"We did not weave the web of life, we are merely strands in it. Whatever we do to the web we do to ourselves.” ― Chief Seattle. Awestruck Wanderer is written and edited by Eduardo Carli de Moraes, journalist, philosopher and musician. Write to me: email@example.com. Cheers, fellow earthlings!
“Rainbow Quest, perhaps not surprisingly, comes across as something like anti-TV TV, more about sitting back and letting Seeger and the visiting musicians take their own time to sing what they’ve got to sing and say what they’ve got to say than working too hard to maintain viewer interest, its awkwardly unplanned atmosphere both clunky and charming. Seeger seems to trust the viewers, in the same way he recognises that TV’s priorities don’t represent the priorities of the people he meets in his travels.
He speaks to the camera in that same natural, some might say dull, conversational tone that he uses in his concerts, simultaneously mundane and insightful. There’s something of ‘Mr Rogers’ in the experience: an attempt at a personal warmth through the cold screen; Rainbow Quest can seem like watching a children’s show that somehow bypasses all the boundaries between child and adult. Seeger is still one of the few great artists who seems more concerned about involving the audience in a sing-along than giving a distanced untouchable performance: a sharing of the music, in the best folk tradition.”
Although some may be tempted to call multi-instrumentalist, songwriter, and composer Jack Bruce a rock & roll musician, blues and jazz were what this innovative musician really loved. As a result, those two genres were at the base of most of the recorded output from a career that went back to the beginning of London’s blues scene in 1962. In that year, he joined Alexis Korner’s Blues Incorporated. Throughout the following decades and into the 21st century, Bruce remained a supreme innovator, pushing himself into uncharted waters with his jazz and folk-rock compositions.
Bruce‘s most famous songs were, in essence, blues tunes — “Sunshine of Your Love,” “Strange Brew,” “Politician,” “White Room” — and they were ones he penned for Cream, the legendary blues-rock trio he formed with drummer Ginger Baker and guitarist Eric Clapton in July 1966. Baker and Bruceplayed together for five years before Clapton came along, and although their trio only lasted until November 1968, the group is credited with changing the face of rock & roll and bringing blues to a worldwide audience. Through their creative arrangements of classic blues tunes like Robert Johnson‘s “Crossroads,” Skip James‘ “I’m So Glad,” Willie Dixon‘s “Spoonful,” and Albert King‘s “Born Under a Bad Sign,” the group helped popularize blues-rock and led the way for similar groups that came about later on, like Led Zeppelin.
Bruce was born May 14, 1943, in Lanarkshire, near Glasgow, Scotland. His father was a big jazz fan, and so he included people like Louis Armstrong and Fats Waller among his earliest influences. He grew up listening to jazz and took up bass and cello as a teen. After three months at the Royal Scottish Academy of Music, he left, disgusted with the politics of music school. After traveling around Europe for a while, he settled into the early blues scene in 1962 in London, where he eventually met drummerGinger Baker. He played with British blues pioneers Alexis Korner and Graham Bond before leaving in 1965 to join John Mayall’s Bluesbreakers, whose guitarist was Eric Clapton. This gave him time to get his chops together without having to practice. With Manfred Mann, who he also played with before forming Cream, Bruce learned about the business of making hit songs.
In 2010, Bruce joined the Tony Williams Lifetime Tribute Band with Reid, organist John Medeski, and drummer Cindy Blackman, and toured in the late part of that year and in early 2011 to sold-out performances and rave reviews. Also in 2011, Pledge Music, a company that pairs fans and artists to fund projects, released Jack Bruce and the Cuicoland Express Live at the Milky Way, from a 2001 concert in Amsterdam. The high-quality recording was provided by Bruce‘s daughters, who designed the cover as well. The Lifetime Tribute Band’s tour had been so successful that the group renamed itself Spectrum Road and entered the studio. They emerged with a self-titled album that featured covers of Lifetime material and originals. In 2013, Bruce reconvened the rhythm section under his name for the album Silver Rails (with Robin Trower, Phil Manzanera, Uli Jon Roth, and Bernie Marsdenalternating in the guitar chair). It was released in March of 2014. Just seven months later, however, he died at his Suffolk home from liver disease.”
In his new book, Greil Marcus brings us The History of Rock ’n’ Roll in Ten Songs. But rock only needs one—Jimi Hendrix’s 1968 “Voodoo Child (Slight Return).” – by James Parker at The Atlantic
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The great Greil Marcus, whose rock-critical illuminations—in books like Mystery Train and Lipstick Traces—sent stroboscopic shafts into the black forest of my early manhood, is about to publish a volume titled The History of Rock ‘n’ Roll in Ten Songs.
So naturally my first thought was: I bet I can do it in five.
And my next thought was: Nah. Five songs is too many. And also too few. Five is a clutter, a randomness, a gallimaufry. If it’s not going to be 10, it’s got to be one. The history of rock ‘n’ roll in one song.
And if you want a song that does it all—that includes tradition, the future, outer space, electricity, armageddon, death/rebirth and the first stirrings of music itself—then there really is only one song: “Voodoo Child (Slight Return)” by the Jimi Hendrix Experience.
To write about the sound of Jimi Hendrix, the actualnoise of him? Wow. There’s a theme to beggar your lexicon and freeze you at the frontiers of sense. Still, what’s writing for, if not to fling itself at the unwriteable? So here we go. It’s axiomatic, really: All art aspires to the condition of music, and all music aspires to the condition of Jimi Hendrix.
Plucked out of New York by manager/impresario Chas Chandler, he arrives in London in September 1966, lone guitarist, lanky acid popinjay, sci-fi African-American with Irish-Cherokee blood, his manners almost courtly, his speech a sing-song sequence of half-groans, groovy hesitations, delicate chuckles, fond suggestions and trailing colors, a kind of elasticized stammer. His physical presence is dramatic but somehow only partially materialized—at his edges he seemed to blur into fumes, mental incense. Behind him, for a rhythm section, Chandler puts two Brits: pasty Noel Redding, pudding-faced Mitch Mitchell. An incongruity, a mis-Mitch? Miraculously, not at all. Redding, a lapsed guitarist, is a beautiful primal bore on bass: his earth-snooze, his rooted elemental buzz, will be at the heart of this (new term) “power trio.” Mitchell, meanwhile, is jazz-demented, Elvin Jones-worshipping, breeding polyrhythms in a cymbal-wash of teenbeat frenzy—perhaps the only drummer in England capable of tracking his singer/guitarist into the Hendrixian sound-world.
And that sound-world, as it touches down in Swinging London, is already fully formed. Blues-ghosts electrically summoned, interstellar turbulence; fringed-with-incineration flights and passages of liquid gentleness; a technique that combines towering phallic exhibition with an uncanny, almost ego-less surrender to the possibilities of his instrument. These possibilities converge in the Jimi Hendrix Experience. Having stroked and pelvically jostled his guitar to a state of glimmering, agonized sensitivity, he sculpts the resulting feedback with his shoulders and extra-large hands—while Noel drones massively and nods his Afro and Mitch swarms across his tom-toms. His solos can be astral dramas or inside jokes. At his feet the pale cohort of London guitar heroes—Beck, Page, Townshend—turns paler still. Eric Clapton’s hand, as he lights his cigarette after a Hendrix show, is shaking. (Apocryphal story. But beautiful, and therefore true.) Technology is Hendrix’s medium: amplification, overdrive, the latest gear, the only-just-invented. Roger Mayer, who will design for him the Fuzz Face and Octavia effects pedals, has a background in naval intelligence, testing underwater acoustics. We’ll hold hands and then we’ll watch the sunrise/ From the bottom of the sea. (“Are You Experienced?”)
Hendrix writes whooshing, crazily orchestrated hippie rock with spikes of Dylanoid sense-reversal, but what he is, fundamentally, is a bluesman. As an itinerant R&B guitar-slinger in the early ‘60s he freelanced for (among others) Little Richard and Curtis Knight, acquiring road sweats, road smarts, screaming showmanship, existential momentum. The blues are his school and his laboratory, the spine of his wildness. And he doesn’t just play the blues, Jimi Hendrix has the blues: On at least a portion of his prismatic personality the blues are clanging down all day, a hail of Bibles and grand pianos. It’s one of the more lethal ironies of his art—that in the midst of multicolored stormings, and from an apparent zenith of creativity, he continually confesses his numbness, his down-ness, his separation from himself. My heart burns with feeling, oh but my mind is cold and reeling … No sun coming through my window, feel like I’m living at the bottom of a grave … Manic depression has captured my soul …Because he’s a bluesman, his pain is a historical burden. At a show at Berkeley in 1970 he acknowledges the Black Panthers and then dedicates “I Don’t Live Today”—existing, nothing but existing—to “all the cats that are trying to struggle, that are going to make it anyway.” But his pain is also private. His childhood was rank with neglect; motherless Seattle winters that turned the infant Hendrix blue with cold. “I don’t think they [critics] understand my songs,” he tells a (possibly rather startled) interviewer in 1968. “They live in a different world. My world—that’s hunger, it’s the slums, raging race hatred, and happiness you can hold in your hand, nothing more!”
What else can you hold in your hand? Infinity, according to the visionary lineage of which Hendrix is undoubtedly a part. “To see the world in a grain of sand,” wrote William Blake, “And heaven in a wild flower/ Hold infinity in the palm of your hand/ And eternity in an hour.” Hendrix half-quotes Blake’s preface toMilton, in the manner that he might half-quote an Elmore James riff, on 1968’sElectric Ladyland, during the 15-minute galactic blues jam “Voodoo Chile:” “Say my arrows are made of desire, desire/ From as far away as Jupiter’s sulphur mines.” Mixing old tropes—the blood-red moon, the gypsy’s curse—with space-age lyrical junk, “Voodoo Chile” is a kind of bluesman’s “Ancient Mariner,” an imperiled soul-voyage up and down the neck of the guitar. Steve Winwood’s Hammond organ spookily swirls, and Hendrix takes us on what the critic Charles Shaar Murray calls “virtually a chronological guided tour of blues styles, starting with earliest recorded Delta blues and travelling through the electric experiments of Muddy Waters in Chicago and John Lee Hooker in Detroit to the sophisticated swing of B.B. King and the cosmic blurt of John Coltrane.”
“Voodoo Child (Slight Return)” is the final track onElectric Ladyland, and structurally a reprise in double-time of “Voodoo Chile.” But it is as if the electrified compression of the earlier, longer piece has forced Hendrix through another level of change, and he hails us now—in ringing, supernaturally authorized tones—from the far side of transformation. The intro, those snickering accents flicked from deadened strings, is almost pre-musical—it sounds like something scratching at the inside of an eggshell. Tentative at first, it resolves into a rhythm: aboriginal, radical. Dub from the back of a cave. Miles Davis hears it and falls over backward into a pile of ‘70s funk guitarists. The melody is announced, in notes opulent with wah-wah; Mitch Mitchell flexes his hi-hat; then, with a rattlesnake shake of maracas, Hendrix takes the snarling plunge into distortion—tuned down, E7 sharp 9, the “Hendrix chord.” Noel Redding meets him on the bottom string; rock and roll gapes at the impact, heavy metal kicks at the womb-wall. After three bars the guitar rears up, pluming monstrously with energy; after four Hendrix time-travels, flipping his toggle switch back and forth to create a sound like passing space-freight. Well I stand up next to a mountain, he sings, his voice supremely doubled by his instrument, chop it down with the edge of my hand. No more passivity, acid overwhelmings; no more hanging in the purple haze, not knowing if you’re going up or down. The mind-fragments have formed a new shape. Pick up the pieces and make an island... Noel Redding is rumbling fixatedly; Mitch Mitchell has forsaken his customary top-of-the-kit clattering and fluttering for a kickdrum-driven, Bonhamesque downbeat. If I don’t meet you no more in this world, I’ll meet you in the next one, don’t be late. Farsightedness, death-prophecy, transdimensional challenge—Hendrix is standing outside of music. The mix pans wildly, desperately, as if overwhelmed by its own information, sizzling up into near-deafness before widening downward in a welter of noise.
We haven’t caught up to this yet. We’re limping after it with handfuls of melted fuses. It’s too much, still.
Pensamos demasiadamente e sentimos muito pouco. Necessitamos mais de humildade que de máquinas. Mais de bondade e ternura que de inteligência. Sem isso, a vida se tornará violenta e tudo se perderá. Charles Chaplin.
Revista Espaço Acadêmico, ISSN 1519-6186 – ANO XVII - Mensal. Conselho Editorial: Ana Patrícia Pires Nalesso, Angelo Priori, Antonio Ozaí da Silva, Carlos Serra, Eliel Machado, Elisa Zwick, Eva Paulino Bueno, Henrique Rattner (in memoriam), Josimar Priori, Luiz Alberto Vianna Moniz Bandeira, Marcelo Gruman, Paulo Cunha, Raymundo de Lima, Renato Nunes Bittencourt, Roberto Barbato Jr., Rogério Cunha de Castro, Rosângela Praxedes e Walter Praxedes. Editor: Antonio Ozaí da Silva