FriPod: Rock-n-Roll never dies

I'm back from the holidays, and just finished the second day of my Winter Term course, the History of Rock and Roll. It's fun so far, though the students are still getting back into classroom mode.

1. "Big Rock Candy Mountain" by Harry McClintock on the O Brother Where Art Thou? soundtrack. Not really rock, but it is part of the rock-n-roll genealogy as we discussed yesterday and today.

2. "It's Still Rock and Roll to Me" by Billy Joel on Glass Houses. I had a friend in high school who made a karaoke tape of this, which haunts me to this day.

3. "Jailhouse Rock" by Jerry Leiber and Mike Stoller, performed by Elvis Presley. Written by two white guys who thought they were black, performed by the first white guy to sing rhythm-n-blues.

4. "Rock 'n Roll Music" by Chuck Berry. I'm getting slightly tired of this music, since it is used as the title music for the History of Rock and Roll Video series I'm screening for class.

5. "Rock Around the Clock" by Max Freedman and Jimmy DeKnight, performed by Bill Haley and the Comets. I'd like to hear more accordion on this. Happy Days anyone?

6. "Rock-a-Bye Basic" by Shad Collins, Lester Young, Count Basie, Arranged by Jimmy Mundy for the Count Basie Orchestra. Another ancestor of R&R.

7. "Rocker" by Gerry Mulligan, performed by Miles Davis on Birth of the Cool.

8. "Rocket 88" by Ike Turner, performed by Jackie Brenston and the Delta Cats. Jackie is credited with this song, but Ike really wrote it.

9. "Rockin' In Rhythm" by Harry Carney, Duke Ellington, And Irving Mills, performed by the Duke Ellington Orchestra.

10. "The Rocky Road to Dublin" performed by The Chieftains & The Rolling Stones on The Long Black Veil.

11. "Jelly Roll Blues" by Jelly Roll Morton, performed by Louis Armstrong.

12. "Let the Good Times Roll" by Sam Theard and Fleecie Moore, performed by Ray Charles on Ray!

13. "Roll 'Em Pete" by Joe Turner and Pete Johnson, performed by Joe Turner.

14. "Shake, Rattle and Roll" by C. Calhoun, performed by Joe Turner. Today we looked at the changes between Turner's version and Bill Haley's cover.

FriPod: Rain

1. "A Little Fall of Rain," From Les Miserables original soundtrack.
2. "Come Rain Or Come Shine," by Arlen and Mercer; performed by (1) Dinah Washington on Dinah Jams and (2) Duke Ellington on 22 Original Big Band Recordings.
3. "Raincheck," performed by Duke Ellington on The Best Of Duke Ellington: Centennial Edition.
4. "Sweet Rain," by Mike Gibbs, performed by Stan Getz on Sweet Rain.
5. "En Obdach gegen Sturm und Regen," by Richard Strauss, performed by Lucia Popp and Irwin Cage.

Yes, it's raining today.

FriPod: The Four Emotions

1. "Memories: B - Rather Sad" – Charles Ives, performed by Susan Graham. This song is gorgeous, a gentle sadness that is more nostalgia than sorrow.
2. "The Sad Café" – The Eagles, from Eagles Greatest Hits Vol. 2. I've always liked using this piece as an example of mode mixture in rock music (the minor iv chord). It is interesting that though the song is about sadness, it is mostly major. The mode mixture sounds more bluesy than a shift of mood.
3. "This Sad Burlesque" – Elvis Costello and the Brodsky Quartet, from The Juliet Letters. I like this song, though Costello's voice is not polished enough for this kind of lyricism. Note the bad vibrato on "cannot" as an example of this.
4. "Happy Go Lucky Local" – Duke Ellington. A straight-up blues, with a funky bass solo. Not James Brown funky, but rhythmically challenging funky. The sax solo does not sound happy.
5. "Get Happy" – Harold Arlen and Ted Koehler. I have three performances, by Clifford Brown, Coleman Hawkins, and Bud Powell. Now this is a happy song. The Clifford Brown arrangement is a little too busy, taking away the simple joy of the piece. Coleman Hawkins is the most straightforward, though Bud's has a nice swing to it.
6. "Sometimes I'm Happy" – Clifford Grey, performed by Bud Powell. An elegant arrangement, it has the sophistication of someone who is only sometimes happy.
7. "Don't Worry, Be Happy" – Bobby McFerrin, from Simple Pleasures. I got really annoyed with this work while in high school. But I still like this website.
8. "Snarling Wrath of Angry Gods" – Gutbucket. Headbanging minimalism. Or perhaps a pissed-off Messiaen giving up on his Catholicism and grabbing a heavily distorted guitar.
9. "Angry Young Man" – Billy Joel, from Turnstiles. This doesn't give anger a good name. The young man is rather pathetic.
10. Four Peace Vignettes – John Levno, performed by Aries Brass Quintet. The first vignette, "Rainbow Chase," is as sophomoric as the title suggests. The second movement, "Solace," has a little more depth, though the performance is a little one dimensional. The third movement should apologize to Pachelbel for ripping off his Kanon with no improvement whatsoever. I'm not feeling peaceful form listening to this work. The last vignette, "Letting Go the Grudge," is more about the grudge than the letting go.
11. "Venus, the Bringer of Peace" from The Planets – Gustave Host. I have two performances: Chicago with Solti, and Montreal with Dutoit. This is peace, the shimmering waters of an impressionist painting, unfocused yet revealing inner truths.
12. "Peace" – Horace Silver (?), performed by Chet Baker, from Peace. This piece gets dangerously close to smooth jazz. But the combination of Chet's straight and soft trumpet tone with David Friedman's vibes are very nice.

FriPod: International Women's Day

Yesterday was International Women's Day, so I'm putting off the shortest track list to next week, so I can list the tracks about women and ladies.

1. "Bess, You Is My Woman Now" by Gershwin, performed by Ella Fitzgerald and Louis Armstrong. This comes across as a love song, even though the words imply an unequal ownership, with Porgy owning Bess. This cognitive dissonance bothers me, perhaps because the opera is about race and disability issues, but ignores gender issues here.

2. "I Got a Woman" performed by Ray Charles. Yes, more ownership issues. This is worse, as it is more contemporary, and has a line that lays it out explicitly: "She knows a womans place is right there now in her home." My kids love this CD, and often would ask for it when we were commuting a lot. I hated it when this song came up, and frequently felt obligated to point out how wrong it was.

3. "Kind of Woman" from the musical Pippin. Much more empowering, this song is about the strengths of average women.

4. "Lonely Woman" by Horace Silver. A haunting ballad, no lyrics to offend.

5. "Pretty Woman" by Duke Ellington. This love song annoys me, but not because of the lyrics. They are fairly standard, about a guy who is in love with a pretty woman and hopes she loves him. The emphasis on "pretty" could be offensive, but this term could be taken to mean her attitude or her intelligence as much as her looks. No, the song is annoying because I don't like the singer (Al Hibbler) and the band sounds chunky on this track.

6. Sequenza III for woman's voice, by Luciano Berio, performed by Luisa Castellani. This breakthrough piece blurs the edges of performance space, when the soloist comes on stage muttering to herself. Has the piece started yet, or is the performer crazy? Either is a valid option for many performers. One could make an issue about the incomprehensibility of most of the lyrics, but I think Berio was going for the interesting timbre issues rather than for statements about women. He did compose this piece for his then wife, Cathy Berberian, so I would think it was done with a positive attitude towards women in general.

7. "My Lady", by Bill Russo, performed by Stan Kenton's big band. This gives off a slight femme-fatale feeling because of the sax solo, but overall it doesn't have enough grit for that. I think this is an attempt by the Kenton band at sentimentality.

8. "Song for Lady M" performed by the Dirty Dozen Brass Band. Nicco describes it better than I can: B

ut the other song on the album which captured my teenage attention was Song For Lady M—a sad, slow saxophone solo number. Although some of the progressions are still reminiscent of Dixieland, this is more of Coltrane-inspired sound. It starts slow and sad. For some reason I could always imagine it being played from a high window off a dark street. It’s that kind of smoky feeling. In the middle of the song it starts to pick up—but the sound is not any less sad, it starts to communicate a sort of desperation. A Desperate Song for Lady M.

At 15, I had no idea what heartbreak was. But Song for Lady M was heartbreak—an intense, personal heartbreak, different from “Soul Gestures in Southern Blues”. Marsalis’ jazz genius on that number is the menacing yoke of history; the Dirty Dozen sax solo is mournful, a personal love lost.

9. "Sophisticated Lady" by Duke Ellington, Irving Mills, and Mitchell Parish. I have two versions of this, by Duke and by Chick Corea. The instrumental by Corea is very elegant and sophisticated. The lyrics of the original song are okay, except for the line "She sticks close to her lover, she obeys God's rule." This strikes a little too close to the idea of woman obeying man.

FriPod: Running music

This is a continuation of last week's challenge. Phil lists all of those who shuffled their MP3s brazenly in the open. He, and one of the challengees, point out the lack of classical tracks among all of us classical music bloggers. But my last week's list had 50% classical, 20% jazz, 20% pop/rock/folk, and 10% world music. So Operachic is not the only one that is classical heavy. And this week's list is even heavier in the classical realm. This list of twelve tracks are what I listened to while I was running this morning. It was shuffle mode, though occasionally I would skip a track that wasn't conducive to running or that was too soft to hear in the fitness room. In some ways this is a more boring list, with only three that are not of a classical vein (four if you don't think film music is classical). But this shows my interest in early music (2 pieces) , and actually has more 20th century music than the previous list. #3 is special, as I played that piece on my senior recital. And "Battle Royal" is a great chart to run to. Duelling lead trumpets get the blood stirring and the legs pounding.

1. Le Bourgeois Gentilhomme Suite, IV: Entrance And Dance Of The Tailors - Rudolf Kempe/Staatskapelle Dresden Richard Strauss - Orchestral Works (Disc 6)
2. Five Preludes: 5-Andantino - Martin Jones Dmitri Shostakovich
3. Légende - Wynton Marsalis George Enesco
4. Canzona Quintadecima Detta La Lievoratta Per Due Bassi - Girolamo Frescobaldi Virtuoso Solo Music For Cornetto
5. Canon Du Carousel - Nick Norton & Anthony Plog André Danican Philidor
6. Carmina Burana, Auf Dem Anger - 7. Floret Silva Nobilis - Arleen Augèr, John Van Kesteren, Jonathan Summer, Riccardo Muti; Philharmonia Orchestra & Chorus Carl Orff
7. Symphony No.10 III. Purgatorio. Allegretto moderato Eliahu Inbal/Radio-Sinfonie-Orchester Frankfurt Mahler Symphonies 1-10 Das Lied von der Erde (CD 15)
8. Des Knaben Wunderhorn: Das irdische Leben Gustav Mahler: Symphony No. 7 + Des Knaben Wunderhorn - 4 Lieder (Disc 2)
9. Battle Royal - Count Basie Orchestra, Duke Ellington And His Orchestra First Time! The Count Meets The Duke
10. So Far Away - Dire Straits Brothers In Arms
11. Foundations Of Stone - Howard Shore The Lord Of The Rings The Two Towers
12. Confrontation - Les Misérables Original Broadway Cast Les Misérables [Disc 1]

FriPod: The challenge

I (and all of my pointy-headed musical peers) have been challenged by Phil Ford to "post a randomly-generated Ipod playlist on your blog, with relevant commentary." This is suspiciously like my old attempts at iChing. But I'll play along, especially as that linked iChing has turned out to be scarily applicable.

1. Carmen Suite No. 1: Entr'acte (Act II) Georges Bizet, performed by Herbert von Karajan; Philharmonia Orchestra. Carmen is one of the best operas ever, and this Entr'acte is very charming. When I was at Eastman, I took a class on Intermediate Keyboard Skills. For our final project each of us transcribed a portion of Carmen and performed it in relative order. I chose parts of the Prelude rather than this Entr'acte, but it still brings back good memories.

2. "Did You Ever Cross Over To Sneden's?" Bob Levy. The title track from my undergraduate trumpet professor's latest jazz CD. It features Janet Planet on vocals, a very sentimental song with a sad ending. It is a little predictable for me, but again brings back good memories of the nine years I studied with Bob.

3. "Mood Indigo/Hot And Bothered/Creole Love Call" Duke Ellington From The Best Of Duke Ellington: Centennial Edition. This is old school Ellington, with shimmering winds and dixieland-ish banjo-led rhythm section. The mix of tunes is nice, especially the growling trumpet solo in "Hot And Bothered." The slow-fast-slow arrangement of the medley makes this like a little suite.

4. Breves Rencontres-1 Divertissement Jacques Castérède, performed by Terry Everson, Trumpet; Susan Nowicki, Piano. I love Castérède. I played his Concertino for Trombone and Trumpet on my college roommate's senior recital, and his duet suite with my wife on my graduate recital. His music is so French, but without the sarcasm of Poulenc and the other Six-ers.

5. "Why do the nations" from The Messiah George Friedrich Handel, performed by Samuel Ramey; Andrew Davis, Toronto Symphony, Toronto Mendelssohn Choir. Just today I read a poem by Theresa of Avila that uses the nations raging line to symbolize emotions and desires warring within ourselves and the divisive nature of the Christian Church post Reformation. Handel gets both meanings across in this aria.

6. "Tabuh Teluh" Sadha Budaya Gamelan Gong Suling from Bali - Gamelan & Kecak. This gamelan piece features pipes and voices rather than percussion. The bright timbres of the pipes keep me from getting lulled by the repetitive nature of the melodic patterns, so I can notice the rhythmic shifts. There is also a subtle accelerando on this piece, an amazing feat with such ambiguous metric accents. It slows back down towards the end. Today I was told to embrace ambiguity. This piece reflects that balance of change and stasis well.

7. "Give Me One Reason" Tracy Chapman from New Beginning. This is one of the only songs by Chapman that I knew before Mary brought this CD into our relationship. Tracy has such an easy approach to the blues, not pop-ified but not hard core blues either. There is a lot hope to this song, tempered by the rules of the blues.

8. Symphony No. 6, Op. 68 "Pastorale" (F Major): I -- Allegro ma non troppo Ludwig van Beethoven, performed by New York Philharmonic - Leonard Bernstein. This is a truly lovely movement, as long as I can keep the dancing cherubs out of my head. Symphony No. 7 remains my favorite, but 3 and 6 both have excellent features. This movement is very restful while remaining Allegro, full of grace and joy.

9. Carnaval: 11. Chiarina Robert Schumann, performed by Claudio Arrau. "Chiarina" was Schumann's nickname for Clara Wieck, then the 15 year-old daughter of his piano teacher, later to become his wife. This is a very complex work, not gushy romanticism or childlike innocence. It is waltz-like, somewhat passionate yet not overly so. It sounds rather unstable, as if Robert isn't sure what his feelings for Clara are yet.

10. "Why Worry" Dire Straits from Brothers In Arms. Yes, almost all of my popular music is very old. This song is not nearly as well known as "Money for Nothing" or " ," but it is very beautiful. It explicitly states to balance opposing forces: "there is laughter after pain, sunshine after rain," and that hope and love will prevail. A good ending to the challenge, Mark Knopfler is telling me to stop worrying, after an introduction that is far too long to get played on the radio.