âMoney!âŠIs like that of a tyrannyâŠFrom necessity, one must submit to its arbitrary reinâŠWhile secretly despising and holding it in absolute contempt and aversion! - Daryavesh Radmaneshâ
This version of âJTown Bluesâ was excerpted from the stream recorded on July 25, 2021. Hairy Larryâs current schedule is Tuesday and Thursday at 3:00 PM and Sunday at 10:00 AM Central.
The definition and most important extra-musical meaning of âbluesâ refers to a state of mind. But âthe bluesâ did not enter popular American usage until after the Civil War as a description of music that expressed such a mental state among African Americans. It is generally understood that a blues performer sings or plays to rid himself of âthe blues.âÂ
As the blues was created largely by illiterate musicians, scarcely any of whom could read music, improvisation, both verbal and musical, was an essential part of it, though not to the extent that it was in jazz. To facilitate improvisation, a number of patterns evolved, of which the most familiar is the 12-bar blues, Apparently, this form crystallized in the first decade of the 20th century as a three-line stanza in which the blues singer sings two lines of the same lyrics. While singing these two lines, the singer must come up with the last line of the verse to coordinate with the other two. The simplicity of blues lyrics gave the blues singer freedom to express emotion while improvising. This structure was supported by a fixed harmonic progression, which all blues performers knew and which they played almost automatically.Â
A bard’s songbook is like a magician’s spell book in that it contains words of power, songs for wind, songs for rain, songs to make the fire burn hotter and warm the room, songs of companionship to warm the heart.
I’m reading âThe Broken Swordâ by Poul Anderson. As they set sail to the frozen north he writes this.
âLet us away,â said Mananaan. He and Skafloc stepped into the boat from the small dock and raised the glowing sail. The man took the steering oar while the godling struck a chord on his harp and sang:
Wind I call you, old, unresting,
from the deeps of sea and sky.
Blow me outward on my questing,
answer me with eager cry.
From the hills of home behind you,
out through shifting leagues of sea,
blow wind blow! My song shall bind you.
South wind, sea wind, come to me.
Come to set my vessel free.
At his music, a strong breeze sprang up and the boat surged forth into waves of cold and green that threw salt spray onto their lips.
Poul Anderson, from âThe Broken Swordâ
I’m working on a song book for Caper. A song for wind, a song for rain, a song of warmth, a song of companionship, a song to give you courage.
If you have suggestions for Caper’s book please leave them in the comments. Or if you have favorite bardsongs from fantasy literature or gaming point the way.
Thanks Marty. This week on From The Archives Of Something Blue weâve got a song recorded at KASU Blue Monday way back in 2009.
Grant Garland brought an amazing band to Blue Monday in Newport on September 14, 2009. Grant played guitar and sang, Rob Alley was on trumpet, Derek Doyle on bass, and Ben White, drums. Grant and Derek are from Arkansas. Rob Alley taught at ASU. They played a great show including standards and a few originals from Grantâs 2009 release that he called âGrant Garlandâ.
I new Derek and Rob well, I recorded them and even played with them occasionally. But this was my first chance to hear Grant play and he knocked me out. I am so glad that I got good recordings of this show, the musicianship was exquisite.
Now hereâs Grant Garland singing a song he wrote called âSomethinâ âbout The Way You Smiledâ recorded at KASU Blue Monday on September 14, 2009.
The Mighty Manatees  The Grove Malvern, PA July 31, 2021 (Saturday afternoon) SBD Set 1 01. Wonderlung (soundcheck) 02. Crisis 03. I Can See Clearly 04. Hey Good Looking 05. Fearless 06....
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Billy Strings Bank of New Hampshire Pavillion Gilford, New Hampshire 2021-07-31 Set 1: Meet Me At The Creek, A Robin Built A Nest On Daddy's Grave, A Good Woman's Love, Thirst Mutilator> Dust In A Baggie> Day Tripper (tease)> Back On The Train, Love Like Me, Whisper My Name Set 2: Dos Banjos, This H....
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Cabinet Lickinghole Creek Craft Brewery Goochland, VA July 31, 2021 ***24 BIT/48Khz Fileset*** www.cabinetmusic.com JP Biondo - Mandolin/Vocals Pappy Biondo - Banjo/Guitar/Vocals Mickey Coviello - Guitar/Vocals Todd Kopec - Fiddle/Turntable/Midi Dylan Skursky - Bass Brian "Nugget" Gorby - Percussion....
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Originals: âą "A Little Stronger" âą "This Little Jar".
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Walter Salas-Humara Geneva, Switzerland - Chat Noir, 14-May 1995 1. Wide Awake 2. Rejuvenation 3. Going Round 4. It's Alright 5. You Look Like Sheila 6. Caroline 7. Your Last Life 8. The Sounds Next Door 9....
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Walter Salas-Humara ZĂŒrich, Switzerland â El Internacional Festival, 12-May 1995 1. Wide Awake 2. Rejuvenation 3. Commodore Peter 4. You Look Like Sheila 5. Caroline 6. Your Last Life 7. Find A Way 8....
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Walter Salas-Humara Augsburg, Germany â Kerosin, 10-May 1995 1. Wide Awake 2. Rejuvenation 3. You Look Like Sheila 4. Caroline 5. Find A Way 6. The Only Story I Tell 7. My Big Car 8. I'm Over You 9. Henrietta 10....
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Walter Salas-Humara Köln, Germany - BĂŒrgerhaus Kalk, 6-May 1995 1. Wide Awake 2. Commodore Peter 3. You Look Like Sheila 4. Caroline 5. Your Last Life 6. Find A Way 7. Shine It Down 8. Rejuvenation 9....
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Leftover Salmon 07/18/21 B-Chord Brewing Company (Round Hill, VA) Source:AKG C414B-XLII's(hypers,dfc,fob) + AKG C414B-XLS's(omnis,stage corners)~>Sound Devices MixPre-10 II (Recorded at 32 Bit Float/48Khz) Transfer: SC~>Audacity(align, mix & render)~>CD Wave Editor(track & flac) Taped & Transferred ....
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This version of âJTown Bluesâ was excerpted from the stream recorded on July 25, 2021. Hairy Larryâs current schedule is Tuesday and Thursday at 3:00 PM and Sunday at 10:00 AM Central.
There have been many claims to the origin of the slide guitar. Its haunting sound can be heard across the whole spectrum of musical styles, through blues, rock, country, Hawaiian and even jazz.Â
A sound so haunting, that as fans of Robert Johnson might believe, was born from the devil himself. However, there are a few more `earthly signposts` that musicologists have followed, to try and pin down the birth of the slide sound.Â
Throughout the world musicians have created sounds by dragging objects across stringed instruments, for either effect or as an integral part of its sound. An example of this was discovered in W.Africa in the form of a musical bow. Still used today, this one stringed instrument was attached to a gourd resonator and held to the abdomen, while the player plucked the string and used a bone or metal to vary the pitch. Investigators into the popular form of slide playing associated with the blues, determined that this was probably why a more contemporary version of the bow called the Jitterbug came to be used by the Negro musicians around the southern states of America at the turn of the century.Â
With the influx of slaves, years before, came a rich culture of music, and although the slaves were bereft of possessions, a musical bow would be a simple instrument to make. The Jitterbug, like the bow, had one string, but this time simply attached to the floor or side of a shack. When plucked, an object would be dragged along the string to accompany simple songs. The sound, which could wail and moan like the human voice, became an ideal backing to the early blues and perhaps forerunner to the guitar`s role in the slide style.Â
But why the guitar? In the early part of the 20th century, the guitar was becoming increasingly popular, as a cheaper alternative to the piano. Along with the banjo, it was more portable and could be ordered by catalogue in the many rural backwaters. It is a safe bet to say, that knives, bones and glass, would have been used on the guitar as an extension to the Jitterbug.Â
The guitar became more widely used with the slide, after a young Hawaiian guitarist called Joseph Kekeku made a recording using this style. It was a flashy, eerie kind of tune, that became popular in the U.S, and gave the already established Negro style more impetus. The Hawaiian influence on slide playing cannot be overlooked.Â
The speed at which the music spread into the American culture at the turn of the century was evident in the increased production of guitars and lap steels.Â
All the main makers were turning them out: National, Rickenbacker and Gibson. In fact, the Hawaiian style lap steel, far out sold Spanish style guitars. Since the early Kekeku recordings, the use of the slide began to seep into all styles of music, from the early blues, right into the mountain Hillbilly music of early folk and country.Â
The Hawaiians have always laid claim to the invention of the slide guitar, but it is fairer to say, that it was a development rather than an invention. Anyway, the young J.K could easily have got the idea by listening to an American Negro sailor, whose ship had docked in Honolulu!Â
Whatever the worldly origins of the slide guitar, this form of playing is best known for it`s partnership with the blues. The slide playing of Robert Johnson, Son House, Blind Willie Johnson, to name a few, has reached almost classical status. It is a style that has captivated, amazed and baffled guitarists of all kinds, and to my mind has become the most enchanting. Thanks to Rick Payne - December 02, 2000
Thanks Marty. This week on From The Archives Of Something Blue we’ve got a just released song recorded at HairyLarryLand in 2019. I met Vincent Holden jamming at Blues Fest. I was immediately struck by his raw blues guitar work … Continue reading →
Something Blue – Sleeping – July 31, 2021 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week weâre featuring Frank Zappa and Sun Ra. For more about the show visit the Something … Continue reading →
Thanks Marty. This week on From The Archives Of Something Blue we’ve got a song recorded at KASU Blue Monday way back in 2009. Grant Garland brought an amazing band to Blue Monday in Newport on September 14, 2009. Grant … Continue reading →
Something Blue – Backyard – July 24, 2021 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week weâre featuring Dave Holland, Kenny Garrett, and Elephant 9. For more about the show visit … Continue reading →
Thanks Marty. This week on From the Archives of Something Blue we’re hearing some new jazz recorded at HairyLarryLand in 2012. In the fall of 2012 I talked to Carl Abraham about adding a monthly jazz night to the schedule … Continue reading →
Something Blue – Mobile – July 17, 2021 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week weâre featuring The Salty Dogs, CBDB, and Mike Guldin. For more about the show visit … Continue reading →
This version of âJTown Bluesâ was excerpted from the stream recorded on July 25, 2021. Hairy Larryâs current schedule is Tuesday and Thursday at 3:00 PM and Sunday at 10:00 AM Central.
Pack up all your dishes Make note of all good wishes And say goodbye to the landlord for me That son of bitch has always bored me
Throw out the L.A. papers And that mouldy box of Vanilla Wafers Adios, to all this concrete Gonna get me some dirt road back streets
If I can just get off of this L.A. freeway Without gettinâ killed or caught Down that road in a cloud of smoke To some land I ainât bought, bought, bought
And itâs, hereâs to you old Skinny Dennis The only one I think I will miss I can hear that old bass singinâ Sweet and low like a gift youâre bringinâ
Play it for me one more time, now Got to give it all you we can now I believe every thing youâre sayinâ And just to keep on, keep on playinâ
If I can just get off of this L.A. freeway Without gettinâ killed or caught Down that road in a cloud of smoke To some land I ainât bought, bought, bought
If I can just get off of this L.A. freeway Without gettinâ killed or caught Down the road in a cloud of smoke To some land I ainât bought
Put the pink card in the mailbox Leave the key in that olâ front door lock Theyâll find it likely as not Iâm sure thereâs somethinâ we have forgot
Oh, Susanna, donât you cry, baby Loveâs a gift thatâs surely handmade We got somethinâ to believe in Donât you think, itâs time weâre leavinâ?
If I can just get off of this L.A. freeway Without gettinâ killed or caught Down that road in a cloud of smoke To some land I ainât bought, bought, bought
If I can just get off of this L.A. freeway Without gettinâ killed or caught
You know my wife Suzanne and I used to live out there in Los Angeles damn California Very weird place The nice thing about it was right outside the front window Was the prettiest little grapefruit tree you ever seen in your whole life Oh the grapefruit were sweet On the other hand the weird part was the landlord He was one of those guys, come home from work every day Go out to the garage and make his own bullets
One morning we awoke to the sound of the landlord out there with an axe He was choppinâ down the grapefruit tree Well I went outside, went outside very, very, very, very, very, very carefully Said, âMan, what are you doing?â He said, âOh Guyâ, said, âThis damned old grapefruit treeâs been here 20, 30 years Itâs gotten so big and the roots have spread out so farâ Said, âItâs startinâ to crack the concrete patioâ (ah-huh)
Pack up all your dishes Make note of all good wishes Say goodbye to the landlord for me That son of a bitch has always bored me
A bardâs songbook is like a magicianâs spell book in that it contains words of power, songs for wind, songs for rain, songs to make the fire burn hotter and warm the room, songs of companionship to warm the heart.
Ari and Caper worked on Caperâs Song Book last night on Inspired Unreality.
First we worked on a list of songs.
Song to make people dance
Song to make people alert
Song to make people like me AKA the opening numbers
Song of reflection
Song of hope
We renamed Song to make people alert to
Song of perception
tin tin aree tin tin aroo
look about look about could be you
jump about jump about one and two
tin tin aree tin tin aroo
and we wrote the lyric.
To be sung by the whole party twice through to increases alertness and perception.
The bard leads the song. The party sings it twice around. Just that helps. Some DMs may give pluses or advantage on perception and other pertinent rolls.
We had a great time and I look forward to filling in more blank pages in Caperâs Song Book in the future.
Next week, Monday, August 2, is the first Monday of the month and we will be discussing Fantasy and Science Fiction literature.
A bardâs songbook is like a magicianâs spell book in that it contains words of power, songs for wind, songs for rain, songs to make the fire burn hotter and warm the room, songs of companionship to warm the heart.
Ari and Caper worked on Caperâs Song Book last night on Inspired Unreality.
First we worked on a list of songs.
Song to make people dance
Song to make people alert
Song to make people like me AKA the opening numbers
Song of reflection
Song of hope
We renamed Song to make people alert to
Song of perception
tin tin aree tin tin aroo
look about look about could be you
jump about jump about one and two
tin tin aree tin tin aroo
and we wrote the lyric.
To be sung by the whole party twice through to increases alertness and perception.
The bard leads the song. The party sings it twice around. Just that helps. Some DMs may give pluses or advantage on perception and other pertinent rolls.
We had a great time and I look forward to filling in more blank pages in Caperâs Song Book in the future.
Next week, Monday, August 2, is the first Monday of the month and we will be discussing Fantasy and Science Fiction literature.
From The Archive July 18, 2021 â NJHB â âCircular Logicâ | Something Blue Thanks Marty. This week on From the Archives of Something Blue weâre hearing some new jazz recorded at HairyLarryLand in 2012.
In the fall of 2012 I talked to Carl Abraham about adding a monthly jazz night to the schedule at TheArts@311. I called the concerts New Jazz In Jonesboro because we were going to play all original charts. Before our first show in January of 2013, over Christmas break, I brought NJHB to the HairyLarryLand Studio where we ran through some material and recorded our first album, âCircular Logicâ.
Playing at the session were Mike Lovell â guitar, Garrett Tyler â drums, Matt Jackson â bass, Hairy Larry â piano, Cody Ballard â tenor sax, and Joseph Curtis â trumpet, all ASU students or former ASU students active in the ASU jazz program.
This album was the only NJHB studio album, since then all of the albums have been recorded live. But we recorded it just like a live album doing one take of each song and recording to stereo.
NJHB songs are not designed for radio with most tracks running about twenty minutes. So Iâm going to play a radio mix for Arkansas Roots with a fade at the end of the bass solo. Visit the NJHB website at njhb.org to hear âCircular Logicâ and other albums.
Here we are now, NJHB, playing the title track from our first album âCircular Logicâ.
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