Staff Picks: Music
I just love the sedate, retro vibe of the soundtrack to the oddball film Beginners; the Mike Mills directed roman a clef about his relationship with his widowed father. Old blues and jazz from the 1920’s (Jelly Roll Morton, Bessie Smith, Hoagy Carmichael, and Josephine Baker) are prominently featured as well as a French horn driven suite by J.S. Bach. Interfiled between the throwback gems are several touching, original scores by Dave Palmer and Roger Niell. The back and forth tone of the film, from light hearted to melancholic, are sensibly reflected in this quirky collection. Oh, and by the way, check out the movie. It appears on our Best of 2011 list.
Beginners [sound recording] : the original motion picture soundtrack
Having grown up listening to the famous crooners of the nineteen fifties and sixties (Nat King Cole, Gene Autry, Bing Crosby, Johnny Mathis e.g.) attach their signature voices to well known holiday tunes, I struggle to embrace contemporary musicians and their slickly produced and artificial versions with much enthusiasm. But my favorite album to listen to while wrapping presents and clogging my arteries with holiday cookies is Vince Guaraldi’s timeless classic--A Charlie Brown Christmas, which was released in 1965.
A Charlie Brown Christmas [sound recording]
When the summer comes around and the weather turns hot, it just feels right to listen to music from a sultry part of the world. For me the music of Cuba just sounds perfect on a hot and humid summer day, and I can be instantly transported to Havana where the sweltering heat is perfectly normal; but really, I just love it any time of year and KPL has a great selection of Cuban music to choose from. If you are new to the music of Cuba or a fan wishing to expand your knowledge, KPL is sure to have something that will interest you. A great place to start is with The Rough Guide to the Music of Cuba which offers a good sampling of the various flavors of Cuban music. For many, myself included, their first real exposure to the rich history of Cuban music came in 1997 from Ry Cooder and the Buena Vista Social Club and it remains one of my favorites and a fantastic collection of musicians and tunes. Check out the group live at Carnegie Hall! A Buena Vista Social Club member and one of the giants of Cuban music is Ibrahim Ferrer and KPL has a good selection of his recordings that any fan of Cuban music should check out. Another standout of the KPL collection is the album Afrocubism that highlights the African influences on the music. Explore Cuban music even further with Cuban Counterpoint: history of the son montuno or Machito & his Afro Cuban Orchestra and discover even more with a music search for word or phrase = Cuba.
Buena Vista Social Club at Carnegie Hall
I've discovered some of my favorite music and artists from watching television. When songs play in the background or at the start or end of a show, I often search for the lyrics online to find the name of the song and the performing artist. This has served me well. House and Fringe (as well as various commercials) have provided insight to artists and performers such as Massive Attack, Damien Rice, Editors, Langhorne Slim, and Ryan Adams.
When watching a recent episode of NCIS, Cote de Pablo's character, Ziva David, was singing Temptation--a Tom Waits creation. So, in true form, I went online to search for it to see where I could find a version of her singing it (beautiful rendition!). And, that is when I found that NCIS has two soundtracks available. I was able to easily check these two CDs out through our MeL interlibrary loan system.
While I recognized artists such as Jakob Dylan, Otis Redding, Bob Dylan, Keaton Simmons, Sheryl Crow and Norah Jones, I was able to add artists such as Oasis, Blue October, and Sharon Little to my list of new folks to investigate.
NCIS: The Official TV Soundtrack
If you lived in Kalamazoo during the 1970s and listened to WIDR (WMU campus radio) you undoubtedly heard a lot of Gil Scott-Heron – like others I’m sure, that was my first exposure to this highly influential musician and poet. Scott-Heron is often described as “the godfather of rap” for his sharply pointed spoken word infused jazz and soul. In his 1970 single “The Revolution Will Not Be Televised,” his deep soulful voice—accompanied only by a steady drum beat—brought life the hot-button issue of racial inequality; not as a radical street preacher but as an articulate street-smart professor (he held a master’s degree in creative writing). His words were riveting and immediate. “The revolution will not be brought to you by Xerox in four parts without commercial interruptions. The revolution will not give you sex appeal. The revolution will not make you look five pounds thinner, because the revolution will not be televised, Brother.”
He collaborated with many of the jazz heavyweights of his time – Brian Jackson, Ron Carter, Hubert Laws to name a few and his influence is acknowledged by a generation of artists, from Kanye West and Public Enemy to Eminem. His work touched on a variety of social and political issues, including addiction (“The Bottle” - 1974), slavery (“Rivers of My Fathers” - 1973) and racial oppression (“Johannesburg” - 1976). In 1979, he joined other high profile artists in Musicians United for Safe Energy (MUSE) and contributed “We Almost Lost Detroit,” a poignant reminder of a close-by nuclear near-disaster in 1972.
In 2010, Scott-Heron released his fifteenth studio album, I’m New Here, to great critical acclaim. A track called “Where Did The Night Go” is highlighted here. Gil Scott-Heron passed away last Friday in New York after a brief illness. He was 62.
It’s amazing how some artists are able to reveal their true selves on stage, while others simply go through the motions.
Back about 1978 or so, Phoebe Snow performed at WMU’s East Ballroom (today’s Bernhard Center) in what appeared to be another case of a big time star giving an obligatory concert in a smallish market. She was singing, but that was about it. It was clear that she just wasn’t feeling it.
Phoebe’s career was still riding high at that point... she had a HUGE hit with Poetry Man in 1974 and a cover story in Rolling Stone magazine a year later. I assumed that she could probably care less about Kalamazoo… get in, get through it, and get back to the real world on the East Coast.
After plodding through a couple of songs, Phoebe stopped and apologized to the audience for her lack of enthusiasm. It seems her best friend was in the hospital back East at that very moment having a baby. Phoebe admitted that her body was on stage in Kalamazoo but her mind was clearly with her friend far away. Well, at least she was being honest. The show continued.
During the middle of the very next song, a stage hand came out and whispered something in her ear. Phoebe stopped the song immediately and jumped and screamed, “It’s a girl!”
With that, the veil was lifted and a very different Ms. Snow took the stage. Expressive, exuberant, entertaining; the mundane became magnificent! I had yet to see (and have seldom since seen) a performer so genuinely reveal her true “self” to an audience.
I will always remember that show… and appreciate how Phoebe allowed a small audience in Kalamazoo to be part of a very special moment in her life. And that, I guess, created a very special moment in ours.
Phoebe Snow passed away Tuesday in Edison, New Jersey, due to complications caused by a brain hemorrhage she suffered a year ago. She was 60.
Kalamazoo’s local music scene these days is diverse and richly vibrant. One look at the Gazette’s Ticket supplement and you’ll find everything from talented local amateurs to nationally known superstars performing in dozens of different venues across the area, even Kalamazoo Public Library!
But has Kalamazoo always had this kind of passion for music? You might be surprised!
If you’re like me, you wonder what popular entertainment sounded like in Kalamazoo a century or even a century-and-a-half ago. What instruments were being played? What music was being played? Who was playing it, and where?
Admittedly, there isn’t a CD called “Early Kalamazoo Music” (yet!), but All About Kalamazoo History, KPL’s aptly titled collection of Local History essays, has a wealth of information on that very topic. Check the newly created Music category, and you’ll find articles about everything from Kalamazoo’s very first band (formed in 1837 shortly after Kalamazoo—then Bronson Village—was established) right through the Ragtime Era at the end of the nineteenth century and into the Jazz Age of the early 1920s. There’s information about Kalamazoo’s leading music organizations, the early dance bands, the musical leaders, and some of the local performers who “made it big.” Learn about the early efforts to establish the Kalamazoo Symphony Orchestra, and discover the various local businesses that grew up around the music industry. There’s even an article about “That Gal from Kalamazoo.”
So dig in, you’ll never know what you might find.
Kalamazoo Ragtime Music
The music world lost some of its most talented and accomplished musicians this year. Here is a short list of several artists whose works can be found and enjoyed here at the library.
Alex Chilton (Big Star)
Mark Linkous (Sparklehorse)
Ari Up (The Slits)
Pete Quaife (The Kinks)
Doug Fieger (The Knack)
Keep an eye on the sky
I've listened to Miles Davis, Gil Evans, Chet Baker and others associated with cool jazz for some time now but I've only recently taken to the lyric warmth and catchy melodies of Stan Getz, aka The Sound. Getz was a prominent tenor saxophonist during the fifties and sixties. In addition to his accomplished recordings, he is credited, along with his one-time collaborater Joao Gilberto, for helping to turn American audiences on to Brazillian bossa nova in the early sixties. The library owns several of Getz's albums. Check him out.
Getz/Gilberto [sound recording] : featuring Antonio Carlos Jobim
I recently discovered the Israeli pianist and composer Anat Fort and found that I have a great affinity for her and her trio’s hybrid sound that deftly weaves together both the rhythms and instrumentation of jazz with the plaintive austerity and minimalist ambiance of music akin to classical works or even touches of New Age. Her eclectic influences span from John Coltrane, Keith Jarrett, and Elvis Costello to piano master Bill Evans. This collision of influences and styles works in fresh and innovative ways through her newest album And If. The attentive listener will appreciate the ways in which Fort merges the beautiful with the bleak, gentle melodies with avant garde timing, and romantic touches with flashes of emotional exuberance.
And if [sound recording]