All That Jazz: Jazz Saxophone Version

Sadao Watanabe: Turning Pages of Wind

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Stan Getz : Desafinado

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Sonny Rollins : God Bless the Child

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John Coltrane : Giant Steps

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Such a hard choice this time around, deciding what to leave out…I had to go with four, 'cuz three wasn't going to be nearly enough. But even though I go to more live performances of jazz guitarists, I myself played jazz sax back in the day, so I've got a ton of favorites to pick from.

First off is a song I used to play by Japanese saxophone giant, Sadao Watanabe. He's a bit of a hybrid, in a way, since he grew popular during the rise of smooth jazz (which in some circles is a sort of curse word). And yes, some of his stuff is pretty, well, smooth. On the other hand, he's no Kenny G: for example, he came out with a great album of Charlie Parker tunes in the 80's that's well worth buying. The song I'm sharing's got two other great talents as well in keyboardist Dave Grusin and guitarist Lee Ritenour (I knew I could sneak them in). It's from 1978's California Shower.

Next is another from my (very limited) repertoire. It's Stan Getz with a cover of Antonio Carlos Jobim's Desafinado, released in 1962, and it helped propagate the bossa nova enthusiasm in America. It features Charlie Byrd on guitar.

Sonny Rollins and guitarist Jim Hall together create an expressive cover of Billie Holiday's God Bless the Child from his best album, The Bridge, also released in 1962.

Finally, and probably best, is the sax legend unto himself: the great John Coltrane. Picking just one song was hardest of all. I nearly went with Naima, which is probably my favorite song, but I thought his 1960 classic, Giant Steps, might demonstrate what made his style unique.

I mourn that I can't share other favorite sax players like Cannonball Adderley, Gato Barbieri, Paul Desmond, Dexter Gordon, Eddie Harris, Charles Lloyd, Charlie Parker, Art Pepper, Houston Person, Dewey Redman and his son Joshua Redman, David Sanborn, Wayne Shorter, Zoot Sims, Grover Washington, Jr., or Sonny Stitt.

All That Jazz: Jazz Guitar Version

Wes Montgomery : Four On Six

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Pat Martino : Impressions

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Larry Carlton : Emotions Wound Us So

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Hey, I didn't have to wait long at all before I could share Four On Six with you (2 days, to be exact). This is one of Wes Montgomery's best tunes.

I introduced you to Pat Martino during Circuses and Carnivals week this summer. What an incredible and inspiring guitarist he is. Here is his 197 version of John Coltrane's Impressions.

Finally is the most emo guitar song I think I know, one that is appropriately named: Emotions Wound Us So. It starts out gently with keyboards, then Carlton's expressive jazz fusion guitar starts up, and I'm quickly gone to another emotional state….

Maybe I'm crying over other favorite guitarists I didn't get to include, like Jeff Beck, George Benson, Kenny Burrell, Al DiMeola, Grant Green, Jim Hall, Earl Klugh, Pat Metheny, Joe Pass, Django Reinhart, and Lee Ritenour.

All That Jazz: The Lady In My Life

Stanley Jordan: The Lady In My Life
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You can argue whether Stanley Jordan is the most talented guitarist ever (whatever that means), but there is no argument that he is the most talented musician that I am personally acquainted with. Stanley was a year ahead of me in college and worked at WPRB, where I sometimes followed him on the air. Even then, it was clear that he was prodigiously talented, and we were all in awe of his playing, not to mention the fact that he was, and is, a nice guy. His claim to fame was his mastery of the “tapping” technique, in which he uses both hands to tap the strings, allowing himself to play multiple lines at the same time, so it often sounds like more than one guitar is playing.

After he graduated from Princeton in 1981, he went off and, I understand, played on the streets. He released an independent record in 1982, but burst upon the jazz scene in 1984 when he made a surprise unscheduled appearance at the Kool Jazz Festival in New York and blew the audience and critics away. I remember reading articles in The New York Times about this and being so excited for Stanley. He followed up this triumph with his major label debut on Blue Note Records, “Magic Touch”, which included his versions of jazz standards, originals and covers of pop and rock tunes, including “The Lady in My Life”, originally done by a little-known singer named Michael Jackson. It was amazing to hear the quality and confidence of his playing on “Magic Touch”, and amusing to see Stanley—the guy from college—in the video for this song on MTV, back when they played music, back when they even played good music. (Possibly more amusing was his cameo in the Bruce Willis/Kim Basinger movie “Blind Date”). “Magic Touch” topped the jazz charts, and appeared on the Billboard 200 and R&B/Hip Hop charts. I got to see him perform a couple of times in jazz clubs in New York, and continued to be impressed by his music and his graciousness. (That means he either actually remembered me, or pretended to).

Unfortunately, the music business isn’t really set up for someone with Stanley’s eclectic tastes, and certainly wasn’t in the ‘80s and ‘90’s. His albums bounced around from straight jazz, to rock covers (even “Stairway to Heaven”), to Ravel’s Bolero, and other places in between. This meant that he was not doctrinaire enough for the jazz purists, and there was really no market for instrumental versions of popular songs. Ultimately, he cut back on touring and recording and devoted himself to music therapy.

I ran into Stanley last summer at his 30th college reunion, and he was excited about his soon-to be released album, “Friends”, in which he played with a number of great guest musicians, including Kenny Garrett, Christian McBride, Nicholas Payton, Regina Carter, Kenwood Dennard, Bucky Pizzarelli, Mike Stern and Charlie Hunter. The album came out a few months ago, and reaffirming his eclectic tastes, it includes jazz standards, classical pieces, originals and a Katy Perry cover. I heartily recommend it. Maybe now, in the Internet era, where music distribution is more democratic, the world will finally catch up to Stanley Jordan’s virtuosity and broad vision.

All That Jazz: Zoot Allures

Frank Zappa: Zoot Allures

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For those who have written off Zappa's music as a bit too busy and a bit too weird, here's a four minute instrumental that will hopefully make you give the former "Movie King of Cucamonga" another chance. Recorded live, the title track to his 1976 album is a mid-tempo jazz/rock fusion piece featuring Zappa's guitar solidly in the forefront. You can also hear Zappa regular Ruth Underwood on marimba, Dave Parlato on bass, Lu Ann Neil on harp and future Missing Persons Terry Bozzio on drums. (Only Bozzio and Zappa made the album cover.) Here's Zappa your grandma would like and , even so , a prime example of why he's a guitar god ( ranked #22 in Rolling Stone's recent list of Greatest Guitarists).

Not that the whole album is like this. In fact "Zoot Allures" is followed by the goofy "Disco Boy" with lyrics featuring Zappa's adolescent bathroom humor. As a certain 65 year old British rock star once sang "He took it all too far, but boy could he play guitar".

All That Jazz: That's Neat, That's Nice

NRBQ: That's Neat, That's Nice

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NRBQ: The Music Goes Round and Around

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Sadly, this morning's headlines provide an opportunity to combine two Star Maker themes: "All That Jazz" and the recent "In Memoriam." Tom Ardolino of NBRQ passed away yesterday.

The story of how Adrolino came to play drums for NRBQ is an inspiring one for groupies and lurkers everywhere. From his Wikipedia biography: "Ardolino was initially a fan of the band, and began corresponding and trading tapes with keyboardist and co-founder Terry Adams. On one occasion, original NRBQ drummer Tom Staley did not feel up to returning for an encore, so Adams invited Ardolino to fill in....When Staley decided to leave the band in 1974, his bandmates agreed that Ardolino was the natural choice as his successor."

Adrolino went on to play with NBRQ from 1974 until it went on long-term hiatus in 2004.

Throughout its long run, the New Rhythm and Blues Quartet did not limit itself to R&B (nor to having just four members on stage). The band's name was inspired by the Modern Jazz Quartet, and NRBQ embraced MJQ's improvisational ethos. The band was nothing if not versatile. In 1984, NRBQ played the Berlin Jazz Festival, the New York Folk Festival and the Grand Ole Opry. The group's leader, Terry Adams, modeled his keyboard style after Thelonious Monk and Sun Ra. The strains of modern jazz can be heard throughout NRBQ's recordings, but it's the numbers influenced by traditional jazz and swing that are the most infectious. The two cuts here are from 1978's At Yankee Stadium (fittingly, not recorded at Yankee Stadium) and 1980's Tiddlywinks.

Adams reformed NRBQ this year, but Adrolino wasn't in the group (nor are any other NRBQ alum except Adams). However, Tom Adrolino did design the cover to the band's record, Keep This Love Goin'.

All That Jazz: The Magnificent Seven

Alison Brown: The Magnificent Seven

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How many banjo players can boast that their music has been played in the depths of outer space? Well, Alison Brown can because her music was used in early 2000 as the official wake up call for the crew of the U.S. Space Shuttle Destiny on their journey to the International Space Station. Knowing few constraints, Brown epitomizes individualism. She enjoys the challenge of adventurously pushing the envelope and her own technical skills into banjo’s final frontier. While on her voyage, Brown’s mission is to explore strange new musical worlds, to seek out new musical life, to boldly go where no woman has gone before! Thus, I chose a wonderful little new acoustic jazz tune called “The Magnificent Seven” that she wrote with Solas guitarist John Doyle. If you listen carefully, you’ll hear a seven-beat meter in the tune’s head.

The song appears on her innovative album “Stolen Moments” with its expressive elements of many genres from Jazz to Celtic, and Pop to Bluegrass. The album is an astounding display of melodic invention that characterizes this one-of-a-kind banjo player. Another favorite jazzy cut on the album is “The Sound of Summer Running.” Alison Brown’s 5-string lays perfectly into the greater ensemble’s kaleidoscope of sound with such accomplished masters as Stuart Duncan (fiddle), Sam Bush, Mike Marshall (mandolin), Seamus Egan (low whistle on one track), John Doyle (guitar), John R. Burr (piano), Kenny Malone (percussion), and Garry West (bass). Some pop numbers on the album include superb vocals from folks like Amy Ray, Emily Saliers, Beth Nielsen Chapman, Andrea Zonn, and Mary Chapin Carpenter.

How did the impressively virtuosic Alison Brown get to be such a hot picker? Her expedition has actually taken her from Connecticut to California to Tennessee. Early bands were The Stringbenders and Gold Rush. The 1991 International Bluegrass Music Assn. (IBMA) Banjo Player of the Year went on to play, record or tour with Northern Lights, Alison Krauss & Union Station, Michelle Shocked, New Grange, and others. She owns her own record company (Compass Records). The Alison Brown Quartet formed in 1996. Her confidence and talent allow this daring stalwart of the banjo to play many genres including jazz. Listen to her creative and courageous musical statements that know few boundaries.

Guest Post by Joe Ross

All That Jazz: Consider Me Gone

Sting: Consider Me Gone

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Here’s one way to find songs for this week’s theme. Look up Dream of the Blue Turtles on Wikipedia, find the section where it lists the personnel on the album, and then follow the links to find out what else they each played on. You will find that this band had some serious jazz credentials, and that they went on to work with many mainstream artists who wanted to add a taste of jazz to their sound, if only for a song or two. Indeed, Sting said in interviews at the time that he was looking for the looseness and freedom that jazz offered for his debut as a solo artist. The title track from The Dream of the Blue Turtles was actually a jam session that was not even planned in advance, and it shows how good this band was. But, of the songs that Sting wrote coming into the sessions, Consider Me Gone best shows off the jazz qualities that came out in this music. Firstly, the song swings. But there are also some subtleties that surely come from the world of jazz. Listen to how the phrasing in Sting’s vocal line changes from verse to verse. Notice the little ornamental figures that Omar Hakim sneaks in on the drums. And then notice how the song’s tight groove loosens as the song comes to a close. The song runs just over four minutes, but it sounds like the band is just getting started, and like they jammed for another two or three minutes at least. I would love to hear what happened next.

New => All That Jazz: What's New?

Wes Montgomery: What's New?

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The popular torch standard What's New? was written in 1939 and like all great standards has been recorded by many terrific jazz musicians over the years, including Ella Fitzgerald, Frank Sinatra, John Coltrane, Sonny Rollins, and Larry Coryell. The version I'm highlighting is much more understated and seductive. It features one of the finest guitar performances of Wes Montgomery (I can't believe we've never showcased him before!), here with the Wynton Kelly Trio—Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. It's from the 1965 jazz classic Smokin' at the Half Note (although this cut was actually recorded in the studio), which also includes one of my favorite tunes, Four on Six (she writes wistfully, as she waits for a numbers theme so she can post it, too…)

New: When the Wagon Was New

Sam McGee: When the Wagon Was New

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In recent decades, country music has branched off in a hundred different directions. In the days before “outlaw country” or “alt-country,” we had just simple, plain ol’ “country” music. I occasionally revisit those traditional roots to remind us of what the genre once was. So for that reason, I’ve chosen a song called “When the Wagon was New,” written by Sam McGee.



Who is Sam McGee, you ask? He and his brother (Kirk) were born in Franklin, TN. back in 1894 and 1899, respectively. Their father was a fiddler, bought 12-year-old Sam a banjo, and soon both boys (influenced by local black musicians) were out performing on banjo and guitar. After hearing Uncle Dave Macon about 1923, they joined his Fruit Jar Drinkers, and played on the WSM radio show that became the Grand Ole Opry. They began recording in 1928. The formed a popular trio called The Dixieliners with Fiddlin’ Arthur Smith in 1930. After WWII, we hear them on the Folkways record label, recording with Macon Smith (with the Delmore Brothers), touring with comedy act Sara and Sally, and playing regularly on the Opry. Sam died on August 21, 1975 in a tractor accident.

About this song he wrote in the 1920s, “When the Wagon was New,” Sam McGee once said, “Back in the days when I was just a kid we did a lot of that – went to church in wagons and even on horseback. Those were the horse and buggy days. I seen a lot of that during the twenties and thirties in Alabama and down through there in places that I played. In some places, especially in the hilly countries, some of that is still going on right now.”

I really like the straightforward, nostalgic feeling conveyed in the song. What better song is there to remember the “good old days” as we begin 2012. In the first verse, Sam mentions the “old rusty wagon that’s left to rot away,” and he remembers how “people all loved their neighbor, everybody was so free.” It’s an old style of country music, and why aren’t songs written today that mention daddy, mom, the children, grandma and grandpa too, riding off to church on Sunday “when the wagon was new”? Even though the song is nearly 100 years old, look how relevant and insightful the last verse still is today:

The automobiles are here now, and the wagon days are through,
The airplanes are a-hummin’, good neighbors are so few,
Everybody’s in a hurry, it’s the money that takes you through,
We didn’t need much money, when the wagon was new.

Now, that’s one heartfelt sentiment with a lot of wisdom that is very germane today.

Guest post by Joe Ross

New: New Virginia Creeper

Old Crow Medicine Show: New Virginia Creeper

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Never shying from creating modern railroad songs (and working their instruments to imitate the chugging, whistling sounds of the big, iron trains), OCMS gives us this song invoking the imagery of a relatively short-lived interstate railway between Virginia and North Carolina intertwined with some pretty heavy-handed euphemisms. The narrator in these lyrics comes across as a big-talking wooer seeking company in his plainly referenced bed. As always, OCMS does an exceptional job of recreating the plucky, easy-to-sing-along-to bluegrass style of old. Enjoy the train-like harmonica and traditional sounding bounce of this tune.

Guest post by Andrew

New: A New England

Billy Bragg: A New England

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An oft-covered punkfolk youth anthem from UK singer-songwriter and left-wing activist Billy Bragg's 45 rpm debut that chugs along with the momentum of a train hurtling down the tracks, deliberate proof that the same combination of anger, frustration, innocence and optimism that fuels so much of his explicitly political work can be just as deftly applied to the age-old story of boy meets girl - or, at least, to the liminal narrative that comes of setting aside the old affections for the new unknown - in part because, to Bragg, moving on from the inevitabilities of cultural narrative is, after all, part and parcel of the political.

Because sometimes, you don't need to change the world, just your heart.

New: New Toy

Lene Lovich: New Toy

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In the fall of 1981 I was a freshman in college who had unfortunately been raised on some pretty lousy radio in Cleveland. I was ready for something other than the Springsteen-Eagles-Zeppelin stuff I had heard to death for years. Luckily I soon fell into a pretty musically savvy crowd and my listening pleasures grew exponentially. One guy, Jim, was a junior and a DJ at the college station. I remember his big passions at the time were Joy Division and Echo and the Bunnymen, the first I had ever heard of those two groups. One day he was all excited and couldn't stop playing this weird (to my naïve ears at the time) song, angular music with funny lyrics sung by a hyper-sounding, possibly whip-wielding woman and a catchy “oh-ay-oh” background chant. “New Toy” by someone named Lene Lovich, I was informed by Jim as he put the needle down on the vinyl for the fifth or sixth consecutive time. When I think back on all the great music I listened to in college over the next four years, I always think of “New Toy” as the initial jolt. It still sounds great. The song was actually written by a pre-fame Thomas Dolby, who played in Lovich's band. So far, 2012 has been filled with new toys for me: a new (used) car, a new (used) computer screen, and a new (old favorite) blog for me to contribute to. Thanks Star Maker Machine.

Guest post by Dan

New: Love Puts On a New Face

Joni Mitchell: Love Puts On a New Face

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I divide Joni Mitchell’s career in my mind into three distinct periods. These are not even divisions by time, but rather periods where Mitchell tried various modes of expression. The first, early period is the one most people know her for, and her mode was the folk-based confessional songwriting that gave rise to the singer-songwriter movement. The second period is Mitchell’s jazz period, starting with the album The Hissing of Summer Lawns, and ending with Shadows and Light. In her songwriting, Mitchell turned away from her confessional mode, in favor of storytelling. Mitchell’s late period began with Wild Things Run Fast. Here, Mitchell decided to try her hand at rock n’ roll, with mixed results. Some of the more uptempo songs from this period are almost hard rock, a style that fits Mitchell uncomfortably. But some of the quieter moments are overlooked gems, and as fine as anything in her catalog. The late period also has some fine poetry by Mitchell, but there are also songs that are little more than angry screeds.

Love Puts On a New Face is one of the overlooked gems from this late period. There are only three players on the song, Wayne Shorter on soprano sax, Greg Leisz on pedal steel, and Mitchell on guitar and keyboards. There are no drums. Together, the band creates a wash of sound that shifts like a thing alive. The lyric is a wonderful poem, presenting three stages of a relationship in three stanzas. The song features key lines that come just before the chorus: “What a pocket of heavenly grace” becomes “Some bad dreams love can’t erase” becomes “I long for your embrace”. It’s brilliantly economical piece of storytelling, and Mitchell hit’s the right emotional chord. As brilliant as her folk and jazz periods were, I can’t imagine Mitchell doing a song with this kind of feel in her earlier days.

New: A Brand New Me

Dusty Springfield: A Brand New Me

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Released two weeks into a new decade – the 1970s – A Brand New Me was the title of Dusty Springfield’s first and only Philly album, and the title of the hit single from the LP (which would be released in Britain a month later as From Dusty…With Love).

Having previously done the Southern Soul thing with the immortal Dusty In Memphis album, Dusty now turned to Philly soul under the guidance of producers Kevin Gamble and Leon Huff, who together or with others wrote all songs on the album, and arranger Thom Bell.

The single “A Brand New Me”, a cover of Jerry Butler’s 1969 single which had been written by Gamble, Butler and Bell, provided Dusty with her last US hit for 17 years, reaching #24 in 1970. In her native Britain it didn’t even chart. In both countries, she’d not feature in the Top 40 for 17 years, when the Pet Shop Boys revived her career.

The album itself tanked, stalling at #107 in the Billboard charts, and a second set of recordings with Gamble and Huff was shelved.

When the album was made, Gamble and Huff were still relatively unknown and Dusty Springfield was a star. Soon the producers would become soul giants as serial hitmakers for The O’Jays, Harold Melvin and the Blue Notes, Billy Paul, The Three Degrees and so on, and would be invited to write the theme for Soul Train (read the story of that here).

New: The New Soft Shoe

Gram Parsons: The New Soft Shoe

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E.L. Cord was a visionary and innovator, the brains behind the famed Cord automobile of the 1920s and ‘30s. Cords were the first to sport front-wheel drive and retractable headlights. As technologically advanced as his cars were, Cord was known for lavishing even more attention on the way his vehicles looked. That tendency to put style ahead of profits had predictable results. Cord was derided by rivals, and his company, Illinois-based Auburn Automobile, went belly up during the Depression. Later, Cord headed west, where he made and lost and re-made a fortune in investments. He dabbled in politics and bought and sold real estate, oil wells, radio stations and the company that eventually became American Airlines. His critics claimed he lacked focus, his admirers said he was too wild and creative to be pigeonholed.

Something in Cord’s story resonated with Gram Parsons -- himself a restless spirit, who jumped from enterprise to enterprise. In his autobiography, Keith Richards recalls being told by Parsons that he was “writing a song about a guy that builds cars.” That song was “The New Soft Shoe,” one of the shining moments on "G.P.", Parsons’s debut solo album. The Parsons song offers only a brief biographical sketch. But he makes his point: Art has its place. Each generation needs a new Cord. And each will face new challenges.

New: Hope You Like the New Me

Richard Thompson: Hope You Like the New Me

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Richard Thompson can be downright creepy at times. Hope You like the New Me gives another meaning to the term “identity theft” Thompson imagines a narrator who takes everything he admires in a perceived rival, and steals it. The musical setting for this is disturbingly simple, as if Thompson is saying, “see how easy that was!” It’s mostly an acoustic guitar, playing a repeating pattern that changes only by getting louder and then softer. There is a subtle bass part, and a cello joins in for emphasis, and that’s about it. Nevertheless, the tension in the song builds to a climax, and then pulls back a bit, but there is never a release. Thompson’s vocal performance is suitably menacing. This is the kind of song that shows why Richard Thompson is so admired by his fellow musicians. The elements of the song are sparse, but Thompson knows that he has all that he needs, and he makes every bit of it count.

New: New Feeling

Talking Heads: New Feeling

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"The name of this song is 'New Feeling'. That's what it's about."
--David Byrne.

New: Part of the New America

The Groceries: Part of the New America
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I was a college radio DJ at WPRB in Princeton, NJ during the late ‘70s and early ‘80s, and we enthusiastically supported a couple of local bands—Regressive Aid and The Groceries. Someday, I will try to post about Regressive Aid, who had a few members that went on to more well-known projects, but this post is about The Groceries, particularly, their song Part of the New America.

I liked The Groceries, and almost certainly played them on the air. Through the fog of history, I’m pretty sure that I saw them play live, at both an eating club on campus (Terrace?) and at the somewhat legendary City Gardens in Trenton. Based on some recent research, they are fondly remembered in the Central New Jersey area. They were a good band, with an interesting sound. My friend and former WPRB colleague Hal posted on his blog a few months ago—“The Groceries were musical soup. In today’s terms, boil the Barenaked Ladies, and drop in Bob Marley and flavor with Madness, and you get the taste.” That’s a pretty fair description, and I don’t think I can do better. To my knowledge, were never signed by any record label and I don’t think you can buy it anywhere. (Aside—after I graduated from college, I worked at a major record label for the summer, and worked with another kid my age who later became a serious player in the industry. I found a Groceries tape or record in a pile of submissions and asked him about them—he told me that the band had been trying to get signed for a while, but no one seemed interested.)

The song is a satire of the American materialistic culture that was being fostered by the Reagan administration, but the song also skewers liberals and the “politically correct”. I’d have to say that its message is still timely in the “Occupy” era, too. (Another aside—the lead singer of The Groceries was Richard Auguste Morse, who later moved to Haiti, has released music under the name RAM and bought the supposedly world-famous Hotel Oloffson—and in that role appeared in an episode of Anthony Bourdain’s No Reservations.) It is a fun song, and if you look on the Internet, you can find an amusing video.

New: New Hymn

James Taylor: New Hymn

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Put away your image of James Taylor as a poetic lightweight, mere chronicler of the gentle muse: though his radio popfolk canon is tailor-made for easy listening, this track is a difficult one, with slant rhymes, an odd flowing meter, and a baffled imagery of the unknown, chock full of despair and darkness.

And yet, in many ways, New Hymn represents the under-appreciated apex of Taylor's prowess as a songwriter. Released only on his 1993 live album, this new hymn lives up to its titular promise, honoring the challenge of modern spirituality head on in a song that lingers long after its final notes fade. If it doesn't give you chills, you're not listening right.

So sit with it for a while: it's worth the visit. Soak in the tensions of the warm harmonies against the known darkness and the unknown fears evoked in its dense lyrical incantation. Note how the arrangement supports its fragmented vision, how the performance so effectively parallels its flares and flashes. Let its tiny coda sink in, and play it again, reveling in the short uplifting moment, the four word rise into hope at the song's end a deliberate echo of the Zen perfection psychedelic visionary Baba Ram Das described. Listen, and then accept its challenge: may we work to be here now, and in every moment, for this year, and for the years to come.

New: New Speedway Boogie

Grateful Dead: New Speedway Boogie

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First of all, let me wish all of our readers a very happy new year.

To start our “New” theme, I wanted to share a song by the Grateful Dead. So, I had to decide whether to post New Minglewood Blues, New, New Minglewood Blues, or All New Minglewood Blues. I could even have gone with an obscure version of the song that is not the Dead at all, called Even Newer Minglewood Blues. I decided to avoid the problem by going with New Speedway Boogie instead.

Now, some of you have probably realized that the picture above is not the Grateful Dead at all, but rather the Rolling Stones. In preparing this post, I finally learned, after all these years, what New Speedway Boogie is about. The free concert at the Altamont Speedway in 1969 was originally conceived as a sort of Woodstock west. The show was headlined by the Rolling Stones, and the Grateful Dead were supposed to be in the line-up, but they decided not to do the show. Where Woodstock is remembered as an outporing of peace and love, Altamont is notorious for the violence that marred the occasion, even resulting in one death. It’s hard to say what accounted for the difference between the two shows. At Altamont, the presence of the Hell’s Angels is frequently cited as the cause of the violence, but the Angels had peacefully provided security at Grateful Dead shows for some time at that point. Whatever the case, Altamont is remembered as the concert shown in the documentary Gimme Shelter, and is sometimes regarded as a marker for the end of the hippie era.

New Speedway Boogie was written in response to the events at Altamont, and the Grateful Dead included the song for about nine months afterwards. The lyrics are typically cryptic, and the band probably assumed that their audiences would know the reference. But the Dead dropped the song from their set lists, possibly because they felt that it was too topical and becoming irrelevant. It would be almost twenty years before the band started playing New Speedway Boogie in their shows again. I heard the song when it was released on Workingman’s Dead in 1970. I was ten years old, so I hope I can be forgiven for not understanding what the song referred to.