Vinyl Vibrations with Brian Frederick podcast Brian Frederick

SONG LIST*











M1 How Can You Believe (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (3:10)







M2 Which Way the Wind (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (2:40)





M3 Contusion (Stevie Wonder) Songs in the Key of Life, Motown Records 2LP, 1976 (3:45)





M4 Easy Goin Evenin’ / My Mama’s Call (Stevie Wonder) A Something’s Extra for Songs in the Key of Life, Motown Records 2LP, 1976 (3:58)





M5 The First Garden (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (2:32)





M6 Voyage to India (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (6:23)





M7 Tree (Stevie Wonder) Journey Through the Secret Life of Plants, Motown Records 2LP, 1979 (5:55)



Today’s Vinyl Vibrations episode features Stevie Wonder in his early years, and more specifically his Instrumental compositions. Stevie Wonder is an international pop icon, a singer-songwriter, a record producer, AND a multi-instrumental musician (for example…harmonica, keyboards, drums, bass guitar, guitar, and an incredibly talented singer. Wonder is an innovator - he pioneered the use of the early analog synthesizer during the 1970s. His albums are individual works of art, carefully crafted and thematic. Stevie Wonder’s influence extends across a range of genres that include R&B, pop, soul, gospel, funk, and jazz. He has often been referred to as a “ONE MAN BAND” because of his broad range of talents in music composition, music production and most of all - - music performance.



Born Stevland Hardaway Morris, Stevie Wonder was born on May 13, 1950, in Saginaw, Michigan. That’s near Saginaw Bay off Lake Huron, about 100 miles northwest of Detroit. In the 1950s, Saginaw County had several General Motors plants and many companies building parts that went down to the big DETROIT assembly plants. It was a booming economic period for the entire US auto industry.



It was a difficult birth. Wonder was born six weeks premature and placed in an oxygen-rich incubator, which  resulted in retinopathy of prematurity - causing his blindness.



When he was 4, his Mother divorced with his father, and along with her 3 kids, moved 100 miles down the road to bustling Detroit…. home of MOTOWN RECORDS.  At age 8, Steveland attended the Whitestone Baptist Church on Detroit’s west side. There, he developed his musical talents -- playing piano, drums and harmonica -- and he also sang in the choir and there became a soloist. Stevie was quickly recognized as a prodigy.. He further developed his singing talent with a friend …and they performed as Stevie and John on street corners.



When he was just 11, this musical prodigy was discovered by Ronnie White of the MIRACLES, and that in-turn resulted in a meeting with Motown Records founder Barry Gordy, who signed him with the TAMLA label of Motown Records. At that time, he was given the professional name Little Stevie Wonder. That was 1961 and Wonder had a 5-year rolling contract with royalties that were to be held in trust until he was 21. The weekly pay for this young artist was meager – a stipend of just $2.50 a week plus a tutor for Stevie when he was on tour. That $2.50 weekly stipend would be worth about $25 a week today.



At age 12 he enrolled in Michigan School for the Blind in Lansing, Michigan.



BIT BUCKET



Saginaw is also where I was born, just 2 years after Stevie. My family also moved from Saginaw to Detroit, around same year as Stevie - 1954.



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M1 How Can You Believe (Stevie Wonder) Eivets Rednow, Motown Records LP 1968 (3:10)

 



PLAY BACKGROUND - HOW CAN YOU BELIEVE



 



To start today’s podcast,

SONG LIST*

M1 Bright Size Life (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (4:55)

M2 Sirabhorn (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (5:27)

M3 Unity Village (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:38)

M4 Unquity Road (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:36)

M5 So May It Secretly Begin (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (6:24)

M6 Last Train Home (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (5:38)

Pat Metheny is an American guitarist and composer. He has worked as a soloist, in duets and small jazz ensembles, and, for decades, with the Pat Metheny Group. His musical styles include Jazz Fusion, Jazz (both progressive and contemporary jazz) …..and also Latin Jazz. He was born in Lee’s Summit, Missouri in 1954. Lee’s Summit is a suburb on the southeast side of Kansas City.



His main influences have been other musicians, his musical family and the British Invasion.



Musicians influencing Metheny include trumpeter Miles Davis, Gary Burton on vibes, jazz guitarists Jim Hall and Wes Montgomery and Jazz Sax players John Coltrane and Ornette Coleman. PAUSE

A major foundational influence for Metheny is his musical family. His father played trumpet, his brother Mike Metheny plays jazz trumpet, and Pat’s maternal grandfather was a professional trumpeter. Brother Mike taught Pat how to play the trumpet, and so trumpet is actually Pat Metheny’s first Musicians in the family. Metheny attributes his early success to the local musical environment he was brought up in – the years 1964-1972, in Kansas City. Much of this is described in his biography titled BENEATH MISSOURI SKIES. Seems like Metheny is destined to become a great trumpeter, with all that musical environment…. PAUSE

.. there was a bump in the road at age 10. The BRITISH INVASION was in full force. Metheny saw the Beatles perform on TV in 1964, probably the Ed Sullivan Show, because that year the Beatles appeared. The Beatles are what inspired Metheny to defect from Trumpet to Guitar.



Metheny persuaded his father to buy him a guitar for his 12th birthday. That first guitar was a Gibson ES-140. PAUSE



That’s a hollow-body guitar, built in ¾ scale for young players and small hands. It’s a scale model of the Gibson ES-175 hollow body. Metheny soon got bigger hands and acquired a Gibson ES-175 …and that guitar is featured on his early albums like those in this podcast episode… Metheny started playing in pizza parlors at age fourteen (that’s 1968). At age 15, Metheny won a scholarship from Down Beat Magazine to attend a jazz camp (1969). That camp led to a meeting with Jazz guitarist Jim Hall, and bassist Ron Carter. So, by the time he graduated from high school (1972) he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Metheny had A LOT of support from his musical environment. Even though he switched from trumpet to guitar.



 



Metheny briefly attended college at U of Miami in Florida, but quickly realized after practicing on guitar for years all day long… he was unprepared for a college program … He realized then he was first and foremost, a serious guitarist and composer.



 



Metheny moved to Boston to teach at Berklee College of Music at the age of 19, where he met Jazz Vibraphonist Gary Burton. Teaching Jazz Theory and Performance was in demand.



 



BIT BUCKET



and for those not familiar, the ES-175 is sought-after by jazz country and rock guitarists - - - these vintage guitars today sell for $3,000 to $25,000. Back in the day, made in Kalamazoo MI. How about that for your first guitar? I am jealous,

TODAY’S PROGRAM......



M1 For What It’s Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00)...



M2 Bluebird  (Stephen Stills) Buffalo Springfield Again, Released ATCO, LP 1967, (4:28)...



M3 Suite: Judy Blue Eyes (Stephen Stills), Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (6:33)....



M4 Wooden Ships (Stills, Kantner, Crosby) Just Roll Tape, Recorded 1968, Released Eyewall, LP 2007 (2:26)...



M5 Carry On (Stephen Stills) Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (4:25)...



M6 4+20  (Stephen Stills), Déjà Vu, Crosby Stills Nash & Young Taylor & Reeves, Atlantic LP 1970 (1:55)...



M7 Sugar Babe (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (4:04).



M8 Change Partners, (Stephen Stills), Stephen Stills 2, Atlantic Records LP, 1971 (3:14)...



Stephen Stills is an American musician, singer, and songwriter best known for his work with



Buffalo Springfield

Crosby, Stills & Nash

Manassas …

and as a SOLO ARTIST.



He was born in 1945 in DALLAS TEXAS. He is 78 at the time of this podcast’s production. He is still active. He plays guitar, bass guitar, keyboards… he’s not only a singer and songwriter… also an arranger and producer.



Stills has had a long and prosperous career. Starting out in 1963, he has given us some 60 years of songwriting and musical performance.



Today I FEATURE original compositions by singer songwriter Stephen Stills. From my collection we will hear 5 albums:



Buffalo Springfield album and For What It’s Worth,

Buffalo Springfield Again album with Bluebird

Stephen Stills’ demo tape album JUST ROLL TAPE with Suite: Judy Blue Eyes, and Wooden Ships

Crosby Stills Nash and Young’s DÉJÀ VU album with 4+20 and Carry On

And finally, the STEPHEN STILLS 2 solo album with Sugar Babe and Change Partners.



 



We are now listening to ROCK AND ROLL WOMAN from BUFFALO SPRINGFIELD AGAIN.



 



These selections were each recorded between 1966 and 1971. Just a small time slice of this singer/songwriter’s career.



 



Stills was between the ages of 21 and 26. These works are important because these songs are each hand crafted by Stills. I also wanted to showcase his array of talents like multi-instrumental musician, arranger, and producer. In addition to being a successful singer/songwriter, who work has had a large musical impact.



 



Much more for future podcasts.



 

M1 For What It’s Worth (Stephen Stills), Buffalo Springfield, Buffalo Springfield, Released ATCO, LP 1969 (3:00)

 



Stephen Stills’ first HIT recording was FOR WHAT IT’S WORTH (or “Stop, Hey, What’s That Sound”). It was 1966. Stills was just 21 years old. This was his first big break. He had written several songs, by now.. Not only did he have an inventory of original songs, he had helped to form a new band. Along with two other singer-songwriters, Richie Furay and Neil Young… they formed Buffalo Springfield out in Los Angeles. Neil Young came from Winnipeg Alberta, and Furay and Stills left a New York City gig with the Au Go-Go Singers, a 9-member group performing at the Café Au Go-Go. Two other Canadians -- bassist Bruce Palmer and rock drummer Dewey Martin were added --- 5 band members in all. 2 Americans, 3 Canadians.



 



"For What It's Worth" became one of the most recognizable songs of the 1960s. It was first released as a 45 RPM single in late 1966. In t1967, For What It’s Worth featured on the first Buffalo Springfield LP.



 

Wendy Carlos Electronic Composer VV_026







SONG LIST*









M1 Air on a G String (JS Bach 1730, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:27)



·       Wendy Carlos – Moog Synthesizer



·       Benjamin Folkman, Assistance





M2 Two Part Invention in F-Major,(JS Bach 1723, W Carlos, 1968), Switched-On Bach, Columbia/CBS, 1968 (0:40)



·       Wendy Carlos – Moog Synthesizer



·       Benjamin Folkman, Assistance





M3 Jesu, Joy of Man’s Desiring ,(JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:56)



·       Wendy Carlos – Moog Synthesizer



·       Benjamin Folkman, Assistance





M4 Chorale Prelude “Wachet Auf”, (JS Bach 1731, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (3:37)



·       Wendy Carlos – Moog Synthesizer



·       Benjamin Folkman, Assistance





M5 Brandenburg Concerto #3 in G Major 2nd Movement, (JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (2:50)



·       Wendy Carlos – Moog Synthesizer



·       Benjamin Folkman, Assistance





M6 Brandenburg Concerto #3 in G Major 3rd Movement, (JS Bach 1723, W Carlos 1968), Switched-On Bach, Columbia/CBS, 1968 (5:05)



·       Wendy Carlos – Moog Synthesizer



·       Benjamin Folkman, Assistance





M7 Title Music from A Clockwork Orange), (Purcell, 1695, W Carlos, R Elkind 1972) , Columbia/CBS, 1972 (2:21)



·       Wendy Carlos – Moog Synthesizer



·       Rachel Elkind Producer





M8 Theme from A Clockwork Orange (Beethoviana), (W Carlos, R Elkind 1972) , Columbia/CBS, 1972 (1:44)



·       Wendy Carlos – Moog Synthesizer



·       Rachel Elkind Producer  





M9 Timesteps (Excerpt), (W. Carlos 1970, Tempi Music BMI), Stanley Kubrick’s A Clockwork Orange, Warner Bros Records, 1972 (4:13)



·       Wendy Carlos – Moog Synthesizer



·       Rachel Elkind Producer





M10 March from A Clockwork Orange/Ninth Symphony, 4th Movement, (L v Beethoven 1824, W Carlos, R Elkind 1970) Stanley Kubrick’s A Clockwork Orange, Warner Bros Records, 1972 (7:00)



·       Wendy Carlos – Moog Synthesizer



·       Rachel Elkind Producer and Articulations



Today’s Vinyl Vibrations podcast features the artistry of Wendy Carlos, an American composer, arranger, and electronic musician. Wendy Carlos was born Walter Carlos in Rhode Island in November 1939. She is the first transgender recipient of a Grammy Award, her album SWITCHED-ON BACH won three Grammys in 1970. Later, in 2005 she was the recipient of the SEAMUS Lifetime Achievement Award for her contribution to the art and craft of electro-acoustic music.



Wendy Carlos is best known for her electronic music such as SWITCHED-ON BACH…and film scores such as A CLOCKWORK ORANGE, THE SHINING and TRON.



Her studies of music composition at Columbia University in New York City in the 1960s led to her working with electronic musicians and technicians where she helped in the development of the MOOG SYNTHESIZER. This was the first commercially available keyboard instrument from Robert Moog. During her time at Columbia, Carlos ordered components of a custom designed synthesizer from Robert Moog, and she collaborated with Moog on the design of that early instrument, which became known as the MOOG SYNTHESIZER. Some of the modules included a touch-sensitive keyboard, a portamento control, which slides notes in the scale between one note and the next, a filter bank, and a 49-oscillator polyphonic generator bank that could create chords and arpeggios,

M1 Oh, Lady Be Good (George and Ira Gershwin, 1924), Django,  CBS Realm Jazz Series 1969/1934 (2:50)...



M2 Dinah, (Akst, Lewis, Young, 1925) Django, CBS Realm Jazz Series 1969/1934 (2:30)...



M3 I Saw Stars (Sigler, Goodhart, Hoffman, 1934), Django, CBS Realm Jazz Series 1969/1934 (2:20).......



M4 Confessin’, (Daugherty, Reynolds, 1929), Django, CBS Realm Jazz Series 1969/1935 (2:40)....



M5 The Sunshine of Your Smile, (Ray, Cooke, 1913) Django,  CBS Realm Jazz Series, 1969/1935 (2:50).....



M6 Swannee River (Old Folks at Home), (Foster, 1851), Django, CBS Realm Jazz Series, 1969/1935 (2:50)...



M7 Lover Man (Oh, Where Can You Be?)(Davis, Ramirez, Sherman, 1941)  Best of Django Reinhardt, EMI / Columbia, 1970/1947 (3:10)



M8 Golden Green (Ponty, 1972), Ponty/Grappelli, Inner City Records, 1976/1973 (4:42)



Today’s Vinyl Vibrations podcast features the artistry of French Violinist Stephane Grappelli.



Stephane Grappelli is best known as the founder of the Quintette du Hot Club de France along with guitarist Django Reinhardt in 1934. This was a GYPSY jazz band. Grappelli is considered the grandfather of jazz violinists. He lived 90 years, from 1908 until 1997.



He began playing violin at the age of 12, early on, preferring to learn in the streets by watching how other violinists played, such as at the Barbes (pron BAR-bez) metro station in Paris. Then he was enrolled by his father at the Conservatory of Paris to learn music theory, sight reading, and ear training. He graduated three years later.



Starting at age 15, he worked in the pit orchestra at the Theatre Gaumont, accompanying silent films, then at the Ambassador Hotel orchestra, where jazz violinist Joe Venuti was playing. For a while, Grappelli abandoned violin --- in favor of playing piano in a big band, it was easier to get paid for big band work. Jazz violinists were a relatively unknown and rare breed. In this big band, Grappelli met gypsy jazz guitarist Django Reinhardt. It was 1931 and Grappelli was just 23, Django was 21. Three years later, Django and Grappelli formed the Quintette du Hot Club de France . This was an all-string jazz band, and they performed regularly at the Montmartre district, an artistic village on the hill in the northside of Paris. This continued until 1939 when the Quintette disbanded due to the outbreak of World War II. ‘’



When the war was over, the original Quintette never did reform. Django and Grappelli did continue to perform together in Paris. In 1949, they briefly toured in Italy, where some 50 tunes were recorded. That would turn out to be the last time the two would record together, 1949, due to Django’s untimely death at the age of 43. Many of those recorded songs were released as an album titled Djangology in 2005 on Bluebird Records.



Most of the recordings featured in today’s podcast were recorded between 1934 and 1947 and were recorded in Paris, as performed by the Quintette du Hot Club de France.



Stephane Grappelli is a master of improvisation. He had said that he was not a fan of BEBOP jazz, which was then very fashionable in the jazz world.   Instead, he was a strong proponent of SWING music, another popular jazz style. Swing developed in the US in 1935-1945  ….. This was the SWING ERA in America.

M1  Cripple Creek (Traditional), Mudlark, Capitol Records 1971 (1:56)....................................................................



M2 Stealing (Kottke), Mudlark, Capitol Records 1971 (1:35)....................................................................................



M3 Machine #2 (Kottke), Mudlark, Capitol Records 1971 (3:00)...............................................................................



M4 Bourree (J.S. Bach), Mudlark, Capitol Records 1971 (1:26).................................................................................



M5 Easter (Kottke), My Feet Are Smiling, Capitol Records 1973 (3:18)....................................................................



M6 June Bug (Kottke), My Feet Are Smiling, Capitol Records 1973 (2:20)...............................................................



M7 Jesu, Joy Of Man’s Desiring (J.S.Bach), My Feet Are Smiling, Capitol Records 1973 (2:00).............................



M8 Twilight Property (Kottke), Dreams and All That Stuff, Capitol Records 1974 (3:11)..........................................



M9 Vertical Trees (Kottke), Dreams and All That Stuff, Capitol Records 1974 (2:34)



Today’s Vinyl Vibrations podcast features the artistry of American composer, arranger, and acoustic guitarist LEO KOTTKE.  Leo Kottke was born in 1945 in Athens Georgia.  As a youth he  lived in several states, including Oklahoma ,,and Missouri and Minnesota  and eventually settled in the Twin Cities. He released his first record on the Oblivion label in 1969 … and just 2 years later he signed on with Capitol Records … it was 1971 he was just 25 years old.



Kottke produces instrumental songs, mostly…. but on a few songs he adds his vocals. I selected the instrumental songs because I believe these best showcase his unique guitar and arrangement talent. For his guitars, Kottke uses signature Taylor 12-string and Taylor 6 string.. Kottke plays guitar by an innovative style of fingerpicking, and his style is considered “unconventional”. His style enables the mimicking of a rhythm section, His genres of music include jazz, rock, bluegrass, classical, and folk.



Kottke has also been “Different” as far his guitar tuning. He’s used different variations ranging from open tuning to tuning his guitar two steps below the traditional tuning.  This produces a full and warm guitar sound.



When Kottke was younger, he suffered significant hearing loss from two events - -  first from a firecracker incident as a youngster, and later during live-fire exercises while serving in the Naval Reserves.



He was inducted into the Guitar Player Hall of Fame in 1978 and scored two Grammy nominations --- 1988 and 1991



Kottke has released 40 records in 40 year period.