Seb Palmer

30 August 20228 February 2024

MEDiA: Respect, 2021

Teresa and I watched this very slick biopic tonight (or, more strictly speaking, yesterday evening. We really enjoyed it.

It seems popular with Amazon Prime viewers as well, rated at 4&1/2 stars. That’s the platform we watched it on. I note that numerous film critics are quite critical, calling it a ‘cookie cutter’ type affair.

I k in box of get where such critiques are coming from. And yes, the balancing act of retelling a real life story with the affiliated danger dangers of sugar-coated hagiography are a very real problem in this f

Anyway, without going into any great depth. Here are a few thoughts. Yea, we see the usual beautification of characters. Aretha and ex-pimp hubby #1, Ted White, are particularly glammed up. The role of religion in the story is fascinating.

Jennifer Hudson is great as Aretha, albeit admittedly too conventionally pretty. It’s interesting to note that this was Franklin clan sanctioned movie, and Aretha herself effectively cast Hudson in the role!

Forrest Whitaker is great as her Pops, the Rev C L Franklin. And the whole cast Aquitaine themselves admirably. The evocation of Jerry Wexler and his Muscle Shoals crew is very well done.

The movie fares admirably in the ‘Hollywood vs History’ stakes, ticking a lot of the factual boxes. But ultimately it is a kind of love-letter, and not a scholarly fact finding mission.

To me Aretha is pop. And I’ve never been massively into pop. This film, as reverent and cornball as at times it might be, helps me appreciate Aretha as both a person and an artist, so for this alone I think it’s hit to be considered – for me at any rate – a success.

And, with typical irony, her 1972 gospel album, itself the subject of a film, which the record moguls feared would be too niche, confounded the experts gloomy forecasts, and wound up being her biggest seller!

Ok, this isn’t a five star ‘classic’, perhaps. But it is a solid well made telling of a popular story. And a suitable celebration of a great talent, that’ll almost certainly encourage a whole new generation to check out this diva’s fabulous musical legacy.

29 August 20228 February 2024

DAYS iN: Holidays – Staycation, Day 1

The plan for today is extremely modest; lazy morning, late lunch, a trip to Huntingdon to look at antiques and walk by the river, maybe sit and read. And poss’ a movie back home with dinner, to finish.

We had booked a small cottage via AirB&B. But, for the first time ever, we had to cancel. Times are tight! And, by the looks of things, likely to get worse. We would only have bee. Just outside Norwich. So not far! But instead we’ll be home.

We’ll try and make it feel like a holiday with little day trips. Like the one we’re about to leave on now… Just finishing a moules marinierre and pancake lunch, and then orff we go!

Oh, and a literal footnote; yesterday some Brazilian flip-flops arrived. No doubt just in time for the change from summer to autumn!

Later we went for a walk along the river in Huntingdon. The sun came out here and there, and we had a picnic type snack, and sat and read in the car!

28 August 20228 February 2024

POETRY: Leisure, W. H. Davies, 1911

What is this life if, full of care,
We have no time to stand and stare?
No time to stand beneath the boughs
And stare as long as sheep or cows:
No time to see, when woods we pass,
Where squirrels hide their nuts in grass:
No time to see, in broad daylight,
Streams full of stars, like skies at night:
No time to turn at Beauty’s glance,
And watch her feet, how they can dance:
No time to wait till her mouth can
Enrich that smile her eyes began?
A poor life this if, full of care,
We have no time to stand and stare.

I was made aware of both poet and poem by a guest public gardener, and their garden, on BBC TV’s terrific Gardener’s World.

28 August 20228 February 2024

MUSiC: Gabor Szabo

I’m trying out a tiny little MP3 player, as part of my ongoing participation in the Amazon Vine product review program. It’s an X16, and at present I’m struggling to learn how best to import music such that I can browse it easily.

I had one before, and couldn’t get the thing to work at all! So they – the supplier/manufacturer – sent me another. Both are now working. But at present I can only dump MP3s on the SD card, meaning they’re not grouped by album, or artist, or anything.

28 August 202222 January 2023

MUSiC: Gabor Szabo

28 August 202222 December 2022

MUSiC: Gabor Szabo

26 August 202222 December 2022

MUSiC: Gabor Szabo, live in Hungary

Amongst other stuff – largely Jap’ jazz-fusion – I’ve been really digging Gabor Szabo recently. Perhaps especially his Magical Connection album, of 1970. I’ve known and loved a lot of his stuff for many years. But some recent re-releases have re-kindled the flame.

Searching for more stuff by him, I stumbled upon this concert (see the YouTube vid’, above). And, with wonderfully serendipitous synchronicity, he kicks off this performance with that very same John Sebastian number.

One real downer, however, is that all the music I’m currently loving, turns out to be pricey. And I’m stone cold broke! The Szabo albums I’m after are all circa £15 a pop (not inc shipping), and the Casiopea albums (and other Jap J-Fusion stuff) are more like £30 each. Aaargh!!!

I’m currently agonising over the temptation to shell out £30+for the two Ebalunga Szabo reissues, Dreams and Bacchanal…

At the time of writing this part of this post I’m returning to this concert footage for a second time (and it certainly won’t be the last!), and I’m even more blown away than first time around.

Searching around the internet for the credits, it was Doug Payne to the rescue! I also found out that someone put the audio out on CD (limited edition). I’d love to have that! But for now, here’s track listing, and personnel:

Magical Connection (John Sebastian)
My Foolish Heart (V. Young/N. Washington)
Fly Me To The Moon (Bart Howard)
As Eso Ed En (The Rain & Me) (T. Somló/A. Adamis), w. Kati Kovács, voc.
Sombrero Sam (Charles Lloyd)
Django (John Lewis)
Thirteen (Szabo)
My Love (Paul & Linda McCartney), w. Kati Kovács, voc.
Reinhardt (Wolfgang Melz)

Guitar - Gabor Szabo
Electric piano - János Másik 
Acoustic/electric bass - Aladár Pege
Drums/percussion - Imre Köszegi
Congas/percussion - István Dely

The material Szabo chooses is perfect, and the musicians he picked – and he was free to choose whomever he pleased! – are astonishingly good. Bassist Aladár Pege, a new name to me (but apparently Hungary’s premier bassist at the time), is pretty astonishing!

The only slight dip for me comes with Kovács’ vocals on the McCartney’s number, My Love, which are just a bit too ABBA for my tastes. But the music, probably more how the band interpret it than the original piece, is still great.

Intriguingly Szabo plays two numbers, Django and Reinhardt, respectively, in the set, kind of tipping his tile to the great Gypsy jazz pioneer.

I feel obliged to include a link to Doug Payne’s excellent and informative entry on this stuff, so here it is. This includes a translation of the interview Szabo gives (which is in Hungarian, naturally!), which is an interesting read.

24 August 202218 December 2022

MUSiC: Natureza, Long Lost Joyce/Ogerman Album

I normally tend to find out about such things as this forthcoming release on Far Out long after the event. So it’s nice to be ahead of things, for once!

Rather strangely it was my search for Casiopea on CD at a reasonable price in the UK that lead me to the discovery. That quest is ongoing (and as yet unsuccessful!), but it took me, around the houses, via Minnie Riperton – and her astonishing ‘whistle register’ singing – to Honest Jon’s Records’ website, where I first learned of this latest archival Joyce release.

If you want to learn a bit more, try this link:

https://joycemoreno.bandcamp.com/album/natureza-produced-arranged-conducted-by-claus-ogerman

Or there’s this, from Far Out:

As I’m typing this I’m just starting to listen to the stuff that’s already our online. There’s an epic eleven minute version of her famous Feminina track, and – what I’m listening to right now – a piece called Descompassadamente.

I’d describe this latternumber as pastoral prog samba; it’s in 7/8, and seems to be a cyclic groove, with Buster William’s rich double bass very prominent in the mix, and layers of acoustic guitar, percussion and Joyce’s (and other) harmonised vocals. Lovely!

Now I’m on to the epic Feminina. This song, so joyful, and familiar to fans like myself, starts off sounding just like the versions I know, with Joyce’s dextrously nimble guitar work. But once again the lush low register timbre of Buster Williams’ upright bass adds a new dimension to proceedings.

These two teasers are mastered by Al Schmidt. And they sound great, albeit it I’m currently listening over my iPhone! But I read on the bandcamp link above that the remainder of the album has been ‘restored’ from a cassette mix Joyce had. Sounds a bit ominous! Audio cleaning and restoration software these days is amazing. Let’s hope it does the remainder of the material justice!

Hardcore devotee of such music as I am, I’ve simply got to have this! So I’ll be putting in my pre-order as soon as I can. as I’m typing this Feminina is passing the 7:30 mark, and electric keys and what sounds like vibes have entered the otherwise cyclic vamp mix.

If you love groove music, as I most certainly do, and the terrific artistry of Joyce, and that delightful hinterland where ‘70s jazz and Brazilian music converge, this is definitely one to check out.

19 August 20228 February 2024

MUSiC: Drums – Stick Control Summer Challenge

This post isn’t so much a review of George Lawrence Stone’s evergreen classic, which is rapidly nearing its centenary. I’ve reviewed this before, elsewhere.

Instead this post marks a historic achievement for me: I finished my summer holiday Stick Cobtrol challenge – play through the entire book, every exercise twenty times (as prescribed!) – start finish.

It’s just after midday, on Friday, 19th June. And I’m very, very chuffed! It’s amazing how enjoyable these exercises become. They’re hypnotic and meditative. Some are easy, some harder. And I guess what some find easy, others may find hard?

The funny thing is, of course – and anyone who knows Stick Control will know this – that you’ll never truly ‘finish’ this stuff. I’ve gone through it all one now. And in doing so I learned a lot. Some of it was how to interpret the notation, some of it was about the mechanics of stick control.

But I can come back to it, all of it, and mine it for so much more: try it with my feet! Try more focus on individual exercises at differing tempi. One thing I already found myself doing occasionally was adding in obvious variant iterations of ideas that suggested themselves but weren’t actually in the book.

The possibilities for continuing study with this book are, literally, endless. On the one hand that’s daunting. Maybe even a little off-putting? But in the other, it’s a call to continued study.

I think instead of going straight back to aspects of Stick Control – the flam section, for example, is one I could do with studying much more – I’ll focus on working through the next book, Accents & Rebounds. And then there are the two volumes of Joe Morello’s Master Studies.!

What’s great about finishing this book is that I first of all feel a sense of accomplishment. And secondly I now feel more confident teaching from the whole thing. but thirdly, and importantly, it reminds me that having all the drum books I own is all well and good. But only when I work through them do I get their benefits.

I mean, it’s so obvious, it sounds idiotic to even say that. But the truth is that oft-times I e allowed myself to purchase educational drum books, and left it at that! Daft as that sounds. This is a wake up call to start working through my drum score library.

16 August 202222 January 2023

FiLM REViEW: Good Morning, Vietnam, 1987

I’ve never seen this film before. So here goes…

Robin Williams’ character, Adrian Cronauer, was indeed a DJ in Viet Nam. He’s portrayed here as an eccentric extrovert comedian, who upsets some of the stiff-necked ‘brass’.

It’s a kind of odd film, inasmuch as most American films about Viet Nam dive right in to the very obvious struggle with issues around American guilt. In comparison, this starts out seeming more like a feel-good movie. The rugged individualist sticking it to the man. As American as apple pie, and, er… napalm!?

It’s not until an hour into the film that the ugliness of war momentarily intrudes. And quite soon after that, the movie gets back to romance. Even if it’s a stilted or unrequited one.

Rather bizarrely, whilst the cast keep the film interesting enough, it’s not until three quarters of the way through the film that it notches up a gear or two, with the sequence where Cronauer is made to realise what he has come to mean to the troops. He then plays Satchmo’s ‘Wonderful World’ whilst the movie shows some of the horrors of the war!

So now we’re back into more familiar territory. The ugly and dirty complexity of war. Williams still manages to get both emotional nuance and laughs out of it. Impressive. And it’s impossible not to think on Williams’ fate. Life, eh!? And death? It’s in this film, and it’s in Robin Williams’ long celluloid shadow.

Unsurprisingly the movie and the reality of Cronauer‘s stint on air in The ‘Nam are galaxies apart. That’s Hollywood for ya’! And maybe this points to a fundamental issue with the American psyche? Is it any wonder they continually blunder into appalling geopolitical messes, when they live on a diet of dreams?