B.B. King, Erin and Me...

 in the Army, I heard an electric guitar that wasn’t playing spiritual. It was T-Bone Walker playing “Stormy Monday” and that was the prettiest sound I think I ever heard in my life. That’s what really started me playing the blues.

                B.B. King 

Singin’ The Blues (1956) signed by B.B.

Singin’ The Blues (1956) signed by B.B.

Live In Cook County Jail (1971) signed by B.B.

Live In Cook County Jail (1971) signed by B.B.

Back In The Alley (1980) signed by B.B.

Back In The Alley (1980) signed by B.B.

When I sing I play in my mind, the minute I stop singing... I start to sing by playing Lucille.

               B.B. King

Blues On Top Of Blues (1968) signed by B.B.

Blues On Top Of Blues (1968) signed by B.B.

 Born in 1925 on a cotton plantation outside Indianola, Mississippi, young Riley B. King started playing a guitar and became "Beale Street Blues Boy" who became "Blues Boy" and finally, B.B. King. An oft told tale, B.B. King saved his guitar from a burning night club. Later, he found out that the two men who knocked over a kerosene barrel which ignited the fire were fighting over a woman named Lucille. B.B. decided to name his guitar (and every subsequent guitar he played) "Lucille" as a reminder never to do anything as foolish as run into a fire to save a guitar.

“The King Of The Blues" or "The King B.”, he has influenced Jimi Hendrix, Eric Clapton, Jeff Beck, Buddy Guy, and virtually every electric guitarist since. An indefatigable road warrior, it is estimated that he played more than 15,000 concerts in his 60 plus year career, performing 200-250 shows well into his seventies. And I saw a bunch of them.

Mr. Blues The King B. (1963) signed by B.B.

Mr. Blues The King B. (1963) signed by B.B.

In 1993, The Blue Note in New York City advertised "A Rare Club Date With B.B. King." I bought tickets, and Erin and I and some friends showed up early for the first come, first served general admission. We ended up front row center, directly in front of his eminence. B.B. had his entire twelve piece band with him and it was quite a sight in this small, intimate and fabled New York City jazz club. In those days, the Blue Note had mostly jazz quartets and quintets, and they were not equipped to service B.B.'s large band requirements and retinue. In fact, B.B.'s three piece horn section was relegated to off stage because they could not fit. They played off stage mostly, but when they did a solo, they scurried on, blew a few beautiful notes, and then returned to the shadows. The life of a side man. Not twenty feet from greatness, more like eight...

B.B. and his band played an incredible set of music. He opened with "Let The Good Times Roll" and we were transported to another world. "Lucille" never sounded better as B.B. coaxed and bent beautiful, crystalline blues. As he went through "Sweet Sixteen", "When It All Comes Down", "Rock Me Baby" and "The Thrill Is Gone", the blues were never so joyous and life affirming. The crowd erupted into a standing ovation as he finished his set. A bunch of folks started reaching out to B.B. for a handshake or a memento. B.B. saw Erin directly in front of him, smiled and handed his guitar pick to her. B.B. always had an eye for the ladies, and he has reputedly sired 15 children with 15 different woman. Apparently, as hard as he worked on stage, he was as equally tireless off.

B.B. King pick/Blue Note program 1993

B.B. King pick/Blue Note program 1993

When I met with him backstage, B.B. was kind and generous. He loved seeing some of the old albums, “Look how skinny I am, and young!" He was especially interested in Singin' The Blues, his debut album released in 1956, and he paused as he looked at the song titles with care. He couldn't have been nicer as he stuck out a big mitt to shake hands.

B.B. King overcome with excitement... backstage at the Blue Note, New York City 1993

B.B. King overcome with excitement... backstage at the Blue Note, New York City 1993

Several years later, he published an autobiography, Blues All Around Me (1996), which was an honest and open look at his career and influences. Perhaps a little too open and honest. I found it interesting that he loved Frank Sinatra:: "I'm a Frank Sinatra nut. No one sings a ballad with more tenderness...and when Sinatra wants to swing, no one swings harder. No one phrases any hipper." And for guitar inspiration, he listened to Les Paul, inventor of the solid body electric guitar and many other recording advances like overdubbing. Less interesting was a chapter entitled "Someone Asked Me About Oral Sex." Really B? I can think of a lot of other interesting questions. This might be the most improbable chapter in the history of music autobiography! Prurient, salacious, and completely unnecessary, it is hard to believe that a publisher or editor fought for this chapter's inclusion. I couldn't believe what I was reading so I read it over and over and over and over again, just to make sure I wasn't missing anything.

B.B. King, blues icon, legend, ladies man. Never have the blues felt so satisfying. The thrill is never gone.

Blues n Jazz (1983) signed by B.B..

Blues n Jazz (1983) signed by B.B..

Live At The Apollo (1999) signed by B.B.

Live At The Apollo (1999) signed by B.B.

Choice B.B. King Cuts (per BKs request)

https://www.youtube.com/watch?v=SgXSomPE_FY

“The Thrill Is Gone” live with Eric Clapton Crossroads Festival 2010

https://www.youtube.com/watch?v=LWLAAzOBoBI

“I’ve Been Downhearted, Baby” live Sing Sing Prison 1972

https://www.youtube.com/watch?v=WFi3C_5U9_Y

“Stormy Monday” live at Austin City Limits 1996

https://www.youtube.com/watch?v=DQfDT-PCjyI

“Night Life” Austin City Limits 1983

https://www.youtube.com/watch?v=sQQ_vl47CGc

“I Believe To My Soul” Live in Zaire 1974

https://www.youtube.com/watch?v=72kyjRpVi1I

“Five Long Years” live 1998

https://www.youtube.com/watch?v=GpoH2IY2Mcc

“I’ve Got A Mind To Give Up Living” live 1968

https://www.youtube.com/watch?v=WrpFrizfMTM

“Three O’Clock Blues” with Eric Clapton

https://www.youtube.com/watch?v=vnlwxS-36AU

“Why I Sing The Blues” live with Albert King, Etta James, Stevie Ray Vaughan

https://www.youtube.com/watch?v=dNr_eIgP0tI

“Sweet Little Angel” live

https://www.youtube.com/watch?v=7p80MSFUOfk

“Slow Blues #1” live with Jimi Hendrix 1969

https://www.youtube.com/watch?v=NuND2iC4oJc&list=PLSQ9_a7EjS7edlylPLqMdfIxdkdUHFLnp

“Precious Lord” B.B. King Sings Spirituals 1959

Andy Warhol, Johnny Griffin and Me...

Jazz is music made by and for people who have chosen to feel good in spite of conditions.

               Johnny Griffin

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The Congregation (1957) signed by Griffin, art by Warhol

Before Andy Warhol was the acclaimed and influential icon Andy Warhol, he was a young artist who drew and designed album covers. One of his earliest commercial works was Carlos Chavez's A Program Of Mexican Music completed in 1949 when Andy was only 21. When Andy became famous, he designed album covers for The Velvet Underground in 1967 (probably the only album cover that highlights the artist and not the band), the Rolling Stones' Sticky Fingers in 1971 (with working zipper!) and Love You Live in 1977, Diana Ross' Silk Electric in 1982, and Aretha Franklin's Aretha in 1986. Earlier album covers were illustrated for artists as diverse as Vladimir Horowitz, The Boston Pops, Count Basie, Kenny Burrell, Thelonious Monk and Johnny Griffin.

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The Velvet Underground (1967) signed by Lou Reed

Johnny Griffin, a tenor saxophonist from Chicago, diminutive in stature, was nicknamed "The Little Giant." Despite his lack of physical presence, Johnny was a hard blowing tenor giant, and the winner of many cutting sessions with his fellow peers and collaborators. A Blowin’ Session (released in 1957) is considered the greatest hard bop jam session ever, and features Griffin, John Coltrane and Hank Mobley furiously trading tenor solos, while pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey supply impeccable rhythm. As Johnny once remarked, "I like to play fast. I get excited, and I have to sort of control myself, restrain myself. But when the rhythm section gets cooking, I want to explode." Johnny released other important jazz albums, and like many of his jazz brethren, he relocated to Europe from the mid-1960s through 2008 when he died.

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The Little Giant (1959) signed by Griffin, Julian Priester

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Little Giant (compilation 1959 recordings) signed by Griffin

I saw Johnny several times through the years when he visited from his safe European home. He was a riveting performer and I was always struck by his big, fat, warm, wonderful sound. At the times, the tenor saxophone looked bigger than he, as it had swallowed him whole, but Johnny had such skill and ferocity when he was playing. One of my favorite songs was a blues vamp that he wrote, "The JAMFs Are Coming." He explained that it was an acronym for "the jive ass motherfuckers" are coming. No lyrics, just a blues groove propelled by his searing hard bop tenor. When Johnny signed The Congregation, with the cover drawn by Andy Warhol, I asked Johnny if he had the original Warhol drawing. "No. I don't have it. I wish I did and I'm not sure where it ended up," came his modest reply. Well, I told him, I know where the Hawaiian shirt is, it's hanging in my closet.

The JAMFs are coming indeed.

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Griff & Lock (1960) signed by Griffin, Junior Mance

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Serenade To A Bus Seat (1957) signed by Griffin, Clark Terry

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With Flute To Boot (1958) signed by Griffin, Herbie Mann, Curtis Fuller

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Big 6 (1958) signed by Griffin, Curtis Fuller

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Thelonious In Action (1958) signed by Griffin, Roy Haynes

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The Big Soul Band (1960) signed by Griffin, Clark Terry, Bob Cranshaw, Norman Simmons, Harold Mabern, Julian Priester

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Battle Stations (1960) signed by Griffin

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Grab This! (1963) signed by Griffin

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Night Lady (1963) signed by Griffin, Jimmy Woode

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Return Of The Griffin (1979) signed by Griffin

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Bush Dance (1979) signed by Griffin

Choice Johnny Griffin Cuts (per BKs request)

https://www.youtube.com/watch?v=ZhfEq1WFl2g

"The JAMFs Are Coming"  Live in France 1971

 https://www.youtube.com/watch?v=Q-SYoldqi64

"A Night In Tunisia" Johnny and Dizzy Gillespie in France 1971

 https://www.youtube.com/watch?v=L3kEnoXaYYo

"Blue Monk"  Johnny blows with Thelonious Monk and Art Blakey  1958

 https://www.youtube.com/watch?v=dpzxMLawHic

"Don't Get Around Much Anymore" Johnny swings Duke  1963

https://www.youtube.com/watch?v=zmycL-CZtfo

"Grab This!"  Grab This!  1963

 https://www.youtube.com/watch?v=cDbopNNlWKk&list=PLA510E534276EA049

"The Way You Look Tonight"  A Blowin' Session  1957

All signed albums from the Kirk vinyl collection  

copyright 2019

Tito Puente, Mona and Me...

Everybody's heard of Santana. Santana! Beautiful Santana! He put our music, Latin rock, around the world, man! And I'd like to thank him publicly 'cause he recorded a tune and he gave me credit as the composer of the tune. So, since that day... all we play... is Santana music!

               Tito Puente on Santana covering his song "Oye Como Va”

Cuban Carnival (1956) signed by Tito

Cuban Carnival (1956) signed by Tito

Dance Mania (1958) signed by Tito

Dance Mania (1958) signed by Tito

Dance Mania (1958 import) signed by Tito

Dance Mania (1958 import) signed by Tito

The only salsa I know is sold in a bottle called ketchup. I play Cuban music.

              Tito Puente

Ernesto Antonio "Tito" Puente spent much of his childhood in Spanish Harlem in New York City where he became immersed in the Latin rhythms of the day. After being drafted in 1942, Tito served in the US Navy for three years, and he saw nine battles on the escort carrier USS Santee. After being discharged with a Presidential Unit Citation, Tito formally studied music theory, orchestration and conducting (via the GI Bill) at the Julliard School of Music in New York.

In 1947, Tito joined Machito's orchestra as a drummer, then switched to the timbales. Machito's orchestra was the first to incorporate Afro-Cuban rhythms and introduced the triple play of conga, bongos and timbales as the standard Latin percussion. In the early 1950s, Tito started his own orchestra and he helped foment the mambo and Latin dance craze. Shows at the Palladium were legendary and introduced the "cha cha cha", mambo and other dances to an enthusiastic and wider audience than the uptown Latin clubs. Tito became "El Rey del Timbal" or just "El Rey."

Mamborama (1955) signed by Tito

Mamborama (1955) signed by Tito

Tito Puente released over one-hundred albums in his brilliant career and is probably the most well known and beloved star in Latin or Latin jazz history. He won five Grammy awards and appeared on The Cosby Show (when it was a mark of distinction!) and The Simpsons (still a hallmark of excellence and cultural relevance!). He also helped the careers of many important Latin musicians: Ray Barretto, Willie Bobo, and Mongo Santamaria played in Tito's band and had considerable success as solo artists.

Top Percussion (1957) signed by Tito

Top Percussion (1957) signed by Tito

Tito's music was exposed to the Woodstock generation when Santana recorded "Oye Como Va" (written in 1963) on Santana's breakthrough Abraxas (1970) album. "Oye Como Va" has become Tito's most well known composition. At shows thereafter, Tito gratefully acknowledged the great guitar master's exposure as a wonderful boost to his career. And the songwriting royalties didn't hurt either!

I saw Tito and his orchestra dozens of times over the years and his music was so powerful, joyous and uplifting. Most jazz and rock bands have the percussion set up in the back. Not Tito. Timbales, conga, bongo all in front. The spotlight and focus was on Tito and he reveled in it. He was a showman's showman. His percussion was the propulsive locomotive of the entire band. As Count Basie said of his big band, "we have a good night if our drummer (Jo Jones) has a good night,” and every night with Tito was a great night. The horn section anchored by Mario Rivera on tenor saxophone and Ray Vega on trumpet was placed in back of the percussion, and what a joyful noise those ten or twelve collective pieces made!

One day when I was digging through crates at a record store, I came across Music For Romancing (1955), a mambo compilation with a very alluring model reclining on her back, two wine glasses nearby, a lit cigarette burning in an ashtray full of stubs. The cigarette wasn't the only thing smoldering, she was sultry and sexy. The record was on Tico, a label started by George Goldner in 1948 which became home to early recordings in the 1950s by Tito Puente, Tito Rodriguez and Machito - The Mambo Kings. I scanned the back cover, there was no mention of any artists. I looked again at the front cover. Easy call. I buy. I slipped the record into my stack and I went to the checkout to purchase it.

Music For Romancing (1955) signed by Tito

Music For Romancing (1955) signed by Tito

Many years later, I saw Tito for the last time at The Blue Note in NYC in early 2000. He was in great form and he had his superlative musicians with him. I knocked on the dressing room door, and Tito invited me in. He was with a friend. I showed Tito the album  Music For Romancing. I asked him, ‘Who’s the babe on the cover?’ Tito was excited. He grabbed the album from me and showed it to his friend who was sitting on a couch five feet away. Tito unleashed a torrent of Spanish incomprehensible to me, save one word: "tits." My ears perked. Then he turned to me. Solemnly, he said, "You know who that babe is? I can tell you exactly who that babe is. Her name was Mona. She had gorgeous tits. Look at her tits. She was the wife of the president of my record label (Tico). Look how beautiful her tits are." I took the bait. There was something wonderfully alliterative (and naughty) in talking tits with Tito. I said, ‘Tito, I love tits. My wife has great tits. Would you mind signing Mona's tits?’ "Yes, I'd be delighted to sign her tits" came the quick reply. "Best wishes, Tito Puente '00" was lovingly scrawled on possibly my favorite record cover.


In real life, Mona was Ramona Goldner, the Puerto Rican born wife of Tico record label president and founder George Goldner. Mona was so beautiful that Tito Rodriguez, fellow Mambo King, wrote "Mambo Mona" or "Mama Guela" as a tribute to her ravishing looks, a song which has become a Latin jazz standard. And George Goldner's interest in Latin music started with his wife's introduction to those wonderful, sensuous rhythms and sounds. While Mona may not have been the face that launched a thousand ships, she certainly moved and inspired thousands of hips!

Let’s Cha Cha Cha With Puente (1959) signed by Tito

Let’s Cha Cha Cha With Puente (1959) signed by Tito

Thanks El Rey for your joyous and life affirming music, and your discerning eye for talent on and off stage.

Dance The Cha Cha Cha (1959) signed by Tito

Dance The Cha Cha Cha (1959) signed by Tito

Mucho Cha Cha (1959) signed by Tito

Mucho Cha Cha (1959) signed by Tito

Dancing Under Latin Skies (1959) signed by Tito

Dancing Under Latin Skies (1959) signed by Tito

Bossa Nova By Puente (1962) signed by Tito

Bossa Nova By Puente (1962) signed by Tito

Cuba y Puerto Rico Son (196) signed by Tito

Cuba y Puerto Rico Son (196) signed by Tito

El Rey y Yo (1967) signed by Tito

El Rey y Yo (1967) signed by Tito

Homenage A Beny More (1978) signed by Tito

Homenage A Beny More (1978) signed by Tito

CE’ Magnifique (1981) signed by Tito

CE’ Magnifique (1981) signed by Tito

Choice Tito Puente Cuts (per BKs request)

https://www.youtube.com/watch?v=1HfXCZGOcDM

“Oye Como Va” Village Gate with Dizzy Gillespie 1986

https://www.youtube.com/watch?v=TXBgJ2ajjQs

“Ti Mon Bo” Top Percussion 1957

https://www.youtube.com/watch?v=WnuLofOrNyU

“Don’t You Worry’Bout A Thing” Tito plays Stevie!

https://www.youtube.com/watch?v=KNifUszz2zA

“Hong Kong Mambo” Dance Mania 1958

https://www.youtube.com/watch?v=TvMNjdz9Gcw

“Ran Kan Kan” live

https://www.youtube.com/watch?v=Zm2C5hx4sI0

“Quimbara” Tito plays, Celia Cruz sings!

https://www.youtube.com/watch?v=eewrHI2dFfs

“Descarga with Cachao” Atlanta Jazz Festival 1990

https://www.youtube.com/watch?v=RPvMEZoZoZU

“Five Beat Mambo” live

https://www.youtube.com/watch?v=v6fhsmVyNaw

“El Cumbanchero” live 1965

https://www.youtube.com/watch?v=ZxzphmtiUVk

“Jam” live at Montreux 1980

Bonus picks:

https://www.youtube.com/watch?v=J7ATTjg7tpE

“Oye Como Va” Santana Abraxas 1970

https://www.youtube.com/watch?v=m8nkXC9TxKs

“Mambo Mona” Tito Rodriguez

On Broadway (1983) signed by Tito

On Broadway (1983) signed by Tito

Latina Familia (1989) signed by Tito, Sheila E.

Latina Familia (1989) signed by Tito, Sheila E.

Un Poco Loco (1987) signed by Tito

Un Poco Loco (1987) signed by Tito

John Fahey and Me...

For nearly ten years, I have been posting vignettes to my friends and colleagues on my insane record collection and the attendant autographs/interactions with the artists (some 200+ so far in total). It has been a labor of love, and, hopefully, as informative and entertaining for my readers as it has been for me. Everyone from Sinatra to the Sex Pistols, Sonny Rollins to Johnny Cash, The Grateful Dead to Lou Reed, no one has been spared in my dogged pursuit.

The genesis started innocently. In my never ending and insatiable search for music in all genres, I read a lot of blogs. A couple of years ago, I came across a not particularly well written John Fahey post. I thought three things: I can write better, I have better stories, and my kids see all this junk in our music room and they have no idea who many of these artists are, and the album artwork is as compelling as some of the back stories are interesting.

So, blame it all on John Fahey. In his incandescent memory, here's the first post which I ever sent, along with some Holiday tunes (and vinyl artwork!)....

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When I play, I very quickly put myself into a light hypnotic trance and compose while playing, drawing directly from the emotions.


John Fahey (1939-2001)

John Fahey, an American guitarist, composer and savant, is so wide ranging in his material, from blues to folk to avant garde, that his music is beyond category. John also released a series of instrumental Christmas albums which have been holiday staples in my house since the late 1970s. "Silent Night,” "Joy To The World,” and "O Holy Night" have never sounded better. I was lucky to see Fahey several times over the years, and I was always struck by a man who looked so menacing, yet created such tender and exquisite melodies.

The New Possibility (1968) unsigned

The New Possibility (1968) unsigned

One night, back in December 1983, Erin and I went to see him perform at the Birchmere, a small club in Alexandria, Virginia. The Birchmere then was in a converted used furniture store and it retained a similar, decaying ambience: picnic tables with naugahyde chairs stuck to a filthy linoleum floor, the aroma of stale beer, cheap wine and unfiltered cigarettes hung heavy in the still, acrid air. John was playing his usual eclectic set when he stopped and asked the audience for a drink, "Not beer or wine," like the Birchmere served, "but a real drink. Someone must have something in their car," he implored. One audience member volunteered that he had something in his car. John said he would wait. We did. When the audience member returned, he went onstage and handed John a bottle of brandy, which he chugged to the delight of the audience. John resumed playing flawlessly.

After the show, I went backstage to get an album signed. The dressing room door was slightly ajar so I went in. There was a bathroom in the dressing room and that door was wide open. John had his back to me, and he was unleashing a furious torrent. He turned and said he’d be done in a minute. I said I didn’t mean to bother him, I could see he had his hands full. He laughed, finished his business, wheeled around and stuck out a big unwashed paw. I told him how great the show was and asked him to sign an album. He happily obliged, then asked, "Where do you live? Do you have anything to drink in your house?" I thought about this. It would be awesome to bring John Fahey back to my house and play records, stay up and drink all night. But what if it went wrong? John was a big man, and I knew I could be belligerent when I got over served, what if Fahey and I broke bad?  'No, I don’t really have anything,' I sheepishly told him. I thanked him and left.

When I returned to my table, I told Erin that Fahey wanted to come home with us. I explained my misgivings. She said I should have said yes. That wasn’t the last time I was wrong about something….

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Popular Songs Of Christmas & New Year’s (1983)

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Back cover signed by John Fahey

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God Rest aye Merry Jazz Men signed by Jimmy and Percy Heath, Wynton Marsalis, Paquito D’Rivera, Arthur Blythe, McCoy Tyner

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Christmas With McGriff (1964) signed by Jimmy McGriff

Christmas With McGriff (1964) signed by Jimmy McGriff

Christmas With McGriff 1970s reissue with Jimmy’s niece on cover.

Christmas With McGriff 1970s reissue with Jimmy’s niece on cover.

That Holiday Feeling (1990) signed by Joe Williams

That Holiday Feeling (1990) signed by Joe Williams

The Charlie Byrd Christmas Album (1981) signed by Charlie

The Charlie Byrd Christmas Album (1981) signed by Charlie

Merry Christmas! Ho! Ho! Ho! (1967) signed to my parents from Lou Rawls

Merry Christmas! Ho! Ho! Ho! (1967) signed to my parents from Lou Rawls

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Natty Christmas (1987) sadly unsigned by Jacob Killer Miller

All signed albums from the Kirk vinyl collection 

Copyright 2019

Robert Hunter, T.S. Eliot, The Grateful Dead and Me...

Walking down Madrone Canyon in Larkspur in 1969, you said some pretty mind-blowing stuff, how we were creating a universe and I was responsible for the verbal half of it. I said maybe, but it was your way with music and a guitar that was pulling it off. You said "That's for now. This is your time in the shadow, but it won't always be that way. I'm not going to live a long time, it's not in the cards. Then it'll be your turn." I may be alive and kicking, but no pencil pusher is going to inherit the stratosphere that so gladly opened to you. Recalling your statement, though, often helped keep me oriented as my own star murked below the horizon while you streaked across the sky of our generation like a goddamned comet!

               Robert Hunter, letter written upon the one year anniversary of Jerry Garcia's death, 1996

Skull & Roses (1971) signed by Jerry Garcia, Phil Lesh, Bob Weir, Robert Hunter, Bill Kreutzman

I met Robert Hunter, lyricist nonpareil for the Grateful Dead, during a soundcheck before his show at the City Winery in New York City in July 2014. I had last seen Robert perform many years ago in Boston during college. While his literary and lyrical talents abound, his music and singing is more of an acquired taste. One that I have not yet acquired. What I remember from seeing him then, was Hunter shouting “Promontory Rider” at the top of his coarse lungs. Over and over. Seeing him once was more than enough for me.

The soundcheck that night revealed a kinder, gentler Robert Hunter. He played “Loser”, “Sugaree” and “Touch Of Grey” from the Grateful Dead songbook. While his voice is not melodic, it was not as harsh and his finger picked guitar playing was interesting. After the brief set, I had the chance to visit with him, and I brought a couple albums – Workingman’s Dead and Skull and Roses – which I had the Dead sign more than twenty years ago ( another story for another time).

 Robert was quite intrigued when I showed him the signed Workingman’s Dead album. I asked him where the photo was taken. He said he wasn’t sure, but the shabby clothes were supplied by Warner Brothers to reflect a workingman's vibe. I was surprised, I assumed the clothes were their own, as the Dead were never known for their sartorial choices. He said he loved the photo, but he hated the fake smokestacks that were painted on one of the buildings by an artist (right below Mickey Hart’s signature). I hadn’t noticed them before, but Robert was annoyed that Warner Brothers decided to mar an otherwise authentic photo.

Workingman’s Dead (1970) signed by Jerry Garcia, Phil Lesh, Bob Weir, Robert Hunter, Mickey Hart, Bill Kreutzman

 I told Robert that he was an amazing and prolific writer. Who were your influences? “Bob Dylan,” he immediately replied. Yes, I knew he had collaborated with Dylan on "Duquesne Whistle" and the entireTogether Through Life album, but what about before Dylan? 'I’m an old english major,’ I explained, 'T. S. Eliot? Keats?' “Well,” he replied, “I am very well read. I’d like to say (William Butler) Yeats (the great Irish bard) but that would be untrue, I didn’t start reading Yeats until a couple of decades ago.” He mused, “I have always enjoyed T.S. Eliot. In fact, I’d say “Dark Star” was very much influenced by Eliot.”

 Interesting. The Dead’s great LSD magnum opus “Dark Star”  influenced by T.S. Eliot?

A closer look at two excerpts is revealing:

Dark Star (1968)

Dark star crashes, pouring its light into ashes

Reason tatters, the forces tear loose from the axis

Searchlight casting, for faults in the clouds of delusion

Shall we go, you and I while we can, through the transitive nightfalls of diamonds.


The Lovesong of J. Alfred Prufrock (1915)

Let us go then you and I, when the evening is spread against the sky
Like a patient etherised upon a table.
Let us go, through half deserted streets, the muttering retreats
Of restless nights in one night cheap hotels
And sawdust restaurants with oyster shells.

I’ll take Hunter at his word: there are some similarities. As Oscar Wilde reminds us, “Talent borrows, genius steals.” It was an enlightening visit with Robert Hunter, one of the foremost lyricists in the ever widening Great American Songbook.

Hope our paths cross soon.

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Robert Hunter and me…. City Winery, July 2014

all photos/signed albums from the Kirk Vinyl collection

copyright 2019

Choice Robert Hunter Cuts (per BKs request)


https://m.youtube.com/watch?v=WptefFjahMk

“Box Of Rain” Jack o’ Roses 1980

https://m.youtube.com/watch?v=LSI_s4iwqY8

”Mountains Of The Moon” live at City Winery, NYC 7.21.14

https://www.youtube.com/watch?v=DLAd1HHzJzM&list=RDDLAd1HHzJzM&start_radio=1

”Promontory Rider” live with Jerry Garcia Band, Capitol Theater, 3.01.80

https://www.youtube.com/watch?v=0z6eZ4LFFkw

”Ripple” live at Ryman Auditorium, 2013 Americana Awards

https://m.youtube.com/watch?v=tA--gq6iI94

”Brown Eyed Women” Newport Folk Festival 7.24.14


https://m.youtube.com/watch?v=KLUTbnGwGt
”Reuben And Cherise” live 1980

https://m.youtube.com/watch?v=vDUnIb7-9fI

”Stella Blue” live at City Winery NYC 7.23.14

https://m.youtube.com/watch?v=xiCpRAiIIH4

”Promontory Rider” Alligator Moon 1978

Bonus Round:


https://www.youtube.com/watch?v=zhL03mLfu2I

”Dark Star” Live Dead 1969

https://m.youtube.com/watch?v=3oaodK8zdtI&list=RD3oaodK8zdtI&start_radio=1

”Sugar Magnolia” Grateful Dead with Duane Allman Fillmore East 4.26.71

https://m.youtube.com/watch?v=5EoQ3GkH4Zc

”Uncle John’s Band” Grateful Dead 10.31.80 Radio City Music Hall

https://m.youtube.com/watch?v=bpIs3d1N_6o

Ripple” Grateful Dead Fillmore East, NYC April 1971


https://m.youtube.com/watch?v=WgPV9DFkQFs

”It Hurts Me Too” Grateful Dead with Duane Allman Fillmore East 4.26.71

Waylon, Harlan, Johnny and Me...

You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.

               Waylon Jennings

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Folk-Country (1966) front cover, unsigned

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Folk-Country (1966) back cover signed by Waylon and Harlan

I get a lot of questions about my record collection. How many records? How many are signed? What's the most valuable? The rarest? Your favorite? I don't readily know or have the answers. I have been diggin' in crates almost as long as I can remember, searching for elusive and (hopefully) mispriced vinyl. My strategy is akin to risk arbitrage: look for poorly priced, inefficient markets which can be exploited. Without leverage.

So, when I traveled to Nashville in the 1980s, I would not buy country where demand was strong, I would buy soul or jazz. I fondly remember clipping a store in Nashville for four or five Lou Rawls albums from the 1960s still in shrink wrap for $2 each. That is an inefficient market. Similarly, I would not buy jazz in New Orleans, rather, country or punk or rock and roll, equally mispriced, unloved and neglected. The Internet changed all that. It is the great equalizer. Now, you can be impossibly hip and informed whether you live in Dubuque, Dekalb, or Darien. Information is just a point and click away. It was not always thus.

In the late 1980s, I was digging through bins at Joe's Record Paradise in a nondescript strip mall in Wheaton, Maryland. I already had an eclectic stack of albums, when I came across Waylon Jennings' Folk-Country, released in 1966, with several songs written by Harlan Howard. It was marked 'signed' on the front cover, $7. I flip to the back cover and start reading:

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"Hello Johnny,

I still think you're a hillbilly at heart. This is my first album for RCA. I think every home should have one, here's yours. Johnny, after meeting you in Phoenix, I felt I had made a friend for life. I hope I see a lot more of you in years to come. Thanks for being so nice. Me + ole Harlan put you through the mill + you came out all right. So we decided to send you a record. See you soon.

Your Buddy,

Waylon"

"Little John -

we are sitting around talking about you - are your ears burning? We thought you'd like this album, in return you owe Waylon + I a copy of your next one -

Best Wishes little buddy, come see us -

Your friend

Harlan Howard"

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Now my pulse quickens and adrenaline starts to pump. "Johnny" and "Little John" has got to be Johnny Cash. This is Waylon's first album, and he's sent a copy to his friend Johnny Cash. Waylon was a DJ in Phoenix when he started his career, so it makes sense that Waylon first met Johnny in Phoenix. Harlan Howard famously described country music as "three chords and the truth'“, and he wrote classic songs like "I Fall To Pieces," "Busted," and "Heartaches By The Number," which were performed by Patsy Cline, Johnny Cash, Ray Charles, Ray Price and so many others. I can't believe this album is in Wheaton, MD at Joe's Record Paradise. For $7.

I place the album in mid-stack, and head to the checkout. Gnarly record store dude at the counter starts going through my albums and ringing up the purchases. He gets to the Waylon album, and says to his friend working with him behind the counter, "Hey look, this is signed by Waylon and Harlan Howard." His buddy checks it out and hands it back. I'm thinking $7 is soon to be re-priced at $700. He rings up $7. I pay for the rest of the stack and leave. Quickly.

I sprint to my car with my stash. I'm not really sure what else I bought that day, but I do remember paying $7 for Waylon and 'ole Harlan.' Inscribed to Johnny.

It pays to dig in crates. Always.

Choice Waylon Jennings Cuts (per BKs request)

https://www.youtube.com/watch?v=ZzlnmC5uhyQ&list=PLEWcdWlIYquLWdmtbeWqpYvYYBUOweGLz&index=11

“Man Of Constant Sorrow” Folk Country 1966

https://www.youtube.com/watch?v=fjNP1-EfTnE&list=PLEWcdWlIYquLWdmtbeWqpYvYYBUOweGLz&index=1

“Another Bridge To Burn” Folk Country 1966

https://www.youtube.com/watch?v=fJIFt9AsjqE

“Luckenbach, Texas” Ol’ Waylon 1977

https://www.youtube.com/watch?v=vda75XawNzk

“I’ve Always Been Crazy” I’ve Always Been Crazy 1978

https://www.youtube.com/watch?v=TNpLSaCirj8

“Are You Sure Hank Done It This Way” Dreaming My Dreams 1975

https://www.youtube.com/watch?v=nqtJhSH5zWA&list=PL3xLQqEA5xD3ptcB3ZUXgfXxBuW3O3ke0&index=32

“Dreaming My Dreams With You” Dreaming My Dreams 1975

https://www.youtube.com/watch?v=xI-KOqRKlcs

“A Good Hearted Woman” Wanted! The Outlaws 1976

https://www.youtube.com/watch?v=ysbqVwVqDIE

“The Wurlitzer Prize” Waylon & Willie 1976

https://www.youtube.com/watch?v=4n_8XtL-MGE

“Till I Gain Control Again” Ol’ Waylon 1977

https://www.youtube.com/watch?v=hQ4F_EeDDJE

“The Weight” live January 2000 - Nashville, TN

Charlie Haden and Me...

I think it's very important to live in the present. One of the great things that improvising teaches you is the magic of the moment that you're in, because when you improvise you're in right now, you're not in yesterday or tomorrow — you're right in the moment. Being in that moment really gives you a perspective of life that you never get at any other time as far as learning about your ego. You have to see your unimportance before you can see your importance and your significance to the world. The artist is very lucky, because in an art form that's spontaneous like jazz, that's when you really see your true self. And that's why, when I put down my instrument, that's when the challenge starts, because to learn how to be that kind of human being at that level that you are when you're playing — that's the key, that's the hard part.

               Charlie Haden

I don’t believe in categories. I believe in beautiful music coming from the heart. And if it’s coming from the heart and it’s meaningful music to make the world a better place, then that’s wonderful. So, it really doesn’t matter what you call it. It matters that it’s really beautiful and that it touches somebody’s life in a positive way.

            Charlie Haden

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Liberation Music Orchestra (1969) signed by Charlie, Carla Bley, Andrew Cyrille, Roswell Rudd, Paul Motian

There was a lot of controversy around us. When we opened up at the Five Spot in New York, fights used to break out right in the club. People would be putting us down, people would be praising us. The club was packed every night with everybody from different parts of the art world: painters, famous writers, film makers, dancers, musicians. I would look out, and standing at the bar would be Paul Chambers, Percy Heath, Charles Mingus, and they would be looking dead in my eye, you know, saying, 'Okay, what are you going to do?' And I would be playing, and have my eyes closed, and one night I opened my eyes and there was Leonard Bernstein with his ear glued to the front of my instrument...New things were happening, not only in music, but in people's minds, every night from that music.

               Charlie Haden on playing with Ornette Coleman, late 1950s in New York City

Born in Shenandoah, Iowa, Charlie Haden grew up near Springfield, Missouri, surrounded by music. His father, Carl, was a songwriter and performed with his wife Virginia on The Haden Family Hour, a popular radio show in the 1930s and 1940s. In those pre-Spotify and iTunes days, there was real money to be earned selling sheet music and some of Carl's biggest hits - "Memories Of Will Rogers", "Moberly Mine Disaster", "Little Rose Of The Ozarks" and "Ozark Moon" - sold thousands of copies. At 10 cents a copy, it was a nice source of income and a valuable royalty stream. 

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The Golden Number (1977) signed by Charlie

Charlie made his professional debut as a yodeling cowboy as a precocious two year old, and "Cowboy Charlie" remained a vital part of the Haden Family radio show. Of his time on radio, Charlie had warm remembrances, ""Every day was a great experience for me. I just loved it. We did our radio show from the farmhouse, and my brothers and sisters would go out and do the chores, milk the cows and come in, have breakfast, and my dad would crank the phone on the wall to let the engineer in Springfield, (Missouri)], know that we were ready to go on the air, and we'd do the show. Every day was like a wonder to me." Unfortunately, Charlie was stricken with bulbar polio in his teens which affected his vocal chords, so his singing days ended.

Fortunately, Jazz proved to be the antidote for what ailed Charlie. Although raised on country music - he had performed with Roy Acuff, Eddy Arnold, Chet Atkins and The Carter Family - Charlie was smitten with jazz after his father took him to Omaha, Nebraska to see Charlie Parker. Thereafter, it was jazz, all jazz and Charlie knew he had to get out of Missouri. He saved and scraped enough to buy a bus ticket to Los Angeles and pay for tuition at the Westlake College Of Modern Music, one of the few music schools at the time which offered a dedicated jazz program. “As soon as I had enough money, I packed my suitcase and my bass and was gone," he recalled, even tying his bass to the top of the bus for the trip. Thankfully, it did not rain!

The Los Angeles jazz scene of the late fifties was a fertile environment and Charlie availed himself of every opportunity to see, hear and (eventually) perform with Chet Baker, Dexter Gordon, Hampton Hawes, and Art Pepper. One day, Charlie walked into a club on Wilshire Boulevard, The Hang, and he saw a tall, thin man pull a plastic alto saxophone out of a bag and sit in with the band. It was music that Charlie had never heard before, a swirling cacophony of exotic sounds and free jazz. Apparently, neither had the band leader, who simply asked the young musician to leave after two songs. Off the stage, out the door and into the night walked the stranger, plastic alto sax tucked safely in his bag.

Unsure of who (or what) he had just seen, Charlie tracked down the mystery man the next day with the help of Lenny McBrowne, a friend and drummer. Charlie explained the weird gig that he had witnessed the night before, Lenny shrugged, "Oh, that's Ornette Coleman. I can introduce you." Lenny made the introduction, and Charlie  jammed at Ornette's apartment the next night. They were kindred spirits, “I was finally able to play music the way I had been hearing it in my head. What Ornette was doing was playing in a free way in which you didn’t have to improvise on chord changes. We started rehearsing every day with trumpeter Don Cherry and drummer Billy Higgins. We were all thinking the same things musically. It was a matter of everyone being at the same place at the same time.” Over the next three years, Ornette, Charlie, Don Cherry and Billy Higgins recorded five seminal albums which revolutionized the jazz world. As Charlie confided in a later interview, "We all were feeling the same way about music, probably similar to the way that Bird and Diz and the bebop guys felt when they revolutionized jazz. It was the same way with us, if you think about it. I was ready to go to New York and I went. We turned it upside down!"

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Steal Away signed by Hank Jones

I was lucky to see Charlie perform many times over the years and I met him several times. Each time, he was gracious and kind. One of my favorite albums (and performances) was his duet with the great Hank Jones on Steal Away: Sprituals, Hymns and Folk Songs– an amazing and inventive collection of traditional songs like "Motherless Child", "Swing Low, Sweet Chariot", "Nobody Knows The Trouble I’ve Seen," and even, "Danny Boy" (yes, that Irish hoary chestnut!). Hank's soulful playing and elegant gospel is buttressed by the warm bedrock of Charlie's honeyed bass. It is truly a spiritual experience.

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Steal Away program, Georgetown University

One memorable visit happened at the old Iridium Jazz Club when it was in the basement of a wine bar near Lincoln Center (circa 1998). Charlie had finished a beautiful set and I brought some albums for him to sign. I asked him about the picture on the cover of Ornette Coleman’s This Is Our Music. Where were his black, hard rimmed glasses? And what was going on? Charlie seemed very pensive. "Yes," he sighed, "There was a lot going on in that photo. We were in the studio recording, and I was in the bathroom about to fix some heroin. I was startled when Ornette started banging on the locked door to tell me that the photographer was there for the album cover shoot. Man, was I flustered. I knocked my glasses off the back of the toilet and they broke on the floor." Thus, the photo shoot continued without Charlie's trademark hard rimmed glasses, and I believe it is the one and only time in his illustrious career that he was photographed without his glasses on an album cover.

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This Is Our Music (1961) signed by Charlie, no glasses!

I told Charlie that I really enjoyed his (then) recent release Beyond The Missouri Sky, a duet with fellow Missourian Pat Metheny. I opined that I wasn’t really a big Metheny fan, that my jazz guitar sensibilities (at the time) were more traditional - Kenny Burrell, Joe Pass, and Jim Hall - but I was enjoying the diverse artists they were covering (Roy Acuff, Jimmy Webb, Ennio Morricone) and Charlie’s playing, as always, was impeccable. Begrudgingly, I liked Pat’s playing too. Charlie nodded, "Yes, I understand Pat’s playing isn’t for everyone." Then I told him that my favorite song on the album was his son’s composition "Spiritual" which was recently covered by Johnny Cash on Unchained, produced by Rick Rubin. Ever deferential, Charlie asked, "Have you ever heard Josh’s version?" No, I said sheepishly. He said "You really need to check that out. I think you will really like it." I did check it out and Charlie was right, although it’s hard to top Johnny Cash. In anything.

I learned a lot from Charlie Haden. In a barely ten minute conversation, he showed me how to expand my musical interests, from free jazz to folk songs to country to spirituals and everything in between. He showed me how to stay open minded to new possibilities, and, as he sipped water and I nursed a seltzer, he showed me that it was possible to stay clean and recover. And be a good dad and fabulous jazz musician.

Now, if I only had some musical talent….and I still need a lot of work on the parenting thing.

Hope our paths cross soon.

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The Ballad Of The Fallen (1982) signed by Charlie, Carla Bley, Paul Motian

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Quartet West (1987) signed by Charlie, Ernie Watts

Choice Charlie Haden tracks (per BK's request)

https://www.youtube.com/watch?v=VfUW7t8Hc6c

"Spiritual"  Steal Away  with Hank Jones  1994

https://www.youtube.com/watch?v=1k_DF_RohcM

"Spiritual"   Beyond The Missouri Sky   Charlie Haden and Pat Metheny 

https://www.youtube.com/watch?v=dApNz2LmuxU

"My Back Pages"  Somewhere Before  Charlie and Keith Jarrett swing Dylan!  1968

https://www.youtube.com/watch?v=FiuXOVA62q4

"America The Beautiful"  American Dreams  with Brad Mehldau on piano, Michael Brecker on tenor saxophone   2002

https://www.youtube.com/watch?v=kqpZvY2AJVc

"Going Home"  Come Sunday  Charlie Haden & Hank Jones  2010

https://www.youtube.com/watch?v=oJ3nZ4KRaY4

"Nightfall"  Nocturne  with Gonzalo Rubalcaba on piano  2000

https://www.youtube.com/watch?v=CNYUO1W7E5Q

"Goodbye"  Jasmine  duet with Keith Jarrett   2007 recordings

https://www.youtube.com/watch?v=IMDWVl11D_A

"Song For Che"  Liberation Music Orchestra  1969

https://www.youtube.com/watch?v=XCLKhZmIaXw

"Beauty Is A Rare Thing"   This Is Our Music  with Ornette Coleman  1961

Bonus track:

https://www.youtube.com/watch?v=F7_kpLa3fyI
"Spiritual"   Unchained   Johnny Cash   1996

https://www.youtube.com/watch?v=WbYYOoDlNZc

"Spiritual"  Charlie Haden and Family live on Letterman, Josh Haden singing

all signed albums/programs from the Kirk vinyl collection

copyright 2019