5 Songs Friday, May 9

Some Jazz, some Blues, and some Rock

Jerry Granelli – “Helium Tears” 1990 from One Day at a Time. I don’t really know much of drummer Jerry Granelli’s work, and in fact discovered this on a compilation of his material released about ten years back under bassist Charlie Haden’s name. The rest of the band on this cut includes Robben Ford on guitar, Julian Priester on trombone, and a guy I really don’t know at all, Denny Goodhew on alto sax. Goodhew is also the composer of this lovely disorienting ballad. Thinking about the concept of tears being made of helium, I realized that means you would cry up, not down. That sort of twist in expectations is what happens throughout this performance, especially in the last three minutes when all four melody-playing musicians start swirling in counterpoint around each other without losing the stately, elegant feel set out from the beginning. Goodhew, Priester, and especially Ford had already taken strong solos with Haden dancing around their takes on the harmony. Granelli’s drumming is understated throughout, but is perfectly placed.

Electric Light Orchestra – “Ma-Ma-Ma Belle” 1973 from On the Third Day. It’s funny that one of my fave ELO songs was never a hit in the U.S. and only reached number 22 in the UK. But when I want to hear a great rock’n’roll song, with indelible guitar riffs and a bonus riff played on cellos and violins, not to mention a killer stuttering hook line, I’m gonna turn to this cut nearly every time. Though Roy Wood had ceased working with ELO on their previous second album, this song strikes me as being very Move-like. (For those who don’t know, the Move were one of the greatest rock bands England ever had, and then they morphed into being ELO.) Also, fun fact, Marc Bolan of T. Rex doubles up on guitar on this song. Now, I’ve never understood the words to this song, and I’m sorry I looked them up, as Jeff Lynne is bragging about having “three or four babies sittin’ on my knee” while he’s stalking and demanding another join him “before I serve my time.” And what the heck does it mean when he says “You gotta ma-ma-ma belle before I get you”? In the US, we still knew that “Ma Bell” referred to the telephone company, but I don’t think it did in England, so where did he get that phrase? Oh, well, as I said, this record plain and simply rocks.

T-Bone Walker – “Strugglin’ Blues” 1954 single available on The Complete Imperial Recordings 1950-1954. The early 1990s was a great time to be a music critic, as all the record labels were embarking on major reissue programs, and every couple weeks I’d get all kinds of CDs introducing me to great artists and recordings that improved my knowledge about what had happened before I started paying attention (or even before I was alive). This T-Bone Walker collection enabled me to understand what I’d only read about, that Walker was one of the most influential guitarists in blues history. It also enabled me to appreciate the quality of his records, which didn’t always include tons of guitar. This one is a slow blues sung from a low point in life. The third verse even crosses over to a gospel instinct, as the singer puts his fate in the hands of God, not something that happens often in blues. Walker sings it, as always, with a forthright conviction and a weariness that’s palpable. The piano, bass, and drums are all just behind the beat, the horn section right on it, and the sad guitar chords and occasional licks are just ahead of it. This man was brilliant.

Bill Frisell – “Misterioso” 2006 from Bill Frisell, Ron Carter, Paul Motian. I have at least a couple dozen Bill Frisell CDs but somehow I missed this spectacularly effective trio album until just recently. There are country songs and show tunes and folk music on this record, but I’m drawn especially to this rendition of one of Thelonious Monk’s greatest compositions. Frisell lays down the chords and melody with aplomb, and then proceeds to dig into the mysteries of these elements for the rest of the performance. He’s joined by two jazz giants. Ron Carter’s bass emphasizes different beats from what Frisell does, and he plays a fairly spectacular solo about two thirds of the way through. Paul Motian puts the emphasis on his ride cymbal, with snare and hi-hat bouncing off the skips he uses to keep the rhythm fresh. This is the sound of three dynamic musicians who had been in the game for decades by this point. Only Motian has since left us. Frisell and Carter continue to make great music.

David Crosby – “Sell Me a Diamond” 2017 from Sky Trails. David Crosby released eight solo albums in his career, with the last five – all from the last nine years of his life – arguably his finest. (And, yeah, the argument would have to decide where his 1971 If Only I Could Remember My Name fits in the ranking.) There would be two more after this one. I think this song is a good idea not completely worked out lyrically. Crosby was trying to compare the beauty of conflict free diamonds with the discord he sees around the world. I love the sound of the record, though, and the urgency in his voice. He uses several of his vocal tricks – the lovely tenor, the ugly growl, the impeccable and distinctively original harmonic sense. The tune is compelling, and the song builds nicely. As a bonus, somewhere in the mix you can hear Greg Leisz on pedal steel, which makes this one of at least a hundred records I own with him playing on it.