not available today, except where they are rediscovered - - - on my old and treasured Fats Waller record collection! SHOW PLUG - SHOW PLUG - DON'T TOUCH THAT DIAL ! ! BIT BUCKET Waller is also credited with his composition and performance work in Broadway Musicals. Waller is perhaps the FIRST BLACK composer to write the score and perform for a mostly all-white show on Broadway. That was the 1943 Broadway musical EARLY TO BED, produced by Richard Kollmar – the Broadway Flyer for EARLY TO BED reads “Music by Thomas (“Fats”) Waller”. . M1 M1 Squeeze Me  (Thomas Waller) Rec. 2/14/1926, FATS WALLER EARLY UNDISCOVERED SOLOS, Riverside Records RLP 12-103, 1955 (2:55) Our first recording is titled “SQUEEZE ME” It's a piano solo, and the composer and performer is Thomas Waller.He is not billed as “Fats” Waller yet, as he is not that unusually large at the young age of 22. This song SQUEEZE ME was recorded for production of piano rolls in 1926, making this among Waller's EARLIEST recordings. Waller recorded his piano solos for the production of Piano Rolls between 1926 and 1927.These rolls operate on player pianos. Insert the roll, and the piano plays the song. PAUSE The player piano is a specialty item, affordable by the wealthy, and not a great way to release new music to the masses. Decades later, in 1955,

SONG LIST* M1 How Can You Believe (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (3:10) M2 Which Way the Wind (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (2:40) M3 Contusion (Stevie Wonder) Songs in the Key of Life, Motown Records 2LP, 1976 (3:45) M4 Easy Goin Evenin' / My Mama's Call (Stevie Wonder) A Something's Extra for Songs in the Key of Life, Motown Records 2LP, 1976 (3:58) M5 The First Garden (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (2:32) M6 Voyage to India (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (6:23) M7 Tree (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (5:55) Today's Vinyl Vibrations episode features Stevie Wonder in his early years, and more specifically his Instrumental compositions. Stevie Wonder is an international pop icon, a singer-songwriter, a record producer, AND a multi-instrumental musician (for example…harmonica, keyboards, drums, bass guitar, guitar, and an incredibly talented singer. Wonder is an innovator - he pioneered the use of the early analog synthesizer during the 1970s. His albums are individual works of art, carefully crafted and thematic. Stevie Wonder's influence extends across a range of genres that include R&B, pop, soul, gospel, funk, and jazz. He has often been referred to as a “ONE MAN BAND” because of his broad range of talents in music composition, music production and most of all - - music performance. Born Stevland Hardaway Morris, Stevie Wonder was born on May 13, 1950, in Saginaw, Michigan. That's near Saginaw Bay off Lake Huron, about 100 miles northwest of Detroit. In the 1950s, Saginaw County had several General Motors plants and many companies building parts that went down to the big DETROIT assembly plants. It was a booming economic period for the entire US auto industry. It was a difficult birth. Wonder was born six weeks premature and placed in an oxygen-rich incubator, which  resulted in retinopathy of prematurity - causing his blindness. When he was 4, his Mother divorced with his father, and along with her 3 kids, moved 100 miles down the road to bustling Detroit…. home of MOTOWN RECORDS.  At age 8, Steveland attended the Whitestone Baptist Church on Detroit's west side. There, he developed his musical talents -- playing piano, drums and harmonica -- and he also sang in the choir and there became a soloist. Stevie was quickly recognized as a prodigy.. He further developed his singing talent with a friend …and they performed as Stevie and John on street corners. When he was just 11, this musical prodigy was discovered by Ronnie White of the MIRACLES, and that in-turn resulted in a meeting with Motown Records founder Barry Gordy, who signed him with the TAMLA label of Motown Records. At that time, he was given the professional name Little Stevie Wonder. That was 1961 and Wonder had a 5-year rolling contract with royalties that were to be held in trust until he was 21. The weekly pay for this young artist was meager – a stipend of just $2.50 a week plus a tutor for Stevie when he was on tour. That $2.50 weekly stipend would be worth about $25 a week today. At age 12 he enrolled in Michigan School for the Blind in Lansing, Michigan. BIT BUCKET Saginaw is also where I was born, just 2 years after Stevie. My family also moved from Saginaw to Detroit, around same year as Stevie - 1954. ­­ M1 How Can You Believe (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (3:10)   PLAY BACKGROUND - HOW CAN YOU BELIEVE   To start today's podcast, I feature the album titled Eivets Rednow. There is some humor in the album title. Eivets Rednow is Stevie Wonder spelled backwards, and on the first release of the album, Stevie's name did not appear on the cover. The album is also UNIQUE for Stevie as it is an INSTRUMENTAL album. No lyrics. No poetry.

SONG LIST* M1 Bright Size Life (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (4:55) M2 Sirabhorn (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (5:27) M3 Unity Village (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:38) M4 Unquity Road (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:36) M5 So May It Secretly Begin (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (6:24) M6 Last Train Home (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (5:38) Pat Metheny is an American guitarist and composer. He has worked as a soloist, in duets and small jazz ensembles, and, for decades, with the Pat Metheny Group. His musical styles include Jazz Fusion, Jazz (both progressive and contemporary jazz) …..and also Latin Jazz. He was born in Lee's Summit, Missouri in 1954. Lee's Summit is a suburb on the southeast side of Kansas City. His main influences have been other musicians, his musical family and the British Invasion. Musicians influencing Metheny include trumpeter Miles Davis, Gary Burton on vibes, jazz guitarists Jim Hall and Wes Montgomery and Jazz Sax players John Coltrane and Ornette Coleman. PAUSE A major foundational influence for Metheny is his musical family. His father played trumpet, his brother Mike Metheny plays jazz trumpet, and Pat's maternal grandfather was a professional trumpeter. Brother Mike taught Pat how to play the trumpet, and so trumpet is actually Pat Metheny's first Musicians in the family. Metheny attributes his early success to the local musical environment he was brought up in – the years 1964-1972, in Kansas City. Much of this is described in his biography titled BENEATH MISSOURI SKIES. Seems like Metheny is destined to become a great trumpeter, with all that musical environment…. PAUSE .. there was a bump in the road at age 10. The BRITISH INVASION was in full force. Metheny saw the Beatles perform on TV in 1964, probably the Ed Sullivan Show, because that year the Beatles appeared. The Beatles are what inspired Metheny to defect from Trumpet to Guitar. Metheny persuaded his father to buy him a guitar for his 12th birthday. That first guitar was a Gibson ES-140. PAUSE That's a hollow-body guitar, built in ¾ scale for young players and small hands. It's a scale model of the Gibson ES-175 hollow body. Metheny soon got bigger hands and acquired a Gibson ES-175 …and that guitar is featured on his early albums like those in this podcast episode… Metheny started playing in pizza parlors at age fourteen (that's 1968). At age 15, Metheny won a scholarship from Down Beat Magazine to attend a jazz camp (1969). That camp led to a meeting with Jazz guitarist Jim Hall, and bassist Ron Carter. So, by the time he graduated from high school (1972) he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Metheny had A LOT of support from his musical environment. Even though he switched from trumpet to guitar.   Metheny briefly attended college at U of Miami in Florida, but quickly realized after practicing on guitar for years all day long… he was unprepared for a college program … He realized then he was first and foremost, a serious guitarist and composer.   Metheny moved to Boston to teach at Berklee College of Music at the age of 19, where he met Jazz Vibraphonist Gary Burton. Teaching Jazz Theory and Performance was in demand.   BIT BUCKET and for those not familiar, the ES-175 is sought-after by jazz country and rock guitarists - - - these vintage guitars today sell for $3,000 to $25,000. Back in the day, made in Kalamazoo MI. How about that for your first guitar? I am jealous, my first guitar was a Kay (named after John Kay) and it was … a very basic and cheap and crude electric starter guitar. Metheny, on the other hand, got a wonderful instrument, because

TODAY'S PROGRAM...... M1 For What It's Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00)... M2 Bluebird  (Stephen Stills) Buffalo Springfield Again, Released ATCO, LP 1967, (4:28)... M3 Suite: Judy Blue Eyes (Stephen Stills), Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (6:33).... M4 Wooden Ships (Stills, Kantner, Crosby) Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (2:26)... M5 Carry On (Stephen Stills) Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (4:25)... M6 4+20  (Stephen Stills), Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (1:55)... M7 Sugar Babe (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (4:04). M8 Change Partners, (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (3:14)... Stephen Stills is an American musician, singer, and songwriter best known for his work with Buffalo Springfield Crosby, Stills & Nash Manassas … and as a SOLO ARTIST. He was born in 1945 in DALLAS TEXAS. He is 78 at the time of this podcast's production. He is still active. He plays guitar, bass guitar, keyboards… he's not only a singer and songwriter… also an arranger and producer. Stills has had a long and prosperous career. Starting out in 1963, he has given us some 60 years of songwriting and musical performance. Today I FEATURE original compositions by singer songwriter Stephen Stills. From my collection we will hear 5 albums: Buffalo Springfield album and For What It's Worth, Buffalo Springfield Again album with Bluebird Stephen Stills' demo tape album JUST ROLL TAPE with Suite: Judy Blue Eyes, and Wooden Ships Crosby Stills Nash and Young's DÉJÀ VU album with 4+20 and Carry On And finally, the STEPHEN STILLS 2 solo album with Sugar Babe and Change Partners.   We are now listening to ROCK AND ROLL WOMAN from BUFFALO SPRINGFIELD AGAIN.   These selections were each recorded between 1966 and 1971. Just a small time slice of this singer/songwriter's career.   Stills was between the ages of 21 and 26. These works are important because these songs are each hand crafted by Stills. I also wanted to showcase his array of talents like multi-instrumental musician, arranger, and producer. In addition to being a successful singer/songwriter, who work has had a large musical impact.   Much more for future podcasts.   M1 For What It's Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00)   Stephen Stills' first HIT recording was FOR WHAT IT'S WORTH (or “Stop, Hey, What's That Sound”). It was 1966. Stills was just 21 years old. This was his first big break. He had written several songs, by now.. Not only did he have an inventory of original songs, he had helped to form a new band. Along with two other singer-songwriters, Richie Furay and Neil Young… they formed Buffalo Springfield out in Los Angeles. Neil Young came from Winnipeg Alberta, and Furay and Stills left a New York City gig with the Au Go-Go Singers, a 9-member group performing at the Café Au Go-Go. Two other Canadians -- bassist Bruce Palmer and rock drummer Dewey Martin were added --- 5 band members in all. 2 Americans, 3 Canadians.   "For What It's Worth" became one of the most recognizable songs of the 1960s. It was first released as a 45 RPM single in late 1966. In t1967, For What It's Worth featured on the first Buffalo Springfield LP.   The lyrics in FOR WHAT ITS WORTH are all about a confrontation Stills had with LAPD Riot Police in Los Angeles' earlier that year. There had been many summer nights of rowdy crowds of kids causing late-night traffic issues in the Sunset Strip neighborhood. LA responded by announcing a curfew of 10PM. As a result, there were reported to have been over 1,000 persons out on the Strip protesting and trouble broke out. There were clashes between police and young pe...

Wendy Carlos Electronic Composer VV_026 SONG LIST* M1 Air on a G String (JS Bach 1730, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:27) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M2 Two Part Invention in F-Major,(JS Bach 1723, W Carlos, 1968), Switched-On Bach, Columbia/CBS, 1968 (0:40) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M3 Jesu, Joy of Man's Desiring ,(JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:56) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M4 Chorale Prelude “Wachet Auf”, (JS Bach 1731, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (3:37) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M5 Brandenburg Concerto #3 in G Major 2nd Movement, (JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:50) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M6 Brandenburg Concerto #3 in G Major 3rd Movement, (JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (5:05) ·       Wendy Carlos – Moog Synthesizer ·       Benjamin Folkman, Assistance M7 Title Music from A Clockwork Orange), (Purcell, 1695, W Carlos, R Elkind 1972) , Columbia/CBS, 1972 (2:21) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer M8 Theme from A Clockwork Orange (Beethoviana), (W Carlos, R Elkind 1972) , Columbia/CBS, 1972 (1:44) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer   M9 Timesteps (Excerpt), (W. Carlos 1970, Tempi Music BMI), Stanley Kubrick's A Clockwork Orange, Warner Bros Records, 1972 (4:13) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer M10 March from A Clockwork Orange/Ninth Symphony, 4th Movement, (L v Beethoven 1824, W Carlos, R Elkind 1970) Stanley Kubrick's A Clockwork Orange, Warner Bros Records, 1972 (7:00) ·       Wendy Carlos – Moog Synthesizer ·       Rachel Elkind Producer and Articulations Today's Vinyl Vibrations podcast features the artistry of Wendy Carlos, an American composer, arranger, and electronic musician. Wendy Carlos was born Walter Carlos in Rhode Island in November 1939. She is the first transgender recipient of a Grammy Award, her album SWITCHED-ON BACH won three Grammys in 1970. Later, in 2005 she was the recipient of the SEAMUS Lifetime Achievement Award for her contribution to the art and craft of electro-acoustic music. Wendy Carlos is best known for her electronic music such as SWITCHED-ON BACH…and film scores such as A CLOCKWORK ORANGE, THE SHINING and TRON. Her studies of music composition at Columbia University in New York City in the 1960s led to her working with electronic musicians and technicians where she helped in the development of the MOOG SYNTHESIZER. This was the first commercially available keyboard instrument from Robert Moog. During her time at Columbia, Carlos ordered components of a custom designed synthesizer from Robert Moog, and she collaborated with Moog on the design of that early instrument, which became known as the MOOG SYNTHESIZER. Some of the modules included a touch-sensitive keyboard, a portamento control, which slides notes in the scale between one note and the next, a filter bank, and a 49-oscillator polyphonic generator bank that could create chords and arpeggios, arpeggios are the individual notes of those chords played in cycles. Today, we take the synthesizer for granted. The keyboard synthesizer has become widely-available, and most keyboard musicians today, including me, use a synth keyboard such as BEHRINGER, KORG, NORD, ROLAND, YAMAHA, and yes… even the brand Carlos herself helped design with Robert Moog, the MOOG synthesizer. After getting her Masters in Music Composition from Columbia University in 1965,

M1 Oh, Lady Be Good (George and Ira Gershwin, 1924), Django,  CBS Realm Jazz Series 1969/1934 (2:50)... M2 Dinah, (Akst, Lewis, Young, 1925) Django, CBS Realm Jazz Series 1969/1934 (2:30)... M3 I Saw Stars (Sigler, Goodhart, Hoffman, 1934), Django, CBS Realm Jazz Series 1969/1934 (2:20)....... M4 Confessin', (Daugherty, Reynolds, 1929), Django, CBS Realm Jazz Series 1969/1935 (2:40).... M5 The Sunshine of Your Smile, (Ray, Cooke, 1913) Django,  CBS Realm Jazz Series, 1969/1935 (2:50)..... M6 Swannee River (Old Folks at Home), (Foster, 1851), Django, CBS Realm Jazz Series, 1969/1935 (2:50)... M7 Lover Man (Oh, Where Can You Be?)(Davis, Ramirez, Sherman, 1941)  Best of Django Reinhardt, EMI / Columbia, 1970/1947 (3:10) M8 Golden Green (Ponty, 1972), Ponty/Grappelli, Inner City Records, 1976/1973 (4:42) Today's Vinyl Vibrations podcast features the artistry of French Violinist Stephane Grappelli. Stephane Grappelli is best known as the founder of the Quintette du Hot Club de France along with guitarist Django Reinhardt in 1934. This was a GYPSY jazz band. Grappelli is considered the grandfather of jazz violinists. He lived 90 years, from 1908 until 1997. He began playing violin at the age of 12, early on, preferring to learn in the streets by watching how other violinists played, such as at the Barbes (pron BAR-bez) metro station in Paris. Then he was enrolled by his father at the Conservatory of Paris to learn music theory, sight reading, and ear training. He graduated three years later. Starting at age 15, he worked in the pit orchestra at the Theatre Gaumont, accompanying silent films, then at the Ambassador Hotel orchestra, where jazz violinist Joe Venuti was playing. For a while, Grappelli abandoned violin --- in favor of playing piano in a big band, it was easier to get paid for big band work. Jazz violinists were a relatively unknown and rare breed. In this big band, Grappelli met gypsy jazz guitarist Django Reinhardt. It was 1931 and Grappelli was just 23, Django was 21. Three years later, Django and Grappelli formed the Quintette du Hot Club de France . This was an all-string jazz band, and they performed regularly at the Montmartre district, an artistic village on the hill in the northside of Paris. This continued until 1939 when the Quintette disbanded due to the outbreak of World War II. ‘' When the war was over, the original Quintette never did reform. Django and Grappelli did continue to perform together in Paris. In 1949, they briefly toured in Italy, where some 50 tunes were recorded. That would turn out to be the last time the two would record together, 1949, due to Django's untimely death at the age of 43. Many of those recorded songs were released as an album titled Djangology in 2005 on Bluebird Records. Most of the recordings featured in today's podcast were recorded between 1934 and 1947 and were recorded in Paris, as performed by the Quintette du Hot Club de France. Stephane Grappelli is a master of improvisation. He had said that he was not a fan of BEBOP jazz, which was then very fashionable in the jazz world.   Instead, he was a strong proponent of SWING music, another popular jazz style. Swing developed in the US in 1935-1945  ….. This was the SWING ERA in America.

M1  Cripple Creek (Traditional), Mudlark, Capitol Records 1971 (1:56).................................................................... M2 Stealing (Kottke), Mudlark, Capitol Records 1971 (1:35).................................................................................... M3 Machine #2 (Kottke), Mudlark, Capitol Records 1971 (3:00)............................................................................... M4 Bourree (J.S. Bach), Mudlark, Capitol Records 1971 (1:26)................................................................................. M5 Easter (Kottke), My Feet Are Smiling, Capitol Records 1973 (3:18).................................................................... M6 June Bug (Kottke), My Feet Are Smiling, Capitol Records 1973 (2:20)............................................................... M7 Jesu, Joy Of Man's Desiring (J.S.Bach), My Feet Are Smiling, Capitol Records 1973 (2:00)............................. M8 Twilight Property (Kottke), Dreams and All That Stuff, Capitol Records 1974 (3:11).......................................... M9 Vertical Trees (Kottke), Dreams and All That Stuff, Capitol Records 1974 (2:34) Today's Vinyl Vibrations podcast features the artistry of American composer, arranger, and acoustic guitarist LEO KOTTKE.  Leo Kottke was born in 1945 in Athens Georgia.  As a youth he  lived in several states, including Oklahoma ,,and Missouri and Minnesota  and eventually settled in the Twin Cities. He released his first record on the Oblivion label in 1969 … and just 2 years later he signed on with Capitol Records … it was 1971 he was just 25 years old. Kottke produces instrumental songs, mostly…. but on a few songs he adds his vocals. I selected the instrumental songs because I believe these best showcase his unique guitar and arrangement talent. For his guitars, Kottke uses signature Taylor 12-string and Taylor 6 string.. Kottke plays guitar by an innovative style of fingerpicking, and his style is considered “unconventional”. His style enables the mimicking of a rhythm section, His genres of music include jazz, rock, bluegrass, classical, and folk. Kottke has also been “Different” as far his guitar tuning. He's used different variations ranging from open tuning to tuning his guitar two steps below the traditional tuning.  This produces a full and warm guitar sound. When Kottke was younger, he suffered significant hearing loss from two events - -  first from a firecracker incident as a youngster, and later during live-fire exercises while serving in the Naval Reserves. He was inducted into the Guitar Player Hall of Fame in 1978 and scored two Grammy nominations --- 1988 and 1991 Kottke has released 40 records in 40 year period.

Today's Vinyl Vibrations podcast features the great trumpeter, arranger and producer, Herb Alpert. M1  The Lonely Bull, (Sol Lake), Herb Alpert & the Tijuana Brass, The Lonely Bull, A&M Records, 1962 (2:29). M2 South of the Border (Jimmy Kennedy and Michael Carr), Herb Alpert's Tijuana Brass, South of the Border, A&M Records, 1964 (2:06)    M3 I've Grown Accustomed to Her Face (Alan Jay Lerner and Frederick Loewe), Herb Alpert's Tijuana Brass, South of the Border, A&M Records, 1964 (2:25)    M4 A Taste of Honey, (Bobby Scott), Herb Alpert & The Tijuana Brass, Whipped Cream & Other Delights, 1965, (2:43). M5 More and More Amor (Sol Lake), Herb Alpert & The Tijuana Brass, Going Places, A&M Records, 1965 (2:44). M6 Mae (Riz Ortolani), Herb Alpert & The Tijuana Brass, Going Places, A&M Records, 1965 (2:27). M7 Shades of Blue (Julias Wechter), Herb Alpert & The Tijuana Brass, Sounds Like, A&M Records, 1967 (2:44 ). M8 Wade in the Water" (Traditional) - Herb Alpert & The Tijuana Brass, Sounds Like, A&M Records, 1967 (3:03). M9 "Treasure of San Miguel" (Roger Nichols), Herb Alpert & The Tijuana Brass, Sounds Like, A&M Records, 1967 (2:14) Herb Alpert was born in 1935, and is an American trumpeter who led the band “Herb Alpert & the Tijuana Brass” in the 1960s. He was born and raised in the Eastside Los Angeles. His parents were Tillie and Louis Alpert ---they were Jewish immigrants to the U.S., coming here from the Ukraine and from Romania. Alpert was born into a family of musicians. His father was a mandolin player and his mother taught violin. Herb's older brother was a drummer.  Herb began to play trumpet at the age of eight. While attending the University of Southern California in the 1950s, he was a member of the USC Trojan Marching Band for two years. In the 1960s Alpert co-founded A&M Records with Jerry Moss, A for Alpert and M for Moss. There are many, many measures of success in the area of popular music by which to measure the success of Herb Alpert - - ….here are just a few: He sold some 72 million records worldwide. And 28 of his albums landed on the Billboard 200 chart 5 of his albums became No. 1 albums He achieved #1 on the U.S. Billboard Hot 100 as instrumentalist He has had 14 platinum albums (sold 1 million) and 15 gold albums (sold 500,000). He has received a Tony Award, eight Grammy Awards, and the Grammy Lifetime Achievement Award He was inducted into the Rock and Roll Hall of Fame in 2006…. and was awarded the National Medal of Arts by Barack Obama in 2013. One of the recording techniques Herb Alpert used in these early records was the overdubbing of the trumpet part, Starting with his first album, THE LONELY BULL, and the title track 1 on side 1.  According to Herb Alpert, he said that he had been trying to find the right trumpet voice. He tried emulating the trumpet styles of Harry James, Louis Armstrong, Miles Davis and Clifford Brown. Oddly enough, he got inspiration NOT from these famous trumpeters, but from a guitarist named …Les Paul. Les Paul had been using multitracking his guitar  recordings. So Alpert tried multitracking his trumpet … and that multitracking became one of the signature sounds we will hear. Here is an example of the overdubbed trumpet from the song A QUIET TEAR……. (Play an example of Herb's overdubbed trumpet on the song   A QUIET TEAR  song side 2 track 6) In this overdub Herb Alpert is recording each part with the same phrasing and time … but playing the second part in harmony. Additionally Alpert does a fair amount of overdubbing and playing both parts in unison. This double-recording of one part gives Herb's trumpet an even more rich and full sound, added resonance of the instrument and added reverb or echo of the room. So overdubbing while playing the trumpet part in unison or in harmony was a signature sound of Herb Alpert & the Tijuana Brass. Here is an example from THE LONELY BULL intro….

Today's show features Frank Zappa, an American musician, composer, arranger, bandleader, multi-instrumentalist,  and record producer. He lived from 1940 to 1993. Zappa composed rock, pop, jazz, jazz fusion and orchestral works. He is known for his work with the band The Mothers of Invention, producing over 60 albums with the Mothers, and he is also known for his prolific work as a Solo Artist. Zappa was one of the great guitarists of our time, and he was a sophisticated composer and highly accomplished multi-instrumental musician. Zappa was a self-taught composer and performer. He studied and wrote classical music in high school, played drums in R&B bands. He later took to the Electric Guitar. He has been described as the godfather of comedy rock, a critic of mainstream education and organized religion, advocating for freedom of speech and political participation. The phases of his life included different musical genres including experimental rock, jazz, classical, comedy rock, doo-wap, prog-rock, avant jazz, and pop. Frank Zappa was prolific. His discography contains 62 albums produced during his lifetime. Zappa died much too early… at the young age 53, from prostate cancer. Following his death in 1993 , The Zappa Family Trust has overseen the release of another 57 official albums…that's a total of 129 albums of songs recording the genius of Frank Zappa. In the book, Frank Zappa: A Biography, by Barry Miles, Zappa describes his works in these words: “It's all one album. All the material in the albums is organically related and if I had the master tapes and I could take a razor blade[2] and cut them apart and put it together again in a different order it still would make one piece of music you can listen to.... I could do this twenty ways. The material is definitely related.” Which brings us to the subject of today's show. Each album seems like an eclectic work, combining songs of Rock, Jazz and Classical genres. It is a difficult assignment for anyone to make the right selection from those 129 albums… let alone a proper selection of the individual songs that would best capture the genius of Frank Zappa in a few sound impressions. One way to accomplish this selection is to attribute each of Zappa's songs as being either a Song with lyrics, (and this is 401 songs, about 2/3 of his works), and instrumental compositions, (there are 172 instrumentals).  I then compiled an instrumental list from my own vinyl collection, and then shortened that list down to just to 8 instrumental pieces that would fit into this podcast format.  Each instrumental piece is brilliant. This short list of Frank Zappa Instrumentals is what we will review today. M1 Chunga's Revenge, Frank Zappa, Chunga's Revenge, 1970, Reprise/Warner Brothers, (6:16).................................. M2 Twenty Small Cigars, Frank Zappa, Chunga's Revenge, 1970, Reprise/Warner Brothers, (2:17)................................ M3 Idiot Bastard Son, Frank Zappa, Jean-Luc Ponty Plays the Music of Frank Zappa, World Pacific Jazz, 1970, (4:00) M4 The Little House I Used to Live In, Frank Zappa Music, The Mothers – Fillmore East June 1971 (4:58)..................... M5 Peaches En Regalia, Frank Zappa Music, The Mothers – Fillmore East June 1971 (3:22)......................................... M6 The Grand Wazoo, Frank Zappa Music, The Grand Wazoo, 1972 Warner Records, (13:24).................................... M7 Eat That Question, Frank Zappa Music, The Grand Wazoo, 1972 Warner Records, (6:41).................................... M8 Blessed Relief, Frank Zappa Music, The Grand Wazoo , 1972 Warner Records, (6:41)........................................

Today's show features John McLaughlin, an English guitarist, composer and band leader, born in 1942 in Doncaster, a city in South Yorkshire, that's located in northern England. His mother was a concert violinist. He studied violin and piano as a child and then took up the guitar at age 11. His childhood musical influences included MILES DAVIS and LUDVIG VON BEETHOVEN, and more contemporary artists were JOHN COLTRANE and JIMMY HENDRIX McLaughlin is a pioneer of Jazz Fusion. In his music, one can clearly pick out elements of ROCK, JAZZ and BLUES…and also additional elements later on such as WORLD MUSIC, and Western Classical Music. In the 1960s at about age 20, he moved to London where he contributed to several British groups and did session work. One of those British Groups was the Graham Bond Quartet with Jack Bruce and Ginger Baker of Cream. Another rare opportunity was working with Miles Davis.  And he gave guitar lessons too, and one of his students was Jimmy Page, founder of Led Zeppelin. M1 Arjen's Bag (John McLaughlin) EXTRAPOLATION, Marmalade Records, released 1969 in UK, Re-released on Polydor Records, 1972, 4:25. M2 Goodbye Pork Pie Hat, (Charles Mingus 1959) My Goal's Beyond, Mahavishnu John McLaughlin, Douglas 9 Released 1971(solo album) 3:15            . M3- Dawn (John McLaughlin), Inner Mounting Flame, The Mahavishnu Orchestra with John McLaughlin, Columbia, Released 1971 (5:15) M4 Birds of Fire(John McLaughlin), Birds of Fire, Mahavishnu Orchestra, CBS Columbia, Released 1973 (5:50).. M5 Sanctuary (John McLaughlin), Birds of Fire, Mahavishnu Orchestra, CBS Columbia, Released 1973 (5:05). M6 WINGS of KARMA(John McLaughlin), Apocalypse, Mahavishnu Orchestra, with London Symphony Orchestra, CBS Columbia, Released 1974 (6:12) M7- La Danse du Bonheur, Shakti with John McLaughlin, Columbia, 1977 (4:48). rev4 04Jan2023 17:30

DAVE BRUBECK Today's show features Dave Brubeck, an American jazz pianist and composer, living between 1920 and 2012. Dave Brubeck's music is often referred to as COOL WEST COAST JAZZ. It is JAZZ INSTRUMENTAL genre. Brubeck's work is characterized by unusual time signatures and superimposing contrasting rhythms and meters. One example of unusual time signature is TAKE FIVE, the biggest selling single in jazz history, a Paul Desmond composition, done in FIVE time. M1 What Is This Thing Called Love? (Cole Porter 1929) From earlier recordings, DAVE BRUBECK OCTET, Compilation. Fantasy, 1956 [ from original recordings 1946-1948], 2:40. M2 Laura (Johnny Mercer, David Raskin 1944) DAVE BRUBECK OCTET, Compilation. Fantasy 1956 [ from original recording 1950], 2:09 M3 I Found a New Baby - Live at College of the Pacific (Jack Palmer, Spencer Williams, 1926) Recorded Dec 1953, THE DEFINITIVE DAVE BRUBECK, Fantasy, Concord Jazz and Telarc on CD 2010, 1:40 M4 Blue Rondo a la Turk (Dave Brubeck 1959) Recorded 1959, TIME OUT, Columbia 1959, 6:44 M5 Take Five (Paul Desmond 1959) TIME OUT, Columbia 1959, 6:44 M6 Time In (Dave Brubeck) Recorded Oct 1965, TIME IN, Columbia CL2512, 1966, 3:57 M7 40 Days (Dave Brubeck) Recorded Oct 1965, TIME IN, Columbia CL2512, 1966, 4:38

JEFF BECK EARLY YEARS 1975-1976 Today’s show is JEFF BECK GUITAR EARLY YEARS — PART 2 During the two years of 1975 – 1976, two Jeff Beck albums BLOW BY BLOW and WIRED, set a standard for instrumental rock.  In today’s podcast episode, JEFF BECK GUITAR PART 2, we review 4 works from the album BLOW BY BLOW, released in 1975, and 3 works from the album WIRED, released in 1976.  In the previous episode JEFF BECK GUITAR PART 1, we reviewed the early years of British, blues-based fusion guitarist Jeff Beck during his recordings with THE YARDBIRDS in 1966, and then his formation of the JEFF BECK GROUP in 1968. By 1975, Beck’s band consisted of Phil Chen on bass, Richard Bailey on drums and Max Middleton on keyboards. Middleton continued on from the earlier Jeff Beck Group. The sound with this new group and this album is instrumental Jazz Fusion It is a sound with influences from Miles Davis, and Mahavishnu Orchestra. PROGRAM LIST Cause We’ve Ended as Lovers (Stevie Wonder) Rec Oct 1974, BLOW BY BLOW, Epic Records/Sony Music Entertainment, 1975, 5:42 Freeway Jam (Max Middleton), Rec Oct 1974, BLOW BY BLOW, Epic Records/Sony Music Entertainment, 1975, 4:58 Diamond Dust (Bernie Holland) Rec Oct 1974, BLOW BY BLOW, Epic Records/Sony Music Entertainment, 1975, 8:26 Led Boots (Max Middleton), Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 4:03 Goodbye Pork Pie Hat (Charles Mingus, 1959) Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 5:31 Blue Wind (Jan Hammer) Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 5:54 Love is Green (Narada Michael Walden) Rec Oct 1976, JEFF BECK WIRED, Epic Records, 1976, 2:30 9-4-20 at 1333

JEFF BECK GUITAR EARLY YEARS 1966- 1968 Today’s show is JEFF BECK GUITAR EARLY YEARS -- PART 1 In this VINYL VIBRATIONS episode, I tour early vinyl records that showcase ENGLISH ROCK and FUSION GUITARIST GREAT … JEFF BECK. The recordings presented in this podcast are a compilation from my own LP and Singles collection.  Today - we will review six songs from Jeff Beck’s early years, 1966 – 1968: SHAPES OF THINGS - The Yardbirds (single) OVER UNDER SIDEWAYS DOWN - The Yardbirds (single) BECK’S BOLERO – Jeff Beck (single) GREENSLEEVES – Jeff Beck Group (TRUTH LP) SHAPES OF THINGS - Jeff Beck Group (TRUTH LP) MORNING DEW – Jeff Beck Group (TRUTH LP) Jeff Beck achieved notoriety in the mid 1960’s, through the music of The Yardbirds and their hit song “Shapes of Things”.  He had been working actively as a musician since the age of 19, during the time he was attending college at what is now called the Wimbledon College of Art in London. That college specializes in theatre, screen, and performance art. That’s 1963. Just five years later, Beck had launched three singles and his debut LP album, TRUTH.­­­

In today's VINYL VIBRATIONS podcast, I continue to tour early vinyl records that showcase JAZZ GUITARIST GREAT WES MONTGOMERY. The recording presented in this podcast are a compilation from my own LP collection - - from the golden age of vinyl. I heard these Montgomery Brothers LPs during my childhood. These records were a frequent play on my parent’s Hi-Fi record player – you could stack up to 10 records, and Wes Montgomery was a regular in that record stack.Today, I will pick more of Wes Montgomerys best recordings, made between 1961 and 1968, In those years Wes would have been between the ages of 38 and 45. Love For Sale (Cole Porter 1930 ) Rec Oct 9, 1961, Buddy Montgomery vibes, George Shearing piano, Monk Montgomery electric bass, Walter Perkins drums, WES and FRIENDS, Milestone 1973 remaster 3:32 from the musical The New Yorkers The song is written from the viewpoint of a prostitute advertising various kinds of "love for sale": "Old love, new love, every love but true love". No Hard Feelings (Buddy Montgomery) Rec Oct 9, 1961, Buddy Montgomery vibes, George Shearing piano, Monk Montgomery electric bass, Walter Perkins drums, WES and FRIENDS, Milestone 1973 remaster 3:45 Born To Be Blue (Mel Torme) Rec Apr 22 1963 Wes Montgomery guitar, Mel Rhyne organ Jimmy Cobb drums The Alternative Wes Montgomery Milestone Records 1963 Produced Orrin Keepnews 7:23 I can hear contemporary Pat Martino through this Wes Montgomery guitar part. Fried Pies (Wes Montgomery) Rec Apr 22 1963 Wes Montgomery guitar, Mel Rhyne organ Jimmy Cobb drums The Alternative Wes Montgomery Milestone Records 1963 Produced Orrin Keepnews 6:34      awesome thumb pluck technique half way into song Besame Mucho take 2 (Consuelo Velazquez 1940) Rec Apr 22 1963 Mel Rhyne organ Jimmy Cobb drums The Alternative Wes Montgomery Milestone Records 1963 Produced Orrin Keepnews   6:24    An exceptional improviser the likes of Joe Pass guitar and Oscar Peterson piano improvisation. The content is massive, each listen draws out another impressive sound. The story goes that WM was often not satisfied with his recordings. That;s\’s nothing unusual for a god musician. Sure there are musicians that sit once and nail the take. Peter Keepnews was WM’s producer during the Riverside Records years. These tracks are WM’s rejects, and they sound so very good. This song used in the 1987 Brazilian film Besame Mucho. I’ll Be Back, (Lennon-McCartney) Recorded May 7, 1968, “Road Song”, A&M Records, 2:30 Herbie Hancock piano, Richard Davis Bass, Grady Tate drums, and a cast of many in the orchestra.goes back and forth from major to minor. Road Song (Wes Montgomery) rec May 8,1968 “Road Song”, A&M Records, 3:50 Herbie Hancock Piano , Richard Davis Bass, Ed Shaughnessy drumsalso flute oboe recorder bassoon trumpet clarinet trombone french horn violin viola cello harpsicord and percussion parts..,. final recording before his death on June 15, 1968. A lot of Octave playing in this song. First let’s recap what we learned about Wes in Part 1 He was born in 1923 in Indianapolis INDIANA, Wes has two musician brothers - Monk Montgomery on bass and Buddy Montgomery on piano and vibes They recorded as the Montgomery Brothers in the 1950s Wes recorded with Pacific Jazz in the 1950s and then Riverside Records 1959-1963, and also VERVE and A&M records from 1964 to 1968 The music style, it is jazz guitar, bebop An Original technique: Wes ‘plucks’ the guitar string with his thumb – not a guitar pick Guitar solos used three-tier approach: 1 single notes 2 octave notes 3 block chord melodies That octave string sound became known as “THE NAPTOWN SOUND” , naptown being Indianapolis Wes was a self-taught musician !! He learned Charlie Christian songs note-for-note by listening to records, Lionel Hampton hired Wes for that reason, Wes then toured for 1-1/2 years with Lionel He preferred to play in a jazz trio, quartet or quintet format,

In today's VINYL VIBRATIONS podcast, I tour some early vinyl records that showcase JAZZ GUITARIST GREAT WES MONTGOMERY. The recording presented in this podcast are a compilation from my LP collection from the golden age of vinyl. From my father’s LP record collection, I heard these LPs during my childhood. These LPs were a frequent play on the house Hi-Fi -- it had a stackable record player. Wes Montgomery was a regular in that record stack..Jazz renditions by Wes Montgomery have had a big influence on my musical development and my music interest since that time - - some 55 years ago ! Wes Montgomery Part 1 (1959-1961) PART 1 ‘Round Midnight (music by Thelonious Monk 1944) Recorded Oct 5-6, 1959, Wes Montgomery guitar, Melvin Rhyne organ, Paul Parker drums. 4:49 Remaster 1968 Riverside Records. …bebop. Original LP: “THE WES MONTGOMERY TRIO, A Dynamic New Sound for Guitar/Organ/Drums" Yesterdays (music by Jerome Kern 1933-from Roberta) Recorded Oct 5-6, 1959 Wes Montgomery guitar, Melvin Rhyne organ, Paul Parker drums. 3:13 Remaster 1968 Riverside Records …‘brightswing 200’ much faster pace than the Roberts play song. Original LP: “THE WES MONTGOMERY TRIO, A Dynamic New Sound for Guitar/Organ/Drums" Love Walked In (music by George Gershwin 1930) recorded October 9, 1961 Wes Montgomery guitar, George Shearing Piano, Buddy Montgomery Vibes, Monk Montgomery Bass, Walter Perkins Drums. Riverside Records remaster, 1968. What a dynamite jazz rendition of this George Gershwin music classic, by Wes Montgomery and George Shearing. What do we know about the musical family “Montgomery”. 2:10 Airegin (Sonny Rollins) Wes Montgomery guitar, Tommy Flanagn piano, Percy Heath bass, Albert Heath druma. Recorded January 1960. Riverside Records 4:26 Note the tight synch between drummer and wes , wes is weaved into the rhythm section. Four on Six (Wes Montgomery) Wes Montgomery guitar, Tommy Flanagn piano, Percy Heath bass, Albert Heath druma. Recorded January 1960. Riverside Records 6:10 long one there is plenty of time to develop the theme and have a more ideas play out Tune Up-Take 9 (Miles Davis) Recorded Oct 12, 1960 Wes Montgomery guitar, James Clay, Flute, Victor Feldman, Piano, Sam Jones Bass, Bobby Thomas drums, Produced by Orrin Keepnews, released in 1963, consists of alternate unissued takes (1960-1963) from previously issued albums on the Riverside label   4:39 Bock to Bock-take 1 (Buddy Montgomery) Recorded Jan 3, 1961 for “The Montgomery Brothers-Groove Yard” in 1961 , Wes Montgomery guitar, Buddy Montgomery piano, Monk Montgomery bass, Bobby Thomas drums. Orinially produced by Orrin Keepnews, released in 1963, consists of alternate unissued takes (1960-1963) from previously issued albums on the Riverside label 5:35 Today in Part 1, I will pick some of Wes Montgomery best recordings, made between 1959 and 1961, - - - he was between the young ages of 36 and 38. Wes Montgomery had just signed with Riverside Records. There would be several LP and LP Sets released with Riverside over the next seven years…a prolific period for Wes! What do we know about Wes Montgomery ? John Leslie Montgomery was born March 6, 1923 in Indianapolis. He was called Wes, the baby pronunciation of his name, Leslie.  Amazing Technique fact 1 Wes Montgomery is a SELF TAUGHT musician, learning by ear, starting at age12 on a tenor guitar, then at age 20, he began playing a 6-string guitar. He had listened and learned from the recordings of his guitar idol, CHARLIE CHRISTIAN. Wes Montgomery learned these melodies and riffs … by ear. That is an amazing fact. Wes grew up with two musician brothers - - Monk Montgomery plays bass, and Buddy Montgomery plays piano and vibes. Montgomery did most of his early performance work in the 1950’s in Indanapolis, with his brothers, and together with with Indianapolis organist Melvin Rhyne - - they recorded from 1957-1959 for the PACIFIC JAZZ label.

Fats Waller Piano and Organ Solos Part 2      (1940-1943) In today's VINYL VIBRATIONS podcast, I tour some early vinyl records that showcase PIANIST AND ORGANIST GREAT FATS WALLER. Many of these will be original compositions by Fats Waller . These recordings of Fats Waller are found on my Vinyl LP Record compilation of his recordings between 1929 and 1943…. PART 2 Dancing Fool, The Rarest Fats Waller Volume 4. Recorded March, 1940. Piano solo. Honeysuckle Rose (Fats Waller), ’Fat’s’ Waller and His Rhythm/Ain’t Misbehavin’, recorded 5/13/1941, 1956, RCA Victor Records. Piano solo. Ring Dem Bells, Handful of Keys, Fats Waller and His Rhythm, RCA Victor LPM-1502, 1957. Recorded May 13, 1941. Piano solo. Waller Jive, (Fats Waller) Fats Waller-Last Testament 1943, Alamac Recording Company, OSR2438 , recorded Sept 1943. Piano solo. Hallelujah, (Fats Waller) Fats Waller-Last Testament 1943, Alamac Recording Company, OSR2438 , recorded Sept 1943. Piano solo. Martinique, (Fats Waller) Fats Waller-Last Testament 1943, Alamac Recording Company, OSR2438 , recorded Sept 1943. Organ solo Sometimes I Feel Like a Motherless Child, (spiritual, c1870, US), “Fats Waller Plays, Sings and Talks” recorded Sept 23, 1943. 1956, Jazz Treasury JT-1001. Organ solo. Bouncin’ On A V-Disc, (Fats Waller) “Fats Waller Plays, Sings and Talks” recorded Sept 23, 1943, organ solo 1956, Jazz Treasury JT-1001 THOMAS WRIGHT “FATS” WALLER was borne May 21, 1904 in NYC, the youngest of 11 children. He started paying piano at age six. His father was the Reverend Edward Martin Waller and by the time Thomas Waller was 10, he had learned how to play the organ at his father’s church. At age 14, he was playing the organ at Harlem Lincoln’s Theater. Fats Waller is best known for his stride piano style. [insert sample of stride piano] . At age 15 he was a professional pianist and worked the local cabarets and theatres. Some of his original compositions are well known standards today, like Honeysuckle Rose, Ain’t Misbehavin’, Handful of Keys, Squeeze Me, Blue Turnin Grey Over You. Recordings of Fats Waller were inducted into the Grammy Hall of Fame, first in 1984, the song Honeysuckle Rose, and again in 1998 the song Ain’t Misbehavin’. TODAY We will hear piano and organ solo performances by Fats Waller from 1929, during the time of the Great Depression, and 1943, when America was deeply involved in World War II in Europe and in the Pacific.  

In today's VINYL VIBRATIONS podcast, I tour some early vinyl records that showcase PIANIST AND ORGANIST GREAT FATS WALLER. There are some 360 original compositions credited to Fats Waller, so where does one start in an attempt to represent his most imortant works? These recording you will hear in this podcast are found on a vinyl LP Record compilation that were collected by my father. During my childhood, these LPs were a frequent favorite on the house Hi-Fidelity record player. FATS WALLER PART 1 Ain’t Misbehavin’ (Music by Fats Waller, Harry Brooks), ‘Ain’t Misbehavin, Fat’s’ Waller and His Rhythm’ 1956, RCA Victor Records. rec 8/2/1929, original version of the song released 1929. Piano solo. Baby Oh Where Can You Be (Music by Ted Koehler and Frank Magine), The Rarest Fats Waller Volume 2 RFW-2, Organ solo. Recorded 8/24/1929. Tanglewood, (composed by Fats Waller and Sidney Easton) The Rarest Fats Waller Volume 2 RFW-2, organ solo, recorded 8/24/1929.Handful of Keys, Handful of Keys, Fats Waller and His Rhythm, RCA Victor LPM-1502, 1957. Recorded March 1, 1929.ZSz Piano solo. Tea for Two (Music by Vincent Youmans) ’Fat’s’ Waller and His Rhythm/Ain’t Misbehavin’, recorded June, 1937 from the 1924 musical “No, No Nanette” 1956, RCA Victor Records Then You’ll Remember Me (Music by Michael William Balfe), Fats Waller Plays, Sings and Talks , 1956, Jazz Treasury JT-1001. From Balfe’s opera, The Bohemian Girl c1861-1865) recorded Nov 30, 1939. Piano solo. Electrical Transcription (ET). Sextet Fats Waller Plays, Sings and Talks, 1956, Jazz Treasury JT-1001. from Lucia Di Lammermoor. Recorded Nov 20, 1939. Piano solo. Electrical Transcription (ET). MY HEART AT THY SWEET VOICE Fats Waller Plays, Sings and Talks, 1956, Jazz Treasury JT-1001. Recorded Nov 20, 1939. Piano solo. Electrical Transcription (ET). Today in Part 1, I will canvass solo performances of Fats Waller of his recordings between 1929 and 1939, when he was between the ages of 25 and 35. Today’s show is called Fats Waller Piano and Organ Solos. . . . THOMAS WRIGHT WALLER was born May 21, 1904 in NYC, the youngest of 11 children. He started pl aying piano at age six. His father was the Reverend Edward Martin Waller . By the time Thomas was 10, he had learned how to play the organ at his father’s church. At age 14, he was playing the organ at Harlem Lincoln’s Theater. Fats Waller is best known for his stride piano style. At age 15 Fats was a professional pianist and worked the local cabarets and theatres. Some of his original compositions are well known standards today, like Honeysuckle Rose, Ain’t Misbehavin’, Handful of Keys, Squeeze Me, Blue Turnin Grey Over You. Recordings of Fats Waller were inducted into the Grammy Hall of Fame, first in 1984, the song Honeysuckle Rose, and again in 1998 the song Ain’t Misbehavin’. Thomas Waller earned the nickname “Fats” at an early age, because as a Harlem ten year old boy, he was very heavy, over 250 pounds, and for the remainder of his life, his weight would stay between 280 and 300. Fats Waller was hard-working and trained in music theory and in the piano classics. He was prolific and there are some 360 songs credited to him during his short lifetime of 39 years. In terms of music performance, he preferred small groups to big bands, and preferred to lead groups of 6-8 men. ` We will hear piano and organ solo performances by Fats Waller from 1929, during the time of the Great Depression, and 1939, the start of WW II in Europe, the invasion by Nazi Germany into Poland. PLUG - VINYL VIBRATIONS - - M1 Ain’t Misbehavin’ (Music by Fats Waller, Harry Brooks), ‘Ain’t Misbehavin, Fat’s’ Waller and His Rhythm’ 1956, RCA Victor Records. rec 8/2/1929, original version of the song released 1929. Piano solo. In our first segment, we listen to Ain’t Misbehavin’. Music is composed by Fats Waller and Harry Brooks. This is one of the earliest solo recordings of Fats Waller.

In my previous Vinyl Vibrations podcast of Gypsy Guitarist-Great, Django Reinhardt, I reviewed some of his early vinyl recordings. I reviewed nine songs which Django composed in the 12-year period between 1937 and 1949. As a composer, Reinhardt was prolific, with at least 112 original compositions to his credit. His own songs, in my opinion, are the most interesting of his works, because they are his creations, and embody his humor and his thinking in a most complete way. M10 Porto Cabello (D. Reinhardt) rec 5/21/1947, Paris, 3:18, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M11 Double Whisky (D. Reinhardt) rec 5/11/1951, Paris, 2:53, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M12 Vamp (D. Reinhardt) rec 5/11/1951, Paris, 2:39, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M13 Fleche D'or (D. Reinhardt) rec 1/30/1952, Paris, 3:00, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M14 Troublant Bolero (D. Reinhardt) rec 1/30/1952, Paris, 3:30, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M15 Nuits de St. Germain-des-Pres (D. Reinhardt) rec 1/30/1952, Paris, 3:05, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M16 Anouman (D. Reinhardt) rec 1/30/1953, Paris, 2:45, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M17 D.R. Blues (D. Reinhardt) rec 1/30/1953, Paris, 3:08, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] M18 Deccaphonie (D. Reinhardt) rec 4/8/1953, Paris, 3:15, [Django Reinhardt et son Quintette du Hot Club de France, Distribution Musidisc-Europe1979] In Part I, I reviewed….. M1 Improvisation (D. Reinhardt), rec 1937, M2 Minor Swing (S.Grappelli-D.Reinhardt) , rec 9/9/1937, M3 Naguine (D. Reinhardt), rec 6/30/1939, M4 Djangology (D. Reinhardt), rec 5/8/1942, M5 Blues Clair (D. Reinhardt), rec 2/26/1943 M6 Belleville (D. Reinhardt), rec 1950 M7 Nuages (D. Reinhardt-J. Larue), rec 2/1/1946 M8 Swing 48 (D. Reinhardt), rec 7/6/1947, M9 Brick Top (D. Reinhardt-S. Grappelli), rec Feb 1949   In today's podcast, Part II, I continue with more of Django's original compositions. DJANGO REINHARDT lived in Belgium and France between 1910 and 1953 and is best known, and most widely published, for his performances with his jazz group "Quintette du Hot Club de France". The quintet popularized the gypsy jazz style, also known as gypsy swing or hot club jazz or jazz manouche. The story goes that Django and younger brother Joseph Reinhardt were "discovered" one day,   by a French bass player, Louis Vola, as they were playing guitars on a beach at Toulon, a town in southern France. Vola invited them to jam with his own band, which included the young violinist, Stephane Grappelli, and guitarist Roger Chaput. The "Hot Club de France" was a music society devoted to the preservation of jazz, and two of its leaders and promoters Pierre Nourry and Charles Delaunay urged Django and Stephane to form a full-time group. The rest is history…..and "The QUINTETTE DU HOT CLUB DE FRANCE was formed in 1934 and remained active for 15 years. The original lineup included five members, Django, Grappelli, bassist Louis Volla, Django's brother Joseph, and one other rhythm guitarist, Roger Chaput. There was no real percussion section in the quintette, the two rhythm guitars and bass created all of the percussion in this all-string ensemble. Django and Grappelli remained constants in future recordings, while rhythm guitarists and bassists rolled in and out of the group. Five years later, when World War II broke out in   1939, the Quintette was on a concert tour of England. Reinhardt, returned home to France,

In today's VINYL VIBRATIONS podcast, I tour some early vinyl records that showcase GYPSY GUITARIST GREAT DJANGO REINHARDT. Many of these will be original compositions by Django Reinhardt . These recordings of Django are found on Vinyl LP Record compilations of his recordings between 1937 and 1949.  Today I will  divide the show into three segments, DJANGO Songs Pre-WW2, Songs During WW2 and Songs after WW2. In all, I will SHOWCASE ten of the great works of GYPSY GUITARIST DJANGO REINHARDT. When Day is Done (R. Katscher-B. de Sylva), rec 4/22/1937, ____, 3:10 [Capitol-Bluenote Compilation 1996] Minor Swing (S.Grappelli-D.Reinhardt) , rec 9/9/1937, _____, 3:14 [Capitol-Bluenote Compilation 1996] Naguine (D. Reinhardt), rec 6/30/1939, Paris, 2:25 [Capitol-Bluenote Compilation 1996] Djangology (D. Reinhardt), rec 5/8/1942, Brussels, 3:04 [VERVE Jazz Masters Compilation 1994] Blues Clair (D. Reinhardt), rec 2/26/1943, _______, 3:01 [Capitol-Bluenote Compilation 1996] Belleville (D. Reinhardt), rec 2/1/1946, London, 3:15 [VERVE Jazz Masters Compilation 1994] Nuages (D. Reinhardt-J. Larue), rec 2/1/1946, London, 3:15 [VERVE Jazz Masters Compilation 1994] Swing 48 (D. Reinhardt), rec 7/6/1947, Paris, 2:45 [VERVE Jazz Masters Compilation 1994] Brick Top (D. Reinhardt-S. Grappelli), rec Feb 1949, Rome, 3:42 [Djangology remaster 1961] Night and Day (C. Porter), rec 3/10/1953, Paris, 2:51 [VERVE Jazz Masters Compilation 1994]   http://youtu.be/OYX4hQ00zcw Django Reinhardt, Jean Vaissade - La Caravane - Paris, 20.06.1928 L’Accordéoniste Jean Vaissade - Jean Vaissade (acc); Django Reinhardt (bj); unknown (slide whistle) - 1928 June 20 - Paris DJANGO REINHARDT is so well known in Jazz and Guitar circles that perhaps he needs no introduction…. yet there is much cultural and personal background about this fascinating guitarist and his place in music history in the context of world events of the 1940s !!! Jean Reinhardt, nicknamed “DJANGO, a gipsy word for “I AWAKE”, was born 1/23/1910, in a caravan, in Liberchies, Pont-à-Celles, Belgium, about 60km south of Brussels, into a family of Manouche gypsies. This was just 4 years before the German invasion of Belgium in 1914 and Germany’s declaration of war on France, in WW1. Starting at age 8, Reinhardt spent most of his youth in Romani, or Gypsy encampments close to Paris, playing banjo, guitar and violin. His brother Joseph Reinhardt, two years younger, was an accomplished guitarist. Django Reinhardt played the violin at first, then at the age of 12, he learned to play a “banjo-guitar”. A banjo-guitar looks like a banjo, and sounds like a banjo, but is tuned like a guitar and can be played by guitarists. By the age of 13, Reinhardt was able to make a living playing music. His first known recording (in June 20, 1928, AGE 18) is of him playing the banjo –guitar with accordianist Jean Vaissade Not long after this first recording, also when he was 18, Reinhardt was severely injured in a caravan fire. (For those non-europeans, the term “caravan” refers to a small trailer in which one can live while traveling. In the context of 1928 Belgium, these were horse-drawn caravans.) In this fire, Django received first- and second-degree burns over half his body. His right leg was paralysed and the third and fourth fingers of his left hand were badly burned. He was able to walk within a year with the aid of a cane. And he relearned his guitar-playing skill … even though his third and fourth fingers remained partially paralysed. He played all of his guitar solos with only two fingers, and used the two injured digits for playing chords. This is an amazing fact, when you hear the speed, clarity and musicality of his guitar solos Between 1929 and 1933 Django abandoned the banjo-guitar for the classical guitar….. Django somehow was able to acquire an extraordinary guitar, a Selmer Maccaferri. This is a large body steel-string,

PROGRAM NOTES Hotter Than That, (Lil Hardin) Louis Armstrong Hot Fives, Lonnie Johnson guitar, 1927 (Smithsonian Collection of Classic Jazz CBS 1973) Mahogany Hall Stomp (Spencer Williams) (excerpted), Louis Armstrong & Orchestra, Lonnie Johnson guitar, 1929, Parlophone R571 All Star Strut, (R. Mergentroid) Metronome All Star Nine, Charlie Christian amplified guitar, NYC, Columbia Records, 1940 Gone With What Wind, (C. Basie, B. Goodman) Benny Goodman Sextet, Charlie Christian amplified guitar, NYC, 1940 I Got Rhythm, (I + G Gershwin) Charlie Christian Quintet, Charlie Christian amplified guitar, Minneapolis, 1940 Tea For Two, (I. Caesar, V. Youmans) Charlie Christian Quintet, Charlie Christian amplified guitar, Minneapolis, 1940 Benny's Bugle (B. Goodman) Benny Goodman & his Sextet, Charlie Christian amplified guitar, Columbia, NYC, 1940 Royal Garden Blues, (C. Williams, S. Williams) Benny Goodman & his Sextet, Charlie Christian amplified guitar, Columbia, NYC, 1940 Gilly (B. Goodman) Benny Goodman & his Sextet, Charlie Christian amplified guitar, Columbia NYC, 1940 Blues Sequence / Breakfast Feud (B. Goodman) Benny Goodman & his Sextet Charlie Christian amplified guitar Columbia NYC, 1940 I Found A New Baby (Jack. Palmer, Spencer. WIlliams) Benny Goodman & his Sextet Charlie Christian amplified guitar Columbia NYC, 1941 Solo Flight (Charlie. Christian, James Mundy, Benny Goodman) Benny Goodman & his Orchestra, Charlie Christian amplified guitar Columbia NYC, 1941 In today's VINYL VIBRATIONS podcast, I tour some early vinyl records that showcase guitarist great Charlie Christian. These performances of Charlie Christian are found on Vinyl LP Record compilations of his recordings between 1939 and 1941. Often you will hear remarks from today's jazz, pop, blues, even rock guitarists ….like Jimmy Page, Jeff Beck, and Eric Clapton ….that their BIGGEST INFLUENCES came from two or three early guitarists --- DJANGO REINHARDT, LONNIE JOHNSON and CHARLIE CHRISTIAN. You will hear this many times. The former, DJANGO REINHARDT, the BELGIAN jazz guitarist, is well known for his EUROPEAN style of jazz, the so-called "HOT JAZZ" or "GYPSY JAZZ" or "ROMANI" style of music, that has become a living musical tradition within FRENCH GYPSY CULTURE. DJANGO's "GYPSY JAZZ" style is widely emulated by today's jazz guitarists. DJANGO lived 43 years, between 1910 and 1953, and some of his most popular ORIGINAL compositions, such as MINOR SWING, DAPHNE, BELLEVILLE, DJANGOLOGY, SWING 42 and NUAGES…are jazz standards today. DJANGO REINHARDT is widely recorded, with SIX recordings during his lifetime, and a total of 23 recordings all together, many of which are compilations of his works. So DJANGO as a cultural influence, is a fascinating subject in and of itself, and will be the subject of an upcoming VINYL VIBRATIONS podcast! LONNIE JOHNSON, ANOTHER Jazz and blues guitarist, is credited with PIONEERING the ROLE of jazz guitar …..and for being perhaps the FIRST recorded case of playing single-note guitar solos. He had an extensive discography and lived to be 71, so Lonnie Johnson is well recognized, having being extensively recorded AND after having a long-standing career, performing as late as 1966, or at age 67 years. But WHAT ABOUT THIS THIRD INFLUENTIAL GUITARIST …the AMERICAN guitarist CHARLIE CHRISTIAN…NAMED SO OFTEN…..OF WHOM WE KNOW SO LITTLE ??? CHARLIE CHRISTIAN. Who is that??? What are his songs? What was his guitar style? How can CHRISTIAN be cited so often as a strong influence, when there are relatively few recordings to play? IS CHARLIE CHRISTIAN LOST IN JAZZ MUSIC HISTORY? I am going to bring to light some of this lesser known work of Charlie Christian, and feature some of the first recorded examples of his jazz guitar. More importantly, jazz guitar where the instrument is amplified and the guitarist is playing a lead role. This is truly unusual, in retrospective. Today,

In today's VINYL VIBRATIONS podcast, I tour some LP records that showcase guitarist greats in the emerging jazz fusion music era. These performances are found on Vinyl LP and today’s show is called GUITARISTS - JAZZ FUSION GREATS. In today’s podcast, we will hear jazz and jazz fusion guitarists from the 17-year period of 1960 to 1977, including…   1 Charlie Byrd Trio The Guitar Artistry of Charlie Byrd Nuages (Rheinhardt) Riverside 1960 2 Wes Montgomery Incredible Jazz Guitar of Wes Montgomery Four On Six (Montgomery) Riverside-OJC 1960 3 Frank Zappa Chunga’s Revenge Chunga’s Revenge (Zappa) Reprise-Warner Bros 1970 4 Mahavishnu Orchestra Birds of Fire Open Country Joy (McLaughlin) 1973 Columbia 5 Pat Metheny Bright Size Life Missouri Uncompromised (Metheny) ECM 1975 6 Larry Coryell Philip Catherine Twin-House Guitar Duos Mortgage on Your Soul (Keith Jarrett) WEA Musik 1977 7 Al Di Meola Elegant Gypsy Suite Elegant Gypsy Suite (Di Meola) Columbia 1977 We will hear examples of guitarists playing various forms of jazz, leading up to the emerging jazz-rock fusion genre of the 1970s. These are LP records, produced between the years 1960 and 1977. We will hear influences of gypsy jazz in Reinhardt, ear-trained Montomery, zany Zappa, mahavishnu McLaughlin, modal Metheny and elegant gypsy DiMeola …as composers of the songs in this podcast. M1 Charlie Byrd Trio, Nuages. Charlie Byrd was born in Suffolk, Virginia, in 1925. He was an American guitarist playing the genres of bossa nova, brasilian jazz, latin jazz and swing. Byrd played fingerstyle on a classical guitar. His father, a mandolinist and guitarist, taught him how to play the acoustic steel guitar at age 10. In 1943 he was drafted into the United States Army for World War II, and was stationed in Paris in 1945 where he played in an Army Special Services band. Byrd's greatest influence was the gypsy guitarist Django Reinhardt, whom he saw perform in Paris. After the war, Byrd returned to the United States and went to New York, where he studied composition and he began playing a classical guitar. In 1954 he became a pupil of the Spanish classical guitarist Andres Segovia and spent time studying in Italy with Segovia. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, Charlie Byrd collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music. This song, Nuages is one of the best-known compositions by Django Reinhardt. Reinhardt recorded about thirteen versions of the song, and today it is a jazz standard and a main portion of the gypsy swing repertoire. It was originally an instrumental piece. Charlie Byrd Trio, The Guitar Artistry of Charlie Byrd , Nuages (Django Rheinhardt) , Riverside OLP 1960, 3:05 Personnel Charlie Byrd guitar  1925-1999 Keter Betts  bass Buddy Deppenschmidt  drummer M2 Wes Montgomery , Incredible Jazz Guitar of Wes Montgomery , Four On Six (Montgomery) , Riverside-OJC 1960, 6:14 Personnel • Wes Montgomery- electric guitar • Tommy Flanagan - piano • Percy Heath – bass • Albert Heath - drums Wes Montgomery was born in Indianapolis. and came from a musical family. Two brothers were also jazz performers. Monk on bass and Buddy on vibraphone and piano. The brothers released a number of albums together as the Montgomery Brothers, on the Pacific Jazz label. As a band leader, Wes produced many albums, 31 albums over a 10 year period, with three labels, Riverside, Verve and A&M. He also is recorded only three times as a guitar sideman- - showing that Wes Montgomery preferred to lead his own band. Montgomery toured with Lionel Hampton early in his career, age 25-27, however he returned home to Indianapols to support his family of eight. Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am.

PROGRAM EPISODE: ROCK THE CLASSICS PROGRAM NOTES In today's VINYL VIBRATIONS podcast, I tour LP records from the 1960s and 1970s where the rock or pop artist is performing classical music, or giving a new dimension to classical music. These performances are found on Vinyl LP and today’s show is called ROCK THE CLASSICS ! We will hear from Frank Zappa, Blood Sweat & Tears, Jethro Tull, Emerson Lake & Palmer, Deodato, Steely Dan, today … on ROCK THE CLASSICS. INTRO to ROCK THE CLASSICS (narrate only the names of the groups) Today we hear ROCK THE CLASSICS …  we will hear… Zappa entertain us with time riddles from Stravinsky Wendy Carlos reinvents a Cantata from JS Bach,  Blood Sweat & Tears soothes us….with music from Erik Satie Jethro Tull and a jazz rendition of a dance from JS Bach Emerson Lake & Palmer rocks us with Bela Bartok Deodato provides fanfare from Richard Strauss … and Steely Dan celebrates a ragtime classic from jazz great, Duke Ellington Tracks Today: M1 Petrushka (I. Stravinsky), Frank Zappa, ‘Tis The Season To Be Jelly M2 Cantata 147, 10th mvt) (J.S. Bach), Wendy Carlos M3 Trois Gymnopedies On A Theme (Erik Satie), Blood Sweat & Tears M4 Bouree (J.S. Bach), Jethro Tull M5 The Barbarian (Bela Bartok) Emerson Lake & Palmer M6 Also Sprach Zarathustra 2001, (Richard Strauss) Deodato M7 East St. Louis Toodle-Oo, (Duke Ellington) Steely Dan In today's podcast we will hear seven examples of a rock or pop artist, in one case a classical music rocker, performing classical music, and with striking interpretations, new instruments or technology, or change to the musical meter as influenced by pop or rock rhythm… produced between 1965 and 1977. M1 Song  Petrushka, Album ‘Tis The Season To Be Jelly, Album Artist Frank Zappa, Composer I. Stravinsky (1911), Year 1967, Released By - Bootleg album Petrushka is a ballet with music by Russian composer Igor Stravinsky, composed in 1911. It was premièred in Paris and although the production was a success, music was reviewed as brittle, caustic and even grotesque. Two years later, in 1913, the Vienna Philharmonic initially refused to play the score, considering the score as “dirty music”. As for Frank Zappa and The Mothers of Invention, the album ‘Tis the Season to Be Jelly was recorded at Konserthuset, Stockholm, Sweden on September 30, 1967. Pretty cool really, because The Stockholm Concert Hall (Konserthuset) is the main hall for orchestral music in Stockholm, Sweden, it is the home to the Royal Stockholm Philharmonic Orchestra. Bringing us back to the design of this hall for classical music. Was Zappa compelled or inspired by this great house to include SOMETHING classical? This song, Petrushka, was originally recorded by Zappa and distributed on a bootleg album. So now, going back to the 1913 sentiment about Petrushka being “dirty music”, interesting that the bootleg album cover features a caricature of Zappa’s foot and a smelly sock. Perhaps this truly is… “dirty music”? At the time of this recording, Zappa was 26 years old, so this is very early in his recording career. Only one year earlier, in 1966, Zappa released his debut album FREAK OUT with The Mothers of Invention. And only a week before this concert performance, Frank Zappa wed Gail Sloatman, with whom he was married and produced four children, right until his untimely death in 1993. Today we hear a short rendition of Petrushka, as arranged for rock band, by Frank Zappa and the Mothers of Invention, and as performed in the Konserthuset in Stockholm, in 1967. M2 Song Cantata 147, (Heart and Mouth and Deed and Life), 10th mvt, Album Switched On Bach, Album Artist Wendy Carlos, Composer Johann S. Bach (1716), Year 1968, Released By Columbia Masterworks Records Cantata 147, is written by Johann Sebastian Bach. A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often with a choir.

PARTS HARMONIOUS            PROGRAM NOTES In today's VINYL VIBRATIONS podcast, I tour LP records from the 1960s and 1970s in ROCK and POP that featured singing in multi-part harmonies. Today’s show, is called PARTS HARMONIOUS. There have been many TWO PART harmony songs recorded… so today, for further interest and in seeking out those more difficult or complex, we will focus on multi-part harmonious singing—songs having at least THREE vocal parts! INTRO to PARTS HARMONIOUS (narrate only the names of the groups) Today we hear multi-part harmonies from songs of these groups: M1 The Byrds, All I Really Want To Do, 1965 M2 The Beach Boys, Good Vibrations (1973 performance), 1966 M3 The Hollies, On A Carousel, 1967 M4 Three Dog Night, One, 1969 M5 The Guess Who, No Time, 1970 M6 Crosby Stills Nash and Young, Teach Your Children, 1970 M7 Poco, Kind Woman, 1971 M8 The Doobie Brothers, Livin’ On The Fault Line, 1977 In today's podcast we will hear eight examples of THREE (or more) PART HARMONIES, produced between 1965 and 1977.  Starting with…The Byrds M1 Song  All I Really Want To Do, Album (Single), Album Artist The Byrds, Composer Bob Dylan 1964, Year 1965 , Released By Columbia Bob Dylan wrote the song in 1964 and recorded it in one take. In 1965 Cher did a cover of this song, and it was the feature of her debut  SOLO album “All I Want To Do”. The Byrds single was rush-released by the band's record label, Columbia Records, when it became known that Cher was about to issue a rival cover version of the song on the Imperial label. The Byrds' version "All I Really Want to Do" was the second single by Byrds and was released in 1965 by Columbia Records  The song was also included on the band's debut album, Mr. Tambourine Man, which was also released in 1965… the single, which we will hear next, begins with Jim McGuinn's jangling guitar introduction (played on a 12-string Rickenbacker guitar), ascending melody progression in the chorus, the Byrds high-register harmonies – are clearly influenced by the West Coast surf sound...   M2 A live version of the song, GOOD VIBRATIONS taped in 1972-1973 and found on the album “The Beach Boys in Concert”  …the second official live album by The Beach Boys,  Song Good Vibrations, Album (Single) (backed with the instrumental "Let's Go Away For Awhile"), Album Artist Beach Boys, Composers Brian Wilson, Mike Love, Year 1966, Released By Capitol Records. The Beach Boys was formed in 1961, initially composed of brothers Brian, Dennis and Carl Wilson, their cousin Mike Love, and friend Al Jardine. The Beach Boys were managed by the Wilsons' father Murry, and signed to Capitol Records in 1962. The band's early music gained popularity across the United States for its close vocal harmonies . Brian Wilson and Mike Love composed "Good Vibrations" a single released in 1966. The song featured a complex, multi-layered sound. Brian Wilson described "Good Vibrations" as a "pocket symphony”. The song became the Beach Boys' biggest hit to date and a US and UK number-one single in 1966; Good Vibrations was reputed to have been the most expensive American single ever recorded at that time. The production of the song is reported to have spanned seventeen recording sessions at four different recording studios, and used over 90 hours of magnetic recording tape, with an eventual budget of $50,000.  The group members recall the "Good Vibrations" vocal sessions as among the most demanding of their career, and featured elaborate layers of vocal harmonies. M3 Song On A Carousel, Album (single), Album Artist The Hollies, Composers Alan Clarke, Graham Nash, Tony Hicks, Year 1967, recorded Abbey Road Studios, Released Parlophone and Imperial On a Carousel was written by Allan Clarke, Graham Nash and Tony Hicks. It was released by The Hollies as a single in 1967 on the Parlophone label in the UK and the Imperial label in the US.

PROGRAM NOTES In today's VINYL VIBRATIONS podcast, we explore jazz guitarist and composer Larry Coryell. INTRO TO  "LARRY CORYELL": Larry Coryell was born in 1943 in Galveston. He is an american jazz fusion guitarist. A long background as a musician, he played in local bands in Texas and later in the Seattle area.  He moved to NYC in 1965  - age 22 - and was part of Chico Hamilton's quartet. In the late 1960s he recorded with jazz vibraphonist great, great Gary Burton. He also played in the band Free Spirits.  He formed his own group, The Eleventh House, in 1973. Later in the 1970s  in 1979, Coryell formed "The Guitar Trio" with jazz fusion guitarist John McLaughlin and flamenco guitarist Paco de Lucia. Coryell's music combined influences and styles of rock, jazz and eastern. That eastern influence was not doubt a result of his interest in the spiritual leader Sri Chimnoy. Coryell's discography is impressive.  As leader, there are 36 albums, and as sideman, there are many other albums. This podcast follows Larry Coryell's work from a rich time in his younger years, 1968-1975, or from age 25-32, recording in New York City for Vanguard Apostolic, Mega records  and Arista. In today's podcast we will hear six of Larry Coryell's best !! Starting with… M1 Song Treats Style Album Lady Coryell M2 Song After Later Album Larry Coryell at the Village Gate M3 Song Further Explorations for Albert Stinson Album Fairyland M4 Song Low-Lee-Tah Album Introducing the Eleventh House w Larry Coryell M5 Song Pavane For A Dead Princess Album The Restful Mind M6 Song Level One Album Level One Album Artist Eleventh House featuring Larry Coryell   M1  Song Treats Style Album Lady Coryell. Album Artist Larry Coryell. Composer Jim Garrison   Larry Coryell was just 25 when this album was recorded in 1968. It is his first album as a leader.By now, LC had recorded two albums with vibraphonist Gary Burton, in his group The Free Spirits. Decades of collaboration would follow between LC and jazz-great Burton, king of the four-mallet style, on jazz vibes. And now in 1968, two more jazz masters are with Coryell  - - Jimmy Garrison on bass, and Elvin Jones on drums … guest artists on this album. Bassist and song composer Garrison played as a sideman with the John Coltrane classic quartet -- along with pianist McCoy Tyner and drummer Elvin Jones, from 1962-1967. Jimmy Garrison and Elvin Jones formed the "rhythm section" of the John Coltrane Quartet.  They gave bold physicality to Coltrane, due to the focused intensity of their rhythm section.   You will hear that focused intensity of the rhythm section on this song. This rhythm machine, plus Coryell's licks provide an outstanding TRIO performance. And there is a Milestone Event for Coryell …on this song, "Treats Style", Coryell takes his first guitar solo!! Larry Coryell's blues guitar signature is imitated but never duplicated, such as his solo here in TREATS STYLE.  This is great early LC, in his formative years, in the 1960s,   as jazz guitarist, composer, arranger and co-producer. The album was produced by David Weiss and LC. Treats Style, was composed by the bassist, Jimmy Garrison, who was 35 at the time of this album. By Vanguard Apostolic. Year 1969 Featuring the trio - - - Larry Coryell guitar Jim Garrison Bass Elvin Jones drums M2 Song After Later, Album Larry Coryell at the Village Gate, Album Artist Larry Coryell, Composer Larry Coryell, Year 1971, By Vanguard Recording Society Featuring Larry Coryell guitar Mervin Bronson bass Harry Wilkinson drums Larry Coryell is almost 28 at the time of this show at the Village Gate in NYC. After Later is a jazz-rock guitar instrumental, done, in 10/4 time. On this song we have the driven lead guitar jazz rock style of LC, with distortion and feedback effects. Some of that overdrive is the unique combination of LC's choice of what is typically a jazz guitar,

PROGRAM NOTES In today's VINYL VIBRATIONS podcast, we explore Odd Meters. First, a quick primer on meter.  If you are a musician… bear with me if you will…Rhythm is the arrangement of sounds in time. ...Meter places time into groupings, called measures or bars. The meter signature, also known as the time signature, is noted as two numbers stacked one above the other….like a fraction. For example: 4/4. On top-----The number of beats in a bar or measure. And on bottom----the type of note that represents one beat, most commonly it is a quarter note. Two most common time signatures are 3/4 three-four for three quarternotes per measure 4/4 four-four ….for four quarternotes per measure We find 3/4 time in the waltz, a simple 1-2-3 dance step, it's a simple signature comprised of 3 quarter notes.   And 4/4 time can be found throughout pop, rock, country, even the classics, its a simple "even" signature comprised of 4 quarter notes. In today's podcast we will hear ODD METERS starting with… 1 "The Rite of Spring”.  Part II (The Sacrifice) "Sacrificial Dance", Igor Stravinsky 2 "Take Five", Dave Brubeck Quartet, album Time Out 3 "Toads of the Short Forest" Frank Zappa and the Mothers of Invention, album Weasles Ripped My Flesh 4 "Money"  Pink Floyd, album  The Dark Side of the Moon 5 "Good Morning, Good Morning", album Sgt. Pepper's Lonely Hearts Club Band - The Beatles 6 "Living in the Past", Jethro Tull, stand-alone single M1 The Rite of Spring”.  Part II (The Sacrifice) Sacrificial Dance by Igor Stravinsky  Experts have said that the ballet The Rite of Spring, composed in 1913, changed music forever. It is famous for causing a riot in 1913 at its premiere in Paris. This is because the music and dancing was so different than anything people had heard before. The energy, rhythms and colorful sounds are amazing, even a century later. Igor Stravinsky was one of the first to introduce odd meters into western classical music in his “The Rite of Spring”. Rite of Spring is an example of THE ABSENCE OF A PREDICTABLE METRE or REFUSAL TO ADHERE TO TRADITIONAL METRE. At the time, "traditional" meant Ballet dance with 3/4 metre, a demure orchestra supporting, building, mirroring, the dance choreography. Instead, Rite of Spring demonstrates the uses of pulses and rhythms in music and dance.  This is a complete departure from the norm.  Dancers beat the pulse of music with their feet and arms. Dancers gather and disperse like the rhythmic formations in the music. The rhythm is blatant and out front. To create further tension (and frustration to the 1913 audience), the dance rhythm breaks from the music rhythm, in the last movement - Sacrificial Dance.  The style of music is that there is no consistent downbeat. This arrangement was an outrage !! No consistent time ! Not done before. The Rite of Spring was premiered on Thursday, May 29, 1913 in Paris and was conducted by Pierre Monteux. The intensely rhythmic score and primitive stage performance shocked the audience ---as Nijinsky's choreography was a radical departure from classical ballet.  The audience began to boo loudly. There were loud arguments in the audience followed by shouts and fistfights in the aisles. Unrest turned into a riot. The Paris police arrived …but even so, chaos reigned for the remainder of the performance. Music critic Abigail Wagner described it well - "The1913 audience’s shock at hearing Rite was akin to that of someone who has only read verse in iambic pentameter, reading a prose novel for the first  time". This is the climactic final of The Rite of Spring, the closing episode of the Sacrificial Dance from The Rite of Spring”.   Igor Stravinsky  M2 Take Five, Dave Brubeck Quartet Album Time Out. Recorded in New York at Columbia Records in 1959 American Jazz pianist born 1920. Brubeck had studied with the French composer Darius Milhaud, who in turn had been strongly influenced by Stravinsky,

In today's VINYL VIBRATIONS podcast, we look at Part 2 of our program on the subject of SYMPHONIC ROCK. In Part one we focused on some of the vinyl records that featured a rock music format, and featured or incorporatedconcerto3-4  a symphonic or chamber accompanyment  - produced on vinyl records.  We heard Moody Blues, Yes, Led Zepplin, Tommy, Frank Zappa, and Jan Hammer / Jerry Goodman. Today we continue our exploration into artists that either dabbled in symphonic arrangement, or artists that infused their rock or pop sound with classical music orchestra sounds: 1 Twenty Small Cigars, album "King Kong, Jean-Luc Ponty plays the music of Frank Zappa" 2 Vision Is A Naked Sword, album Apocalypse, Mahavishnu Orchestra w London Symphony Orch, Michael Tilson Thomas Cond. 3 Concerto for Jazz Rock Orch, Mvt 1, album Journey To Love Nemperor 1975 composed conducted arranged Stanley Clarke, 4 Concerto for Jazz Rock Orch, Mvts 3+4, album Journey To Love Nemperor 1975 composed conducted arranged Stanley Clarke, 5 The Dick Hyman Concerto Electro, Mvt 1, album Concerto Electro,  Composer Arranger Pianist Dick Hyman 6 King Kong,  album "King Kong, Jean-Luc Ponty plays the music of Frank Zappa" 7 Overture, album Child is Father to the Man, Blood Sweat & Tears, BS&T String Ensemble, M1 Jean-Luc Ponty and his solo album, featuring the electric violin and the Frank Zappa composition and arrangement of Twenty Small Cigars, from the album King Kong, Jean-Luc Ponty plays the music of Frank Zappa, or just … King Kong. Composed  for Jean Luc Ponty and this solo album, by World Pacific Jazz Records. The King Kong album was released 1970 Liberty Records label. Compositions and recording were completed in 1969. There are five parts on Twenty Small Cigars. Noteably, there is no guitar part. Piano or electric piano George Duke Alto & Tenor sax  Ernie Watts Drums John Guerin Bass Wilton Felder Jean-Luc Ponty  electric violin Ponty was born in France in 1942 was about 27 at the time of this production. This was his 9th release in a long list of albums - - about 40 to date. His collaborations with FZ included these FZ albums - maybe you recognize the album titles -  Hot Rats, Over-Nite Sensation, Piquantique, Apostrophe - -  were albums on which Ponty played with FZ between 1969 and 1981. Also Ponty collaborated with Mahavishnu Orchestra, albums Apocalypse and Visions, 2 albums by the MO, in the 1970s,  featuring Jean-Luc Ponty. M2 Vision Is A Naked Sword. Album Apocalypse, Artist is the Mahavishnu Orchestra w the London Symphony Orchestra, Michael Tilson Thomas Cond. Composed by  John McLaughlin. Produced George Martin. Featuring JLP on electric violin and electric baritone violin, And Mahavishnu (aka John McLaughlin) on guitars. And the LSO ( I count 6 LSO performers including KB, viola, violin2, cello, drum and bass parts) with Michael Tilson Thomas conducting, produced in 1974 CBS M3 Concerto for Jazz Rock Orch, Mvt 1, album Journey To Love, composed conducted arranged Stanley Clarke, Produced on Nemperor 1975. One of those movements in this case the first, that seemed to jump out of the stereo, a stereo possessed. So peaceful, contemplative, driven by the drone of the high "G" note. That surreal opening sound. Starry-like. -Stanley Clarke Piccolo bass with synth, acoustic bass, hand bells, organ, -George Duke mini Moog, organ, string ensemble, acoustic piano, -Steve Gadd drums, percussion -David Sancious electric guitar M4 Concerto for Jazz Rock Orch, Mvts 3+4,  Album Journey To Love, composed conducted arranged Stanley Clark, produced on Nemperor in1975. Now on Movement 3 the energy level is much higher. A great transition into longer notes and the power of the David Sancious electric guitar lead part. A cooling off movement - movement 4 -- drifts off into an "A"-note" drone. -Stanley Clarke Piccolo bass with synth, acoustic bass, hand bells, organ, -George Duke mini Moog,

Today we will hear from these artists demonstrating SYMPHONIC ROCK: 1 The Moody Blues and Days of Future Passed with the London Festival Orchestra 2 Rick Wakeman's rendition of "Cans and Brahms" the group Yes 3 "Your Time is Gonna Come" Led Zepplin 4 "I'm Free", from Tommy, as performed by the London Symphony Orchestra and Chambre Choir with Roger Daltry 5 "Cleetus Awreetus- AwrightUs"  Frank Zappa, and Grand Wazoo featuring a cast of characters…From the Grand Wazoo album 6 "I Remember Me", From the Like Children (Jan Hammer and Jerry Goodman) album M1 "The Day Begins" From the "Days  of Future Passed" album, the Moody Blues, with the London Festival Orchestra, conducted by Peter Knight. This song is side one track one of the vinyl LP. This album paints the picture of everyman's day, starting with The Day Begins, Dawn, The Morning, Lunch break, the Afternoon, Evening and the Night. One day of a man's life, on 7 tracks, on vinyl LP ! The seven tracks on Days of Future Passed spawned two hit singles: "Tuesday Afternoon"  and "Nights in White Satin" which hit No. 2… five years after the LP's original release!. The lyrics from Days  of Future Passed are true to the band's name, moody and blue  …such as this: "Cold hearted orb that rules the night, removes the colours from our sight, red is grey and yellow white. But we decide which is right. And which is an illusion?" One description of this fusion of pop and poetry and the classics is taken from album's liner notes, written by Hugh Mendl, the executive producer… he writes  …Moody Blues is "extending the range of pop music… and has found a point where it becomes one with the classics"… "Days  of Future Passed" was Produced in 1967 by Decca Record Company Ltd., using the then-state of the art DERAM sound system. The DERAM or so-called DERAMIC Sound System was an early stereo "all round sound" technique, that allowed more space between instruments. How was this achieved? This capability came from the use of, not just one four-track recording machine, but TWO four-track recording machines. Imagine - eight discrete recorded tracks. Before this, stereo was recorded from one four-track tape recorder. The doubling of recorded tracks provided the ability to put more sound "space" or "spacial realism" between performers on up to 8 recorded tracks, creating more of a soundscape when played on a "stereo", high fidelity sound system, and when you placed yourself between the two speakers. This was 1967 -- the early days of consumer audio. If you had "good" component stereo system, you must have been an audiophile, as those early component systems were very expensive indeed! A good component system included a stereo amplifier, stereo preamp, the reel-to-reel tape deck, a "good" LP turntable, tonearm, massive speakers too… This album credits the orchestral parts to "Redwave/Knight".  Well, "Knight" was conductor Peter Knight, while "Redwave" was an imaginary name representing the Moody Blues themselves. Knight built the orchestral parts around themes written by Hayward, Thomas, Pinder & Lodge, the Moody Blues.   M2 Full: Cans and Brahms  YES and their 1972 album "Fragile", Atlantic Recording Corp, . This is an extract from Brahms  Symphony No. 4 in E minor 3rd movement. A solo Rick Wakeman adaptation, on electric piano, grand piano, organ, electric harpsichord, and synthesizer. Rick Wakeman's modern instruments replace those traditional ones used in the Brahms Symphony No. 4, ---the strings, woodwind, brass, reeds, and contra bassoon, when the symphony was completed, in 1885. Some 87 years later, Rick Wakeman arranged this rendition. Even now… 126 years later….the 3rd is a catchy musical movement with left and right-hand parts for keyboard. M3 "Your Time Is Gonna Come" by Led Zeppelin, released on their 1969 debut album, titled  "Led Zeppelin". Jimmy Page played a Fender 10-string steel guitar. Bassist John Paul Jones played a church-style organ,

Today we look at four Solo Album Artists… These are solo albums in the sense that the music was composed, arranged, performed, often recorded /mixed and produced by the solo artist. These albums are all from the time period of 1970-1972. 1. Pete Townshend and his 1972 solo album, "Who Came First", on MCA 2. Stevie Wonder and his 1972 solo album, "Music Of My Mind" on Tamla records 3. Paul McCartney and his 1970 solo album titled "McCartney", on Apple. 4. Todd Rundgren and his 1972 solo album, "Something-Anything", produced on Warner Bros M1 We know Pete Townshend as an english rock guitarist vocalist and songwriter -- perhaps most famous for his rock opera "Tommy" -- and for his over 100 songs composed and the dozen or so studio-produced albums of The Who. But Townshend is also an accomplished singer, keyboardist, synth, bass and accordion player as well as drummer. Amazing fact -- he never had formal lessons on the instruments he plays! Here we are in 1972, and Pete Townshend comes out with this solo album 'Who Came First'. We listen first to his song "Sheraton Gibson" from that solo album "Wh o Came First", produced in 1972 by MCA --here on Vinyl Vibrations. M2 Stevie Wonder's Music of My Mind album, on Tamla, came out in 1972, and is a gem in his series of classic albums full of pop hits in the 1970s. Music of My Mind was produced by Stevie Wonder and written by Wonder, the album is described as 'virtually the work of one man'. Every single instrument is performed by Stevie Wonder. Compositions, arrangements, performances, production - all Stevie. in 1972 --here on Vinyl Vibrations. M3 Paul McCartney is one of the most influential songwriters of modern time. With Lennon Harrison and Starr, the Beatles changed the face of pop music forever. McCartney's first solo album was an amazing work - released on Apple in 1970 - just two weeks before the last Beatles album "Let It Be" was released. On his solo album, McCartney plays the bass, and sings, of course, but he also plays the guitars, piano, drums and organ. The album credits indicate that all instruments and vocals are by Paul, and harmonies are by Linda McCartney. The album was written and produced by Paul. We listen now to "Maybe I'm Amazed" with a beautifully composed and skilled playing of his guitar solo, from the "McCartney" solo album LP in 1970 on Apple --here on Vinyl Vibrations. M4 Todd Rundgren and "I Saw The Light" from his solo album "Something/Anything" on Warner in 1972. A double album, Something/Anything was an amazing work - all instruments, all voices, all songs, arranged and produced by Todd Rundgren in 1972 on Warner. Rundgren provides all instruments and vocals on three of four sides of these 2-LP set. Instruments include: vocals, keyboard, drums, lead and bass guitars, and percussion. Rundgren is a solid rock lead guitarist, and to have the added talent to play all parts, - it's amazing. --here on Vinyl Vibrations. M5 We listen now to On Breathless, Rundgren does overdubs on the keyboard parts, adds drums and percussion and sequencer /sample sounds, plays piano and guitar. In this instrumental composition we have a very colorful melody moving along with lots of musical harmonies --here on Vinyl Vibrations. M6  Paul McCartney and "Sing Along Junk" from the "McCartney" solo album LP in 1970 on Apple. Paul is on rhythm and lead guitars, piano, drum set and synth. There is a full song version with vocals on that same album, a song titled "Junk". The song you just heard is the "Junk" version WITHOUT vocals, the "karaoke" version, or "music plus one" version, if you will, and it is titled "Singalong Junk". What a beautiful composition and instrumental on its own from solo artist Paul McCartney --here on Vinyl Vibrations. M7 We close out today's show with Stevie Wonder's hit song "Superwoman", from his solo album 'Music of My Mind'. Here Stevie plays the keyboards, drums and bass, composes the song and produces the album.

PROGRAM SUMMARY Today in Part TWO of Jazz Fusion, we look at FIVE more Jazz Fusion artists on …VINYL VIBRATIONS ! M1 Miles Davis and his "Bitches Brew" album 1970 Columbia. Miles Davis experiments with electric instruments like electric piano and electric guitar. Also we see more of an improvisational style with a rock rhythm. a double album - a studio album.  We listen to the song titled "John McLaughlin" on Bitches Brew.  This is an all-star cast--Chick Corea and Joe Zawinul on two electric pianos, John McLaughlin on electric guitar, Jack DeJohnette and Don Alias on two drum sets, Dave Holland and Harbey Brooks on two electric basses and of course on trumpet, Miles Davis. M2  Return to Forever,  featuring Chick Corea. The recording and title song is "Hymn of the Seventh Galaxy". A phenomenal set of musicians --- guitarist Bill Connors, Stan Clarke on Bass, Lenny White on Drums. This song provides examples of time changes, which Chick Corea thrives in, providing a high energy framework for Bill Connors to play lead guitar. A very mechanical song, with enough melodic component to to be interesting and tell a story about THE SEVENTH GALAXY ---- The band is Return to Forever and the title song is "Hymn of the Seventh Galaxy"featuring Chick Corea, 1973, Polydor Records. M3 Soft Machine and we listen to the album simply named "5". On this 1972 CBS album, part 2 of the 2-part song "L.B.O., by John Marshall, the drummer.  The musicians are Elton Dean on Alto Sax, Saxello and Electric Piano, Hugh Hopper on Bass, Mike Ratlidge on Organ and Electric Piano, and John Marshall on Drums. Note the time changes, the improvisation, the use of electric saxello, electric piano, in a jazz format, with the rock beat. M4 Pat Metheny and his 1976 album BRIGHT SIZE LIFE. We listened to UNQUITY ROAD, composed by Pat Metheny.  I remember seeing the very young Metheny back in 1977 at a small venue named Amazingrace, then  locatedat 845 Chicago Ave in Evanston IL. There, up on stage stood this white kid from Missouri, then 21, with huge a afro and and a very large hollow body electric guitar. This kid is really different. The guitar playing is like nothing I had heard before. Great technique, the scales, wide intervals, the melodic character of this music, the little excursions each of the songs take. And a very NEW sound with jazz "improvisation"  The bass sound is also new, because it is fretless and electric, that's Jaco Pastorius on bass. Bob Moses Drums. Recorded in 1976, not in the US… but in Ludwigsburg, Germany, for ECM Records. M5 SPACES. Next, we hear from the Band, Album, and title Song . . . all titled "SPACES". Another all-star cast, featuring Larry Coryell and John McLaughlin on guitars, Billy Cobham on drums, Chick Corea electric piano, and Miroslav Vitous on bass….. Vitous playing a bowed bass, in this case, an electrified, acoustic bass. And the Coryell-McLaughlin guitar combination, works well … it's surprising, as they have such different styles (Coryell's fury and power vs McLaughlin's texture and finesse). Much improvisation, much power in the guitar solo parts. This is a great instrumental album. The song SPACES was composed by Julie Coryell. This was originally recorded in 1971, and this release is 1974 from VANGUARD APOSTOLIC records. M6 The Mahavishnu Orchestra with John McLaughlin and the album "The Inner Mounting Flame" and the most laid back song on that album, if you will, a track named "Dawn" with John McLaughlin on Guitar, Jerry Goodman on Violin, Jan Hammer on Piano, Rick Laird Bass and Billy Cobham on Drums. Original composition of John McLaughlin. This first studio album, released in 1971, by Columbia Records.

This is the first post of VINYL VIBRATIONS by Brian Frederick. In today's podcast we look at Part ONE of a two-part program on JAZZ FUSION. Today, we focus on the decade of development of JAZZ FUSION during the late 1960s and into the 1970s -- during the "Golden Age of Vinyl" when many of the early works we will hear are found in Vinyl LP format. Jazz Fusion maybe not as much a musical style, but more of a MUSICAL APPROACH. PROGRAM SUMMARY M1 Gary Burton Quartet, their first album DUSTER in 1967 on RCA Records, vibraphonist Gary Burton, the song "LITANY". Gary Burton - the jazz vibraphonist from Anderson Indiana.  Burton plays with Larry Coryell [guitar], Roy Haynes [drums], Steve Swallow [bass].  Burton developed a pianistic style of four-mallet technique as an alternative to the usual two-mallets. He is also known for pioneering fusion jazz.   In 1967 BURTON formed the Gary Burton Quartet.   Predating the jazz-rock fusion craze of the 1970s, the group's first record, Duster, combined jazz, country and rock and roll elements. M2 John McLaughlin and the Mahavishnu Orchestra and the album APOCALYPSE, 1974 on CBS. With the London Symphony Orchestra, with Michael Tilson Thomas conductor. The song titled WINGS OF KARMA track one side 2. This album is produced by George Martin. Recorded in London 1974. McLaughlin is flexing his creative muscles, demonstrating, convincingly, that he can compose and arrange in a symphonic format, and work in his electric instruments, the electric piano, guitar and bass, and the rock drum set with . Jean Luc-Ponty is featured on electric violin. John McLaughlin on electric guitar, Gayle Morgan on keyboards, plus 9 other members of the LSO. Very powerful, a very new musical dimension, this sound, in 1974. M3 The MOTHERS, and the album ..The Grand Wazoo, and the song "EAT THAT QUESTION", on Reprise Records, Warner Bros Records, 1972. Produced by Frank Zappa. On woodwinds Mike Altshul and Joel Peskin, Sal Marquez on all brass, George Duke on Keyboards, Frank Zappa percussion, and Guitar Frank Zappa, Drums Aynsley Dunbar and Bass-the credit shows as "erroneous"! All selections composed and arranged (and produced) by Frank Zappa. M4 Jean-Luc Ponty on electric violin and the album King Kong, the song "IDIOT BASTARD SON" by Frank Zappa, The album cover indicates "music for electric violin and low budget orchestra - composed and arranged by Frank Zappa. The electric violin has a natural footing, a solid role as a solo instrument in this new JAZZ FUSION genre. M5 Jerry Goodman and Jan Hammer  the song "Stepping Tones, composed by Rick Laird on the "Like Children" album, Nemporer Records 1974. This is an interesting album from the standpoint that all of the performance talent on this record is supplied by only two persons --- Jerry Goodman on on violins, electric guitar, electric mandolin, acoustic guitar, viola and --- Jan Hammer on piano, drums, moog bass, moog lead, percussion. M6 The MOTHERS "Peaches en Regalia" live track from  The MOTHERS and the "Fillmore East, June 1971" album, distributed on Reprise (Warner Bros) Records. Zappa is on electric guitar, Ian Underwood on keyboards, Aynsley Dunbar on drums, Jim Pons on bass, Don Preston on the mini-moog, and Bob Harris on 2nd keyboard. "Peaches en Regalia" was written by Frank Zappa and published by Frank Zappa Music.