Zoopraxiscope

Which was the most distinctive Canadian band? You can make a case for Rush, but my pick is Rare Air. They combined bagpipes and other Celtic noisemakers with funky bass and percussion and occasional guitar in the ’80’s. They recorded five albums (the first as Na Cabarfeidh), of which only the last three were released on CD.

Weber, a cousin of Constanze Mozart, is best known for his operas, but he was a formidable pianist as well, with large hands that could stretch a twelfth.

Bakerloo was a power trio in the era of Hendrix and Cream who put out a single album before disintegrating. The members of this forgotten band each went on to have noteworthy musical careers, in particular guitarist Dave “Clem” Clempson with Colosseum and Humble Pie.

The video is annoyingly artsy. I recommend closing your eyes while you listen to Ichika Nito tap out “A Bell Is Not a Bell” on his seven strings.

The “Bell Polka,” a kantele duet performed by Martti Pokela and Eeva-Leena Sariola.

The first Jethro Tull album doesn’t sound like the others. That was due to guitarist Mick Abrahams, who had a very different musical vision than Ian Anderson. Abrahams quit/was fired after This Was and formed Blodwyn Pig. The sax player is Jack Lancaster, who would subsequently work with Robin Lumley, Brand X and others.

Continue reading “Tune of the day #60”

Some pioneering psychedelic music from Alexander Scriabin, composed not long before he was consumed by flame died of an infected pimple.

I heard a number of legendary musicians at the first bluegrass festival I ever attended out in the wilds of northern Virginia, including John Hartford, Earl Scuggs and The New Grass Revival, not to mention the Lost City Cats from the far side of the Pacific. The one who most impressed me was Norman Blake, particularly his rendition of “Old Grey Mare.”

Proto-fusion, featuring the Brecker Brothers, Billy Cobham and John Abercrombie, back when few knew who they were. Jazz purists, go away.

Everybody likes Gershwin — except maybe Duke Ellington.

R.D. Laing set to music. From the video’s comments: “I asked my girlfriend a long time ago if this could be ‘our song.’ She said she would leave me. I haven’t seen her in over 40 years.”

A good production of Coppelia is an excellent introduction to ballet for youngsters. There’s a silly romance for girls, a mad scientist for boys, lots of spirited dancing, colorful costumes, a bit of slapstick, and a particularly good score.

The company that released the American edition fifty-some years ago got the sides reversed so all the titles are wrong, an error that was repeated in the CD releases. This tune is called “Jive Grind” here, but the correct title is “Vienna Breakdown.”

Bass: Colin Hodgkinson; Sax: Ron Aspery; Drums: Tony Hicks.

I spent one summer of my childhood back east visiting the Martian side of my family. While I was there, I listened to my Aunt Margaret’s records, including this one. Years later at a Steven King concert (not that King; the other one (another Winfield winner)), King would play a bit of an old tune and give the first person to identify it a set of guitar strings. This was one of the tunes, and I was able to give a guitarist friend a new set of strings.

Happy the Man, featuring Kit Watkins on keyboards, was active in the later 1970’s, when radio had become hopelessly stupid.¹ I didn’t learn that they had existed until I finally got online around the turn of the century and discovered websites devoted to prog rock.

The masks are not part of the original score.