Doug McCombs of Tortoise interviewed [Listen 44:00 min] – Starting With A Bass Line
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S02 Ep08 -Doug McCombs-Starting with a bassline
Interview Date: April 27, 2012 @8pm EDT
Special Guest:
Doug McCombs of Tortoise (Part 1 of 1) This multi-instrumentalists is one of the founding members of Tortoise. Tortoise is an instrumental band that is considered by most critics as one of the main forces behind changing the grunge scene and bringing a fresh sound to the 2000’s. McCombs also plays in bands Brokeback, and Eleventh Dream Day. Tortoise also has connections and/or collaborated with The Sea And Cake, Beck, Eleventh Dream Day, Poster Children, Slint, The For Carnation, Isotope 217, Zwan, and even put out a collaboration album with Bonnie "Prince" Billy. Most of these great works have been released by Tortoise’s long time record label, Thrill Jockey. Currently they are touring Europe. http://www.trts.com/ Please note: We are posting a full concert by Tortoise next week!
Album Cover Artwork Trivia and Questions
This week I thought I would change things up a bit and test your “record cover art knowledge.” Some are easier than others; let’s see how you do?
1)On the 1974 North American cover, what two cars are recognizable on Kraftwork's famous album "Autobahn"?
2) Tom Waits is sitting in a diner on the record “Nighthawks at the Diner”; how much does the sign in the window show a breakfast costs?
3) What is Bob Dylan holding on the album “Bring It All Back Home”? Follow up question: which records are noticeable in the picture?
4) The inside gatefold of Zeppelin IV is a picture of what?
5) The Abbey Road cover was said to depict a funeral, with each member being a different character. Can you remember who was what?
6) What colors were used in the Elvis Presley letters on his first album?
7) What is Amy Winehouse sitting behind on the album “Back To Black “?
8 ) On the record “Elephant” what are Meg and Jack White both sitting on?
9) Radiohead's "Kid A" cover art is a picture of white and blue mountain range. What color is the sky?
10) In CSN&Y's "Deja Vu", what does the gun that Crosby is holding appear to be pointing at?
11) What title takes centre space on P.I.L's album "Album"?
12) On Randy Newman's "12 Songs", what are the chairs in the yard turned towards?
13) Who painted the cover art work on Charles Mingus's "Mingus Ah Um"
14) Where did David Montgomery get the models from for the nude cover of Jimi Hendrix's "Electric Ladyland"
15) Did Jimi like the cover?
16) Who were the people who were originally intended for the front cover but were excluded afterward on the Beatles "Sgt. Pepper's Lonely Hearts Club Band"?:
17) What was the name of the cow on the front cover of Pink Floyd's "Atom Heart Mother"?
18) What's the design on the cover of Joy Division's "Unknown Pleasures"?
19) What happened to the boy pictured on U2's "Boy", and "War" albums?
Answers: (No Cheating!)
1) a Mercedes and Volkswagen Bug
2) $1.85; but the Breakfast Steak with French Fries is only $0.10 more.
3) Dylan is holding a cat and a magazine. The records are: The Folk Blues of Eric Von Schmidt (Prestige Label), The Impressions (Keep on Pushing), Robert Johnson (King of the Delta Blues Singers), Ravi Shankar (India's Master Musician), Lotte Lenya (Sings Berlin Theatre Songs by Kurt Weill) and Another Side of Bob Dylan appears behind Sally Grossman (wife of Dylan's manager, Albert Grossman).
4) a tarot card called “the hermit” ; if the image is held vertically against a mirror, a man's face can be seen hidden in the rocks below the hermit.
5) George Harrison was supposed to be the Grave digger, Ringo was the undertaker, Lennon was the priest and of course Paul was ‘Dead’. http://www.iamthebeatles.com/article1044.html
6) Elvis (pink), Presley (green). the knockoffs: the Clash’s London Calling and maybe Rain Dogs by Tom Waits.
7) A Chalk board.
8 ) A travel trunk. There are six different versions of the cover and the image is supposed to be a picture of an elephant face with Mag and Jack being the Ears.
9) Red. The image chosen by Tom Yorke was meant to represent the War in Kosovo in Serbia http://en.wikipedia.org/wiki/Kosovo_War
10) Dallas Taylor's gonads
11) "Album”
12) a TV
13) Neil Fujita
14) Random girls picked up from clubs and bars in central London.
15) No. He hated it.
16) · Leo Gorcey - was modelled and originally included to the left of Huntz Hall, but was subsequently removed when a fee of $400 was requested for the use of the actor's likeness.
· Mohandas Gandhi - was modelled and originally included to the right of Lewis Carroll, but was subsequently removed. According to McCartney, "Gandhi also had to go because the head of EMI, Sir Joe Lockwood, said that in India they wouldn't allow the record to be printed".
· Jesus Christ - was requested by Lennon, but not modelled because the LP would be released only a few months after Lennon's Jesus statement.
· Adolf Hitler - was modelled and was visible in early photographs of the montage, positioned to the right of Larry Bell, but was eventually obscured by Johnny Weissmuller in the final image.
· Germán Valdés - was considered to appear in the first row, but he declined the offer and suggested to replace his image by a Mexican craftmanship known as "Tree of Life". Ringo Starr agreed and placed it in the lower right corner of the cover.
17) Lullabelle III
18) Graphic transcription of the signal of a star going nova
19) He became Ireland's skateboard champion
Source for Sgt Pepper's Lonely Hearts Club Band: http://en.wikipedia.org/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band (5/29/12)
Picture sources: http://en.wikipedia.org/wiki/File:Bob_Dylan_in_Toronto2.jpg
FULL CONCERT with Joey DeFrancesco live at the Old Mill Inn [Listen 1 hr 52 min] S02 Ep07 (3 of 3) Channeling Miles with Joey DeFrancesco
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S02 Ep07 (3 of 3) Channeling Miles with Joey DeFrancesco
Interview Date: March 25, 2012 @7pm EDT
Special Podcast: Joey DeFrancesco Live at The Old Mill Inn
Special Guest: Joey DeFrancesco (Part 3 of 3) Nicknamed “the finest jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the jazz world, and often being paired with some of the greatest guitarists in jazz, such as; Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast, listen to his full concert performance at The Old Mill Inn in Toronto. It's only available here at GoingThruVinyl.
Check out Joey DeFrancesco's page http://www.joeydefrancesco.com/
Joey DeFrancesco's band for the performance:
Vito Rezza (Drums) -
He is known as the drummer and founding member for the Toronto based band "5 after 4" and is an absolute monster in this show. In between sets (about halfway through) you can hear Rezza say to Joey something about "getting all emotional" about Joey's ablity to channel Miles Davis with his horn. Although I couldn't agree with Rezza more, I think Rezza is channeling other famous jazz players himself (notably, Art Blakey). I also thought I might comment on the band: the night of the taping, I happened to be pretty nervous and was overly worried about placing the recorder in the right spot to record the show (I only had one shot at it). Vito Rezza and the rest of the band were really kind and helpful (Rezza was as cool as they come). Thanks for your help; the recording came our great!
Ted Quinlan (Guitar) -
Quinlan is one of Canada's best jazz guitarists and teacher. In this set, his playing is as absolutely cool, smooth, and refined (cool as a cucumber salad in a Canadian winter). He is both a session player and the head of the Guitar Department at Humber Collage in Toronto. He has played with Chet Baker, Freddie Hubbard, Jimmy Smith, Michael Brecker, Dave Holland, Maria Schneider and Dave Liebman. Needless to say, this guy can really play.
http://www.facebook.com/ted.quinlan
http://www.myspace.com/tedquinlan
Lastly, I'd like to thank the Old Mill Inn for allowing me to record there. If you are in the Toronto area you might want to check the schedule of the Inn to see who is playing; they have some of the best jazz acts in the city. The rooms are nice, the food is great, the decor is what you'd expect of a classy jazz club. http://www.oldmilltoronto.com/
The Soul Jazz Chayot Ha Kodesh and debate primer
It seems that a heated debate occurs whenever a genre of music gets a label attached to it. It gets fuelled by whichever adherent or so-called expert who chooses to pick up the sword and dive into what defines the genre, what constitutes it, and what nuance necessarily makes someone or some composition excluded from the genre. Such is the case with soul jazz and hard bop. Whether soul jazz is actually hard bop and the reasons why or why not is not going to be debated here. What I want to focus on here, is some of the history and highlights. Despite which side of the battle lines you fall, the legends and landmarks introduced here have left an impact regardless where you wish to pigeon-hole them. 
For those who know them already, take it as a tribute and a reminder to pull them out again for a spin on the turntable, for those who don't know everyone on the list, take it as an introduction into the highlights of what jazz was producing from the glory days. For those who are discovering (or rediscovering) the Beastie Boys, you may want to pay attention; the impact some of these artists have had on the Beastie Boys' music is pretty distinct. From “Groove Holmes” from Check Your Head to Jimmy Smith's “Root Down” and a smattering of samples throughout, the degree of separation is a small one from the soul jazz greats to the Beastie Boys
Joey DeFrancesco Interview [Listen 29:24] – S02Ep07 (2 of 3) – Joey DeFrancesco and . . . What IS that Noise?
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Joey DeFrancesco and What is that Noise
Interview Date: March 25, 2012 @12pm EDT
Special Guest (Audio) Joey DeFrancesco (Part 2 of 3): Nicknamed “the finest Jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the Jazz world and often being paired with some of the greatest guitarists in Jazz such as Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast we talk about the history of the Hammond B3 organ and talk about all the great guitarists he has played with.
Mysterium Tremendum - Exploring The Vastness of The Infinite Universe With Mickey Hart
Every once in a while there are extraordinary people who come along, who by sheer talent, mixed with hard work and focused dedication are able to achieve something truly unsurpassed and outstanding. They are able to attain a deeper understanding of their particular undertaking to a point where they are able to progress, and in some cases, alter everyone’s understanding
Joey DeFrancesco Interview [Listen 30:40] – S02Ep07 (1 of 3) – Riding the Big Wheel with Joey DeFrancesco
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Riding the Big Wheel with Joey DeFrancesco
Interview Date: March 25, 2012 @12pm EDT
Special Guest (Audio) Joey DeFrancesco (Part 1 of 3): Nicknamed “the finest Jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the Jazz world and often being paired with some of the greatest guitarists in Jazz such as Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast we talk about his early years, playing with the greats, and his introduction to Miles Davis
Special Guest (Print) John Broven (Part 1 of 1): I have been in contact for quite a while with John Broven, the author of one of my favorite music books, “Record Makers and Breakers: Voices of the Independent Rock ’n’ Roll Pioneers.” The book chronicles the history of the independent rock’n’roll record industry, covering the beginning in the 1940’s through to the 1960’s. It tells the amazing story of the record industry; it covers topics like how and why we went from the 78rpm to the 45rpm format, the history of the independent music scene, the musical significance of the jukebox, and even how the record store was born. Through his research, he was able to talk to, interview, and recount the amazing stories of people like Marshall Chess (Chess Records), Jerry Wexler, Ahmet Ertegun, and Miriam Bienstock (Atlantic Records), Joe Bihari (Modern Records), Art Rupe (Specialty Records), Sam Phillips (Sun Records), and a ton more. He goes into topics like the trade magazine “Cash Box,” Payola, and Nashville radio station WLAC, and he describes how they affected how we listen to music today. We are both hoping to post a full written interview to the site sometime in the future (when he gets off his world tour for his book). Until then, he was kind enough to send me an unpublished questionnaire on "Record Makers and Breakers" just after his book came out.
* In many ways, “Record Breakers” is an ode to the 
genius of American capitalism. Was there anything that especially surprised or impressed you as you started to piece these stories together?
I agree that the indie record business is “an ode to the genius of American capitalism.” Somebody told me recently, “This is a great American story.”
I think it’s fair to say that as the interviews and research progressed, I realized:
(1) Just what a small industry the indie record business was at the start – I called it a “cottage industry”;
(2) How the record men had to learn the business from scratch: not just the art of recording but also building pressing plants themselves, setting up distribution systems, learn publishing, etc. etc. (see Art Rupe's wonderful new rules, chapter 25).
(3) How everybody seemed to know each other and worked together to a large extent;
(4) How the nascent industry was dependent upon several integral cogs in the machine i.e. record distributors, jukebox operators and distributors, radio/television, disc jockeys, promo men, retail outlets, trade magazines etc. It wasn’t just about the record makers – or indeed the artists.
(5) I was aware of the cover version syndrome and like everybody else put the blame on the "nasty" major labels, but then I began to understand that indie publishing companies were pitching their hit songs to majors – and recorded covers themselves. So it wasn't all one-way traffic.
(6) Must admit I didn't realize the full extent of the majors poaching the indie hit artists until I started listing the artists and the labels.
* Tell me about the importance of the jukebox market (compared to radio and retail).
Just to say that, as stated in the book through New Orleans’ Cosimo Matassa early on, the jukebox operators were terribly influential in dictating the sound of the record, also the length of the record – the shorter the record, the more plays. Basically jukebox play was free promotion – and represented bulk sales to the indies. The jukebox people, whatever their business practices, were very important cogs in the rock ‘n’ roll machine.
JJB
March 16, 2012
Gerard Rejskind and Christian Wolff interviews [Listen 41:22] – S02 Ep06 (2of 2) – Slowly turning yourself into a composer with Christian Wolff
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S02 Ep06 (2of 2) Slowly turning yourself into a composer with Christian Wolff
Interview Date: January 9, 2012 @10am EDT
Special guest (Audio) (part 2 of 2) – Christian Wolff is one of the most respected and revered modern composers of our time. Starting out composing with a group of extraordinary artists and composers (what became to be known as the New York School Movement) consisting of Morton Feldman, Earl Brown, David Tudor, (choreographer) Merce Cunningham, and John Cage. It was Wolff who changed John Cage's musical direction forever by giving him the 'I Ching.' In addition, he worked with other leading 20th Century Composers like Frederic Rzewksi and Cornelius Cardew. He has gone on to compose well over 200 compositions, dating back to the early 1950's. His compositions are often improvisational, complex, and sometimes political.
Special guest (Print) (part 3 of 3) – Gerard Rejskind is a High-end stereo/Audiophile expert and the chief editor of UHF Magazine. With over 30 years of experience behind him, Mr.Rejskind has also taken his knowledge and written three books of particular interest to the industry. In addition to this, what he is probably most famous for are his "State of the Art” columns at the back of his magazine; which, in my opinion, is a wellspring of audiophile knowledge. He was nice enough to answer some stereo and turntable questions that I asked on behalf of our fans, fans of High-end, and those who are just getting into vinyl and High-end audio. (Note: Photo of Mr.Rejskind receiving the lifetime achievement award at Salon Son & Image) Congratulations you deserve it!
UHF website, or to order your subscription HERE.
GoingThruVinyl's Interview with UHF Magazine's Chief Editor Gerard Rejskind (Final)
GTV - I understand you have three audiophile books that you can buy from your site. Would you like to describe each one briefly, and what knowledge can be gained from them? The World of High Fidelity- The UHF Guide to High Fidelity- State of the Art-
GR - The original book, The UHF Guide to High Fidelity. was intended to bring together a number of articles on the principles of high fidelity, including articles that had been published in UHF itself. It was a runaway best seller, paying its costs in just six weeks. The second book, The World of High Fidelity, had the same general theme, but expanded