Showing posts with label AmieStreet Music. Show all posts
Showing posts with label AmieStreet Music. Show all posts

Sunday, May 15, 2011

Sutton & Tristano


I stumbled upon a Facebook thread by a Lagunitas School classmate, Kevin McConnell, who posted a link to Pete Sutton's dad, Ralph Sutton. I'd totally forgotten that Ralph, who tickled a mean Maple Leaf Rag in his time, played some of his famous stride piano compositions at a school assembly concert when we were all very young. But after Kevin posted it, minute fragments drifted back from the imperfectly shelved memories of childhood.

What I did remember, was, being surprised to hear such a complex arrangement of chords and cartoon music churning out of the cranky old school piano. Magic music from a strange man dressed in a gray suit who looked more like a school principal (or maybe Willy Loman from Death of a Salesman) than a famous jazz musician. Kevin said that the jazz concert inspired him to become a musician. Me, not so much.

And the vague memory fragment of that concert goes a long way in explaining why my classmate Pete Sutton's best friend, Steve Tristano, was standing on the piano bench banging out a rollicking Boogie-Woogie on the piano at recess. We were all rockin' out. That music was so radically different than the somber proscribed chords of the  America, the Beautiful. The teacher, hearing the infernal ruckus, came bursting into the classroom, apoplectic. We were all so busted.

From this incident, I learned that certain types of music was forbidden, therefore delicious. I also feared our 2nd grade teacher, Mrs. Burge, was going to have heart failure right in front of us. I'd never seen such a show of emotion from our right-proper 50s school-marm teacher.

There was always a lot of counterculture going on in the San Geronimo Valley in the late 1950s, and early 60s. But we were so young and we knew no other life—living out so far from the towns and the growing suburbs. Many famous musicians and artists and writers took refuge in The Valley as the Marin Beat scene havens, including Mill Valley and the former fishing village of Sausalito, were beginning to erode into the effluent of mainstream acceptability.

Steve was born with his musical talent. Our 2nd grade Boogie-Woogie champ was the son of another famous jazz musician, Lennie Tristano. But great jazz musicians were also absenteé fathers—always on the road—or more notably playing the clubs in New York, where the real action was.

So to see Ralph Sutton was unusual as it was to see the blind piano player, Lennie Tristano. People often lumped Sutton & Tristano's names together, and said that they were famous jazz musicians in New York. But in retrospect, I can't imagine such a synthesis as they were both such very different musicians.

A bit of San Geronimo Valley apocrypha: Scott Joplin (with whom I share a birthdate) was said to have visited the Valley in the 1890s, and allegedly wrote Maple Leaf Rag at Frank "Speck" McAuliffe's bar in Lagunitas.

Don't know if there's any truth to the story—other than countless would-be ragtime piano players have banged out that archetypal ragtime hottie on every available piano in the Valley. But chances are pretty good Scott Joplin hammered out a rendition of it at Speck's. What was the bar called before Speck McAuliffe bought the place since this was before his time—Lagunitas Tavern & Livery?

Before you go, Whoa there, Nellie! Teddy Roosevelt had a cabin in Lagunitas—Argentina House—and used to water at the Lagunitas trough when he got all hot and bothered. And Joplin was no stranger to The Valley. (Nor were José Revere (Paul's kin), or Alexander Graham Bell—who set up the first telephone in the Dollar barn on Dickson Ranch.)


Teddy Roosevelt liked The Valley for its wildness and isolation. He famously exclaimed, "When I am in California, I am not in the West, I am west of the West."

Another Boogie-Woogied classmate, Adair (Lara) Daley once dubbed The Valley in her SF Chronicle column as The Valley that Time ForgotGrowing up in West Marin, we were all so far west of the west, we met ourselves coming and going. Often shunned by the townies, we were our own universe.

Wednesday, September 22, 2010

My Last AmieStreet Music RECcomendations before Amazon swallowed them up


Too late I found out that a wonderful experiment I got to be part of for four years, the indie pioneer music store, AmieStreet.com, was going away forever. AmieStreet was a unique online music store, powered by an amazing cyber word-of-mouth—an on demand social network driven selling scheme, where uploaded songs were initially free, but became a penny more expensive with consecutive sales—(the exact formula was a well-kept secret) and eventually the songs maxed out at $.99. AmieStreet’s eclectic catalog was wonderful, and it coerced me into writing music reviews, something I had never done before.

My AmieStreet Music RECcomendations in plain text


NB: this is an addendum to my first AmieStreet blog entry which I had fortuitously copied just as Amazon had taken over the site and taken down everything I had ever written. Because I had a browser open as Amazon killed the site I was lucky enough to go back and copy everything and paste it here, but I couldn't get the reviews to show up right—I tried everything. 

And when Blogger goes wrong on long pieces, it goes very, very wrong. I can't tell you how many times I've tried to ameliorate my Irish Redhead Gene Myth blog—sans losing every URL—and that piece has enough URLS to sink a ship. The more I fiddled, the worse it got. After many mishaps, I finally managed to get rid of all the hidden HTML bits–and scrub it scrupulously clean to repost here. (In case you're wondering why on earth I posted this piece.)

A note on the process of AmieStreet RECing. After a song was purchased, we were given an opportunity to recommend it. Writing against a ticking clock, and once posted, only 15 minutes to revise & edit your REC, made it a rather fast & furious art form. Very Zen. Whatever came to the surface. On your marks, get set....

Funnily enough, I actually earned 15 cents on John Riley–just as the AmieStreet site was taken over at midnight by Amazon. And of course, couldn't cash out on all my hard-earned pennies! Sorta like going to Vegas and being handed that little strip of paper instead of a real jackpot with coins clanging and bells clamoring. LOL. Read on.

Monday, July 21, 2008

Iona, The Inner Hebrides, Scotland


Just getting to the sacred isle of Iona was strewn with so many hurdles that it made going on pilgrimage seem like a piece of cake. After a few untimely mishaps in Oban, we missed the early CalMac ferry to the Hebridean Isle of Mull. We missed it because Neil was overtired from his music gig the night before at Markie Dan's Pub in the basement of the four-star SYHA hostel, the Victorian Corran House.

And like a foundered horse, Neil O'Neill just couldn't get up to speed. No amount of carroty bribes or verbal threats would move him. It wasn't just the craic and the free beer or the amazing variety of scotch to choose from, or dancing with Anne, or jammin' with his old friend, Louis Barrow, that wore him out.

He was at cross-purposes with himself—being both long in tooth and long in jaw. Too much gift of the gab. And a good time was had by all. A real ceili that went on into the wee hours. Whereas I was just plain old cross as a bear. Next morning, even at top dead speed, Neil ONeill, the man so nice they named him twice, was in slo-mo. And that was that.

The tourist resort and fishing village of Oban, in Argyleshire, smack dab in the middle of the whisky trail, is also the leaping off point to the Gateway to the Isles. With incredible sweeping views of the Inner Hebrides, the Isle of Kerrera (where Alexander II of Scotland died), and the mountains of Mull, the Oban waterfront has it all. A picturesque horseshoe harbor, and a waterfront, with rainbow-hued houses much like the Hebridean villages of Tobermory or Bonnie Portree, but on a grander scale, Oban has its share of towers and castles too—even a Victorian folly replica of the Roman Coliseum looms on the horizon.

There is nothing more desolate than hearing the departure whistle of the ferry you're supposed to be on. No ferry tickets were left for the next sailing two hours later either. It was full up. Which meant visiting both Mull and Iona were out of the question. To have come this far and be thwarted by time and circumstance, was testing what little self-control I had left. I was feeling positively gladatorial. My Irish was up. And there's no putting it back switch. Must've been a combination of the whisky vapors and the coliseum on the hill spurring me on to a full-blown tantrum.

But we got a last minute (re-)prize, or rather (sur)prise ferry tickets from Anne, a local fairy godmother, who was good at pulling in strings and had a few local favors due. With the help of the incredible, the inimitable and stately Anne McDonald, proprietor with her daughter, of the Corran House Hostel, who was a former teacher from the Isle of Mull, and friend to actors—we managed to squeeze in a mad overnight jaunt to the holy isle of Iona.

Anne found us sitting like stunned birds in our rental car, ensconced in the ferry wait-listed Godot lane, in utter despair. The air was thick with disappointment. We missed the boarding cutoff by three cars. I brushed aside my tears and flagellated: if only Neil had gotten it together sooner.... Not being able to board the ferry was like a body blow. Our last hopes had vanished, sunk like a stone to the bottom of the harbor of regret.

But Anne came up to the car, smartly rapped on the window, and handed us the coveted ferry tickets—which we couldn't purchase for love or money. She said we'd have to pretend we were residents—a little hard to pull off in a rental car. But everyone kindly looked the other way. Anne was truly a guardian angel. I was sad to see her go. It was like leaving family behind on a distant shore. But the ferry was boarding. They waved us on.

We were elated. The ferry ride from Oban on the Firth of Lorn, to the Isle of  Mull, second largest of the Inner Hebridean islands, was amazing and postcard scenic. The passage takes about 45 minutes and you pass very close by Duart Castle, the oldest inhabited castle on Mull, home of the 28th Chief of Clan MacLean. The quintessentially Scottish Duart Castle was featured in Entrapment (1999) with Sean Connery (a Maclean on his mother's side) and Catherine Zeta-Jones.

I stood on the tallest deck of the ferry and spread my wings—a nylon windbreaker—and I was transported, or  rather, momentarily airborne. I was hovering over the deck like a big black bird in the gale winds sweeping unfettered down the Lynn of Lorn, Loch Linnhe. We passed a lighthouse on Eilean Musdile guarding the southern tip of low-lying Lismore island (the great garden isle), once a major center of Celtic Christianity. Oddly, where the water is still on the leeward side, the 1883 lighthouse that replaced the standing stone that once marked the winter solstice, looks like a stripped down version of the Taj Mahal.

The ferry ride was too soon over. I wanted to sail on up the passage to Skye and the Isle of Lewis. But Mull was the gateway to Iona. We landed at the wee village of Craignure (little more than a wide spot in the road) on Mull's eastern shore, and headed south on a country road. We passed the entrance to Duart Castle. Incredible jeweled finger bays off the Firth of Lorne, sheltered coves. It was like being in Northern California and in the tropics at the same time—indescribable turquoise and cobalt waters, white sand beaches.

The isle of Mull is quite large and mountainous. As we drove down the sinuous road, through valley & glen, I kept thinking I was in Ireland. The Hebridean Isles, scrupulously scoured and carved by glaciers, are quite different than the rest of Scotland. The lowlands is a misnomer—there are long rolling ridges, but als a sameness to the topography.

We had little flex time to spare to catch the Iona ferry at Fionnphort, so we drove like banshees down the fantastic glaciated Ross of Mull peninsula, wildly swerving around flocks of Hebridean and merino sheep and sollitary cyclists. It takes approximately an hour to sanely drive from Craignure to Fionnaphort (pronounced Finafor)  on a 40-mile-long sinuous one-lane road. Not many tourists, but lots of sheep, so we rarely had to make use of the skinny little pullouts for oncoming traffic.

We rounded a bend and wended through the croft-village of Bunessan with its sole hotel/pub on the shores of the seaweed garden of Loch Scridain. An oncoming lorry and no turn-outs meant we had to back our way through the village in reverse. Odd way to sightsee backwards. (Bunessan is home of the Gaelic hymn, Child in a Manger, known to Cat Stevens fans as Morning Has Broken). Ben More was hiding in its own weather system.

Then another wide spot in the road, the hamlet of Pennygheal, marked with strange striped barber poles designating a passing spot. Sad to see so much beauty whizzing by at 60 MPH. No time to lose. And then it was on to Fionnphort, population 70-80, depending on who's counting,

But we missed the Iona foot ferry by minutes, and then we missed the 2nd ferry too as we had to park the car up at the St Columba Museum, because we found out too late that the road shoulders were marked No Parking. Then we had to lug our stuff down to the ferry... Luckily they came every 30 minutes, more or less, depending on the weather and the inclinations of the captain. Hard to believe that some 140,000 tourists a year are funneled through here.

The ferry disgorged its handful of foot passengers, returning tourist-pilgrims and some four-footed ones–sheep! Was I the only one enjoying the religio-pastoral joke? We lugged our gear down the ramp. The black-faced sheep suspiciously eyed Neil's guitar case and daintily stepped aside. The tourists droned on in loud superior-than-thou tourist tones. Nothing worse than a gaggle of smug returning pilgrims.

From aboard the ferry, we admired the small harbor of Fionnphort, finger slot coves, scalloped beaches, the incredible clear blue water, and on a shoal, a large rounded granite glacial erratic boulder cleaved in two by time itself. Twain worlds indeed.

Saturday, December 15, 2007

AmieStreet fanmail from John & Claire Roche of Celtic Ways for my review


Re: Celtic genre, Claire Roche
From: clairseach

Maureen, so many thanks for your dedication that has given birth to a Celtic genre its own recognition. Its not a genre that easy to define, but its very handy for placing Claire's music work.

I am John of Celtic Ways, Claire's partner and I tend to look after all of her online presence. One one side Claire is not comfortable with this and on the other she has a lot of work on with new recordings, sorting out tours etc. so she really does not have the time for this. Having said that, Claire also does an incredible amount of correspondence and phone work with folks coming on Celtic Ways tours so we work well together and enjoy this.

Claire is currently on about 50 different digital download sites and it now creating a better income from this than with cds. Its all quite essential right now as the cost of recording her current cd, in the works, is a bit of a challenge. 

Out of all these, we do like the Aime St. set up best of all. Asap we'll get into the spirit of being fans, well at least I will as there is some incredible music here. Nice to see Roy Gullane here for one, terrific Celtic songwriter. Been around a long time. 

Yes, I'll discover more on this site and definately get into a blog habit here. Such a choice of networks now as I try to keep up on MySpace, YouTube, NowPublic, Facebook and Eventful too. 

One thing I would like to see is Amie St. having a video service too. Maybe they have one and I have not found it yet. Soundclick have a nice video service, but I just have not got around to that one yet. Our loyalty is more for Amie Street at this stage.

I was led here, initially, by Two Tall Women from Canada, folks I have enjoyed for, must be, almost 10 years now. We met through the old original Mp3.com .

So thanks again for opening these doors Mo.

Wishing you the best in love and blessings through this Yule, Christmas and beyond. 

John for Claire it's 1250

Saturday, December 1, 2007

Cool Jazz Rooms

"Jazz Memories" by Various Artists, is a stellar introduction to the Ultimate Jazz Experience—Whether you're relatively new to jazz, like me, or a dyed in the wool blue note aficionado, this compilation is an extraordinary 20-year retrospective of jazz history with some of the best works from the golden age of jazz.

The double album collection features jazz divas including Billie Holiday crooning My Man, Sarah Vaughan's Embraceable You, and Ella Fitzgerald's sultry How Long Has This Been Going On—all national jazz treasures. A real surprise was Dinah Washington's Easy Living. I've only heard her warhorse renditions and it was refreshing to hear her sing a sweet ballad.

Then we have the jazz immortals "Satchmo" Louis Armstrong viscerally trumpeting us through Dixieland with Dear Old Southland, and Count Basie's bebop rendition of Shoe Shine Boy; while on the other side of the jazz continuum, we've got Stan Getz tickling the ivories, Thelonious Monk's classic Blue Monk as well as Duke Ellington's Lotus Blossom. And then there's the cerebral Miles Davis' groundbreaking Tune-Up (say, is that 'Trane on the sax?).

"Jazz Memories" is yet another Amie Street solid gold sleeper. I love the fact that we get to hear such a wide range of music on Amie Street Music—from new indie artist hot off the press, er, Garageband—to fabulous vinyl classics that I would never otherwise listen to. It made me curious and want to know more about these musicians. (Keep an eye out for a copy of Herman Leonard's companion book which has some great stories about the musicians.)

I was surprised to learn that the longest track on the album, Tune-up, which, at first I found difficult to connect to, was really two songs in one. About 4 minutes in, When the Lights are Low kicks in and it's sonorously beautiful with several solos.

From what I can glean, the track Tune-Up/When the Lights are Low is from Miles Davis' groundbreaking 1956 Prestige album, Cookin' With the Miles Davis Quintet.

There's a great backstory attached to the Prestige label—it seems that Miles had to fulfill his Prestige contract with new work and so he just kept jammin' with his newly formed quintet.

The music Miles' quintet produced during the 24-hour marathon mother of all jammin' sessions was so hot, it resulted in three groundbreaking albums including the last one Cookin'—which also debuted My Funny Valentine. Whether it's Rollins or Trane on the mellifluous sax is moot, it's still all pure Miles on the trumpet and it put both Davis and Coltrane on the map.

These are all clean tracks of major hits from the major jazz label vaults—not muddied side B recordings. Blue Monk is my personal fave and Art Tatum's Willow Weep For Me is a close second. No, make it Frenesi, no, make it St. Thomas...aww, just buy the whole album. I suspect we'll be seeing some more compilation albums from this label in the near future.

An aside, I noticed that some tracks seem to cut out early, most noticeably Jitterbug Waltz and My Man. But then I had trouble downloading the album and had to download it song by song. You can hear some faint hissing on Blue Monk but considering when it was recorded, it's pretty clean. I checked Tune-up against another
download music services and the Amie Street track is definitely cleaner, clearer, brighter.

As I sad earlier, jazz is not normally my forte, so I was delighted to find how accessible and personable the album was with its collage of songs with just the right juxtaposition of cerebral and visceral. "Jazz Memories" is one of those rare albums that opens up new rooms in your head.

                         —Maureen Hurley
© 2007 12/9/2007 for Amie Street Music

go to Amie Street News to read the review.

Thursday, October 4, 2007

Buena Vista Social Club on AmieStreet Music

“Talk about finding solid gold on Amie Street Music! The Cuban All Star Band aka the Buena Vista Social Club, has gotta be the motherlode of Cuban music. The all stars of Cuban BC Big Band (Before Castro) era had a huge American following in Hot & Hip Havana from the Prohobition to the 1950s.

have a listen here

On the track, "Chan Chan," the late, great godfather of the son-bolero style, Compay Segundo, performs his own world famous composition with lead singer, Eliades Ochoa. That unmistakable four-chord opening "son" is Buena Vista Social Club's calling card!

Some of you might recall Wim Wenders' amazing 1997 award-winning documentary entitled "The Buena Vista Social Club," that showcased Old Havana's golden age of big band music during the 1940s.

In those days there were fraternal social clubs for all kinds of interests: cigar clubs, literary clubs, music clubs. Think mens' clubs, like the Bohemian Club. There was one Afro-Cuban music club, the Buena Vista Social Club which was abolished, the music nearly lost forever when socialism "abolished" racism. But hey, it gave us a communist-sanctioned version of mambo called salsa.

These world-class Cuban musicians who invented the mambo, lost their livelihood under the throes of communism, the king of mambo Perez Prado fled to Mexico and Ibriham Ferrer, the veritable honey-voiced Nat King Cole of Cuba, was reduced to shining shoes on the streets of Havana for pocket money.

Kudus to Ry Cooder who was instrumental in resurrecting these neglected stars of the golden Cuban musical tradition that languished some 40 years. Cooder's three resulting CDs, by "Los Super abuelos" (super grandaddies) of Cuban music, The (Afro) & the Cuban Allstars, and The Buena Vista Social Club, took off like wildfire—almost entirely by word of mouth.

The most famous CD, the Grammy award-winning album, the Buena Vista Social Club (1997), recorded in six days in Havana's vintage RCA-EGREM studio, went on to sell over 6 million copies, worldwide. Not bad for word of mouth.

Cooder was later prosecuted and fined for breaking the US trade embargo Trading with the Enemy Act.

These old Havana musicians really are super abuelos. Imagine this: Compay Segundo (1907-2003), who invented a seven-stringed musical instrument similar to an Andean charango, called the armónico, came to world fame at the age of 93 and in 2003, he recorded his final album, "Las Flores de la Vida" at the tender age of 96.

Ry Cooder said of his passing:
"The last of the best,
the oracle,
the source,
the one who represents where it all flows from"
is gone from us.

Horsemen, pass by.