Umphrey's McGee: Live at the Murat

Written by Fumo Verde

To start off, I’m sorry not to have been at either of these shows. Umphrey’s McGee played the Murat Egyptian Room in Indianapolis, IN on April 6th & 7th 2007, and just from listening to this dual-disc set I wish I had seen this show. This coming from a kat who has seen them only three times, and each time they get better and better. Live at the Murat is typical UM, high energy, unbelievable improvisation, inspiring lyrics and powerful jams. These katz are professionals and they pride themselves on giving it all when on stage, and from the shows I have seen along with reviews from others who have seen them live, UM never disappoints.

I don’t know if either night started with “The Kitchen” but Disc One does. The number came in four parts with the band jamming for almost twenty minutes, revving up the crowd and getting them involved right away. From there they bust into “Higgins” followed by the “The Fuzz.” These two songs rip the top off the scene as the band goes supernova into “Nothing Too Fancy.” While Myers and Farag drive the rhythm with drums and percussion, the guitars face off between Bayliss and Cinninger, rocketing skyward like a dogfight between fighter jets. The raw power the band generates can be felt through the sound of the crowd with their screams and cheers. When you scream at an Umphrey’s McGee show, it is in between the gasps of breath you try to take in while sweating like a beast, grinning from ear to ear.

Disc Two is more of the same and that’s not a bad thing. “40’s Theme” opens up and once again the crowd is immediately involved. Chanting back the lyrics and responding in unison, the crowds at UM shows play a big part. The band feeds off the energy of the audience and vice versa. “Push the Pig” slows things down a bit, giving the crowd a rest as Bayliss and Cinninger tickle their guitar strings. Cummins has some super-spacey sounds coming out of the keys as Stasik thumps about along with the rhythm. This all goes down between the new segments the band just rehearsed backstage before the show (I found this out via the liner notes). “White Man’s Moccasins” opens up an array of sound the band produces due to the talent they have. Cummins’ piano-playing along with the percussion sounds Farag keeps mixing in give off images of lush tropical islands with crystal-clear waterfalls dropping from black lava rock mountains. The guitars, drums, and bass join in almost making this track operatic: bold, full, energetic.

The tracks on this album were picked by the band, and not only do they play well, they are great judges of their own music. It’s hard for bands to put together a live show but Live at the Murat is one of those special times when a great band has an unbelievable performance and it’s edited just right so the listener comes away feeling like they were there. The liner notes said that this is their first “live” CD; I think they did a fine job.

Thank you, UM. This is a great set.

Elvis: That’s The Way It Is (2-Disc Special Edition)

Written by Fantasma el Rey

Elvis: That’s The Way It Is (Two-Disc Special Edition) is a perfect showcase of the way it was when Elvis’ Las Vegas show was fresh and new. This new edition includes two versions of the documentary, the original version and the 2001 release that was re-cut and edited to show more concert footage. Filmed during the King’s first major run at the International Hotel both DVDs capture the power and excitement Elvis possessed in two almost completely different films. What remains the same is the command that Elvis has over his loving audience.

Let’s start with disc two, the documentary as it was originally released in 1970. This version opens with Elvis at rehearsals with the core members of his band, which includes James Burton (guitar), Jerry Scheff (bass) and Ronnie Tutt (drums). We get to see the guys as they practice the songs for the upcoming Vegas run for the very first time. It’s good to see them having fun and goofing around, especially Elvis. We can see he is in charge and the leader of his band. He’s shown making changes, directing and pointing out where people need to be as a song starts.

The scene then moves to Vegas and the vocal groups learning their parts. The Sweet Inspirations (female) and The Imperials Quartet (male) are later joined by Elvis and the band to get it all down and jam a little. There is a quiet moment with Elvis and the girls, where you get a feel for some of his priorities as far as family is concerned. He is playful here, showing his range and playing with the groups to see what they know and what they can do. He is quite fond of his high-pitched Tiny Tim-like vocals and will even use it many times on stage.

From the practice hall we move to the main stage for rehearsals the day before the big event. More fun and laughter ensue this time members of the Memphis mafia are on the loose and adding to the humor. But it is the show itself that takes the documentary over the top.

Elvis is in top form and still in the best shape of his life, at this time it is said that the man had a 32-inch waist. WOW!! He was a six-foot, Karate-trained, lean, mean entertainment machine primed to deliver the best of shows of his career. As the music fills the air, Elvis’ presence fills the screen. He’s calm and appears a bit nervous because most of the night’s numbers are new and he is a bit unsure of how the crowd will respond. Yet as always the fans adore him and the songs go over well, eliminating any questions the king might have had. From start to finish Elvis is cracking jokes, mixing with fans and band members, giving off an overall good time vibe. Elvis paints the picture of an easygoing guy who’s having a ball performing and doing what he loves and does best.

With the original version we really don’t get enough of Elvis. During filming, director Denis Sanders became fascinated with the fan element of Elvis’ career and put much of the focus on them and other irrelevant situations. The fan interviews aren’t all bad; we get to hear from people of all ages and races give their opinion of why big E is such a positive force in the world. Older folks like the fact that he’s a Christian man, while men see him as the essence of quiet cool from look to attitude. People admire the fact that a Southern white boy was strong enough to go head-on and sing back-porch country and blues tunes inspired by poor African Americans. Children are drawn to him as well for reasons I have yet to figure out. Then there are women, young and old, who just love him from head to toe and think that he is the very definition of sexy masculinity.

Many interviews are interesting, such as the editor of Tiger Beat telling of her excitement over Elvis and random fans waxing poetic about how rock ‘n’ roll is nothing without him. We even get to go across the pond to England and then Germany for a European fan fest, where we get to see Elvis’ tandem bike raffled off for charity. The best part here is the Elvis impersonators. Some are good look-a-likes and others are horrid. Some bands are simply there to play rock ‘n’ roll inspired by the King and other rockabilly legends.

Disc one is the redone version of this same Vegas run but the focus has been put back on Elvis. All the fan interviews and “talking heads” have been removed and replaced with more Elvis footage. The basic chain of events is the same but Special Edition producer Rick Schmidlin looked all over the Warner Brothers vaults for every frame of footage that he could find. Armed with this new material, he put together “The ultimate Elvis performance.” We get to see more of the personal side of Elvis, being himself and interacting with people not in his everyday entourage.

Many good tunes and footage where left out of the 1970 release and are now being seen for the first time. A few of the songs in the 2001 release are different versions from the original, as the overall footage is from six separate shows. Songs from the early days, “Mystery Train,” “All Shook Up,” “Hound Dog,” and “Blue Suede Shoes” are reworked with fury and mixed with new tunes like “Suspicious Minds,” “ I Just Can’t Help Believing,” and “Polk Salad Annie.”

The new tunes reflect the recent R&B sounds of Memphis with soaring horns and heavy, funky bass. “Patch It Up” is a new song that sends the crowd and Elvis into a frenzy. The people are dancing and grooving right along with their king. Elvis’ dancing isn’t all choreographed, like the hyper gyrations of today’s pop idols; his moves have feeling and are driven by the connection with the song he is singing. It’s awesome to see him playing with the vocal groups during a song and then spin back into place as the bridge closes out.

What makes the new version better is the fact that Elvis is center of attention and that’s who we want to see and hear. Maybe back in ‘70s Sanders’ idea of the fans worked because Elvis still walked among us and being able to see him live wasn’t wishful thinking. For today’s fan Elvis is the attraction not what the Hotel staff was doing to prepare or the stress on the promoter. Don’t get me wrong these things interest me too, but to see Elvis at the top of his game is something that simply stirs my soul.

Much of the material on these DVDs can be found on the Elvis: Viva Las Vegas CD that was recently released and his original albums On Stage and the three-disc edition of the soundtrack to the film, That’s The Way It Is.

Johnny Cash: The Great Lost Performance

Written by Fantasma el Rey

In this latest release by Johnny Cash, he shows what a true musical treasure he is. With The Great Lost Performance, recorded in July of 1990, we have a chance to hear Johnny years before he was “rediscovered” by the world at large through his American Recordings and just before he and his kind became total outcasts of modern country music. He stands tall and strong with his unique voice and raw storytelling abilities, easily capable of transporting you into the world of his youth and the dark realms of his mind.

Johnny opens this live set from Asbury Park, New Jersey, with a burning rendition of “Ring Of Fire.” Without a horn section the guitars fill in nicely as the key sound of the chorus, and from the moment he hits the mic you know who is in charge. His voice is still solid and strong containing only a hint of his age as opposed to the end of his career. Not a bad thing at all, just the final phase of the man’s gift.

Next, Johnny eases into the gospel songs usually reserved for the later part of his shows, “Life’s Railway To Heaven” and “A Wonderful Time Up There.” The latter is an awesome gospel boogie where you can hear the influence for some of Johnny’s secular tunes, most notably “Luther Played The Boogie.” The song also has a wonderful introduction about the blessed day that his voice dropped and gave the world the gift that we know and love. The gospel set also highlights the sweet harmonies of the Carter Sisters Anita, Helen, and June.

Johnny then slides smoothly into two of his classics, “Folsom Prison Blues” and Kris Kristofferson’s “Sunday Morning Coming Down.” Both are tales of a darker side brought to life and made believable by Johnny’s own experiences. When he sings of beer for breakfast on a Sunday morning, you know he’s done it and you know at one point in his darkest days he could have come close to killing a man.

Two new songs, the Psalm-inspired “What Is Man” and the road tune “Forty Shades of Green,” find their way into this recording. The former is a duet with the sweet-voiced Lucy Clark, who sounds somewhat like June Carter Cash, and reflects upon man’s existence and role on Earth. The latter was written in Ireland with map in hand as Johnny picked out rhyming town names, strung them together, and a song was born about an Irish lad that misses a certain lass.

The next five tracks compose “Come Along And Ride This Train,” a set that springs from the days of the Johnny Cash television show and basically tells stories from his life. From tales of his youth (“Five Feet High And Rising,” “Pickin’ Time,” and “A Beautiful Life.”) to the day he walked into Sun Studios to record his first single. (“Hey Porter.”) All the while the signature Cash train rhythm rumbles steadily on behind him.

More interesting tales follow and are masterfully told by the hero of the common man and outlaw. “Ragged Old Flag” is about an old gentleman reflecting on the days of glory that the town flag has seen. “Tennessee Flat Top Box.” is a little ditty about a dark-haired boy who picks his guitar and hypnotizes all the women “from nine to ninety.” Two more folk tales of old are the western classic “Ghost Riders In The Sky” and the train anthem “The Wreck Of Old ’97.”

Joining Johnny on “Jackson” and “Old ‘97” is the love of his life, June, who tells the audience about her husband’s recent dental woes. She has an honesty and sincerity in her speaking voice that makes you listen, believe, and understand. Even telling a simple story of every day life she has the crowd in the palm of her hand. After he introduces the band, Johnny closes the show with his classic love song and one of his biggest hits “I Walk The Line.” At this time he had no idea how that song along “Folsom Prison Blues” would affect the world in about ten years time.

Throughout this CD we get a chance to hear Johnny Cash on stage at his best, telling stories of his song’s origins and joking with the crowd just as he had done back in ’68 at Folsom Prison. The classic attitude of “I’ll say what I want to and do as I like okay” is always a pleasure to hear. It reassures us that he is still the Cash of old, a simple man speaking his mind and singing with his heart while delivering a knockout performance. Listen to the intro to “Ragged Old Flag” to hear Johnny in top form talking about the freedom and rights of Americans.

Today the man’s music and name can still be seen and heard everywhere. I’m glad that this American original can be celebrated all over the world on t-shirts, posters, stickers, hell even in song titles. My God somewhere I’m sure he’s on a velvet portrait, too, just like Elvis.

Charles Mingus Sextet with Eric Dolphy: Cornell 1964

Written by Fumo Verde

Blue Note wowed me again with another previously unreleased recording of the Charles Mingus Sextet. This two CD-set contains material that, before this recording was discovered, the good folks at Blue Note thought came about a little later than it actually did. This album predates by three weeks, the Sextet’s adventure from a Town Hall Concert on April 4^th through a European Tour and ending at the Monterey Jazz Festival. It also includes Eric Dolphy, who besides being a revolutionary alto sax player was the first important bass clarinet players in jazz, along with being one the first significant flute soloists. There are jazz players, there are jazz artists, and then there’s Charles Mingus. This live show at Cornell makes clear why.

The opening is the applause from the students as the band takes the stage. Jaki Byard is on the piano and he immediately charges into “ATFW You,” a tribute to Art Tatum and Fats Weller. This solo is a melody of all the old piano riffs and hooks you’ve heard in many a ragtime gangster movie. It is followed by Mingus himself in a solo of Ellington’s “Sophisticated Lady.”

From there, we take the ride with the “Fables of Faubus.” This thirty-minute tune drives us on a journey as the band explodes with fury and fire, then cools down for a night on the town. Johnny Coles on trumpet and Clifford Jordan on tenor sax fly about the scales like birds of prey fighting for a meal, while all along singing in harmony. Dannie Richmond pounds out the drums to the point of exhaustion, only to have Byard save him by playing “Yankee Doodle” on the ivories. After the good old American battle theme and with a few magic strokes of the keys and some plucks of the bass, the jam starts up again. The horns come alive along with Dolphy on the bass clarinet, adding a spicy flavor to the melody. A duel comprised of tenor sax, the drums, and deep in the background, the bass clarinet rages like a squall, then disappears. We haven’t even come close to the middle of this jam and the surprises down the line are well worth waiting for.

The first disc finishes up with a seventeen-minute “Orange Was the Color of Her Dress,” which Mingus had recorded as a piano solo in ’63 but hadn’t fully developed it until what feels like right at that moment. The final song on disc one is a fifteen-minute “Take the ‘A’ Train” which re-ignites the abidance.

Disc two has just as much power and fun the first part of the show had. It also introduces us to Mingus’ “Meditations,” another half-hour jam that takes us on a tour inside the mind of this jazz author. Jazz musicians practice their whole life to sound sporadic and off the cuff, yet Mr. Mingus was born like this. His talent reached way beyond what jazz was thought to be. “Meditations” reaches in with its sad, off-key intro that slowly winds its way into a piano walk filled with the bird sounds of flutes, trumpets, and saxophones. Mingus appears to be playing his bass with bow, sounding more like a cello to my ears.

“So Long Eric” is actually a tribute to the presence of Dolphy that night, but it became a lament after his death in June of that same year. Interestingly enough, Mingus goes green as the band plays his idea of “When Irish Eyes Are Smiling.” The quick tempo and upbeat rhythm feel as if the audience is moving around in their seats. The show ends with a Mingus-style “Jitterbug Waltz” leaving the students energized and excited. Again the band explodes as the music goes wild.

This live recording is something new, and if it wasn’t for Sue Graham Mingus, we would not have been so lucky to hear this. For the ultimate jazz enthusiasts this double CD-set is worth the price of admission. To hear Charles Mingus along with the Eric Dolphy playing alongside can only be explained in one word, awesome. If you are looking for something less contemporary, just outside of mainstream jazz, then Charles Mingus is your man and this live show at Cornell in ’64 will open your eyes to a whole new idea of what jazz could be.

Pearl Jam: Live at the Gorge 05/06

Written by Fumo Verde

Hey, gang, last month Pearl Jam came out with a seven disc set that contained recordings of three separate concerts performed live at the Gorge Amphitheater in Eastern Washington. The concert dates were 9/01/05, 7/22 & 23/06, and my buddy Smitty, who follows PJ like the FBI followed Lennon, confirmed to me that these were fantastic shows. Pearl Jam has become one of the cornerstones of modern rock n’ roll and they don’t disappoint when it comes to live shows.

I was given a sample disc of twelve tracks ranging from the three concerts. It had songs like “Alone”, “Army Reserve”, and “Given to Fly” along with “World Wide Suicide”. From the flavor of this disc, I feel this set will sound just as clean. With each song you can hear the crowd in the background as they become immersed in the moment of the show. The crowd sounds do not infringe on the music at all. The complete seven-disc set also includes unreleased material, cover songs, and of course crowd favorites, of which I truly don’t know because I have yet to attend a Pearl Jam concert, though I would like to.

Everything I have seen online regarding this set and from what I’ve heard off of the sample disc lead me to believe this is a great set to have, unless you already have these shows live. This is where I have a problem with the record industry as they slowly release music with a couple of extras here and there to keep the fan buying songs they might already have. Smitty told me he would still buy the set although he already had a copy of the 7/22 show. He didn’t tell me where he got it or if that show had been released on its own earlier. True fans like Smitty will gobble this up just because it came from Pearl Jam, kind of like me when it comes to the Dead or Miles Davis.

No CD or DVD compares to being at a live show, especially a Pearl Jam show, so I’m told, but as technology improves, the sounds coming out of your entertainment center, PC, or i-Pod get better thus bringing you closer to the show while sitting in your home. This little disc packed a real punch and I would assume the seven CDs will kick your ass. Given the power of the music Pearl Jam plays, I’m impressed they captured it on only seven discs.