MUSiC: RIP Dino Danelli

Damn, another one off to the great Jam Sesh in The Sky!

Those outfits!

Dino Danelli is referred to, in a quote on his wiki page, as ‘one of the great unappreciated rock drummers in history.’

He’s someone I’ve been meaning to check out for years. I have a fair bit by The Rascals in my mp3 collection. But I haven’t listened to it a great deal.

I was always a bit surprised that they were lauded by the funky soul brigade. I recall reading about them in Wax Poetics, and thinking they looked a bit off that mag’s usual musical map.

Dino did the cover art for this ‘72 release.

I think that’s quite possibly largely due to their last release, 1972’s The Island Of Real. Although they had streaks of blue-eyed soul running through a fair bit of their music.

The first album I got by them was the unusual Freedom Suite. Alleged by some (allmusic.com for example) to be ‘the beginning of the end’ for the band, I’m sure I read somewhere that some of the group’s contributions to this disc were replaced by session players?

Riding the hippy wave!

One of their biggest hits – a number one in the US for 5 weeks in ‘68 – was People Got To Be Free, the groups’ comment on the murders of Martin Luther King and Bob Kennedy.

To finish this post, here’s Boom, Danelli’s drum solo feature from the Freedom Suite album:

CARS: CaRSE!!! Pt.2 – Further MX5 Battery Stuff…

The battery in my MX5 is in the boot!

Having had to postpone my Wednesday teaching to today (Thursday), I had to cancel it altogether. On account of the car still being a frozen block of ice!

However, the sun was out today. And despite the temperature remaining zero or below, it meant I could more easily defrost the car.

This thing seemed to (eventually) do the trick.

Not only had the Arctic conditions drained my battery. They had also meant that the door locks weren’t working as the should. Somehow the electrics for the door locks were going mental, or just seizing up altogether. Squirting WD40 into the locks seemed to ease them a bit.

Around midday I decided to try to start the car again. I’d defrosted it, partly with the sun’s help, and the locks were now responding to my keys (at one point the locks had been so seized up I couldn’t even insert my keys!).

Our local Halfords gave the battery the all clear.

And, lo! The car didst start!! We drove to Halfords, where I’d bought this battery (prob’ about three years ago?), and they tested it. Somewhat to our surprise they told me it was fine. Fine!? Oh well… saves us some more unwelcome expenditure. I just hope tomorrow she’ll start up on, as it’s fookin’ freezing again!

CARS: CaRSE!!! Pt.1 – Dead battery on MX5 (again!)

Not a great pic. But car is all frosted up!

Aaargh! For the second time in about one week, my MX5’s battery appears to have died/drained.

First time it happened I was in the middle of nowhere. Luckily for me there were a few houses about a 1/4 mile away, and I was at a scenic spot where folk walk their dogs or just stop to look at the riverbank.

A local chap tried to help me start with jump leads. To no avail. So I enlisted the help an older guy sat in his Merc’, no doubt relaxing, and we all three push-started my little motor. Since which time she’s been running fine.

And then this morning, at about 7am, getting ready to take Teresa to work – on account of the train strikes (which I wholeheartedly support; up the workers, and boo-sucks to our crypto-fascist Tory state), nada… totally dead!

Tried to jump start via cables again, with two neighbours pitching in. But no luck! After a bit of anguished searching, we located a small battery charger I got via Amazon Vine.

The manual for the charger (a Noco Genius 1!) says it’ll take 9 hours – trickle charging, I guess? – to recharge a 12V battery, such as our MX5 has.

So, it’s no work, as we’re stranded at home. And instead I’m going to do lots of practice pad stuff. Finger and hand technique: fast finger rolls, open-close, push-pull, Moeller, etc.

MUSiC: Introducing ’Ponta’ Murakami, 1976

Well, Terminal Passage, who regularly uploads music to YouTube that I either really like, or at least find interesting, came up trumps with this.

I was researching the drummers of Casiopea, and Murakami was listed: ‘Occasionally appeared as a second drummer for the band in a few of their live performances’, in the ‘77-79 period! So, around the time of the groups transition from their first drummer, to Sasaki, whose playing I adore.

This album gets a relatively low score, of three and a half stars, purely on listenability. It’s very interesting, being pretty experimental, and perhaps technically deserves a higher rating. It’s also very very interesting from a drummer’s perspective, with some incredible playing. But, it’s not an entirely easy or pleasant listen!

The cover artwork, however, is a very pleasing and delightful surprise, appealing to me massively aesthetically. That gets five – or poss’ even the rare but coveted six – stars from me. Fantastic!

The back cover. Fab!

Intent at his work/playing, ‘Ponta’ looks like a major dude in his fair-isle sweater and jumbo earphones!

As it currently stands this post is just a ‘heads up’, to myself, as much as anyone else. No doubt as I listen to it more – I’ve only had a cursory listen so far – I’ll fill in on the musical content a bit more here.

LATER…

Well… it’s now very late in the day, and I’ve listened more closely to the first four tracks, which would’ve comprised side one, in vinyl days of yore. It sounds like it’s mostly just keys and drums; Ponta along with Jon Fukamachi. If there are other musicians I don’t know who they are!

Musically it’s pretty gonzo! Veering all over the map, with a big nod to funky jazz fusion, but in a decidedly odd and unusual vein. Track one, Dance Of Paranoia, moves between a funky clavinet feel, with busy drums, segments that are driven by acoustic piano bass lines, and some outright weirdly composed stuff. It also features some unusual scoops or dips in volume. Very obviously deliberate, and highly unusual!

Contact Point, track two, sounds like it has electric bass. And is – relative to much of the album – quite straightforward, if still a bit quirky. There are shades of disco space funk in this one. Absolute Space takes the spacey soundscapes vibe and goes much more deeply and freely into it, although the abundant earthy percussion tethers things, with some Airto like organic percussion.

The ballistic yet super tight drumming of Quadriga, track four, is the first instance of something both musically interesting, and also somewhat to my tastes. Up till now, there’s been much to enjoy, but scattered throughout a real kaleidoscopic scattershot mix of stuff, much of which doesn’t float my boat.

But, even here, Ponta oscillates pretty wildly, between driving groove based sections, and much freer segments. This track really is a tour de force of drumming and percussion skills. In places it’s like the kind of weird modern ‘classical’ composed music you hear percussionists performing on Young Musician of the Year. Music by musicians for musicians! Poss’ of very limited appeal to non-musos?

As a drummer, musician and ‘artist’, I can really appreciate the artistry of the whole album, even when it doesn’t necessarily ‘do it’ for me. But with Quadriga I can totally enter the spirit of it. As it’s so intensely rhythmic. Definitely my favourite track so far. But maybe tomorrow, and ‘side two’, will change that?

MUSiC: Transcribing Drums – Midnight Rendezvous, Casiopea, 1979

Takashi in the studio.*

I have been digging the fantastic drumming of Takashi Sasaki for a while now. He was, strictly speaking, Casiopea’s second drummer. Their first drummer, Tohru ‘Rika’ Suzuki, didn’t record with the group (at least not on an officially released album). Hence Sasaki is commonly thought of and referred to as their first, as he’s the first to be heard in the chronology of their official recorded discography.

His style is light, tight, intricate and highly musical. His chops are extraordinary. With a mastery of dynamics – the range between his ghosted notes, standard hits, and accents, make his playing very hard to accurately emulate – and a penchant for a style Weather Report infamously described as ‘soloing all the time without ever soloing’.

Looks like an album cover or sleeve montage?

He can and does get busy at times, but he always grooves like a mother! Some of his fills are truly ballistic. And, occasionally, they’re almost impossible to decipher. This is particularly true of a few fills (and possibly even grooves?) on the super tasty Midnight Rendezvous.

Even using Moises to isolate the drums, and ASD to slow them down, there’s a fill at around the 3.00 mark that is doing my noggin in. I initially thought perhaps it was in fives, or something like that. But repeated listening leaves me stumped. I need to have it running as a slowed-down and visual (wave-form) loop, methinks. I’ve not tried that as yet.

My score for this is a work still in progress.

It’s taken me a good few hours to get down the first two pages of what will, I think, be a four page score. And even the fifty or so per-cent I’ve done so far will, undoubtedly, be subject to some revision.

I’ve got as far as the end of the (very tasty) guitar solo. Next up is the keys solo, under which Sasaki does some very light and intricate stuff. I’ve blocked in some of this latter section. But I’ve yet to get in there and tweak it.

Sketched out, and still needing fine tuning…

All the cats in this band are just utterly phenomenal. They play in that deliriously groovy sweet-spot, where instrumental prowess and sheer good taste, when it comes to musical choices, collide.

Once I’ve finished the transcription, I intend to learn to play the whole piece as best I can. I’d like to do a YouTube video cover of it, and share it online.

It’s funny for me, as a primarily self-taught drummer, who’s only learned to read drum music ‘on the job’. Stuff that ‘classically trained’ musos might find obvious and easy can sometimes fox me. Transcribing stuff is proving a great way to teach myself written music. Albeit I’m still dealing in timing only, and not pitch/harmony, etc.

A master at work. What became of him?

Here’s a specific example of how I’m learning on the job: there are some quick ‘crushed bounce’ style left hand-doubles – sometimes such stuff is played as a buzz; but oft-times you can clearly hear these as a double – and I initially thought, ok, just turn a single 1/16th into two 1/32nd’s.

But that just sounded so wrong! So instead I turned the ‘&-a’-notes from two 1/16ths (or more [in]accurately one 1/16th and two 1/32nd notes) to a group of three 1/16 note triples. The resultant ‘4-e-&-trip-let’ subdivision sounds and feels sooo much better. And that’s how he plays it. Learning on the job!

* Those tom angles!? They look awful… like a school-kid’s drum set up. Still, the sounds he gets, the feel he achieves, that’s the proof o’th’ puddin’. Just goes to show there’s no single right way. Each to their own!

MUSiC: Bill Withers, BBC, 1973

More musical magic from the early ‘70s. Just sit back and dig it!

Setlist

00:00 Ain't no Sunshine
03:18 Lonely Town, Lonely Street
09:14 Grandma's Hands
11:47 Use Me
16:06 Let Me In Your Life
20:20 Lean On Me
24:43 Harlem

As so many folk note, in relation to Bill Withers, he exemplifies the truth that, in the right hands, a little can really go a long way. Obviously he has a terrific voice. Although it’s not the type of voice you would see winning The Voice (and thank goodness!).

Might have to get me one of these…

As a guitarist, piano player and songwriter, he’s a little bit like Tom Waits, only even more basic. Like Waits, he’s not a virtuoso on these two composers’ tools. But he is most very definitely an artist, wringing a lot of feeling from a limited technique.

As a child he had suffered with a stutter. It’s hard to credit that, watching this intimate soulful concert, where he seems so natural and at ease, despite playing – as he alludes to early on in the set – with a partial scratch/pick-up band.

Personnel

Bill Withers - Vocals, rhythm guitar, piano
John Barnes - Piano
Snuffy Walden - Guitar
Melvin Dunlap - Bass
Fred Casey - Drums

MUSiC: Herbie & co. Danish TV, 1976

Loving the montage effect! And the vivid colours!

Great near 40 minutes of Herbie and co on Danish TV, from 1976.

Personnel 
Herbie - Keys
Bennie Maupin - Sax, etc
‘Wah Wah’ Watson - Guitar
Paul Jackson - Bass
James Levi - Drums

What terrific music. Such a great combination of funky groove, and jazz, with the perfect balance of instrumental prowess and structure, creating instrumental sounds that absorb and uplift. Truly music that is both high art and tasty home-cooking.

Setlist (taken from the YouTube post)

Herbie Hancock and his band perform cuts from the albums “Man-Child” and “Secrets”:

1. Hang Up Your Hang Ups (from Man-Child, 1975)
2. Gentle Thoughts (from Secrets, 1976)
3. Spider (from Secrets, 1976)

When I was running my own jazz funk group, I had all three of these tunes on my setlist wish-list. We did occasionally play some of the usual suspects: Watermelon Man, Canteloupe Island, Chameleon. And one or two less frequently covered numbers, such as Wiggle Waggle, and that one Dee-Lite sampled (I forget the title!).

Others that I really wanted to do include Actual Proof and Tell Me A Bedtime Story. Oh, Herbie! What a talent. And surrounding himself with folk like Paul Jackson, Bennie Maupin, Bill Summers, and a parade of drummers and guitarists that include the likes of Harvey Mason, Mike Clark, and of course Watson and Levi.

Wah Wah Watson’s Gentle Thoughts epitomises an era for me. I may have ‘golden age syndrome’* when it comes to stuff like this? And who knows, perhaps actually now is the golden age? Inasmuch as I can enjoy this Danish TV show that, at the time, I had no idea about.

Ah, the sheer bliss, of watching and hearing the joyous melodic grooving of Gentle Thoughts, in an expanded live version. These righteous dudes both recreate the magic of the album version, and transcend it, with the live improv’ aspects of the performance.

So, I’d like to thank Herbie and co for the music, Tim Berners-Lee for the internet, and YouTube and ‘Phazers’ for hosting/posting this. Thanks for making an everyday Saturdsy magical.

* I get this phrase from Woody Allen’s Midnight In Paris.

MiSC: Politics & Media

This post arises out of my despair at being mugged every month by Virgin Media.

My loathing for Toryism grows and grows. Cursed with the Thatcherite style ‘choice’ of a shower of money-grabbing swindlers, aka broadband service providers, and currently being fleeced by Virgin Media, I can only marvel at how Boris, with his execrable ‘bus of lies’, had the bare-butt-faced-cheeks – the goddamn effrontery – to swindle, nay, to rape our nation so effectively.

Un-fucking-believable! Bohnson, you neo-fascist shitbag.

According to Bozo, Corbyn’s pledge to give all in the UK free internet was a ‘crazed communist’ plot. Instead of publicly owned assets that serve us all, we have shitty privately owned corporations intent on robbing us blind, the ongoing nightmare of Brexit, recession and rampant inflation. And still the billionaire press barons prop up the rotten Tory establishment, merrily scapegoating the weak and poor at the bottom of the collective heap, whilst they and their fat cat ilk wallow in the cream at the top.

A neo-liberalist wet-dream. AKA a nightmare.

Evil? Unquestionably. Beyond fucking disgusting? Indubitably. And these evil fuckers are currently embarked on a process of gutting the UK of any rights to protest. The real reason for Brexit. At a time when many scientists are saying humanity is teetering on the brink of self-annihilation, it’s business as usual for the robber barons.

Smiles and suits belie pure evil; a cabal of self serving right-wing hooligans.*

* I know there’s been a changing of the guard since these cyphers were photo-collaged together. But you can take pretty much any set of Tories, and the putrid essence of evil remains unchanged.

For the meat and potatoes, try this, in which some of the reasons for my anger are elucidated. For many years I’ve allowed my own personal issues and petty problems to contribute to almost total political apathy. But these self-serving bastards and their rapine policies are driving me back towards activism.

Abysmal (unelected) architects of the UK’s self-destruction.

So now we have Rishi Sunak, a product of The City, whose tax-dodging wife epitomises exactly what’s so rotten about Toryism. Another unelected (by the people of the UK) neo-liberal capitalist stooge. So he’s going to fix the appalling mess years of Tory misrule have brought about!?

Rishi to the rescue…

Pull the other one. Oh, wait… there is no other leg to pull. All the limbs of the rotten cadaver of British politics have already been torn off. The corpse of British Democracy has been sent to the Tower, hung, drawn and quartered.

The UK needs to see Toryism killed off. Banished. Fired into a black hole. Exorcised. Otherwise we are, er… royally fucked.

If only this were the end of such backwards ways.

MiSC: Shocking Accident!

On my drive home from doing a spot of Amazon Flex deliveries I witnessed a car crash. I’ve often seen the aftermath of accidents. But actually seeing one happen is pretty shocking. It’s all over in a flash!

I’m guessing it was about 3.45/4pm, on the B1101 March Road. What I actually saw, of the accident itself, was a puff of smoke and a car spinning off the road.

A Van very close to the collision was unscathed, even though it had driven through the debris of the collision. I spoke to the driver of this van, and he said that the grey VW involved was the culprit, speeding past his van in an overtaking manoeuvre that went horrifically wrong.

The other car involved in the collision – a silver VW – had been spun off the road and into a field. The lady driver was in shock, and had a visible bleeding leg injury. Given the proximity of trees and deep ditches either side of the toad, it was miraculous that things weren’t far worse.

I was the closest car in the southbound lane, and dropped and approached the scene on foot. There were two men from the grey VW, both moaning and calling for help. An overweight middle-aged guy was behind the wheel, and a skinnier younger guy was laid out on the verge, having managed to exit the car.

Several factors – besides the shock of seeing injured/distressed people stuck in or near their vehicles – really struck me: first, the source of the smoke/steam, which was the engine of the VW. This had shot out of the car, and lay on the verge, about 50-100 yards from the vehicle. The impact must’ve been massive to cause that!?

Second, the VW’s plates had only been held in place by gaffer tape. The rear one wasn’t on the vehicle any more. Nor was the front one; the whole front was totally trashed, and mostly missing. A sole reg plate, with some gaffer on it, lay near the van. Was this the front or back plate? I’m guessing it was the rear one, as the front end was in hundreds of pieces all over the road.

After calling 999 – which the van driver on the scene had also already done – I talked to all the injured parties. I couldn’t offer any aid, as I’m totally unqualified to do so. Bit of a shock that; makes me feel I ought to know more.

The copper on the 999 call got me to take certain info – registrations, etc. (difficult re the grey Golf, for reasons alluded to above!) – and wanted to use my iPhone camera remotely. But that didn’t work.

As already mentioned, I talked to the van driver. He told me that another car had sped past, overtaking him, and then the grey VW attempted to do the same, but lost control, and collided with the silver VW in the oncoming lane.

The gaffer taped number plates, the race or chase scenario, and just a general vibe off the VW occupants – trackies and super-bling jewellery – lead me to suspect they may be criminals, perhaps in a stolen car.

Whether this proves to be the case, or not, I just hope their reckless driving hasn’t harmed the lady in the other vehicle too badly.

The emergency services arrived pretty promptly. The police first, then the fire brigade, and I’m assuming an ambulance, although I don’t actually recall seeing the latter.

The van driver who so nearly got caught up in the accident, myself, and several other people got involved, talking to the car occupants, calling 999, etc. It was pretty horrible. Esp’ when the two guys in the grey car were moaning, the driver semi-screaming, calling out for help. I think he said something along the lines of ‘I’m dying’!

A salutory reminder to always drive carefully. And – however carefully one drives oneself – to be as aware as poss’ of other road users.

UPDATE: In the aftermath of this accident I was constantly googling for info, and I even posted about it on a local FB discussion group type page.

The latter lead to the lady in the accident posting, to say she was injured but had survived. It was good to hear she was, in a way (see below), ok.

But nothing official appeared in the media about it for over a week. Eventually a slew of identical ‘features’ appeared in the local press, from where I take the following:

Police are appealing for witnesses after a collision left a woman with life-changing injuries and two others seriously injured.

At about 3.45pm on 8 December, a silver Volkswagen Golf and a dark grey Volkswagen R32 Golf were involved in collision on the B1101 March Road, between Coldham and March.

The driver of the silver Golf, a woman aged 50, was taken to hospital with serious injuries.

The driver of the Gold [sic*] R32, a man aged 49, received potentially life-changing injuries and a passenger, a man aged 30, was left with serious injuries.

All involved were from the Wisbech area.

PC Joe Woolf said: “I am particularly keen to speak to the driver of a sports-type silver Audi who I believe witnessed the crash. I would also urge anyone else who saw what happened or believes they saw the vehicles in the build up to it, or has relevant dashcam footage, to get in touch.”

Anyone with information is advised to contact Cambridgeshire Police on 101. They can also report it via the force’s web chat, quoting incident 346 of December 8.

* Having already said it’s dark grey, I’m assuming this typo should read Golf!?

MUSiC: Casiopea, ‘77

Wow! I love the interweb for stuff like this. I’m trying to learn more about Casiopea’s original drummer, Takashi Sasaki, I found several YouTube videos, listed on the Discogs website. I’m sharing them here.

These recordings appear to be from a Yamaha music corporation even, which, by the looks of things, was recorded. These live performances show Casiopea already performing several tracks that would appear in the eponymous debut, in ‘79.

Sasaki joins the ranks of my favourite drummers. His playing is tight, crisp, nuanced, with a perfect dynamic range. His drumming is always imaginative, and can frequently be quite busy, but it always fits the music perfectly. A real inspiration.

So, he was playing a Rogers kit.

Several pictures and videos confirm that Sasaki was playing a Rogers kit at this point. I’m very keen to learn exactly what cymbals he plays on the Casiopea debut, as I adore their sound.

And, rather joyously and groovily, it seems that, whilst video of the entire ‘79 Pit Inn gig – from which performance of Midnight Rendezvous I discovered the groop – is not to be had, the complete audio is: