Bob Dylan: England Done Acoustically
Don't Look Back '65 Tour
Docurama


by Bill Ector

Bob Dylan was becoming a household name rapidly in 1965, with such songs as "The Times They Are A-Changin' " and "Don't Think Twice, It's All Right" having etched their ways into the hearts, minds, and souls of the mid-'60s populace alongside songs from the Beatles, Stones, and others whose voices were singing more than just love songs.

Bob Dylan, nee Zimmerman, grew up in the folk-music scene of the late-'50s and early-'60s, and was, at this point in his career, still playing acoustic guitar and harmonica exclusively, but this 1965 trip to England from April 30 through May 10 would be his last completely-acoustics gigs. This was in the year prior to his infamous motorcycle accident and his later meeting with the group of musicians that became known as the Band. It was Dylan at his stripped-down best, singing and playing an extraordinary brand of folk-rock music that echoed the times and also made those times new and exciting and different. Indeed, how the times they were a-changin.'

The opening scene of Don't Look Back '65 Tour shows Dylan standing in an alley, holding a set of cue cards that he shows and then drops to the ground in accompaniment to his "Subterranean Homesick Blues," which is playing in the background. Filmmaker D.A. Pennebaker, who would soon go on to find further fame for his filming of the legendary Monterey Pop Festival in 1967, gives the viewer a very cool black and white look at a snippet of time in the life of a singer/songwriter who would reach a status of greatness and genius achieved by very few in music circles. As internationally huge as the Beatles were in 1965, it was no secret that John Lennon considered Bob Dylan one of his true musical heroes. Dylan was at his creative best at this time, and his performances in the film showcase all sides of the man, from his stage presence to his wit and his look at life around him in the off-stage sequences.

Young, thin, with curly hair and clear eyes, Bob Dylan is shown interacting with both the common man on the street and the British press, and his humor is quite evident throughout. Singer and longtime friend Joan Baez is seen periodically as part of Dylan's tour entourage, as is Dylan's manager, Albert Grossman. Alan Price, of the Animals, is along for Dylan's tour as well as various and sundry others who move in and out of the film. Near the beginning of Don't Look Back, Pennebaker shows three young girls standing outside the hotel where Dylan was staying, whistling up and trying to get his attention. When he shows his face, they react in a shy way, turning their heads and giggling, but they persevere enough that the next scene shows them actually speaking with Dylan and telling him what songs they would like to hear him sing.

One of the great things about black and white photography and films is the stark detail that oftentimes get lost or diffused with color film. Dylan, at times, comes across as painfully shy, holding his hand to his mouth as he speaks, but there is an undercurrent and a very unmistakable look of a man who truly knows what is going on around him at all times. The long scene of his interaction with a science student is priceless, as Dylan talks relentlessly to this young man, who is obviously out of his league trying to speak with Bob.

One of filmmaker Pennebaker's greatest assets in Don't Look Back is that the entire film is sequenced in the order in which the events took place. There were no script and no retakes, and he made no attempts to direct anyone or to control what took place in each scene. The action flowed as naturally as was humanly possible for it to occur. Pennebaker was the only cameraman, so there are no multiple-angle shots, although he does maximize the use of available situations and people. From the tenacious Dylan and the science student scene to an angry Dylan confronting an obviously drunk man about a glass that was thrown into the street, to his pre-concert preparations - the film captures almost all aspects of the man who was in the process of re-writing how the pop music world be looked at from that point forward. As Pennebaker states in the booklet that comes with the DVD: "But, surprisingly, through all these years Dylan has continually beguiled our imaginations. His story seems timeless."

Other artists who are seen include Marianne Faithful, Allen Ginsberg and Donovan, who was beginning to make a splash on the music scene in Britain. There is one scene where Donovan is playing Dylan's guitar and singing "To Sing for You" as Dylan listens and then gives a kind word to Donovan about the song. At this point, it moves to a form of the student wanting a lesson from the teacher, as Donovan asks Dylan if he would play "It's All Over Now, Baby Blue." At the end of that song, Donovan says poignantly and quietly to himself, "I used to know a girl named Baby Blue." It is these moments that make Pennebaker's film so strong - almost as though he could sense what to focus on at the exact moment he needed it focused on a particular person or scene.

As a timepiece, Pennebaker's film remarkably finds those "just right" people and places that showcase what London was like in 1965 - not boisterous, but bubbling with the spirit of youth and the energies that were floating around as the music scene was gaining a real stronghold throughout the nation and the world. The scenes of the locals show them in regular adult garb - i.e., not blue jeans, tie-dyes, and the like that would come only a short time later as London's famous Carnaby Street fashions permeated the world's culture and dress modes for both women and men. One scene in the DVD has a brief time where Dylan's manager Albert Grossman reads in the newspaper that Dylan was being called an anarchist, and Grossman says it is because Dylan doesn't offer a solution, at which time Dylan says, "Give the anarchist a cigarette." But it is also the music of the man, Bob Dylan, which is like a background to all the rest of what is going on in the film. In today's world of big stage shows and productions, it is quite stark to see a simple black and white scene of a man holding a guitar, with a harmonica around his neck, playing and singing to a crowd that is both appreciative of what they are hearing and polite enough to sit and listen intently to what is being sung.

On many levels, Don't Look Back is a wonderful showcase for the man, Bob Dylan, and of an era when the world was in the midst of making changes in music, politics, fashion and thinking. The words of Bob Dylan ring forth today as honestly as they did back then. "So don't fear if you hear a foreign sound in your ear. It's all right, Ma, I'm only sighing."


Karl Denson Trio
Lunar Orbit
Bobby Ace Records


by Rob Johnson

Karl Denson is one of the most-talented and creative musicians around today. In a world where jazz/funk sax players are not exactly burning up the charts, by sheer skill and willpower he has built a solid career. Whether Denson is playing with acid-jazz forefathers the Greyboy Allstars, his own Tiny Universe, or doing session work with the likes of Lenny Kravitz, he puts his unique touch on everything he does.

Even if you’re familiar with Denson’s past work, you probably haven’t heard anything quite like his latest solo outing. First off, compared to the big, full frontal funk attack of the Greyboys and/or the Tiny Universe, this is a more subtle approach. Lunar Orbit is a fairly stripped-down affair, with just Denson and a rotating trio cast that features drummers Aaron Redfield and Jake Najor, and keyboardists Anthony Smith, Kenneth Crouch and Will Blades.

The title track, with its odd, looping synthesizer, is definitely a departure, as the title would suggest. This is one of the weakest tunes on the CD, as it never quite arrives at a destination worthy of the journey. On the other hand, “Break Me Down” is rock solid, dishing up hearty funk grooves and jazzy solos. However, things really heat up with the funky fusion of “Ghetto Fireworks Pt. 1.” This is the Karl Denson we know and love, laying it down like a hybrid of John Coltrane and Maceo Parker.

“The Plain Truth” is another great track, and by now we have a better idea of what the Karl Denson Trio is all about. This band owes as much to the jazz organ trio tradition of Jimmy Smith as it does to anything in Denson’s past discography.

Lunar Orbit as a whole picks up momentum as it goes along, and the closing sequence of “By Appointment Only” and “That Other Thing,” bracketed by Parts 2 and 3 of “Ghetto Fireworks,” generates some real heat. Karl’s limitless musical imagination always seems to have another riff, another idea, another catchy hook to satisfy your ears.

The rumor is that Karl will be bringing the Tiny Universe back out of retirement next year, which is surely good news for those of us who have missed that band while Karl focused on the Greyboy Allstars. Until then, we’re lucky to have Lunar Orbit to tide us over while we wait to see what the multi-talented Denson has up his sleeve next.


Doug Cox and Salil Bhatt with Ramkumar Krishna
Slide to Freedom
NorthernBlues Music


by Rob Johnson

Many cross-cultural musical experiments end up sounding like awkward hybrids. By trying to find a balance between two different styles, often the best elements of both kinds of music are left behind, leaving only a homogenized mush that doesn't do justice to either musical tradition.

Slide to Freedom is a wonderful exception to that rule. Like Ry Cooder's excellent projects Buena Vista Social Club and Talking Timbuktu, here you end up focusing on the common ground between all musicians, and labels and barriers are quickly washed away. Doug Cox is a Canadian bluesman and master of the Resophonic guitar, and Salil Bhatt comes from one of India's most prominent musical families. They met at the Vancouver Island MusicFest in 2005, and instantly recognized each other as musical soulmates.

The result is similar to Bourbon and Rosewater, an album that Salil's famous father, Vishwa Mohan Bhatt, recorded with dobro master Jerry Douglas a few years back. Vishwa (one of Derek Trucks' favorite musicians) even sits in on a couple of tunes, including his composition, "Father Kirwani."

The album's one weakness is that traditional blues tunes like Mississippi John Hurt's "Payday" and Blind Willie Johnson's "Soul of a Man" seem out of place, and even a little forced. Cox's original tune "Beware of the Man (Who Calls You Bro)" doesn't fare any better.

The real magic here is in the Eastern-flavored songs like "Bhoopali Dance" and "Arabian Night." The tonal quality of Cox's resonator and Bhatt's veena (similar to a sitar, but smaller and lighter in tone) creates a wonderful tapestry of sound that is soothing and relaxing. Mishra's tabla is unobtrusive, yet provides the perfect rhythmic foundation for these songs.

This "Meeting by the Liver" (as one song title puts it) is a must for any lover of slide guitar, and for anyone who believes in the ability of music to overcome cultural barriers.

For more information on Doug Cox and Salil Bhatt with Ramkumar Krishna : www.dougcox.org


Vusi Mahlasela
Guiding Star
ATO Records


by Rob Johnson

Vusi Mahlasela may not be well known in the United States, but in South Africa he is a cultural and political icon, in much the same way Bob Marley was in Jamaica. Besides being a great musician with an ethereal, angelic voice, Mahlasela was a primary figure in the battle against apartheid.

You don't need to appreciate, or even understand, Vusi's political struggle to appreciate his fine new album, Guiding Star. These songs stand on their own, as vibrant musical ambassadors of the African spirit. Most of the album bubbles with joy, and anyone who enjoyed Paul Simon's Grammy-winning Graceland will enjoy this CD. One of Simon's partners in that recording, the legendary vocal group Ladysmith Black Mambazo, make an appearance on the bouncy "Heaven in My Heart."

Of course, it's not all sunshine and rainbows. "Chamber of Justice" is a bitter, powerful indictment of political corruption, and there is often a hard undercurrent in Vusi's music that reveals how much he has suffered.

However, the overall tone of the album is jubilant, and the best example may be "Tibidi Waka," which features elegant slide guitar from Derek Trucks. Guiding Star is full of shimmering harmonies, playful riffs, and powerful African polyrhythms; it's the kind of CD that puts a smile on your face and a spring in your step. Songs like "Jabula" and "Moleko" are like bottled happiness, pure joy distilled into ones and zeroes and encoded onto a piece of plastic so others can share in Mahlasela's powerful spirit.

If you're willing to venture out of your comfort zone, and don't mind that some of the songs aren't in English, you will find much to love in this CD. Everyone from Dave Matthews to Warren Haynes agrees that Vusi Mahlasela is a unique talent. It's hard to imagine anyone listening to Guiding Star and not coming to the same conclusion

For more information on Vusi Mahlasela : www.vusimahlasela.com


Oteil and the Peacemakers:
A Notion of Faith
Believer - Rattlesby Records


by Josh Chasin

The story goes that a woman once cajoled Picasso into painting her portrait on the streets of Paris. When he was done he asked her for $20,000. "But it took you 20 minutes to paint!" she exclaimed. "No, madam," he replied. "It took me thirty years."

This apocryphal story comes to mind in listening to the exquisite new Oteil and the Peacemakers CD, Believer. "I've had the same line-up for the past two and a half years," says Oteil Burbridge - and the band's been road testing these songs for a year. The album was recorded this past February, live in the studio, in about half a day and with minimal overdubs. "The more time you have to record a record, the more you tinker with it. The more you tinker, the farther you get from what it is," says Oteil.

What is it, then? Believer is the culmination of all that roadwork, of five players becoming a single band. "We're throwing down so many deep roots together that, underground, we're one plant," says Oteil. The result of those tangled roots is the best Peacemakers' record yet.

The first thing that strikes you is the sheer beauty of the packaging itself. It features a Yonrico Scott original painting on the cover, and the booklet and disc are graced by the artful photography of Heather Blanton. The music is a mélange of rock, funk, R&B and jazz. "The bottom is funk, the top is jazz," notes Oteil, talking about the way his bass interweaves with Chris Fryar's cymbal work on drums. The songs percolate and expand, the music seems alive. "Chris is the only drummer that hears it exactly the way that I hear it; the cymbal is what makes it breathe." Mark Kimbrell is a ferocious presence on guitar, evoking the hard bop of Hendrix or Jack Johnson-era Miles. Matt Slocum on keyboards brings a gospel feel to the mix, and Oteil anchors the bottom with silky funk grooves. It is in every sense of the word a "band" album. "I wanted the sum of the parts," says Oteil. "That's where you find the unity."

"I wanted us to wrap up a good groove and vocals; I wanted us to stretch out on vocal numbers like we do on instrumentals," continues Oteil. Indeed, seven of the eleven tracks are vocal numbers, but the whole record flows seamlessly along, the jams suitably kicked out. In this band, vocals are just another instrument, and Paul Henson and Oteil are masterful players. The vocal songs have the kind of complex chord changes that are usually reserved for instrumentals, and the band snaps to the mark on each one - pushing out from the song's structure, all the while inexorably anchored by it. The resulting tension is part of what makes this music so present and vibrant.

It would be impossible to do justice to Believer, though, without touching on the notion of faith. "Faith is powerful, and you better put it in the right place, because if you believe in something, it will happen - good or bad!" notes Oteil. "If what you want is communion with ultimate love, then when you get that, everything is great." Indeed the deep spiritual connection the musicians feel - to each other, to the music, to the Creator, to ultimate love - is palpable, infusing the music with a soul that is real and true. But with this band faith is a groove, not a sermon, and your hips will hear the call.

"Hit the Hay" is a strong opener - a jaunty, simmering funk gumbo, highlighted by nice guitar/bass interplay, and colored by tasteful keyboard fills. Out of the verse the band almost approaches airy Pat Metheny territory before Oteil throws the funk switch. Other highlights include "No More Doubt," where the vocal section gives way to a lovely soaring and uplifting organ-driven interlude; and the aptly-titled "Happy Dance" instrumental.

"Doxology," an old church hymn, provides the perfect close. The song will be instantly familiar to frequent Allman Brothers Band concert-goers, because it is one Oteil often features in his bass solo parts. Here it puts the disc to bed with a sweet, loving harmonic exclamation point.

Believer is a musical snapshot in time, captured with the fidelity of a studio session, the spontaneity of a live performance. In Oteil's words, it is "part swing, part groove." After a few listens, you'll be a believer, too.

For more information on Oteil Burbridge visit : www.oteilburbridge.com


Pedro Arevalo:
Around the World and Back

Pedro Arevalo and Friends - Deep Blue Sea Productions


by Bill Ector

Perhaps the most telling statement about Pedro Arevalo is the one uttered by none other than the renowned Dickey Betts, of Allman Brothers Band fame and currently the leader of Dickey Betts and Great Southern: "Pedro Arevalo is one of the most prolific songwriters and storytellers I have seen in a long time. As soon as I heard him, I had to have him in my band." Taken from a man who has spun a few tales in his life and hung out with such storytellers as Billy Joe Shaver, this is not faint praise. One listen to the 14 songs on Pedro Arevalo and Friends proves Betts' statement to be very true indeed. Essentially recorded as an acoustic album, Pedro gets the opportunity to showcase his numerous talents on acoustic guitar, electric and upright basses, electric slide guitar, and both biscuit cone and tricone resonator guitars. Throw in a little percussion work on two tracks as well, and it is easy to see what the fuss is all about.

Pedro Arevalo was born into a musical family, and his need to create musical sounds was given a certain amount of respect as he grew up. By age 10, he was honing his skills on bass and acoustic guitars, and he performed for the first time when he was a mere lad of 11. As he grew in age and proficiency, he became involved in session and production work. All of this, and he had become a guitar teacher as well, with as many as 60 students per week. By the time he was 20, in 1996, Pedro had received a performance scholarship to the highly acclaimed Berklee College of Music in Boston, MA. While working toward the completion of his studies, Pedro performed with not one, but two, West African band leaders: Djeli Balls Jounkara in his group, Mande Foli; and Sidi "Joh" Camara in the band Jamajagi. In addition, Arevalo was part of the drum and dance ballet, Troupe Sewa. He finished his work at Berklee in 2001 and began a brief tour of West Africa, where he continued to soak up all that he could, in particular Mande and Bambara music.

Upon returning to the USA, Pedro found himself in Florida, where he joined a flamenco-inspired group called the Lotus Fire. The band made a quick run through Europe in support of their album, Dance of the Wicked, and then returned to Florida. At this point, Pedro worked with a variety of artists, tweaking his skills on the piano, dobro and Hawaiian guitar, as well as some very diverse African instruments.

Somewhere along this widely and wildly divergent path, Pedro caught the attention of Dickey Betts, who recruited him to become the bassist in his band, Great Southern. The experience of playing the music that Betts made famous has been a growing time for Pedro, along with stops at the Rock and Roll Hall of Fame for a video shoot and continuous touring.

Which brings us to Pedro Arevalo and Friends. Relaxed, laid back, but with a smooth groove at all times, the mostly original songs here highlight all the years of hard work and variety of influences he has picked up along the way. From the opening "Wine and Women" story of his weaknesses, to his interpretation of the traditional "Trouble" and "C.C. Rider," Arevalo shows that he learned a lot about the blues along his path, too. Of particular note is the jazzy "Driftin' Song," with brushed drums and bass and acoustic slide, with a bit of B-3 thrown in. One of the most difficult things to pull of is a slow blues, but Pedro's "Reason" testifies to his ability to do that quite nicely. Just to show that he has learned a lot from living around the South, throw in the country-flavored "I Don't Know" for good measure, and a good time.

Arevalo invited a few of his Great Southern mates to play along, with fiddle, harmonica, and a very cool Dickey contribution on one track to give the CD a nice, rounded sound. Pedro Arevalo may have been around the world a time or two, but catch him next time he comes nearby. Whether solo or in a band, this man can flat-out play and sing.

For more information on Pedro Arevalo visit : www.pedroarevalo.com


Dead Symphony
Lee Johnson with the Russian National Orchestra


by John Lynskey

It seems that every now and then, someone comes up with a musical notion that might seem like a bit of a reach, but once you give it a listen, it makes perfect sense. This certainly is the case with Dead Symphony, where classical musician Lee Johnson gives the full-orchestral treatment to 10 Grateful Dead tunes, and the results are magical.

The story behind Dead Symphony is something special as well. Lee Johnson is a classically-trained musician, well-versed in the violin, cello and classical guitar. Lee happened to run into Mike Adams, a Dead Head studio owner who had dreamed for a long time about a symphonic interpretation of Dead music. Mike felt that he had found his Mozart in Lee Johnson, and soon Lee was learning Dead tunes and history from Mike. Hearing "China Doll" opened up the whole musical world of the Grateful Dead for Lee as a composer, and the end result became Dead Symphony.

Listening to Lee Johnson lead the Russian National Orchestra through these tracks is like hearing your favorite tunes again for the first time. "St. Stephen" is strong and sturdy, the strings and woodwinds on "Here Comes Sunshine" are haunting and delicate, and "Mountains of the Moon" is majestic and soaring. There is a feeling of sublime power to "Blues for Allah," and one of absolute lilting joy to "Sugar Magnolia," which dances along like something right out of The Nutcracker. "To Lay Me Down" is stirring is its simplicity, as is "Stella Blue," while the touching, visceral intensity of "If I Had the World to Give" makes it the highlight of Dead Symphony. "Bird Song" glides and soars, and the Russian National Orchestra's full-blown rendition of "China Doll" offers an insight into what Lee Johnson was thinking when he began this unique project.

It makes no difference whether one is a just a Dead Head or only a fan of classical music, because there is something for everyone on this wonderfully different CD. The music of the Grateful Dead is timeless, and Lee Johnson's Dead Symphony is one for the ages.

For more information on Dead Symphony visit: www.deadsymphony.com


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