STEPHEN SCHNEE: QUIET PLACES has just been released. How are you feeling about the album and the reaction you’ve had to it so far?
ANDREAS VOLLENWEIDER: QUIET PLACES is intended to provide something like a hide away, a place where we can slow down, step out of the crazy spinning carousel of life, and breathe freely for a moment. Especially in these times, such moments of contemplation are of existential importance. The first things that go overboard in such situations is our view for the positive, which very often is overpowered by the seemingly dominant negative. Music can lead us to such a place where we can gather strength for our fight for the better and the good. The feedback we have received to QUIETPLACES so far makes me quite confident, that it really does work…
STEPHEN: It has been quite a while since the release of your last album. Do you consider QUIET PLACES a continuation of your recorded legacy or a musical rebirth? Or maybe a little of both?
ANDREAS: I do not follow any strategy, neither in my life, nor in my work. I mainly follow my intuition, which has been a reliable mentor so far. For the first time, I had an unusual, additional support from my work on my novel IM SPIEGEL DER VENUS. I could actually say that writing has inspired the music and the music has inspired writing.
STEPHEN: During the lengthy break between your last album and this new one, did you gather quite a backlog of material ready to use, or are the songs on QUIET PLACES written specifically for this project.
ANDREAS: The music of QUIET PLACESis actually the result of many hours of improvisation with the brilliant young cellist Isabel Gehweiler. Although musical structures were formed here and there, most of it is still open and free and could never be played the same way a second time. As an additional source of inspiration, the themes and ideas behind the novel REFLECTIONS OF VENUS always floated somewhere in the room.
STEPHEN: While many music fans are fairly aware of the songwriting process in Rock music, how do you compose your songs? Are they born from improvisation or do you think of a certain melody and then begin writing composing around that?
ANDREAS: All our music from the past 40 years have come from improvisation – one could almost say that the music has written itself.
STEPHEN: And sticking with the same subject, do you compose your music differently today than you did 40 years ago?
ANDREAS: I am far too wild a spirit, not to be tamed even by myself. I am not disciplined and structured enough to construct music intellectually on the drawing board.
STEPHEN: QUIET PLACESis filled with beautiful melodies that evoke a sense of wonder and beauty, which is especially welcome during these trying times. When putting together an album, is it easy to create an atmosphere that will take the listener on an emotional journey? Or is that the most difficult part of the recording process?
ANDREAS: You have to go on these journeys yourself, dive into these depths yourself, experience all this yourself, and the music will emanate the right atmosphere all by itself. The work on our mindset, and our stance towards life, with the sum of our feelings, thoughts and values that must be the basis of our artistic expression. Only then we are worthy of credibility and people will follow our invitation to join us on the journey.
STEPHEN: QUIET PLACESis the beginning of a new trilogy for you. Like your first trilogy, which began with 1981’s …BEHIND THE GARDENS – BEHIND THE WALL – UNDER THE TREE, do you pre-plan out which direction you want each release to go, or do you let the music guide each project?
ANDREAS: As I said earlier – I am planless and clueless 😉
STEPHEN: QUIET PLACESserves as a companion piece to your first novel, IM SPIEGEL DER VENUS. Did you initially conceive QUIET PLACESto work as a ‘soundtrack’ to the novel or are you treating them as two separate projects?
ANDREAS: QUIET PLACESwas never intended as a soundtrack for the novel. It has developed parallel to the story, it has accompanied me over the many years of my research, it has grounded me, and made my thoughts fly, just like a good travel companion should.
STEPHEN: Over the years, your music has been classified as everything from New Age to Jazz to Classical. How would you prefer your music to be classified?
ANDREAS: Honestly? I PREFER NOT TO BE CLASSIFIED, AND SO DOES OUR MUSIC (same way as you and everybody else, I think…)
STEPHEN: What is next for Andreas Vollenweider?
ANDREAS: The international release of QUIET PLACES, the novel as well as the audio book. That keeps me busy for quite some time. Touring seems not really to be an option due to the virus. All we can do at the moment are these LIVE@HOME mini concerts on YouTube. It’s a very surprising new way for me to bring the music to people, even to places we could never travel to. I must admit that I have underestimated this option very much and today, however, I am very excited about it. I would never have thought that such an intense feeling of closeness is possible in this very virtual situation. But seen in this light, even a love letter that the postman brings is also virtual. You are not personally present there and yet, if the letter is well written, you can touch your loved one deeply.
Special thanks to Andreas Vollenweider
Additional thanks to Larry Germack, Clint Weiler, and Doreen D’Agostino
Folk and protest music, for the most part, are timeless. There are certain songs that may focus on a particular incident in history, but most Folk-oriented ‘protest’ songs address universal issues that are still sadly relevant. When you sit down today to listen to a classic by Pete Seeger, you suddenly realize that the more things have changed, the more they’ve remained the same. Seeger is associated with his social activism and his amazing cache of songs – that he wrote or co-wrote – including “If I had A Hammer”, “Where Have All The Flowers Gone?”, “Kisses Sweeter Than Wine”, and “Turn! Turn! Turn!” Just as beloved as iconic singer/songwriter Woody Guthrie, Seeger’s songs came from the heart, although some speculate that they may have been sent from somewhere more magical and/or mystical. For decades, his words and melodies have become part of pop culture. They are important cornerstones in the soundtrack of our lives. Pete Seeger remains an icon that all of us should always hold in high esteem. His words were often direct, sending messages for all of us to take to heart. However, the musical arrangements were – and are – often left to reinterpretation…
And that’s where Kronos Quartet comes in. Formed in Seattle, Washington in 1973 by violinist David Harrington, the Grammy Award-winning quartet is often filed under Classical Music, but as they’ve proven time and time again, Kronos Quartet is often unclassifiable. They’ve tackled everything from Jazz to Pop, Avant-Garde to World Music. They have also collaborated with an impressive cast of artists in the past including Elvis Costello, Phillip Glass, Joan Armatrading, Laurie Anderson, Nelly Furtado, and Nine Inch Nails. Since their first album in 1979, Kronos Quartet has embraced change and growth. Instead of taking the easy road straight down the middle, this outfit has taken every off-ramp and explored each musical town before getting back on the road and heading for the next musical adventure. Their catalog is wildly diverse and thoroughly engaging. Like Pete Seeger, Kronos Quartet creates music that touches the listener emotionally. It is truly inspiring.
Kronos Quartet may create music that seems – on the surface – worlds apart from Pete Seeger, that hasn’t stopped Harrington & Co. from exploring his classic songs on LONG TIME PASSING: KRONOS QUARTET & FRIENDS CELEBRATE PETE SEEGER. The album features a fresh approach to Seeger’s music but still retains the power of his initial cries for unity and peace, driving Seeger’s messages home in fresh, new ways. On the album, Kronos Quartet is joined by friends Sam Amidon, Maria Arnal, Brian Carpenter, Meklit, Lee Knight, and Aoife O’Donovan, all of whom add their unique voices to the recordings. The songs on LONG TIME PASSING – “We Shall Overcome”, “Which Side Are You On”, “Turn! Turn! Turn!”, “The President Sang Amazing Grace” and more – were written years before many of us were born yet they are still as relevant as ever. One would think that the world would have evolved over the years, but like the planet itself, everything just keeps spinning and the issues we deal with – from personal to political – just get recycled over and over again. We should turn off the TV, put down our smart (?) phones and really listen to the messages on LONG TIME PASSING. We shall overcome, indeed.
KRONOS QUARTET & FRIENDS
LONG TIME PASSING: KRONOS QUARTET CELEBRATE PETE SEEGER
STEPHEN SCHNEE: Your album HOLY SMOKES FUTURE JOKES is about to be released. How are you feeling about the album and the reaction to it so far? ERIC EARLEY: It’s been difficult to gauge response during all the social unrest happening with focus flying all around, but I’m personally pleased with the recordings, the singles have done well as far as I can tell, good playlist placement and pre-order.
STEPHEN SCHNEE: This is your 10th album in a two-decade career. When you started the creative process (writing and recording), did you approach this album differently than the previous nine albums? ERIC EARLEY: My approach for this one was quite different, I was coming from a very focused place, having delved deeply into the Bardo Thodol and its philosophy and narrative, all the songwriting seemed to spring from a place of pondering the afterlife and if in fact there is any meaning in the word ‘after.’ Each song explores the idea of death not as an ending but a shifting of states not so different from the shifting that happens in our lives day to day.
STEPHEN SCHNEE: Musically, Blitzen Trapper is not easy to pigeonhole. Journalists and fans are going to bicker back and forth about where you fit, genre-wise. Do you feel comfortable being ‘labeled’ under a certain genre? Or is that something you even think about? ERIC EARLEY: It’s not something I think about really. The ‘Americana’ label is nice and extremely general, so I’m fine with that, but I’ve noticed that labels have unique meanings for each individual and their own purely personal associations which makes the labels entirely meaningless in a real sense.
STEPHEN SCHNEE: Musically, which artists inspired the music on the album? On albums by other arists, you can instantly hear a Beatles influence. However, on HOLY SMOKES FUTURE JOKES, the songwriting and arrangements seem closer to Paul Simon than Paul McCartney. ERIC EARLEY: Definitely a more soft-spoken vibe on this record, I was going back into the Elliott Smith recordings and even further back into the John Fahey/John Renbourn/Roy Harper recordings I listened to when I was younger.
STEPHEN SCHNEE: What was the inspiration behind the album HOLY SMOKES FUTURE JOKES? ERIC EARLEY: The Bardo Thodol as I said seemed to supply a backdrop, the 11th section in particular, the narrative of the Intermediate States as well as the study of the 48 Peaceful Deities and the 52 Wrathful Deities and their relation to different ideas about psychology, mortality and mental health.
STEPHEN SCHNEE: The lyrical subject of this album revolves around life, death, and some dark issues that lie somewhere in between. Were you hesitant to release the album while we deal with this pandemic, or do you feel that your approach to the subject matter may provide some food for thought – and even comfort – to the listeners? ERIC EARLEY: I hope it’s comforting, to see humanity not as the center of life on this planet but as a very small sliver of the story, trying to understand our place and practice Cosmic Humility, our survival is not paramount, life has persisted before us for billions of years and will persist without for billions more in other states, times and realities. Our relationship to the planet and to one another is part and parcel of the life/death cycle and should be seen as such. To me that is comforting.
STEPHEN SCHNEE: Regardless of the subject matter, the album is still uplifting, honest, fun, and hopeful. Is this an album that came together quickly? And do you still wish you could go back and make small changes even this late in the game? ERIC EARLEY: The songs were written in a two-month span and the recordings made in a three month span, so relatively quickly. I have no regrets about this album at the moment, which is great!
STEPHEN SCHNEE: Is there a track on HOLY SMOKES FUTURE JOKES that you feel is a great ‘gateway’ track to the album? For example, opening track “Baptismal” certainly contains many great musical aspects that are expanded upon elsewhere on the album – creativity, melody, harmonies, and excellent musicianship. ERIC EARLEY: “Baptismal” is the gateway, the fingerstyle work and narrative content are an opening into the ideas I explore throughout the album.
STEPHEN SCHNEE: Over the years, vinyl gave way to CDs but now that seems to be in reverse. Over the years, regardless of format, have you always thought about Blitzen Trapper releases as ‘albums’ and arranged the tracks like a two-sided LP? In many cases, the emotional and musical flow of an album is just as important as the quality of the songs. ERIC EARLEY: I think my perspective is shaped by growing up in the eighties and nineties, a time when album format was still a very real thing. That format isn’t as prominent now, but I still veer toward that idea when putting an album together and I think as far as songwriting, the songs always come in a group that needs to be shared as such.
STEPHEN SCHNEE: What’s next for Blitzen Trapper? Have you thought of unique ways to promote the album since you can’t tour at this moment? ERIC EARLEY: I’ve done a few live streams and interviews and the like but for the most part I’ve been preoccupied with my day job during the lockdowns and haven’t been centrally focused on music and with touring a distant memory it’s tough to see how promotion will go. I really don’t know what will come of the usual record cycle that’s been industry standard. I feel like all the really young hungry artists will forge new ways of doing all of this but it’s difficult to see how anyone will make a real livable wage from music for a while since most artists have never made proper income from recordings.
STEPHEN SCHNEE: SING YOUR DREAMS is now available. How are you feeling about the album and the reaction to it so far? DENISE KAUFMAN: Well, it isn’t really quite out yet, so our friends and fans have only heard the tracks we previewed – “Made for Love,” “Jai Ma” and “Put A Woman in Charge.” We’ve gotten wonderful responses to those songs. When we toured last summer/fall we played a few of the songs from this album live and people wrote to us asking where to get the tracks. We’re glad we can finally share them all!
SCHNEE: Were the tracks on the album relatively new compositions or do any of them date back to the band’s early days in the late ‘60s? DENISE: It’s about 50% vintage Ace of Cups songs. The rest were either written recently or sometime in between 1972-2012. How’s that for a span of time? “Waller St Blues” was the first song we wrote as a band in January 1967. In recording it for this album, we wrote a new verse about the Haight-Ashbury today. Mary Ellen Simpson wrote “Dressed in Black” in 1967 about her crush on one of the guys in Blue Cheer. We revamped it and wrote a new verse/bridge when we reunited and started playing live again. On “Gemini” we stayed true to the way we played it in the old days with psychedelic organ sounds and all! Diane’s song “Little White Lies” was written in the last couple of years but the theme of a cheatin’ boyfriend goes back, doesn’t it? The song “Slowest River” grew from one stanza of a poem by Algernon Charles Swinburne that Mary Gannon Alfiler found on a crumpled napkin at The Sleeping Lady, a restaurant/venue in Marin County, CA. Mary brought the napkin home, started writing at the old upright piano, and I joined in to co-write the lyric. The song evolved further as we were working on Sing Your Dreams. The mantra/chorus in “Made for Love” (the second song in the closing medley) was written by Mary Gannon Alfiler about 20 years ago in Kauai and I wrote the spoken word verses in February, 2020, as we were finishing the album. Some of our songs from back in the day felt current to us just exactly as they were, and some called out for a new approach or some rewriting.
SCHNEE: You experience with a lot of different musical styles on the album. From the Glam Rock stomp of “Put A Woman in Charge” to the African grooves of “Jai Ma”, this album really displays your diverse talents. Were you originally concerned that you were taking the album in too many directions? Or is that what excited you about making SING YOUR DREAMS? DENISE: We’ve always played in and explored different musical styles and we never felt as though we shouldn’t or couldn’t do that. We have five singers/writers in the band with different musical influences and passions. We honor the lineages that nourish and inspire us and hey – this is music – let’s play and sing! Fortunately for us, our amazing label, High Moon Records, gives us full freedom to express our musical range.
SCHNEE: With such a diverse batch of songs, what do you feel is the perfect ‘gateway’ track, the song that you feel best defines the album? DENISE: Oh gosh. I was hoping you’d tell me that!! For a straight up 60’s vibe, I’d say “Dressed in Black” or “Gemini.” If someone wants to know more about our hearts and values, I’d say “Basic Human Needs,” “Sister Ruth” or “Slowest River/Made for Love.” If you want to rock out to some strong women laying it down, “Put a Woman in Charge” and “Boy, What’ll You Do Then?”
SCHNEE: “Lucky Stars” is a joyous slice of Pop. What inspired that track? DENISE: Mary Ellen was in a Mark Knopfler phase – immersing herself in all his music the way she does when she focuses in on someone. (These days, it’s Stevie Ray Vaughn.) Anyway, she was thinking about how inspired she was by having a hero, how she loved the sound of Mark’s guitar and how her own music had carried her through really challenging times. You know, we’ve lost so many of the friends we played music with in the old days. We’re one of the only bands we know whose original members are all still here on earth and playing. Who could have imagined that, 50 years after our original incarnation as a band, we’d finally get the chance to record and share our songs? As the song says,” it’s been a long, long road” and we DO thank our lucky stars. We hope our story and our music encourages people to keep on keepin’ on and to sing/live their dreams, whatever they are.
SCHNEE: Who were some of the musical guests on the album? DENISE: We’re really honored to have all the wonderful guests who shared their musical mojo with us. Some of them are our old friends from the 60’s with whom we toured and shared stages. The very first track we recorded when we reunited was Wavy Gravy lead singing his anthem, “Basic Human Needs.” Bay Area luminaries Sandy Griffith, Nate Soulsanger, Larry Batiste and Bryan Dyer joined us on vocals supporting our Hippy Icon and Temple of Accumulated Error, Wavy Gravy. Jackson Browne sang lead on “Slowest River” and Jason Crosby played the beautiful grand piano on that track. Jackson also sang the mantra/chorus of “Made for Love” with Bob Weir and David Freiberg. On “Jai Ma,” we have Steve Kimock on lead guitar, Bakithi Kumalo on fretless bass and the whole Escovedo family on percussion and vocal ad libs: Sheila E, “Pops” Pete, “Moms” Juanita and brothers Peter Michael and Juan. It was a great family day in the studio! Steve Kimock also added some guitar magic on “Dressed in Black.” On “Gemini,” our longtime brother Peter Coyote talks about the ethos of the “Free Store” on Haight St. on the spoken word outro. On “Sister Ruth,” Jason Crosby played the grand piano and Jack Casady played bass. On “I’m on Your Side,” a gem written by Mary Gannon Alfiler and our producer Dan Shea, Dan’s friend and musical colleague Sheldon Brown played the clarinets. Finally, our amazing multi-instrumentalist producer Dan Shea played on a number of tracks – always adding just what was needed.
SCHNEE: The overall feeling of the album is hope, strength, and power. However, it is also a reminder that we all face adversity and we need to look to those positive feelings to lead us to our own personal triumphs. Were there any particular incidents – personal or otherwise – that inspired the overall direction of the album? DENISE: Certainly, the political realities since 2016 affected us. The rise of white supremacist groups, hate crimes, racism, misogyny and environmental degradation – devastating on all fronts. We finished the album the week before the COVID shutdown in California and released the track/video for “Made for Love” as a stand for generosity, kindness and connection in troubling times. Then George Floyd was killed and we each got into action in our own way. We feel the themes of this album are timely. In “Basic Human Needs” we sing with Wavy “not just churches, not just steeples, give me peoples helping peoples…. down in the garden, where no one is apart. Deep down in the garden, the garden of your heart.” When the band reunited and started recording, it was Diane, Mary Gannon, Mary Ellen and me – just four of the original five band members. When our first album was released and we started touring in late 2018 and early 2019, we reached out to our friend Giovanna Joyce Imbesi to play keyboards with us. She was a brilliant musician, a deep and wonderful soul and she loved our songs. Giovanna had lived with neuroendocrine cancer for 12 years. She couldn’t commit to joining the band but was well enough to go on some adventures with us. She lifted us musically and spiritually and it was a joy to play with her. Sadly, by last summer her health had deteriorated and she couldn’t go on tour. Fortunately for us, we met the amazing Dallis Craft, our permanent new member and lead singer of “Put a Woman in Charge.” There were still a couple of shows when Giovanna was able to sit in with us. Our last show with her was at The Sweetwater in Mill Valley, CA, in October 2019. She passed away the following month. SING YOUR DREAMS is dedicated to Giovanna. Life is precious. Wear a mask and take care of each other, please.
SCHNEE: When Ace of Cups reunited, were you initially focusing on your original audience or were you hoping to appeal to a new audience that may not have been aware of your musical legacy? DENISE: We were hoping to appeal to old friends and connect with new audiences as well. Ever since the release of our live album in 2003 (culled from rehearsal tapes and various gigs in the 60’s) people of all ages from all over the world have reached out to us through our website. We got messages such as “I’m at 22-year-old guy in Buenos Aires and I’ve been waiting for your music all my life.” or “I KNEW women were making their own music in those days, but I just couldn’t find it!” So, it’s both for us. We want to stay connected with our original cohort and also be open to anyone who feels the pulse and heart of our music.
SCHNEE: When Ace of Cups originally formed, the idea of an all-girl Rock band was considered a ‘novelty’. Since Ace of Cups, we’ve seen everyone from Fanny and The Runaways to The Go-Go’s and The Bangles (and many others) prove that playing Rock music is not just a man’s game. Was there a moment or era when you realized that the novelty had worn off and people were taking female rock bands seriously? DENISE: Hmmm. Good question. It was certainly clear that by the late 70’s – 80’s there were many more women playing in bands. I am not sure who was taken seriously and by whom. Fanny was a great band. All wonderful musicians. I didn’t/don’t know much about the Runaways. I recently watched the new documentary on The Go-Go’s and had to admire their determination – especially on that first European tour when they played for some really rough audiences. I still think female rock bands are judged by “male” standards and, as far as I know, very few women are in the Rock & Roll Hall of Fame.
SCHNEE: “Waller Street Blues” recalls the spirit of the hippie nation of 1968. Were things back then really as wonderful as we’ve all read about? DENISE: There was a period of time early on when it truly was wonderful. 1965-67 especially. It seemed as though the old structures were giving way and there was a sense of community and creativity. The Free Store which Peter Coyote talks about at the end of our track “Gemini” was a corner store on Haight Street where people brought what they didn’t need any more and took whatever they needed and wanted. No financial exchange. Just a sense of sharing. The Diggers were feeding people daily in Golden Gate Park. Much of the food they sourced was discarded by supermarkets for being a little discolored or because a new shipment had arrived. Add some rice or beans and they’d turn this “found food” into wonderful meals where everyone was welcome to gather and eat. Music, dance, poetry, prose, journalism, poster art, clothing as art, theater, new social structures and communal living – everything was up for exploration. Psychedelics were at the center of these transformations and even though times changed, the ripple effects of those days are still reverberating today.
SCHNEE: Ultimately, the album is pure joy. What keeps the band so optimistic and youthful? DENISE: We were drawn together in 1967 because we loved playing music. We loved singing together. Even though we went our own ways after the Ace of Cups dissolved, none of us ever stopped playing. We were all in various bands and kept growing musically and as human beings. Most of the music we wrote in the 60’s still lives for us today. It’s relevant and still speaks from our souls. We don’t know how much longer we have on this earth, but we’ll offer the best that we are for as long as we can. The Ace of Cups card in the Tarot has clear streams of water flowing forth out of a chalice into the world. That’s us.
SCHNEE: What’s next for Ace of Cups? DENISE: Well, all the shows we were scheduled to play this summer and fall have gone the way of COVID cancellations. We are scattered across California and Hawaii, so we haven’t been all together since March. We do a Sunday Zoom convergence and really enjoy that. We have at least one more album to release in another year – it’s about half finished and we look forward to getting back into the studio to finish it. Right now, we’re excited to share SING YOUR DREAMS and see what magic synergy might come our way. We hope that our music can lift some hearts and be a reminder of what matters in this world. “Remember what we came here for – hold on to this connection, it’s all that we are.” (‘Made for Love’)
SCHNEE: What music have you been listening to lately? DENISE: I’ve been listening to Ola Onabule’s song “I Knew Your Father,” Anais Mitchell’s “Why We Build The Wall,” D Smoke’s “Black Habits,” anything by Bill Withers, Jorma Kaukonen’s Saturday night live shows from Fur Peace Ranch, and my grandson Eli Smart’s new track/video, “Cruella Deville.” And from here in Kauai on our family farm, a lot of birds.
Let’s get the obvious out of the way – Herb Alpert is a national treasure. The legendary trumpeter and music mogul has not only created an enormously satisfying back catalog of his own – solo and with The Tijuana Brass – he also co-founded A&M Records, a label responsible for a plethora of hits since the early ‘60s. If you love The Carpenters, The Police, Rita Coolidge, Supertramp, Cat Stevens, Amy Grant, Quincy Jones, Janet Jackson, The Dickies, Bryan Adams, Cat Stevens, Joe Jackson, and Peter Frampton, you can thank Herb (and co-founder Jerry Moss) for taking those artists out of the wild and bringing them straight into your living room. However, Herb Alpert is much more than a successful musician and music industry mover and shaker. He is a painter and sculptor, as well as a philanthropist. Although not as prolific as he was in decades past, he still continues to record both as a solo artist and with his wife, vocalist Lani Hall. And over the years, rumors have circulated that Herb Alpert is one of the kindest and most personable music legends in the industry. And it all started with a trumpet and a trip to Tijuana, Mexico…
In the early ‘60s, while on a trip to Tijuana, Mexico, Herb Alpert was attending a bullfight and was inspired by the sound of a mariachi band and the crowd’s excited cheers. He decided to try to recreate that feeling in the studio and “The Lonely Bull” was born. With the release of that song in 1962, Alpert laid the foundation for his career for the next decade… and beyond. Naming his ‘band’ The Tijuana Brass, Herb and his bandmates – the studio version of the TJB consisted of members of The Wrecking Crew – created a unique sound that was often copied (The Brass Ring, anyone?) but never equaled. The 1965 album WHIPPED CREAM & OTHER DELIGHTS features one of the most iconic album covers in music history. After a dozen years of TJB glory (and millions in record sales around the world), Alpert retired the band name and continued as a solo artist. In 1979, he scored a #1 hit with “Rise”, a single taken from the album of the same name. And then…. Well, there’s just not enough space to talk about all of his accomplishments here. The only way to tell a more complete story would be a documentary and an accompanying soundtrack. And guess what? We’re in luck!
HERB ALPERT IS… is the title of the long-awaited documentary that covers the incredible career of Herb Alpert. An amazing look at an amazing career deserves an amazing soundtrack and the newly released HERB ALPERT IS… does not disappoint. The release – on three CDs or five 180gm vinyl LPs – comes in a lavish set that easily matches the majestic music contained within. The music begins with “The Lonely Bull” and features a very healthy amount of classic TJB tracks – including the #1 single “This Guy’s In Love With You” as well as other longtime favorites like “Tijuana Taxi” and “Spanish Flea” (AKA The Dating Game theme) – before heading off on a more varied solo career tackling everything from Smooth Jazz to Funk to Trip Hop… with some Reggae thrown in for good measure. While some of these recordings date back nearly 60 years, they are still fresh and invigorating. Alpert’s knack for recording songs with instantly hummable melodies is undeniable and a great hook stands the test of time. Herb Alpert is a man who turned an inspiration into a career that continues to inspire others. The proof is here for all to behold. Herb Alpert is… music. And music is… Herb Alpert.
Forty years ago, a Rock artist’s longevity was not something that was guaranteed. The first Rock ‘n’ Roll boom of the ‘50s had been swallowed by the late ‘50s/early ‘60s teen idols. Then those heart throbs were dethroned by the British Invasion. That joyful racket was overcome by the Summer Of Love/Hippy scene of 1967. And so on… The new kids would replace the old guard, who would then reluctantly slip into the shadows and wait for nostalgia – or a song used in a movie or commercial – to make them relevant again. In 1979, the Punk movement was initially viewed as a ‘novelty’ by the industry bigwigs and they certainly didn’t expect any of the artists to last beyond a two or three-year window. You know, just like any other musical movement that came along since the days of Buddy Holly and Elvis Presley. Over time, we have learned that nearly every artist from every genre was capable of something much more than their “15 minutes of fame”. As for the unruly Punk kids, Bob Mould was going to break the mold…
In 1979, Bob Mould was a founding member of Minneapolis Punk trio Hüsker Dü. The Hardcore Punk sound of their early years matured into a melodic yet very powerful sonic wall of Punk that eventually earned them worldwide critical acclaim and a fanbase that continued to grow with each release. Right when they were on the verge of massive commercial success, the band split in 1987. For many bands, a split can be the end of some members’ musical career… until the inevitable reunion, of course. Instead of standing still, Mould dived into a critically successful solo career, releasing two solo albums to great acclaim. Then, wanting to dive back into the harder-edged sound he was known for, he formed Sugar in 1992. After three years, he split that band up and followed the solo route again. And since then, Mould has refused to remain idle. Releasing an album every year or two, he tends to always bring something new to the table. His career has been unpredictable in the best way possible, never serving up the same reheated formula and always taking a few chances along the way. And 41 years after his debut with Hüsker Dü, he still has so much to say.
Mould’s 2020 album BLUE HEARTS is, to be honest, an astonishing release. Jam-packed with power and melodic punch, the album is a reminder of what has made Bob Mould such an important artist for over four decades. If you love him for his passion, it is on full display here. Or do you prefer his melodies? This album is a smorgasbord of delightfully delicious hooks that come fast and furious. Speaking of furious, are you a fan of his brisk and bold Punk rave-ups? Well, expect to be knocked over by BLUE HEARTS. The album finds Mould returning to the passion and politics that propelled his songwriting back in 1983. While not a complete return to the sound of Hüsker Dü – his songwriting has matured since then – BLUE HEARTS is about as close as he’s come to those heady days. This is an album that is fueled by emotion and melody. It is dangerous, daring, and awe-inspiring. Don’t be fooled by the acoustic album opener “Heart On My Sleeve” (complete with vinyl surface noise), because the album takes off like a rollercoaster when “Next Generation” kicks in. The non-stop wall of buzzsaw guitars and hooks leads up to the slower but still emotionally powerful closer, “The Ocean”, the perfect ending to a perfect platter. BLUE HEARTS is an album that proves that Mould is still on a roll four decades on. An astonishing accomplishment in so many ways.
Like the Blues, Reggae is a musical genre that has been embraced by music lovers and critics alike. In fact, Reggae has been appropriated into nearly every other musical genre, introducing listeners of all ages to the mystical rhythms from Jamaica. The Police’s early career was bolstered by their blend of Reggae and Pop/New Wave. Even the Eagles added a splash of Reggae to their massive hit single “Hotel California”. However, we can’t forget the Jamaican artists that brought Reggae to the forefront and straight into the charts: Bob Marley, Peter Tosh, Jimmy Cliff, Burning Spear, Toots & The Maytals, Third World, Gregory Isaacs, and so many others. While Reggae has long been associated with the smoking of the ‘herb’, you don’t need to be under the influence to enjoy its joyful vibes. Those riddims are infectious!
As we all know, Bob Marley & The Wailers remain the most popular Reggae act of all time. Well, at least outside of Jamaica. Marley was a true musical pioneer, lifting the genre to a new level. Before Marley, Reggae wasn’t a household world. After Marley, every household owned at least one Reggae album… and it was probablyLEGEND, the most popular Bob Marley compilation of all time. When Bob died in 1981, the world mourned with the Marley family and, while he didn’t create the genre, his spirit became one with genre – you can’t talk about Reggae without mentioning Bob Marley. Four years later, Bob’s son Ziggy entered the musical arena with his Melody Makers (which included his siblings Cedella, Sharon, and Stephen). By the time Ziggy released his third album, CONSCIOUS PARTY, in 1988, he was an international superstar. Over 30 years later, he remains one of the most visible voices in Reggae music.
Ziggy’s 2020 release, MORE FAMILY TIME, is the sequel/follow-up to his Grammy-winning 2009 release FAMILY TIME. While the album – like the original – is considered a ‘children’s album’, the album is really a joyful celebration of family, love, and life. On this extremely infectious slice of audio sunshine, Ziggy is joined by a cast of superstars including Ben Harper, Sheryl Crow, Lisa Loeb, Alanis Morisette, Angelique Kidjo, Tom Morello, Busta Rhymes, and Jamie Lee Curtis (!), plus fellow Marleys Stephen, Isaiah, and the Marley Kids. Oh, and we can’t forget Romeo, the dog! The hook-filled sing-a-long songs on MORE FAMILY TIME include “Music Is In Everything”, “Wonderful People”, “Everywhere You Go”, and “Play With Sky”. However, the album’s 11 tracks are infectious and joyful and will provide a perfect soundtrack to family time, beach time, party time, and just about any time you have to spend together with friends and family!
Randy Brecker is considered a Jazz icon, but throughout his career, he’s been so much more than that. The trumpeter began his recording career in 1967 as a member of Blood, Sweat & Tears. He left the band after their debut album, CHILD IS FATHER TO THE MAN, and joined Jazz legend Horace Silver’s Quintet. In 1969, he recorded his debut solo album SCORE, where he was joined by his brother Michael on tenor saxophone. For the next 50 years, Randy Brecker nearly 20 solo albums, eight albums with Michael (as The Brecker Brothers), and has worked with a long list of Jazz and Rock luminaries such as Bruce Springsteen, George Benson, Todd Rundgren, Bob James, Ringo Starr, Elton John, Stanley Turrentine, Robert Palmer, Carly Simon, Jaco Pastorius, Rickie Lee Jones, Paul Simon, Spyro Gyra, James Taylor, Michael Franks, Yoko Ono, Donald Fagen, Jimmy McGriff, and many others. Many, many others!
Saxophonist Eric Marienthal is one of the most respected names in Jazz and Jazz-Fusion. His professional career began when he joined trumpeter Al Hirt’s band. He then moved over to Chick Corea’s Elektric Band, recording six albums with the band. He began his solo career in 1988, releasing a half-dozen albums on the GRP label beginning with VOICES OF THE HEART. He has continued to release a series of successful albums for labels such as Verve/Polygram, Peak, and Shanachie, where he released the acclaimed BRIDGES album with Chuck Loeb. Outside of his solo career, he’s also played alongside a variety of acts including The Rippingtons, The Jeff Lorber Fusion, and Gordon Goodwin’s Big Phat Band. To top it off, he’s played on recordings by Elton John, Aaron Neville, and Ramsey Lewis, among others. Always in demand, Marienthal has continued to surprise and delight his fans for four decades.
Now, in 2020, these two Grammy-winning Jazz greats join forces on the album DOUBLE DEALIN’, which is a spirited blend of classic Fusion and straight-ahead melodic Jazz. While we may have expected something special from these two, what we get is something more. There’s an electric excitement on display on DOUBLE DEALIN’, and album that features funky blasts of horn power as well as some deeply moving softer passages that will take the listener to a more melancholic place. Brecker and Marienthal are aware that you don’t have to go ‘big’ to be powerful and the utter beauty of “Mind The Fire (For Chuck)” is proof of that. Elsewhere, the title track lights a fire that will certainly heat up the room. Other highlights include “3 Deuces”, “Fast Eddie”, and more. DOUBLE DEALIN’ is a feast for the heart and soul and is a powerful musical statement from two veteran musicians.
Josiah Johnson may be a new name to some music lovers, but he’s nearly an industry veteran, having been a professional musician for more than a decade. And these days, that can almost seem like a lifetime for today’s popstar. He began his career in the Indie Folk band The Head and the Heart, who formed in 2009. The band’s self-titled debut album was released in 2011 and went on to be certified Gold by the RIAA. Their second album, LET’S BE STILL, was released in 2013 and reached #10 on the Billboard Hot 100. The band’s career was on the rise, but getting stuck on the ‘write/record/tour’ treadmill was more stressful than expected and Johnson turned to substances, which inevitably led to rehab and his subsequent ‘leave of absence’ from the band. The Head and the Heart continued without Josiah, although some of his work appeared on their third album, SIGNS OF LIGHT (2016). The band’s most recent album, LIVING MIRAGE, was released in 2019.
Since his hiatus from The Head and the Heart began, Johnson hasn’t been idle. He has continued to write songs, recorded home demos, and sought out a producer. Even while he was preparing the next step in his musical career, he even contemplated leaving the music industry and pursuing a career in social work. However, the power of music kept him rooted and focused as he composed even more new material for his next project… if there was going to be a next project. Johnson performed at a private show in New York City and connected with a group of musicians including Peter Lalish (Lucius). Inspired by this new group of musical friends, Johnson headed into the studio to record his first solo album. Armed with a batch of new songs – his most personal and honest material yet – Josiah Johnson returns with EVERY FEELING ON A LOOP (Anti-), an album that will remind fans, old and new, just how special his talents are.
EVERY FEELING ON A LOOP is an album that sounds like a continuation AND a reboot of what Johnson had been doing with The Head and the Heart. While the album is mature and confident, there’s also a hint of uncertainty and loss lurking beneath the gentle songwriting and quirky arrangements. The Folk and Pop genres in 2020 are very different than they were in the ‘60s, yet EVERY FEELING ON A LOOP is a wispy stroll on the bridge that connects the two disparate decades together. While certainly rooted in modern times, the songwriting on the album is simple and engaging on the surface, but peel away the layers and you’re going to discover many musical parts working together to create the sounds you eventually hear. Add in the proper amount of emotion, and you’ve got an album that not only sounds great but ‘feels’ right. Highlights include “Woman in a Man’s Life”, “Same Old Brick”, “I Wish I Had”, and “World’s Not Gonna End”. The magic of music is that it makes you FEEL something. That’s why you’ll keep coming back to EVERYTHING ON A LOOP again and again.
Although she’s only 27, singer, songwriter, banjo-player, and guitarist Molly Tuttle has been a professional musician for over a dozen years and has accomplished more than most musicians twice her age. The Bay Area-raised Tuttle began playing guitar at the age of 8 and by the age of 11, she was playing onstage with her multi-instrumentalist father Jack Tuttle. She then recorded a 2007 duet album with him at the age of 13. She joined The Tuttles with AJ Lee. She was joined by two other siblings in the band: Sullivan (guitar) and Michael (mandolin). They released INTRODUCING THE TUTTLES in 2011, followed two years later by ENDLESS OCEANS. In between the Tuttles albums, she was awarded merit scholarships to the Berklee College of Music for music and composition, received the Foundation for Bluegrass Music’s first Hazel Dickens Memorial Scholarship, won the Chris Austin Songwriting Competition at the Merlefest Music Festival, and was named Best Female Vocalist and Best Guitar Player by the Northern California Bluegrass Society.
While attending the Berklee College of Music, she joined the all-female Bluegrass outfit The Goodbye Girls, who released a 2014 EP and a full-length album two years later. During this period, she also released an EP with fiddler John Mailander and became a member of supergroup The First Ladies of Bluegrass. After relocating to Nashville, Tuttle released her first solo EP, RISE, in 2017. That same year, she signed to Compass Records, finally releasing her debut solo full-length album – WHEN YOU’RE READY – in 2019. During this long and prolific journey, Tuttle has continued to grow as an artist and as a human being. In March 2020, just as the world began to slow to a halt thanks to the pandemic, she also faced the sudden devastation of a tornado that ripped through East Nashville. Stuck amid a world that had suddenly been turned on its head, Tuttle turned to the music that had inspired her long and fruitful journey. Working remotely with producer Tony Berg, she recorded all her parts alone and forwarded them to Berg. The resulting album is her 2020 release …but i’d rather be with you.
…but i’d rather be with you is a personal album that seeks to not only revisit that music that inspired her as a musician, it is also a record that reconnects her – and the listener – to a time that was more hopeful. It is also a release that embraces more than just bluegrass – there are also touches of Country, Pop, Folk, and other genres. Her spirited rendition of The Rolling Stones’ “She’s a Rainbow” is the perfect encapsulation of the album, touching on the life-affirming joys of music. However, it also mirrors the realities of rebuilding something new out of something old. The rest of the album Tuttle-izes songs by artists as diverse as Cat Stevens, Rancid, The National, FKA twigs, Karen Dalton, and The National. Musically, the album is pure Molly Tuttle even as it passes through different musical universes. Regardless of the original genre, all musical roads on …but i’d rather be with youlead back to Molly Tuttle.