The daffs are, of course, gorgeous. But there aren’t near enough. Yet. I suppose with each year we’re getting better?
Purple grape hyacinths.
I can never seem to recall the name of the ‘purple bobble’ flowers. I near enough always have to look it up.
Hyacinths and solar light.Tulips… at last!
We’ve been trying to get flowers going in the garden for years. With minimal success. It’s nice to finally see a few tulips making it above ground. Again, need lots, lots more!
Glory be! Three flower types in one spot.
The border of the lawn section of our garden needs neatening up. Weeding, edging, and hopefully some more of those rope doodads.
The Mongolia is looking good.
We have plenty o’ trees. Two holly, an apple, pear, plum, several figs, two… no, three cherries, some bamboo, and a laurel bush. There’s also sundry stuff we inherited, down the far end. Inc the biggest tree of the lot. I don’t know what type of tree that is, yet.
Buds are coming out on the main cherry.
It’s funny how things come out at different times. The cherry out front is already in near full bloom. Whereas the one out back (above) is just budding.
Petting Chester this morning lead me to wonder where and when the conjunction of cats and humans, as we know it now – there are estimated to be in the region of 600 million pet cats, worldwide – occurred.
It seems, according to the evidence gathered in that article, that Felix Silvestris Lybica, or the African Wildcat, is the prime candidate for ancestor to our modern domestic cats.
Chester, tolerating mollycoddling!
The common name is a little misleading, however. As rather than the African continent, the location for the coming together of cats and humans is believed to be the Fertile Crescent:
The Fertile Crescent, acc. to Wikipedia.
This places the conjunction of cats and humans in what we’d nowadays call The Middle East, rather than Africa. And one of the earliest archaeological evidences for this is the burial together of a human and a cat, on the island of Crete, about 10,000 years ago.
There are several striking thing about cats, as opposed to most other domesticated animal species: the latter, from cows, pigs, sheep, to dogs, are social or group – herd or pack – animals. And they serve us in many obvious ways. Providing meat, clothing, and security services.
Cats, by contrast, are solitary, and not so biddable. It seems possible or probable that they chose to live with us, rather than vice versa. And the trade off was access to domestic mice and human trash; bountiful food sources for the populations of f. s. lybica living near the booming human settlements of The Fertile Crescent.
Oh, and then there’s the fact that they’re adorable!
Watching and listening to George Benson in his Rick Beato interview – an absolute classic – has decided me on further and deeper exploration of his recorded legacy.
I’m keen to hear not just his output as a leader, up into the mid-‘80s (I’ll cut off in ‘85 for now*), but also his stuff with Jack McDuff, prior to that.
* Whilst somewhat arbitrary, this is also when my interest in his output kind of diminishes (whether that’s justified or not is moot).
Benson’s debut on wax with McDuff?
With Jack McDuff:
Brother Jack McDuff Live, 1963 Brother Jack McDuff at the Jazz Workshop Live, 1963 Prelude, 1963 Cookin’ Together, 1964 The Dynamic Jack McDuff, 1964 The Concert McDuff, 1964 Silk & Soul, 1965 Hot Barbecue, 1966 Walk On By, 1966 Hallelujah Time, 1967 Midnight Sun, 1968 Soul Circle, 1968 I Got A Woman, 1969 Steppin’ Out, 1969
As leader:
New Boss Guitar of GB (w Jack McDuff), 1964 It’s Uptown, 1966 CD GB Cookbook, 1967 Giblet Gravy, 1968 Shape of Things to Come, 1968 Goodies, 1968 Tell It Like It Is, 1969 Other Side Abbey Rd, 1970 Blue Horizon, 1971 CD White Rabbit, 1972 Body Talk, 1973 Bad Benson, 1974 Good King Bad, 1976 Benson & Farrell, 1976 mp3 Breezin’, 1976 CD In Concert, Carnegie Hall, 1976 In Flight, 1977 CD Weekend in LA, 1978 vinyl Livin’ Inside… 1979 Give Me The Night, 1980 vinyl Jazz On A Sunday Afternoon, Vols I-III, 1981-2 In Your Eyes, 1983 Pacific Fire, 1983 mp3 I Got A Woman, 1984 20/20, 1985
Wow! This is so good. George Benson is incredible. Not just a great guitarist, great singer, or even just great musician. He’s also a great storyteller, and clearly a great human being.
I recall, when working for Drummer magazine, interviewing several drummers. George comes over here like Omar Hakim did, when I interviewed him. Eloquent, loquacious, just a plain pleasure to talk with and listen to. Full of passion for his art, and loaded to the gunwhales with great stories, wit and wisdom.
A beautiful man with a beautiful guitar making beautiful music.
It’s so refreshing how open and humble he is. In fact, it’s astonishing. He’s like a force of nature, somehow. And a bit of a sage. He can be simple, and bluesy, or complex and philosophical. In speech and thought, as well as musically.
I’ve loved Benson since childhood. Thanks to a copy of In Flight that my parents had kicking around, back when I was a kid. Watching this I just want to dig deeper into his catalogue. Maybe explore his Jack McDuff stuff?
I thought Yanks said ‘ass’, not ‘bum’!?
I loved this interview so much I posted the following comment:
Wow! That’s hands down my favourite musician interview ever. Seriously.
I’ve loved George Benson and his music since childhood. Thanks to a copy of ‘In Flight’ that I grew up with. His version of The World Is A Ghetto is one of my favourite recordings EVER. The synergy in the ensemble is beyond brilliant.
Rick, you do a great job of both prompting George, and yet - as Benson himself says, when talking about musical sensitivity, - keeping out of the way. Well done!
And George… what can we say, but we love you. A great singer, a great guitarist, a great musician, a great storyteller, and an all round great human being.
Incredibly accomplished, and yet so disarmingly open and humble. What a great example! Qualities like love and humility are undervalued in our times, and George Benson exudes these like a boxer produces sweat. Like his music, greatness and goodness seem to flow from him.
I don’t usually go in for ‘gushing fanboy’ type comments. But I was blown away by this wonderful interview. Thank you Rick. Thank you George! We love you ♥️
The very definition of joy in music.
Rick plays a few snippets of Benson’s playing and singing during the interview, including some of the unison guitar and vocal stuff from the above rendition of On Broadway.
The lyrics (my italics) fit Benson like a glove:
They say I won't last too long on Broadway I'll catch a Greyhound bus for home, they all say But they're dead wrong, I know they are 'Cause I can play this guitar And I won't quit til I'm a star on Broadway
Before watching it, I texted a link to the interview to my jazz guitarist friend, and fellow Beato watcher, Pat. After watching it I texted again:
It's hands down my favourite Beato thing. George is an absolute legend. He's as good a storyteller as he is guitarist/vocalist. And that someone as hugely talented and successful as he is can also be so open, down to earth and humble!? Beyond brilliant, in my opinion. And GB is 81!!! But still has the zesty lust for life of a wide-eyed kid. I think he's touring the UK this year. I'd love to see him perform.
Ok, so Miles’ Ascenceur pour l’echafaud and the above arrived today.
At the time of commencing this post disc one is playing, and has just reached the last track of Hip Harp,‘There’s a Small Hotel’.
The first of the four.
A constant throughout these superb session, so far, as well as the absolutely adorable Ashby, is Frank Wess, pretty much exclusively on flute (he played sax as well).
The combo’ of harp and flute is just perfect. And both Ashby and Wess are fantastic musicians, never running out of fresh improvisatory moves.
And the rhythm sections – bassists Wendell Marshall, Eddie Jones and Herman Wright, and drummers Ed Thigpen, Art Taylor and Roy Haynes – are all top notch guys, meaning the whole ensemble, however constituted, is always steamin’!
Sadly the sequencing over the double CD set interrupts the flow of third album, In A Minor Groove. But whilst having to change disc may be a minor irritation, the music remains a major triumph.
A beautiful cover, for a beauty of an album.
The mix of standards (not so standards) and originals flows seamlessly. So Ashby proves herself not just brilliant a melodist, soloist and accompanist, but also a superb composer/arranger. The full package.
A slightly worn vinyl cover.
Five tracks from Soft Winds are also included, meaning another six tracks from that album are left out.
We only get five tracks from Soft Winds.
We had a little snackette/starter, of oriental steamed duck dumplings. With some kind of sauce. Lovely!
Trois dumplings, mom ami.Sauce in a cup. Cup n’ saucy?
That was delicious. Almost as mouth watering as Dorothy and co.
Too gorgeous!
Some readers (that’ll be me, then) will know I love the colour green. So get a load of this green vinyl edition of the already gorgeous In A Minor Groove. Too much, baby!
As I drool over the groovy greenery, CD two plays: the remainder of In A Minor Groove, all of her eponymous fourth album, and the five selections from Soft Winds.
Frank Wess.
After the fifth track on disc two, Frank Wess disappears from the mix. But despite this, at no point does the superb quality of music dip.
Whilst talking Wess, listening to these terrific recording inclines me towards exploring his recorded legacy further… and would t you know it? There’s a Frank Wess ‘Four Classic Albums’ set, also by Avid.
Tempted? Of course! With sidemen such as John Coltrane (Wheelin’ & Dealin’), Paul Chambers, and the Two Kennys (Clarke, drums; Burrell, guitar)? It’s a no brainer.
We went to Tesco, and then I took Teresa for a country road jaunt, as she hadn’t spent any time in Flo’ before today.
On our way home it got a bit Biblical, rain wise. But the sun was also out, in places. The result? A fabulon rainbo’! As pictured above.
Crap pic!
Once we are almost home the rainbow had mostly varnished into thin air. But there was a fast fading ragged remnant. I snapped it, just as the last bit disappeared.
Awful pic! I zoomed in and fiddled with settings to try and bring it out a bit better.
Disappointing…
As rubbish as my photos are, it was still lovely to see the rainbow, and take Teresa out in Flo’. I got us both to make a wish upon the rainbow. Silly, perhaps? But I couldn’t care less!
Teresa mentioned that she’d heard it was Tom Baker’s birthday today. I thought I’d see if it was/how old he is. Turns out he’s 90. And his birthday (acc. to Wikipedia) is Jan 20th.
As the IVth Doctor Who.
I’d gotten used to seeing him looking a bit chubby, like this:
He appears to be wasting away, as a nonagenarian. It’s a bit alarming!
Bake era Doctor Who is the only iteration of the franchise I can abide. And one of my favourite Tom Baker themed things is his excellent autobiography, Who On Earth Is Tom Baker.
Baker/Who in The Simpsons.
In this book, his time married into the Wheatcroft family is very vivid and memorable. Sadly for all the wrong kind of reasons. I wonder if his wife Anna’s father, Harry, was any kind of influence on Baker’s Dr Who?
I put my beloved Impulse Tee back on today. And what should pop up in my Amazon feed, but this:
Interesting design.
Available in two physical formats: vinyl (£160!), or CD (£12-20).
The music biz know how to milk musophiles.
This compilation – on four records or two CDs – appears to be not just a celebration of Impulse! as a Jazz label, but Afro-American ‘consciousness’, as well.
I’m seriously tempted get the CD version. But I have to reign in my music buying. As poverty is a very real issue, alas.
A while back I had a pretty heavy Alice Coltrane phase. Still love her music. Just not listened to much recently. Instead, I’m getting my jazz harp fix from Dorothy Ashby.
The above linked YouTube video, the complete Fantastic Jazz Harp of Dorothy Ashby, is great. And I have a double CD on its way to me that collects four of her early albums (and the best part, but alas not all, of a fifth).
Looking for’ard to getting stuck into these.What a great picture!Love this…
Fantastic is playing as I type this. And it’s aptly named. Of course Dot’s harp is the star attraction. But I was also blown away by the bass player and drummer on these recordings.
Richard Davis.
Bassist Richard Davis is a monster! I didn’t know this until listening to this album prompted me to dig around a bit, but… he’s the bassist on Van Morrison’s Astral Weeks!
Grady Tate.
And the drummer is Grady Tate… nuff said!
Percussionist Willie Bobo adds to the engine room grooviness. And numerous cuts feature a four-piece horn section, comprising only trombones!
Five of the ten cuts on this disc are Ashby originals. The five covers range from pop to ‘trad arr’. All the material is wonderful.
Maybe one day, when I’m a bit more flush, I can get this:
With Strings Attached.
The above New Land deluxe 6-LP boxed set With Strings Attached is about £200! But it looks well worth it, to my mind (and ears). I’d best get saving.
YouTube, meantime, has moved on, and is now playing this:
… which appears to be Dot in solo mode. And it’s utterly sublime! I initially felt a bit dismissive of this album, purely on the basis of it being a later recording (1984). And maybe the cover art? Well, I was mightily mistaken.
Django… Misty, and Concierto de Aranjuez were Ashby’s last releases. Both coming out on the Philips label in 1984. She died in 1986, aged just 63!
I must have this! Can’t find it at an affordable price tho’…
It’s funny how stuff can sometimes take a while to connect. I got an mp3 only version of Dorothy’s Afro-Harping many moons back (over a decade ago). And I loved it. But I didn’t dig any deeper at the time.
And then came my fairly intense period of listening to and loving Alice Coltrane. And still I didn’t check Dorothy out any further.
More Dot Fabness.
It was really down to her stuff – specifically 1969’s Dorothy’s Harp– popping up in my YouTube feed recently, seemingly at random, that I finally made a deeper connection.
And then I find out that only last year, UK label New Land put out their deluxe reissue set… synchronicity, eh? But only on vinyl. And super expensive.
I utterly adore Uncle Walt’s Band. Their eponymous 1974 debut (originally released as Blame It On The Bossa Nova, but retitled for the extended 2019 Omnivore label reissue) is just terrific.
I just ordered a cheap used copy of their next album, An American In Texas, via Amazon. It’s another expanded Omnivore re-release, which adds the music from their formerly cassette only 6-26-79, and a number of live tracks.
I found a great article on the group, and the careers of the individuals involved, that you can read here.
