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I’m pleased to report the cicada recording project is mostly going great. Unfortunately, guitars and vocals occasionally also get into the mix.
Another great thing about the constant 85-dB whine of the cicadas is the way they mask the ringing in my ears. Who knew an insect could be so useful?
I’ve been really busy lately; besides the fact my web work (my freelance “day job”) has picked back up, I’ve got three recording projects going on. Two of them even have deadlines, so something might possibly get finished!
Anyway, here are a few things I need to post before they get too moldy:
Hope you all are surviving this beastly heat. Actually Kansas City got a break yesterday from weeks of heat indexes above 100°, but the temp is going back up again. The weird thing is how the light has changed to that of autumn. Looking outside in the afternoon, if it wasn’t for the air conditioner running you’d almost swear the leaves will be changing any day now.
I’m so sorry to hear that Max Roach has died.
I never listened to him a lot, but he turned my brain inside out.
When I was a junior in college and had been playing drums maybe three years, Max Roach came to the University of Kansas. (I should point out I was not studying music at college. Unfortunately, aside from a clinic here or there, I’ve had no training on drums whatsoever). Admission was free for students, though, and I had heard this guy was a big deal.
I went to the auditorium, which was not crowded at all, only to see an empty stage. Please understand, I was an idiot*: at that point, the best drummer I’d ever seen live was Tommy Aldridge with Black Oak Arkansas, and a large part of what impressed me was how he could play a big double-bass kit with (I counted) 11 cymbals. He was definitely a great drummerso what was with this empty stage?
Eventually this little black guy walks out carrying a single small floor tom and a pair of brushes. He proceeded to play music, all by himself, and he didn’t just play the metal brushes on the top head of the drum, like you’re supposed to: he used the hook on other end, he used the rim of the drum and the side, and at one point (the crowd stood up and cheered) he rolled a brush sideways across the drumhead with the palm of his hand in a complex polyrhythm. Eventually, I got it. Equipment is a means to an end; any sound you make is legitimate as long as it serves its purpose; and it’s all, always, all about making music.
I never looked at a drumkit the same way again. Thank you, Max. You did many things for many people, but that’s what you did for me, and that’s a lot.
*I still am. But these days, I’m a much more experienced idiot.
I’ve tried three times to write a post about how good the John Doe/Dead Rock West show last week was (truth in advertising: I played with the opening act, Howard Iceberg & the Titanics). It turns out that if I tell everyone who will listen what a great show it was, I have no energy left for a blog post.
I’ll just say if you do get a chance, check out John Doe at a live gig or on his latest (excellent) CD. I also highly recommend Dead Rock West (their MySpace page has two complete songs and some radio stuff), who backed Doe after playing a set of their own strong material. I ordered DRW’s CD Honey & Salt, but it hasn’t gotten here yet.
It was an evening of sophisticated punk (if that makes any sense) mixed with twang and a little touch of folk, played with consummate musicianship and incredible energy. I mean, John Doe is 52, but I haven’t seen many players half his age rock so hard. Special props to Cindy Wasserman, who with Frank Lee Drennen handles lead vocals for DRW. Any woman who sings with John Doe is going to be compared to Exene (who co-fronted X with Doe), but Wasserman was up to the task.
While Doe’s material includes one of my all time favorite songs, “Fourth of July,” (and “The Golden State” from the new album looks like it may be headed for that list), it was actually the cover songs that put the show completely over the top. They ended the set with The Beatles’ “Revolution” (“Be sure and vote,” Doe said. “It’s the one thing you can do to make a change.”). The three-song encore ended with a version of “Gimme Shelter” that absolutely blew the roof off of Davey’s Uptown, with Doe taking the part of Mick Jagger and Wasserman that of Merry Clayton. “We’re outta here. We can’t top that.”
No shit.
Update: I forgot I took some pics. My ancient camera doesn’t handle low light very well, unfortunately.