Regarding drummer, Michael Clarke, it’s quite likely it was actually Hal Blaine on drums. At least initially, as in the recording for Mr. tambourine Man, the members of the band other than Roger McGuinn we’re not allowed to play on the track, although McGuinn was allowed to play 12 string.
Glad there was a chime-in on this; I’d long heard that the Byrds were replaced by the Wrecking Crew for backing tracks. More likely than not it’s Hal Blaine, as Rob Sudduth says...
True on Mr. Tambourine Man but I think not by the time of Turn, Turn Turn and the second album. By then the Byrds were playing their own instruments in the studio.
Speaking of Things Irregular, please help with the spectacular "As This Moment Slips Away". My pal & I found a lead sheet online. Is it true that the first chord is not on 1 but is basically a pickup? My ex-husband sez the tune is a constant alternation of measures of 3 and 4. Is he right, or is this just demonstrating one more good reason why I divorced him?
Hi Kathryn! I don't know the provenance of the lead sheet, but I don't think it is from composer Reid Anderson. Anyway, It's been quite some time since I thought about that tune but whatever is written down doesn't matter, it has to be "felt" in the same way from the four members of the band. Many of Reid's pieces are almost like "talking" but have minor irregularities in the phrasing that makes them a hit. He's a brilliant composer.
Do you know when/why modern chord symbols were invented? I know they started appearing in American sheet music as the uke/guitar got popular, but I’m unsure of their exact origins.
There’s a book on the subject: The Story of Fake Books: Bootlegging Songs to Musicians by Barry Kernfeld. I don’t recall exact dates but the ukulele connection is explored
Ethan, I very much enjoy your posts on crime fiction (and on music), and am a fan of Mick Herron; looking forward to your analysis. Question: do you ever listen to audiobooks? The slow horses series is read by Gerard Doyle, who is terrific. I like Gary Oldman on the tv show, but Doyle nails Jackson Lamb. The audiobooks are well worth a listen. Doyle also reads the books by Adrian McKinty. The Michael Forsyth “Dead” trilogy is great, though violent, and the Sean Duffy series is also excellent. All worth a read or listen.
I think "Eight Miles High" was particularly influenced by Trane. That came up as early as the book CHASIN' THE TRANE, which I read in high school...the irony is Trane was trying to live his life drug free, and "Eight Miles High" is early druggie psychedelia.
Thanks for that trip back to the 60s! We were just discussing Roger McGuinn yesterday, my husband has been a huge Byrds fan since his teen years. Your upcoming tour sounds wonderful (and exhausting), some of my favorite cities, Helsinki in particular. And thank you once again for the lovely piece on my brother Jeff. It’s been good to hear from friends and colleagues and learn more about his work, things I no doubt never truly appreciated.
I recently saw you in a rare duo with a classical saxophonist (great!) and the issue of getting the right horn player to play on something came up. I'm curious, if you don't mind sharing, what you look for in an improvising saxophonist, and if that's too broad, maybe specifically in terms of sound/tone, use of language (or how they approach a standard or improvising on a form), and interaction or role as a saxophonist?
Hi Erez, thanks for coming to the performance. That was a fairly unique situation in the sense that I actually had to ask around looking for a classical saxophonist. But most of the time I’m just sort of on the scene in New York and try to play with the players I like. I can’t really remember looking for someone to do something in a way that wasn’t obvious. I’ve been lucky to play with Mark Turner a lot. When he needed a sub with Billy Hart, we called Dayna Stephens. It was pretty obvious.
Hey thanks for coming to that gig, Paul! It was so fun. I really love both Buster and Billy singly and together. Some of the stories are unprintable LOL. But I will say that Buster's approach is absolutely unique and incredibly swinging. He's oceanic. So is Billy, of course, but Buster is the one that can catch me off guard with just how deep the beat is.
It’s hard to articulate why but I was just floored by Buster on “the best thing for you”. A while back in one of our lessons you mentioned I was working too hard, and watching Buster, it really underscores the point that deep swing can look almost effortless
OMG. Well Johannes Weidenmueller knew the person in charge of Mons records. Johannes, Falk Willis, and I were playing a bit a trio -- not gigs I don't think, more like some sessions. Johannes said we could record for Mons if we got a guest soloist. The trio meshed because we liked to play a bit "open" and "melodic" but also within forms. It's not like other people weren't doing that but there was some kind of natural chemistry with Falk, Johannes and I. They were both better than me as players but I guess I might have brought some concepts to the table.
I had played some gigs backing the vocal duo Marion Cowings and Kim Kalesti. Cameron Brown was occasionally on bass, and I asked Cameron about Dewey (since he played with Dewey). Cameron gave me Dewey's number and I called him out of the blue. I think we only paid him a nominal amount, $1500 or something, which I guess was a bit more in 1993 dollars than it is today but still not much. I didn't know Dewey really but the few times I was in his presence was a powerful -- indeed, life-changing -- experience. Maybe I was in the same room with an actual jazz master in high school but actually rehearsing with one was totally different.
It was Dewey's idea to play "I Got it Bad," and Dewey wanted the block chord harmonization of the first two bars.
I’m 67 so referencing Bacharach/ David a huge hit like “ Say a little prayer... was so prominent on a. m. radio ( Detroit) that we could easily sing write through meter changes ( I think!) through repetition.
thanks for comment! Part of the genius of Bacharach is that those odd meter moments feel natural to sing. They are hits!....Of course, as you say, *playing* those odd meter moments is a different kettle of fish!
This is very specific, but I've been wondering this for years: In your interview with Carla Bley, she mentions a mistake in "Goodbye Porkpie Head" that she fixed in her arrangement. Do you have any idea what exactly she is referring to or what she changed?
Hi Ethan, I remember hearing The Byrds' version when it first came out and being completely mesmerized; I still am today. Also, I wrote you on Facebook recently, though it might not have gone through. about your wonderful post from September 16th on Charles Ives and General Booth and Psalm 90. I mentioned that I'd sung the Psalm with Gregg Smith many years ago and I also organized a concert for his 100th birthday in 1974. I'm working now on a 150th concert for next year and would love to be in touch with you about it if you have some time. Best, Bill McClelland
I didn't get a message. I doubt I personally could add much to an Ives celebration but you can respond to any TT email, it should get to me. Thanks for interest.
Regarding drummer, Michael Clarke, it’s quite likely it was actually Hal Blaine on drums. At least initially, as in the recording for Mr. tambourine Man, the members of the band other than Roger McGuinn we’re not allowed to play on the track, although McGuinn was allowed to play 12 string.
I was just going off Wiki. If true, I'm not surprised, but Clarke is in the video playing the same part.
Glad there was a chime-in on this; I’d long heard that the Byrds were replaced by the Wrecking Crew for backing tracks. More likely than not it’s Hal Blaine, as Rob Sudduth says...
True on Mr. Tambourine Man but I think not by the time of Turn, Turn Turn and the second album. By then the Byrds were playing their own instruments in the studio.
Ah, ok, thanks for that.
See Roger McGuinn's comment here that it took 77 takes to record "Turn, Turn, Turn"! He says Blaine and the Crew only played on Mr. Tambourine Man and Gene Clark's "I Knew I'd Want You.' https://somethingelsereviews.com/2013/12/27/it-was-just-a-thrill-to-play-roger-mcguinn-on-the-byrds-breakthrough-bob-dylan-interpretation/
Great stuff! Thanks Steven-- this is how it's supposed to work. Now I know something. Thanks again.
Wow...bar of 2. In '65 when I was 14 we played it in our garage band. Never realized the measure of 2. Thanks for pointing that out.
you feel me, Mr. Sperrazza!
I see you have a tour coming up- any plans on a Toronto stop?
I wish! Maybe fall '24!
re irregular phrase lengths in 60s pop the 7 bar phrase of the ‘first 8´ 😉 of Yesterday must surely be one of the most sublime.
yes, in fact Don Asher makes a point of discussing how hard it was for jazzers to play that song in his memoir!
Didn’t Cannonball cover it too?
Speaking of Things Irregular, please help with the spectacular "As This Moment Slips Away". My pal & I found a lead sheet online. Is it true that the first chord is not on 1 but is basically a pickup? My ex-husband sez the tune is a constant alternation of measures of 3 and 4. Is he right, or is this just demonstrating one more good reason why I divorced him?
Hi Kathryn! I don't know the provenance of the lead sheet, but I don't think it is from composer Reid Anderson. Anyway, It's been quite some time since I thought about that tune but whatever is written down doesn't matter, it has to be "felt" in the same way from the four members of the band. Many of Reid's pieces are almost like "talking" but have minor irregularities in the phrasing that makes them a hit. He's a brilliant composer.
Would you study and write an analysis helpful for self accompanied singer /pianists like Shirley Horn , Andy Bey , and Jeri Southern ?
I think that one is beyond me, also because I don't sing, but thanks for the thought!
Do you know when/why modern chord symbols were invented? I know they started appearing in American sheet music as the uke/guitar got popular, but I’m unsure of their exact origins.
There’s a book on the subject: The Story of Fake Books: Bootlegging Songs to Musicians by Barry Kernfeld. I don’t recall exact dates but the ukulele connection is explored
Your musical and literary insights are a treasure trove for us all. Any recent crime fiction met your astute standards?
Wow thank you! Mainly I’m rereading Mick Herron and Henning Mankell.
Ethan, I very much enjoy your posts on crime fiction (and on music), and am a fan of Mick Herron; looking forward to your analysis. Question: do you ever listen to audiobooks? The slow horses series is read by Gerard Doyle, who is terrific. I like Gary Oldman on the tv show, but Doyle nails Jackson Lamb. The audiobooks are well worth a listen. Doyle also reads the books by Adrian McKinty. The Michael Forsyth “Dead” trilogy is great, though violent, and the Sean Duffy series is also excellent. All worth a read or listen.
Ok cool! Thanks.
In a couple of interviews Byrds guitarist and songwriter Roger McGuinn said he listened to a lot of late Coltrane.
I think "Eight Miles High" was particularly influenced by Trane. That came up as early as the book CHASIN' THE TRANE, which I read in high school...the irony is Trane was trying to live his life drug free, and "Eight Miles High" is early druggie psychedelia.
Thanks for that trip back to the 60s! We were just discussing Roger McGuinn yesterday, my husband has been a huge Byrds fan since his teen years. Your upcoming tour sounds wonderful (and exhausting), some of my favorite cities, Helsinki in particular. And thank you once again for the lovely piece on my brother Jeff. It’s been good to hear from friends and colleagues and learn more about his work, things I no doubt never truly appreciated.
thank you! We will miss Jeff.
I recently saw you in a rare duo with a classical saxophonist (great!) and the issue of getting the right horn player to play on something came up. I'm curious, if you don't mind sharing, what you look for in an improvising saxophonist, and if that's too broad, maybe specifically in terms of sound/tone, use of language (or how they approach a standard or improvising on a form), and interaction or role as a saxophonist?
Hi Erez, thanks for coming to the performance. That was a fairly unique situation in the sense that I actually had to ask around looking for a classical saxophonist. But most of the time I’m just sort of on the scene in New York and try to play with the players I like. I can’t really remember looking for someone to do something in a way that wasn’t obvious. I’ve been lucky to play with Mark Turner a lot. When he needed a sub with Billy Hart, we called Dayna Stephens. It was pretty obvious.
Ethan, any thoughts or learnings or stories from your recent gigs with Buster Williams and Billy Hart?
Hey thanks for coming to that gig, Paul! It was so fun. I really love both Buster and Billy singly and together. Some of the stories are unprintable LOL. But I will say that Buster's approach is absolutely unique and incredibly swinging. He's oceanic. So is Billy, of course, but Buster is the one that can catch me off guard with just how deep the beat is.
It’s hard to articulate why but I was just floored by Buster on “the best thing for you”. A while back in one of our lessons you mentioned I was working too hard, and watching Buster, it really underscores the point that deep swing can look almost effortless
Mmm. Yes there isn’t really a vocabulary to talk about what makes this side of the music happen. Thanks again Paul
It's almost the end of the year and there's still no 30th anniversary reissue of School Work! What gives?
But seriously, how did that whole thing come about, with Dewey Redman?!
OMG. Well Johannes Weidenmueller knew the person in charge of Mons records. Johannes, Falk Willis, and I were playing a bit a trio -- not gigs I don't think, more like some sessions. Johannes said we could record for Mons if we got a guest soloist. The trio meshed because we liked to play a bit "open" and "melodic" but also within forms. It's not like other people weren't doing that but there was some kind of natural chemistry with Falk, Johannes and I. They were both better than me as players but I guess I might have brought some concepts to the table.
I had played some gigs backing the vocal duo Marion Cowings and Kim Kalesti. Cameron Brown was occasionally on bass, and I asked Cameron about Dewey (since he played with Dewey). Cameron gave me Dewey's number and I called him out of the blue. I think we only paid him a nominal amount, $1500 or something, which I guess was a bit more in 1993 dollars than it is today but still not much. I didn't know Dewey really but the few times I was in his presence was a powerful -- indeed, life-changing -- experience. Maybe I was in the same room with an actual jazz master in high school but actually rehearsing with one was totally different.
It was Dewey's idea to play "I Got it Bad," and Dewey wanted the block chord harmonization of the first two bars.
Thanks Ethan! What a story.
I’m 67 so referencing Bacharach/ David a huge hit like “ Say a little prayer... was so prominent on a. m. radio ( Detroit) that we could easily sing write through meter changes ( I think!) through repetition.
As a drummer those same changes are challenging.
thanks for comment! Part of the genius of Bacharach is that those odd meter moments feel natural to sing. They are hits!....Of course, as you say, *playing* those odd meter moments is a different kettle of fish!
This is very specific, but I've been wondering this for years: In your interview with Carla Bley, she mentions a mistake in "Goodbye Porkpie Head" that she fixed in her arrangement. Do you have any idea what exactly she is referring to or what she changed?
I WISH I HAD ASKED!!!!!
Hi Ethan, I remember hearing The Byrds' version when it first came out and being completely mesmerized; I still am today. Also, I wrote you on Facebook recently, though it might not have gone through. about your wonderful post from September 16th on Charles Ives and General Booth and Psalm 90. I mentioned that I'd sung the Psalm with Gregg Smith many years ago and I also organized a concert for his 100th birthday in 1974. I'm working now on a 150th concert for next year and would love to be in touch with you about it if you have some time. Best, Bill McClelland
I didn't get a message. I doubt I personally could add much to an Ives celebration but you can respond to any TT email, it should get to me. Thanks for interest.