February 6, 2011

As my 15 year old son and I settled in to watch the Super Bowl last week, we were surrounded by an assortment of munchies on the table in front of us. Unfortunately I was feeling a little down, and my son was rather fretful about my demeanor. This was the Super Bowl and there was no reason to be bummed…

I told my son that earlier in the day I heard the news about the death of Gary Moore. He was one of my favorite guitar players and that was the reason I felt rather cheerless. “Dad you need to write something. It might make you feel better,” he replied. I knew he was right, but what would I say that could do proper justice to a player that so many others had long admired? Wincing with awe makes for difficult adjectives at times.

It took a week, but I soon realized I was never going to get the right words that would articulate my appreciation for Gary Moore. He will forever stand out as one of those musicians that had a unique blend of versatility, tone and technique. And he did it with immense emotion. I decided not to over-think things and just do my best to weave together a brief tribute to a man who provided so many years of listening pleasure.

The Super Bowl

was well underway now and Green Bay was looking strong. I caught a side glimpse of my son, and I thought to myself that I was approximately his current age when I first came across Gary Moore’s music.

Then I started to drift off into one of my reflective moments from the past…

Spring/Summer 1976

This was a memorable year for me. I was going to high school and I also worked at a record store on the weekends. I would also discover new aspects of life like driving a car, different styles of music, making new friends, I got more involved with recording gear, and of course there were girls.

One of the things I also enjoyed was vinyl album art. Those covers act like time capsules; capable of taking you back to memories of yesteryear. It was this fascination that introduced me to an LP called Strange New Flesh by Colosseum II. My initial introduction to Gary Moore was on this record. And it was some of those new fusion, progressive rock and jazz sounds that became a new source for memories that would eventually act as a link to my mid to late teenage years.

I would buy LP’s like Strange New Flesh, and when I got home, crank the volume on my stereo in my room; playing songs like “Darker Side of the Moog.” And in doing so, drive my father absolutely crazy!

(Now, if you had to pick a few songs that take you back to some of your mid-teenage years, do you know what they’d be?)

For me I can clearly name two and they were both released in 1976. One is “Fooled Around and Fell in Love,” by Elvin Bishop and the other would be “The Boys are Back in Town” by Thin Lizzy. These are two staples from a time that metaphorically provides the bridge I crossed leading me to paths beyond teenage innocence.

Gary Moore With Thin Lizzy 1978

Gary Moore Dublin 2008

Gary Moore

Born in Belfast Ireland on April 4th, 1952, he started playing music at the age of 8, and developed his style right handed despite being a lefty. He was influenced by the likes of Elvis Presley and The Beatles, and then later by musicians like Jimi Hendrix and John Mayall, which opened him up to the art of the blues.

Aspiring to become a musician, Moore moved to Dublin at 16 and joined Skid Row, along with Phil Lynott. In 1973 Moore would once again unite with Lynott but this time in the band Thin Lizzy.

Moore became the protégé of blues pioneer Peter Green, who he admired since the days of the Blues Breakers. He even obtained some of his guitars when Green quit the music scene. Many of Moore’s albums features Green’s famous sounding 1959 Gibson Les Paul, and attributed to his identifiable sound and voicing. It was Peter Green that helped mold the career of the young Moore, and his deep appreciation of Green can be heard on his album, “Blues for Greeny.”

He sustained a career that received the respect of all the major players, including the likes of blues man B.B. King and many others who Moore graced the stage with.

Gary Moore preferred to better his technique and expose his true self rather than enjoy commercial success. After a string of rock records, Moore returned to blues music with Still Got the Blues, with contributions from Albert King, Albert Collins and George Harrison. This was his most successful and critically acclaimed album. And is a must buy for any electric blues fan who likes their blues with an extra punch.

He continued his blues recordings until 1997, when he decided to experiment with contemporary dance beats on Dark Days in Paradise. With Back to the Blues, Moore return to his tried and tested blues format in 2001 and continued with this style on Power of the Blues (2004), Old New Ballads Blues (2006), Close As You Get (2007) and his last recording Bad For You Baby (2008).

The Football Game

got more interesting in the second half as we all know. And as I started to get more involved, it took my mind off some of the things that were on my mind. And by the end of the game I was feeling a little better. My son was right when he reminded me that writing, along with positive memories would be good medicine.

Moore’s ability to hold his own amongst such influential company as shown in these videos is a testament to his enormous talent and respectability. He will forever be missed, but his music will live on in the hearts and souls of the people he touched forever.

There are so many musical moments in Gary Moore’s career which are impossible to cover in just one blog post. Perhaps we can continue our thoughts by including them in the comment area below. What are some of your favorite songs performed by Gary Moore? Do you have any stories about Gary you’d like to share?

The Blues Blogger

It’s impossible to play a run with as much feeling as a single note. I’ve never been so much into runs as making single notes cry.
~ Robin Trower

It’s been a while since we touched base, and it seems that for the first time in the three year history of The Blues Blogger I’m having trouble with what to say… Much has happened in the past year; some things have been sad and others so very sweet… So I apologize if I sound a little awkward.

You see, last spring I accepted a new offline day gig. This was a challenging and rewarding opportunity to help support my family. It’s very technical and requires significant left brain thinking; or as I refer to as the logical scrooge side. As a result, there’s been an unfamiliar stillness in the air. People walk by me curiously; rolling their eyes as I go about exercising my silent left brain affairs.

In the meantime, E-mails from concerned readers of my blog and continuous requests to publish material online made me ponder how to get back on track. Like I said in my first post of the year, Blues 2010: Still Got the Groove, TBB is a one man show.

Then I overheard some music that my wife TBBW was listening to upstairs… I’ve heard that mesmerizing sound so many times before; especially in my youth. But this time around it really got me thinking. Then I recalled a phone conversation I had several weeks back where Robin Trower’s name came up.

Suddenly my hiatus was over. And for the moment, my study room this past weekend was once again filled with that awesome rush of sounds and the feelings the music brings.

For the past three years The Blues Blogger has not only been known as a destination for blues/jazz and classic rock music fans, but also as a unique blog where the guitar is a central focus. Listening to the latest release of Robin Trower’s new album The Playful Heart gave me the chance to not only feature an important guitar icon, but also provided me with the unexpected right turn I needed.

ROBIN TROWER

His name may not come up in conversation as often as his colleagues Eric Clapton, Jimmy Page or Jeff Beck, but make no mistake about it; Trower has done his share in bringing a distinctive tone and inventive vision to audiences worldwide.

After leaving Procol Harum in 1972, he began a solo career and formed The Robin Trower Band. His 1973 debut album Twice Removed From Yesterday got attention for its brilliant mix of psychedelic-rock and blues. But it was his landmark second release Bridge Of Sighs that would be his signature LP. The album would rise to #7 on Billboard magazine’s top 200 charts, and also established the guitarist as an admired rock headliner.

Robin Talks About The Playful Heart

Several records in the seventies and an ensuing live LP, all earned him gold album awards. However, towards the end of the seventies Trower began to waft from his signature sound in an attempt to capture a funkier harder rock flavor.

In the early-1980s, Trower teamed up with one of my favorite bass players and former Cream bassist Jack Bruce for a pair of albums. Now out of my teenage daze, it was 1981′s B.L.T (Bruce Lordan & Trower) with its superb blend of rock, blues, and soul that had a multitude of spins on my turntable way back then.

With 1997’ s release of Someday Blues, Trower once again changed his propensity in favor of a raw blues-rock sound, which continued on 2004′s Living Out Of Time and 2005′s Another Days Blues. Trower would re-unite with Jack Bruce in 2008 for the album Seven Moons and resulting Seven Moons Live DVD in 2009.

Later in 2009, he released another solo effort What Lies Beneath, and for the first time stepped in front of the microphone to sing his own material.

Robin On Recording The Playful Heart

Like so many of his peers, Trower continues to perform and record to considerable praise. With his new release The Playful Heart we see a more reflective sounding Robin Trower. I really didn’t know what to expect when I started listening to this album, but was quite drawn by the catchy riffs and emotional playing alongside that characteristic Trower tone. It was certainly the right prescription to snap me out of my commonsensical left sided thought waves.

There are several highlights here from the rockin’ “The Turning,” to the catchy “Dressed in Gold,” and melodic “Camille.” The album covers the gamut from rock/blues, jazzy textures with funky grooves all wrapped in a wistful vibe. It was recorded with his touring band: vocalist Davey Pattison, drummer Pete Thompson and bassist Glenn Letsch. The album was produced by Livingston Brown who has worked in the past as a touring and session musician with artists such as Tina Turner, Bryan Ferry and Sting.

On The Playful Heart Trower comes out with an album that is sure to please not only his long times fans, but hopefully a new generation of guitar aficionados who may not be as familiar.

So now I want to turn this post over to you. Are you a Robin Trower fan? Any highlights from his illustrious career that stand out for you? Have you ever seen, or will you be seeing Robin and his band as they pass through your town in the New Year? I’d love to hear your thoughts. So please leave your comments in the section below.

Thank you for your support! I wish you all a very safe and festive holiday season.

The Blues Blogger

“There is nothing wrong with electronic music as long as you’re putting some soul behind the technology.” ~ Joe Zawinul

Today marks what would have been Joe Zawinul’s 78th birthday. I remember first hearing Zawinul in my early teens when I worked part time in the blues and jazz department of a trendy record boutique back in the seventies. One of my many responsibilities was to keep all the albums in the bins stocked properly and re-order the hot selling items. I loved sifting through all the album covers and reading the liner notes. Something I continue to enjoy today. It was the intriguing vinyl covers of Weather Report where my personal discovery of Joe Zawinul began.

It was also around this time frame that I recall my interest for writing started. And when I heard the eclectic mix of sounds on albums such as I Sing The Body Electric, Sweetnighter, and later the masterpiece Heavy Weather, it opened the door to a whole new world of imaginative thought. I don’t think there’s been a single song that has made me tap my foot or snap my fingers more to its groove than Joe Zawinul’s Birdland. How sad it was to hear of his passing from a rare form of skin cancer back on September 11th 2007 at the age of 75.

Joe Zawinul

Born July 7th 1932, Zawinul grew up in a poor working class family during World War II in Austria. He played accordion on the streets to earn money and received classical piano training at the Vienna Conservatory. After the war, he grew interested in American jazz; and started making a name for himself on the local jazz scene.

“One thing about Viennese musicians, they can really groove, more than even the German bands can,” “It’s something in our nature, perhaps. We’re cosmopolitan and interracial — Czech, Slavic, Hungarian, Romanian, Bulgarian, Turkish a little bit.”

Zawinul came to the United States in 1959 on a scholarship to study at the Berklee School of Music in Boston, but left to join Maynard Ferguson’s big band. He next landed a gig with Dinah Washington; his funky style can be heard on her 1959 hit What a Difference a Day Made.

Zawinul stock started to rise after joining alto saxophonist Cannonball Adderley’s band in 1961. He composed many tunes, but it was most notably the gospel-influenced, Mercy, Mercy, Mercy, which climbed the pop charts and won a Grammy for Adderley.

In the late ’60s, Zawinul recorded with Miles Davis. His tune In a Silent Way served as the title track for the Miles’ first venture into the electric arena. Zawinul’s composition Pharoah’s Dance was featured on Davis’ groundbreaking 1970 jazz-rock fusion album Bitches Brew, which won Davis a Grammy in 1970.

In 1970, Zawinul and saxophonist Wayne Shorter founded Weather Report and produced a series of albums. Weather Report’s album Heavy Weather with Jaco Pastorius enjoyed its biggest commercial success in 1977. Zawinul went on to form The Zawinul Syndicate in 1986. For the next 20 years The Zawinul Syndicate brought together a global village of musicians who recorded such albums as the Grammy-nominated My People (1996) and World Tour. (1998)

Joe Zawinul did for jazz what Clapton and Bloomfield would do for the blues; becoming the leading force behind the often termed Electric Jazz movement. Like I said earlier, I listened to a lot of Zawinul’s music and found his style, groove and experimentation incredibly contagious. He is one of the people responsible for my appreciation for electric jazz; leading me to other jazz artists that would continue to inspire me to this day.

Are you familiar with Joe Zawinul and his musical legacy? Any moments you’d like to share? Please add you comments or birthday wishes below.

The Blues Blogger