Ringo Starr’s New Album, Tour

musictimes.com/
Ringo Starr’s New Album is Finished, Beatles Drummer Hints at Spring Tour

The drummer was elated when news broke that he would be inducted into the Rock and Roll Hall of Fame.

“It means recognition. And it means, finally, the four of us are in the Rock and Roll Hall of Fame even though we were the biggest pop group in the land. You know that won’t look funny in black and white,” he told Rolling Stone.

“I can only look to Tony Bennett and B.B. King. We can go as long as we can go. That’s always been the way. If I can hold the sticks and I can stand up, I can do what I love to do. If people are still coming, that’s the deal. I don’t want to play with myself.”

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Composer Alec Wilder on Pianist Ellis Larkins

larkins_ellis

Ellis Larkins (Photo from the Digital Collections in the Arthur Friedheim Library of the Peabody Institute.)

SKF NOTE: I am familiar with composer Alec Wilder and pianist Ellis Larkins. Through the writings of pianist Marian McPartland, and, I think, other sources, I’m also somewhat aware of Mr. Wilder’s command of the English language, and of his wit. This is from a short essay Mr. Wilder wrote about Mr. Larkins. The way Wilder describes Larkins’s musicianship is, in my opinion, first-class writing.

Alec Wilder: He achieves his musical points always by means of understatement. His economy is as brilliant as a Simenon sentence. He is strong and direct without ever spilling over into aggressiveness. His left-hand harmonic inventions and sinus bass lines are marvels of ingenuity and unexpectedness. His rhythmic sense is absolute, and his choices of tempi are as right as Basie’s or Norvo’s. His wit, manifested in interpolated phrases, is irresistible and his blues walk you right on down the aisle. His ballads are rich without being cloying and his up tunes are danced in felt slippers with an almost audible smile.

Source: “Ellis Larkins: An Appreciation,” by Alec Wilder, Down Beat October 26, 1972.

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Carmine Appice Lobbies For Led Zeppelin Drum Spot

Carmine Appice Lobbies For Led Zeppelin Drum Spot
by Dave Lifton December 25, 2014 12:00 PM

appice_carmineOn the chance that Led Zeppelin decide to reunite, the odds are strong that John Bonham‘s drum seat would be occupied by his son, Jason. However, veteran drummer Carmine Appice feels that he is a better fit for the role than somebody who shares Bonzo’s DNA.

“Everybody in that band there is legendary,” he told the Totally Driven Radio podcast. “They’re old school and legendary. Jason isn’t legendary, and he’s not old school. He’s John Bonham’s son, but he don’t play like John Bonham…He plays like him. He’s not John. He’s got that name, but he’s not John Bonham. I’m not John Bonham either, but I think my style might be close, ’cause I came first, and John listened to stuff I did and did it his own way. And we took ‘em on their first tour. It’s very close-sounding stuff in feel.”

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Bob James (1978): Jazz-Rock Communicates to a Wider Audience

james_bobBob James: [W]hat really has happened is musicians from all different styles and eras have started cross pollinating and the two majors that I’m involved with – rock and jazz – have developed a series of musicians who have their roots in both. [J]azz musicians…have learned from the rock musician to be better in touch with a wide audience, thus making our music more universal. [N]ot only has it increased tremendously the financial possibilities of all of us involved in it, it has generated a kind of communication between us and our audience and just people in general. [I]n the early 60’s or late 50’s [t]he jazz musician was really isolated and didn’t want to have any touch with the rest of world, and the audience that was interested in the music was a very narrow one, a bunch of fanatics that wanted to listen to that music or nothing….

I think it was a self-imposed exile that these people were in and it was severely limiting in so many ways by not being objective about the things that were exciting about other areas of music. I think that what we see now…is far healthier and for more expansive. What we saw happen with so many younger jazz musicians, who did want to communicate, who did want to embrace or become acquainted with, or the be stimulated by the best elements from other areas, it just expanded their music, and as a result it expanded the audience….

Source: “Bob James,” by Zan Stewart, Musician, Player & Listener, June 15, 1978

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Chick Corea: Communication In Performance vs On Record

L-R Steve Gadd and Chick Corea

Chick Corea: One thing I’ve been working out recently is the difference between my communication in performance and my communication on record.

The communication line in a performance is so simple. It goes from the stage to the audience and that’s it. But there’s a whole process the record goes through before it reaches the listener’s ear. There’s a great variety of situations that a person listens in nowadays – in a car, at home, very busy, relaxing.

I can take it into consideration when I’m creating the product.

Source: “So What’s New With Chick?” by Len Lyons, Musician, Player & Listener, December 1978

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