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One-off concerts or recording sessions by musicians who have never played together are nothing new in the music world, what is rare is when the outcome is a truly remarkable performance.
Such is the case of Greg Anton & Friends and their new double live album, Starfire, which got its on-air debut during the June 25 edition of Greasy Tracks.
Check out the archive by clicking here, while a playlist is here.
In 2020, San Francisco Bay-area drummer Greg Anton collaborated with a group of crack Hartford-area musicians to do a one-off concert at the TELEFUNKEN Soundstage in South Windsor, Conn., only weeks before the Covid pandemic shut music venues around the world.
The concert was Anton’s way of bidding a musical “good-bye” to Marty Levine, a lifelong friend who had passed away less than two months before.
Coincidently, Toni Fishman — TELEFUNKEN Elektroakustik founder and visionary — was also very close to Levine and considered him a key mentor when he began his career in all sound-related things. Fishman was also very familiar with Anton’s primary band, Zero, a group he had followed and recorded in concert dozens of times over the years.
The two discussed presenting a special concert at TELEFUNKEN and agreed on a date. Anton, a Hartford native, enlisted Fishman with gathering “the best musicians” he could find as a backing band. Fishman deferred to Scott Medeiros, TELEFUNKEN’s sound stage and studio manager who had done time as road manager for the band Kung Fu
The task was easy for Medeiros who brought in such Kung Fu-related players as guitarist Tim Palmieri, keyboardist Beau Sasser, tenor saxophonist Robert Somerville and bassist David Livolsi. Based on their varied backgrounds — not just as live players, but their studio chops — Medeiros had complete confidence in the line-up.
In the run-up to the show, the musicians agreed on several dozen tracks to draw their live sets from, a combination of Anton-penned selections that had been played by Zero as well as an impressive list of covers.
Minus a brief rehearsal before the concert, Anton had never played with the musicians before. The show was recorded to archive the performance, but upon listening the tapes following the concert, Anton was blown away and felt there was enough good material to do a proper release.
Fishman embraced the idea and proposed putting it out on TELEFUNKEN Elektro Records, the recently introduced part of the company portfolio.
What followed was nearly two years of work to mix and master what would become TER-003, the third release by the label.
The project would take on an additional bittersweet tone as only months after the band’s performance, Levine’s son, Jordan — who was a close friend to Fishman — also passed away.
The album is dedicated Marty and Jordan Levine.
In comparison to such famed one-off 1968 performances such as the Dirty Mac in the Rolling Stones Rock and Roll Circus or the Plastic Ono Band’s appearance in Toronto, Greg Anton & Friends at TELEFUNKEN paled in magnitude.
Starfire, however, towers over the aforementioned when it comes to the level of musicianship, concert recording and the all-important production and mixing.
In addition to playing the entire release, including tracks not part of the two-album collection, the feature had interviews with musicians and those part of the final production of the project who help tell the story about how Starfire became a reality.
The June 11 edition of Greasy Tracks spotlighted musicians who use the Echoplex or a similar tape delay effect, with attention being paid to recordings made in the 1950s through the modern era.
Check out the archive by clicking here, while a playlist is here.
As part of the feature, an interview with a local guitarist and effects aficionado was included. The person, who asked not to be identified, spoke about different styles of tape delay effects that have been used over the years and spotlights specific models and musicians who have taken them to the studio or out on the road.
The innovative guitarist Les Paul is widely acknowledged as the first-known example of capturing an “echo” in 1951 on his “How High The Moon”. Producer Sam Philips helped mainstream the technique when he worked with Elvis Presley.
The pre-cursor to the Echoplex was the Ray Butts-designed and built EchoSonic which first appeared in 1953. The amplifier had a built-in tape echo effect feature which gave musicians the ability to get a “slapback” that effectively doubled that sound, but did so between 60 and 240 milliseconds.
This was most noted in 1950s rock, especially rockabilly stylings. Chet Atkins, Scotty Moore and Carl Perkins were noted guitarists who used the EchoSonic and Atkins purchased the second one produced. The sound it creates has been described as “thicker” and “fatter”.
The Echoplex was designed by Mike Battle and first appeared in 1959. It used magnetic tape which could be played back at different speeds with a feedback variable to create a range of different echoed repeats.
Even when he was alive, bluesman J.B. Lenoir was highly regarded, but sadly all but unknown. More than a half century after his untimely passing, Lenoir hardly registers a blip on the radar, at least until guitarists Henry Kaiser and Rome Yamilov took up his cause.
The duo, backed by some crack studio players, have done Lenoir’s legacy proud with their just-released The Lenoir Investigation (Little Village).
The story of this interesting recording was recounted on the May 28 edition of Greasy Tracks which featured interviews with Kaiser and Yamilov as well as the new album and music from across the short career of Lenoir.
Check out the archive by clicking here, while a playlist is here.
Lenoir did the bulk of his recording in Chicago, where he moved in 1949 after a short stint in New Orleans where he started working after leaving his birth place, Mississippi.
Unlike his contemporaries, Lenoir took a keen focus on the Korean War and civil rights when it came to his songwriting. Lenoir passed away in 1967 at the age of 38.
Veteran guitarist/producer Kaiser and Yamilov, a relative new-comer on the scene, were commissioned by The Little Village Foundation to do the album and part of their preparation was an in-depth study of Lenior’s music.
The pair would go on to record 11 tracks, all but one — an interesting version of Bo Diddley’s “Rollarcoaster — are Lenior originals.
Instead of taking a straight blues approach to recreating Lenior’s work, Kaiser and Yamilov opted for an anything-goes attitude.
Kaiser has long been recognized as a master at coaxing cool sounds out of guitars so there are some incredible explorations on offer from the album. Yamilov, an admitted fan of the style of late Funkedelic guitarist Eddie Hazel, paid tribute to Hazel while paying tribute to Lenoir on one track, while another was a direct nod to late-period Meters, according to Kaiser who stoked the creative directions that include influences ranging from ska to North Africa and South America.
Nearly 30 years after playing a three-night run at San Francisco’s venerable Great American Music Hall, Zero released a two-CD set capturing some of that magic from 1992 as Naught Again (Omnivore Recordings) hit the streets May 20.
The album, along with interviews with founding members drummer Greg Anton and guitarist Steve Kimock, was featured on the May 21 edition of Greasy Tracks.
Check out the archive by clicking here, while a playlist is here.
Hartford native Anton and Kimock trace their collaboration roots to early 1980 and The Heart of Gold Band, a short-lived line-up featuring ex-Grateful Dead members husband/wife Keith and Donna Godchaux along with bassist John Kahn.
The passing of Keith Godchaux, only days after the band’s debut appearance, hastened the breakup of the group, but Anton and Kimock continued working together in the studio and by 1984, with a somewhat loose aggregation of players, made their first appearance as Zero.
The early edition of the band featured guitarist John Cipollina who remained with Zero until his death in 1989. Core members over the years included bassist Bobby Vega, saxophonist Martin Fierro, keyboardists Banana and John Farey amongst others.
They released their debut studio album, Here Goes Nothing in 1987, followed by Nothing Goes Here (1989).
In 1992, the band, which had primarily played instrumentals since forming, started working with Grateful Dead lyricist Robert Hunter. Vocalist Judge Murphy soon joined and the Zero became a regular go-to for Hunter’s material.
Joined by a handful of special guests, Zero performed at the Great American Music Hall Oct. 14-16, 1992. A portion of those shows was released in 1994 on Chance In A Million. With keyboardist Pete Sears part of Zero during this period, the banded also had Nicky Hopkins and Vince Welnick alternating on piano during the run.
In addition to some spoken word moments provided by Hunter, 11 live tracks culled from the string of shows make up the new release. A two-LP set is planned for release this fall.
Zero — which is reportedly lining up East Coast dates for the fall — played a series of shows earlier this month on the West Coast and will play concerts in the Pacific Northwest in July. Kimock is on the road with Steve Kimock & Friends throughout June, including an appearance at Park City Music Hall in Bridgeport on June 18.
A career overview of legendary guitarist Jeff “Skunk” Baxter was presented on the May 7 edition of Greasy Tracks which marked the start of its 28th year on WRTC.
The program included an interview with Baxter as well as tracks from his up-coming debut solo album, Speed of Heat (Renew/BMG).
Check out the archive by clicking here, while a playlist is here.
A Rock & Roll Hall of Fame inductee, Baxter is best-known for his work with Steely Dan — he was a founding member — and The Doobie Brothers, as well as a lengthy list of session and production work he’s been part of.
Baxter starts a tour this month with dates at The Iridium in New York City (May 6-7); The Music Room in West Yarmouth, Mass. (May 11); Wall Street Theater in Norwalk (May 12) and TCan Center For Arts in Natick, Mass. (May 13). There will be ticket giveaways for the Wall Street Theater date,
The new release is a mix of originals and a handful of covers of tracks, some featuring Baxter’s guitar work, that became F.M. radio staples, including “My Old School” and “Do It Again.” Guest appearances are made by Clint Black, Jonny Lang, Rick Livingstone and Michael McDonald who played with Baxter in Steely Dan and The Doobie Brothers.
Interestingly, over the years, Baxter’s keen knowledge of missile defense systems/counterterrorism led to him becoming a consultant to the U.S. Department of Defense and getting high-level security clearance at the Pentagon. Baxter chairs the Congressional Advisory Board on missile defense and discusses this fascinating part of his career, which includes playing on eight platinum records, as well as winning a handful of Grammys.
Vocalist Deborah Bonham and guitarist Peter Bulick discussed their just-released self-titled debut on the April 30 edition of Greasy Tracks.
Check out the archive by clicking here, while a playlist is here.
Interestingly, despite their traditionally U.K.-based blues approach as performers, Bonham-Bullick (Quarto Valley Records) as them doing innovative takes on an interesting mix of 13 covers that comprise the album.
Bonham is the sister of Led Zeppelin founder/drummer John Bonham. She and Bullick are married and their veteran band gained rave reviews backing Paul Rodgers during his Free Spirit Tour.
The first single from the album, Albert King’s “Can’t You See What You’re Doing to Me” was released this week.
A special edition of Monday Morning Jazz aired May 2 with Kevin and Devo featuring the music of Adam Hawley and Lindsey Webster.
Check out the archive by clicking here,
A recent interview by Devo with Hawley was included along with tracks from recent releases Escape and Risin’ Up.
Webster and Hawley will be performing at the John Lyman Center in New Haven on May 7.
Hawley was born and raised in Portland, Ore., doctorate of musical arts from the University of Southern California. He teaches at Musician’s Institute, Chaffey College, and Saddleback College.
Webster hales from Woodstock, N.Y., and recently released her fifth album A Woman Like Me. She previously had a No. 1 hit on the jazz charts with her album You Change.
The 14th edition of The Trinity Samba Fest takes place April 23 on the campus of Trinity College. The event runs 11 a.m.-6 p.m. and features a variety of local, regional and international musicians.
The fest takes place rain or shine and admission is free and open to the public.
WRTC’s on site coverage begins at 12:30 p.m. with Sam Braga, Lou Pomales, Max Norteman and John Schwenk hosting and interviewing artists, organizers, dignitaries and spectators as well as providing an overview of the proceedings. Click here to listen live
“This year’s Samba Fest will present musicians who make you think in totally different ways about how people approach a musical instrument,” said Eric Galm, professor of music and ethno-musicology, chair of the Music Department, and co-director of the Center for Caribbean Studies at Trinity College.
The main stage will be at Trinity’s Jacobs Life Sciences Center Quad — located behind 240 New Britain Ave. — with parking available around the Koeppel Community Sports Center, on New Britain Avenue, Summit Street and Broad Street.
This year’s headlining artists, traveling from Brazil, include multiple Latin Grammy Award-winning guitarist and composer Yamandu Costa, with special guest Richard Scofano on bandoneon, as well as innovative percussionist Serginho Silva and his Ensemble.
Other Samba Fest performers include: the Galm-directed Trinity Samba Ensemble with special guest José Paulo; Trinity Steel, directed by Curtis Greenidge; and African-inspired drumming and dancing with Friendz World Music.
An array of family-friendly activities, crafts and games will be available at Samba Fest, plus food trucks will be on site with a variety of menu offerings.
One of rock’s legendary albums was discussed on the April 9 edition of Greasy Tracks as the focus turns to the recent two-CD re-issue of Spirit’s 1970 masterpiece, The Twelve Dreams of Dr. Sardonicus (Esoteric Recordings).
Check out the archive by clicking here, while a playlist is here.
Best known for “Nature’s Way” — one of Spirit’s most recognized songs, Sardonicus has always had a mystique to it. An incredible work, albeit by a band in turmoil and near a breaking point, akin to a fractured Beatles somehow making Abby Road.
To provide some insight to the re-issue, which includes 11 bonus tracks and 17 live cuts recorded in 1970 at the Fillmore West and Boston Tea Party, there was an interview with Mick Skidmore who produced, compiled and mastered the package. Skidmore is the trustee of the Randy Craig Wolfe estate.
Wolfe, best known as of Randy California, one of the founders of Spirit, was an innovative guitarist who had earlier played with Jimi Hendrix in his band, Jimmy James and the Blue Flames. It was Hendrix who gave him the name “California” to differentiate him from bassist Randy Palmer whom he nicknamed “Randy Texas.”
Sardonicus was Spirit’s fourth album and the first that did not have Lou Adler producing. Adler, the founder of Ode Records, signed Spirit who released their self-titled debut and follow-up, The Family That Plays Together, on the label in 1968. They followed with Clear in 1969.
Spirit enlisted David Briggs, best known for his work with Neil Young, to produce Sardonicus. The connection to Briggs came via Spirit keyboardist John Locke being friends with Young.
Upon release, Sardonicus didn’t set the charts alight, reaching only No. 69 in the Billboard 200. Over time, it gained more attention and appreciation, going Gold in 1976.
That the album was released at all was a miracle as the band was hardly functioning as a unit. During the recording, all members were never in the studio at the same time. Creative and personality differences were marred by questionable lifestyle choices by band members, especially California. During the mixing of Sardonicus, California fractured his skull after falling off a horse.
It would be the last album all five founding members would make together until 1984 when the released The Thirteenth Dream.
Following the release of Sardonicus, the band endeavored to go on the road to support the album, but it was a half-hearted effort at best. California’s post-accident mental state had worsened and he cancelled a highly anticipated tour of Japan. The original line-up played its final show together at the Fillmore East in New York on Jan. 30, 1971.
Bassist/vocalist Mark Andes and keyboardist/vocalist Jay Ferguson would leave to form Jo Jo Gunne; California would enter rehab; and drummer Ed Cassidy and Locke picked up Al Staehely (bass) and Chris Staehely (guitar) as Spirit limped on.
The paths of the founders would cross over the years, but in the grand scheme of things, it would be the duo of California and Cassidy that proved to be the longest-working partnership. The pair linked up again in 1972 when California released his debut solo album, Kapt. Kopter And The (Fabulous) Twirly Birds. They would go on to release eight additional Spirit albums, the final, California Blues, in 1996 a year before California’s death at age 45 when he drowned.