I really appreciate the sentiment when people praise me for overcoming Ehlers-Danlos Syndrome. But let’s be clear, I haven’t “overcome” anything. Every day and every time I so much as consider a venture to the piano (or other such instrument), EDS and the corresponding obstacles are central to my consciousness. What is true, however, is [...]
Given that Dave Letterman has just had his swan song, it only makes sense for me to reflect back on some of the ones that hit me the hardest. Note that these are not necessarily the “best,” nor have I made any attempt to go back with a curator’s mind to scan the thousands of shows I never saw. These are the ones that made a mark and that I had the dumb luck to encounter, all of them awesome in their own way.
I suppose I knew it was coming, but I can’t really imagine a world without B.B. King (1925-2015) in it. We all know he was one of the great voices on the blues guitar, but he was much more than that. As a singer, songwriter, bandleader and pioneer for enduring success with non-commercial black music he made a huge mark and his guitar playing far transcends the blues, as can be heard in the generations of R&B, blues and rock guitar players who have adapted his style. In the interest of expediency, there are fewer discographical notes and less commentary than usual, I just wanted to highlight 10 of the performances that have most impacted me.
A pair of top 10 lists, featuring the brilliant and sadly departed violinist John Blake, Jr. and his son, the powerhouse drummer Johnathan Blake.
Some of my most formative music-listening moments have come through the Neville Brothers. I got to see them live on two occasions as a teenager, while listening incessantly to what I’d consider their two truly groundbreaking albums, Yellow Moon (1989) and Brother’s Keeper (1990). The grooves were like nothing I’d ever heard before, the social conscience was dramatically overt yet poetic and the combination of the four lead voices (Aaron’s angelically high voice, Cyril’s gruff tenor, Art’s low-toned and often partly-spoken vocals and the unique saxophone style of Charles) meant that there was someone there to cover pretty much any job.