February 29: Daily Guru, "Get Over Yourself, Haters!"

In today's video, I take a moment to address those people who cannot handle the way some of us enjoy our music. Share and enjoy.

February 28: Daily Guru, "Gurucast #113"

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(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself.

Tracklist (all links are to MY review of that artist, song, or band):
1. James Brown, "It's A New Day So Let A Man Come In And Do The Popcorn"  Revolution Of The Mind: Live At The Apollo, Volume 3
2. REM, "Revolution"  1995/07/29  Keynes, England
3. Allman Brothers Band, "Done Somebody Wrong"  At The Fillmore East
4. Gogol Bordello, "Wonderlust King (BBC Session)"  Live From Axis Mundi
5. Jerry Lee Lewis, "High School Confidential"  Live At The Star Club, Hamburg
6. The Cinematic Orchestra, "Breathe"  Live At The Royal Albert Hall
7. The Clash, "Police On My Back"  Live At Shea Stadium
8. Guns N' Roses, "Used To Love Her (live)"  Unplugged
9. Charlie Parker & Dizzy Gillespie, "Hot House"  Diz n' Bird At Carnegie Hall
10. Janis Joplin, "Kozmic Blues"  Joplin In Concert
11. Tori Amos, "Icicle"  1996/04/11  MTV Unplugged
12. Fugazi, "Target"  Live Series: Volume 16
13. Del McCoury Band, "Beauty Of My Dreams"  2002/06/22  Bonnaroo Festival
14. Bobby Darin, "The Curtain Falls (live)"  The Legendary Bobby Darin

February 27: Daily Guru, "Something Old, Something New #55"

It’s Monday, and that means another edition of “Something Old, Something New.” Share and enjoy.

February 26: Ahmad Jamal, "Poinciana"

Artist: Ahmad Jamal
Song: "Poinciana"
Album: At The Pershing: But Not For Me
Year:1958


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They say that the key to being a great artist is knowing how to properly hide your sources and influences. If this is the case, then nearly every jazz giant has succeeded in this, as one of the most important figures in the development of the genre remains tragically underrepresented more than fifty years after some of his most significant recordings. As a major influence on everyone from Miles Davis to John Coltrane to Herbie Hancock, few artists have so singlehandedly influenced so many whilst staying relatively unknown outside of jazz circles. Pioneering the idea that the silence in jazz is just as important as the notes, there are truly few figures in the genre as visionary as pianist Ahmad Jamal. So significant was Jamal's influence, that during the recording of the song "Freddie Freeloader" on the Kind Of Blue record, Davis famous asked pianist Wynton Kelley to, "sound more like Ahmad Jamal." Such reverence and respect from his fellow musicians was not enough to gain him similar notoriety in the public eye, yet Jamal has released more than fifty records over the past five decades, and he continues to make new music to this day. While there are many fantastic albums from which to choose, few will argue that Ahmad Jamal's 1958 release, At The Pershing: But Not For Me, not only represents his finest music moment, but similarly stands as one of the greatest and most influential jazz recordings in music history; and there are few songs on the album more impressive than his take on the classic, "Poinciana."

Though Jamal himself is unquestionably the focus and most talented member on "Poinciana," his backing band proves to be both musically intelligent as well as skilled, and the combination stands as one of the finest jazz groupings in history. Having played alongside the likes of Benny Goodman and Fletcher Henderson, bassist Israel Crosby is perhaps best known for his 1935 recording with Gene Krupa that features what is widely considered to be the first bass solo ever on a studio recording. It was not until he became a part of the Ahmad Jamal Trio that Crosby truly began to shine, as it is clear that the chemistry between him and Jamal is like that of no other, and the bassline he creates on this track stands as one of the most uniquely wonderful ever recorded. Drummer Vernell Fournier has an equally impressive pedigree, having been one of the primary drummers for both Charlie Parker and Dizzy Gillespie before joining up with Jamal and Crosby. Having backed the likes of Billy Eckstine and Nancy Wilson as a teenager, few artists have spent as much of their life playing at such a high level as Fournier. All of the talent of both Crosby and Fournier is featured in top form all across "Poinciana," as they almost skip across the track, and it is this pace and energy that quickly vault this take beyond any other rendition.

While it does take all three musicians for the composition to truly take flight, the fact of the matter is, as one would expect, the focus of "Poinciana" is all on Ahmad Jamal. Playing a bright and crisp style, one cannot say enough about Jamal's liberal use of silence in his piano playing. These moments of piano silence often create a "tension/release" type of mood, as well as accentuating both the rhythm section, as well as the notes that Jamal DOES play. The spots that are "left unplayed" further show Ahmad Jamal's understanding of the music, as well as his deep connection with the spirit of the song, as he is in many ways leaving the empty spaces where he "feels" they should be. His understanding of this idea of purposeful silence is perhaps no more apparent or stunning then one finds on thi extraordinary rendition of the classic song, "Poinciana," and there is little question that the version of the song found on At The Pershing: But Not For Me is "the" definitive recording, and the massive open spaces left by Jamal are absolutely something that must be experienced firsthand to be properly understood. Whether he is playing his fantastic progressions, or leaving silence which brings with it just as much impact, the influence of Ahmad Jamal's piano work on "Poinciana" is largely unrivaled and it created a true revolution within the jazz genre.

While a majority of the most important and influential jazz musicians are household names, there are a number of equally significant players whose names have been largely lost by time. Furthermore, it is often these slightly lesser known artists who were the "real" innovators and pushed the more popular names into the territory and sounds that would make them famous. Standing high atop this second list is the man who taught the world that the silence in jazz songs can be just as important as the played notes, piano genius Ahmad Jamal. Having recorded for more than fifty years, few jazz musicians have had as long and as distinguished a career, and one would be hard pressed to find any "jazz great" that did not cite Jamal's work as a significant influence on their own sound and style. Primarily known for the way in which he left "open spaces" in his music, when he does play, Jamal's piano work is equal to that of any of the other piano greats, and it is this fact that makes him an undeniable icon of jazz music. Though he has released countless amazing records, it was his work with his trio that yielded his most stunning and influential musical moments. Combining with the bass work of fellow jazz icon Israel Crosby and drumming prodigy Vernell Fournier, the three stand today as one of the most musically creative and pioneering groups to ever record. The true genius and musical superiority of this group is perfectly captured on Ahmad Jamal's landmark 1958 recording of the classic song, "Poinciana."

February 25: The Dictators, "Go Girl Crazy!"

Artist: The Dictators
Album: Go Girl Crazy!
Year: 1975
Label: Epic



Though even in modern times, they are still seen as rather far apart on the musical spectrum, when one considers the evolution and form of the styles, it is impossible to deny the strong connections between heavy metal and punk rock.  The linage of both genres can be traced back to the likes of The Stooges and The MC5 among other bands, and in many ways, the only difference is within the actual musical arrangements and form.  This reality is made more clear by the fact that throughout the 1970's, there were a number of bands that attempted to find the balance between these two musical styles, and few were more successful in this venture than when one explores the music of The Dictators.  Bringing together the heavy, almost pummeling sounds of heavy metal with a stripped down, almost sophomoric attitude, The Dictators did all they could to point out all the irony and hypocrisy within the rock world, and yet they rarely get the credit they deserve for their pioneering musical efforts.  While many bands copied their sound and attitude, there is simply no getting around the fact that the music which The Dictators created remains the pinnacle of the fusion of heavy metal and punk, and their records stand as an oft-overlooked classics of the 1970's.  Each track they recorded reinforces their distinctive sound, and one can quickly understand everything there is to know about The Dictators by experiencing their fantastic 1975 debut, Go Girl Crazy!

In every aspect, within the first moments of the albums' lead song, "The Next Big Thing," the entire personality of The Dictators becomes apparent, and while it suggests a rather comical nature, one cannot deny the powerful musical arrangement here, as well as throughout the entire album, that is led by the guitar of Ross "The Boss" Funicello.  As soon as the music drops in, everything from Black Sabbath to Blue Oyster Cult comes to mind, and the progression injects a superb amount of energy into every inch of the album.  The band pushes the overall sound to a point that it almost becomes cliché, but their ability to stop "just short" of that point proves the genius that lived behind their carefree persona.  The way in which Funicello locks in with the second guitar of Scott Kempner and bassist Andy Shernoff is true musical perfection, and the combined sound is one of the most imposing ever captured on tape, as the energy never relents anywhere on Go Girl Crazy!  Drummer Stu Boy Kingadds the ideal finishing touch each song, and it is within his performances that the unique sway to their songs is formed.  It is also the slightly-sludgy, yet constantly driving sound of The Dictators that quickly proves to be as good as heavy metal gets, and it is the clear control of their sound and energy that sets these songs apart from those of their peers.  Yet it is the fact that there is an edge and attitude within the music, and the odd timing of the songs, that makes them fit in perfectly with the still-forming punk sound, and one can easily argue that no other band straddled the line between the two sounds as perfectly as one finds on Go Girl Crazy!

Adding what is without question the ideal finishing touch to the bands' sound, there has never been another vocalist from any point in history quite like "Handsome" Dick Manitoba.  It is his distinctive ability to bring a gruff growl that is on par with any punk singer, while at the same time working the entire vocal scale as a singer that makes him so impressive, and the shared parts with Shernoff play equally as great.  The amount of swagger and testosterone that comes forth in the vocals is second to none, and the fact that they are able to do so without having to be overly loud or fast is again a testament to the control they have of the mood of their music.  There are even moments within the songs found on Go Girl Crazy! where one cannot help but compare the vocals to those found on The Stooges', "Gimme Danger," and the way in which the vocals lock in with the music matches this comparison quite well, even if they are a big sarcastic in this instance.  However, while the vocals are nothing short of fantastic, it is within the lyrics of these songs where the true personality of The Dictators is able to shine.  There is a sense of "rock grandeur" within the words, and yet it is also clear that the band is poking fun at their own, turning many of the tracks into some of the finest musical satires in all of music history.  Though some may see these songs as a "quest" for rock stardom, the fact that they can just as easily be read as one of excess and arrogance shows the almost hidden brilliance that made The Dictators so fantastic.

Bringing all of these elements together, the fact remains that Go Girl Crazy! is without question one of the most catchy and truly irresistible records ever recorded.  Regardless of ones musical preference, there is a draw to every song on the album that cannot be ignored, and it may live within the fact that one can truly feel the level of "fun" that the band had whilst recording the this release.  Whether it is the heavily sarcastic, yet clearly accurate opening tirade from Manitoba, pushing it to the line, "...this is just a hobby for me," or the vivid images of packed arenas, on many levels, Go Girl Crazy! is able to convey rock and roll stardom in a manner unlike any other album in history.  Yet it is also the fact that the music is powerful and captivating, and after hearing the album only once, one is left to wonder how such arrangements did not garner regular radio airplay at some point over the past decades.  In almost every facet, Go Girl Crazy! rings of the so-called "classic rock" sound, and aside from some of the lyrics, one would be hard pressed to separate these songs from many others that were released around the same time.  Yet it is this exact fact that enables The Dictators to be so distinctive when compared to their peers, and it is the way in which they blended the punk attitude into the heavy metal sound that remains such a uniquely exciting experience.  Though there were certainly a number of absolutely phenomenal bands from the era, few were even remotely equal to the talent and presence of The Dictators, and one can quickly understand their unique genius all across their extraordinary 1975 debut, Go Girl Crazy!

February 24: Daily Guru, "Something Old, Something New #54"

It’s Friday, and that means another dose of “Something Old, Something New” with The Daily Guru. Share and enjoy.

February 23: Hilly Kristal

Throughout the entire course of music history, there have been various people who have created the proper environment for certain aspects of musical developments to flourish.  In a number of cases, the most important moments and growths within the music industry are rather by accident, and yet one cannot deny their overall importance.  At the same time, it is often the evolution of an individual that can become the catalyst for an entire musical revolution, and this was certain the case in the life of Hilly Kristal, as one can make the argument that there was no other "non-musical" figure more important to the development of the punk rock sound.  As the founder and owner of the legendary CBGB's music club in the Bowery section of New York City, it was the notoriously inviting demeanor and open musical mind of Kristal that led to the rise of countless critical bands from The Ramones to Blondie to Patti Smith, and a wide range of others.  However, most are unaware that even before he opened CBGB's, Kristal had already been a part of some of the most legendary clubs in New York City, as well as having a rather short-lived musical career of his own.  Whether it was due to the space he provided, or the bands that happened to be playing in the area at the time, there is simply no overstating the importance of Hilly Kristal.

It has been well documented that Hilly Kristal's love for all forms of music began at a very early age, and he spent his years studying at the Settlement Music School in Philadelphia, PA before "formally" pursuing his career as a singer.  Performing with larger vocal groups (including one that performed at Carnegie Hall), as well as other configurations, Kristal released a few singles, one of which, 1962's "Man In Space," has garnered an almost cult-like following as the decades have passed.  After it became clear that performance would not be a "liveable" career choice, Kristal moved to New York City and began working on both the band and club management side of the business.  Along with overseeing a handful of bands over the years, Kristal spent a number of years managing the legendary Village Vanguard jazz club.  It was during this period that Kristal gained a love for quieter, often acoustic music, and in 1973, he opened his own club, calling it "CBGB's."  Though many different interpretations for the name have arisen over the years, the anagram actually stands for: "Country Bluegrass Blues and Other Music For Uplifting Gormandizers," with the original intent of the club to be focused on those styles of bands.  Kristal used the word "gormandizer" as a reference to people who wanted to consume massive quantities of music, and this is exactly what he provided over the more than three decades that the club was in business.

The transition of CBGB's to the legendary club it is now known to be is largely attributed to when the band Television stopped by the club to ask for a gig.  Kristal was more than willing to let "just about anybody" play, and their appearance was soon followed by a large number of bands that have since achieved legendary status.  Though there were many other clubs in the city that were willing to book "punk" bands, such groups stayed largely loyal to CBGB's due to not only Kristal's personality, but the fact that he was well-known for treating the bands fairly in terms of shows and payment.  Furthermore, Kristal was notorious for booking bands even when he didn't "understand" their music, and this would become the breeding ground for countless musical innovations.  Through this, Kristal would become the managed for both The Dead Boys and The Shirts, and the CBGB's name would eventually expand to an international icon that is recognizable across the world to this day.  However, in 1993, the building that had housed the club for three decades was purchased by new owners, and a battle began to keep the club in place for more than a decade.  But in 2006, CBGB's finally lost its lease, and in October, a week of concerts marked the end of the club, with Patti Smith being the final act, joined by a number of guests throughout the show.  Less than a year later, Kristal passed away, and yet there is simply no arguing that a number of different musical styles would have never developed had it not been for the vision and personality of the great Hilly Kristal.