Saw the Larry Goldings Trio
j...@isu.edu
a concert at our new performing arts center, and held a clinic on
Saturday. I've been a fan of Larry's trio for some time, and I looked
forward to seeing them with high expectations.
Many of you probably know that Peter Bernstein is Larry's regular
guitar player, but I was surprised to see not Peter, but Anthony Wilson
walk on stage with Larry and Bill Stewart. Apparently Peter couldn't
make it (and Anthony's guitar almost didn't make it, either).
They opened with a cajun sounding tune called Crawdaddy, then played
I'm In the Mood for Love with repeated modulations. They played a
ripping version of Putting on the Ritz, and several of Larry's songs,
including Pegasus and Slo-Boat. The big hit of the night was a Chico
Buarque tune called Valsinha. It was very sensual, textured, and
dreamy, and the audience just sat there in stunned silence for about
five seconds after the last note faded. Then the place exploded with
applause that must have lasted 30 seconds. They finished with one my
favorite songs of Larry's, The Acrobat, in which Bill Stewart played an
AMAZING drum solo. I'm not a fan of drum solos, but his was so
musical, humorous, and compelling, I've never heard its equal.
Anthony's playing just knocked my socks off. I would not have guessed
what he could do based only on the Diana Krall in Paris video I have.
He really has a lot going on, changing his picking approach frequently
(and subconsciously, he says) and developing a very wide range of
sounds. One would never have known it was the trio's first time
playing together, the level of interplay was so intricate and
masterful.
The clinic was nice because it gave them a chance to talk about their
music, influences, etc. Larry's vision of the organ trio is somewhat
along the lines of the Bill Evans trio, focusing on a conversation
between players with equal roles. He plays the pedals more lightly
than many organ players, preferring sometimes to use his left hand for
the bass line. That produces a lighter sound that opens things up for
the guitar and drums.
I was lucky enough to be able to hang out with them for a couple of
hours over dinner. They are very funny guys, in a sophisticated and
understated way. Anthony is about the nicest person you could ever
meet, and very easy to talk to. We had a wide-ranging conversation
about everything from how he came to jazz to guitars, players, amps,
strings, etc. I learned some interesting things I can't wait to try.
Eventually Larry started teasing us about the gear geekiness by talking
about specially designed organ shoes with thin soles to feel the
pedals. Then the conversation turned to wine. Anthony and Bill are
knowledgable and devoted wine lovers. When Larry started teasing them
about the wine geekiness (by talking about absurd things he could taste
in the wine), we talked about Johnny "Bowtie" Barstow. If you don't
know about Bowtie, I really can't explain, go Google him.
Anthony let me play his guitar, a Monteleone. It is very light, with a
floating pickup. Combined with bronze strings (he feels that nickel
and steel hit the pickup too hard), it has a very supple feel and even
response. Anthony played the concert through a Fender twin reissue,
and got a very bright, acoustic tone. He told me that his regular
gigging amp is a custom tube amp with point to point wiring.
Anyway, it was a great time, and I feel very lucky to have heard such
amazing music, and met the people who make it.
Steven Rosenberg
long road trip one year. That is off the beaten path, all right. I
wonder how the gig came about.
I've been listening to Larry's "Quartet" album, which doesn't feature
Peter Bernstein or Bill Stewart. Still a great record -- Larry plays a
bunch of keyboard instruments, from accordion to Wurlitzer, and it
features John Sneider on trumpet, who's very good.
I love Anthony Wilson's playing, too -- heard his new album on the
radio recently. Sounds great. I didn't know he used bronze strings on
the Monteleone. If that's what he's using on this new disc, then he
still sounds great. He got a nice tone from the Byrdland on previous
records, too. His amp is from Clark Amplification
(www.clarkamplification.com). I think they go for a couple grand. But
you don't want to be hauling ANY amp all the way to Idaho. I wonder if
they contracted for the B3. Now that's a schlep if you have to bring
your own. There are stories in the Grant Green book (written by his
now-ex-daughter-in-law) about Grant pulling those around the country.
How can you not talk about gear? I'm sure somebody's working on those
organ shoes now.
tomb...@jhu.edu
>
> Anthony is about the nicest person you could ever
> meet, and very easy to talk to. We had a wide-ranging conversation
> about everything from how he came to jazz to guitars, players, amps,
> strings, etc.
He's Gerald Wilson's son, right? I remember him on Gerald's band when
he was still a teenager. He barely had anything together then, but what
a fantastic way to learn for a young kid. It's no wonder he's smoking
now.
I got to take an arranging lesson with Gerald once. He was a very cool
and very goofy old cat. He taught me about "19th chords, and 21st
chords, and 23rd chords!" I must have asked him how he voiced a 13th
chord, and his point was why stop at 13?
It sounds like a great concert. Thanks for the story.
j...@isu.edu
director, Pat Brooks. Thanks to Pat I've seen Ray Brown, Fred Hersch,
Lew Tabackin, Toshiko Akiyoshi, John Pizzarelli, Benny Green, Mark
Levine, and many other fine players right in this little hick town.
Through my support of the jazz program here I've also had the good
fortune to meet many of those great musicians.
I also have Larry's quartet record, and I agree that it's very good. I
still prefer the OGD trio stuff, though, especially Earth Tones (under
Peter Bernstein's name) and Sweet Science.
I understand that the gear was specified in a contract rider. The B3,
Leslie, and twin reverb were rented in Salt Lake City and hauled up by
ISU people. I was in a band in college with a keyboard player who had
a B3 and a wooden Leslie. I'll bet my arms are a centimeter longer
from that experience.
pmfan57
Yeah, he's funny. Of course eventually you have the complete chromatic
scale stacked and it sounds like Henry Cowell!
Keith Freeman
> He plays the pedals more lightly
> than many organ players, preferring sometimes to use his left hand for
> the bass line.
I wonder if you, like me, are a victim of the myth that the standard way
to play bass on the organ is with the pedals? Sleeve notes - even by the
Feathers and Gitlers of this world - always imply that Jimmy Smith was
playing the bass line on the pedals, but in fact he just used them for a
percussive effect, playing the bass line on the lower manual. As far as I
know this was the standard approach until Joey DeFrancesco came along: he
*can* play the bass on the pedals, but only does it on the odd number (at
least at the show I saw).
-Keith
Portable Changes, tips etc. at http://home.wanadoo.nl/keith.freeman/
e-mail only to keith DOT freeman AT wanadoo DOT nl
tomb...@jhu.edu
>
> I wonder if you, like me, are a victim of the myth that the standard way
> to play bass on the organ is with the pedals? Sleeve notes - even by the
> Feathers and Gitlers of this world - always imply that Jimmy Smith was
> playing the bass line on the pedals, but in fact he just used them for a
> percussive effect, playing the bass line on the lower manual. As far as I
> know this was the standard approach until Joey DeFrancesco came along: he
> *can* play the bass on the pedals, but only does it on the odd number (at
> least at the show I saw).
Joey D is certainly not the first jazz organist with pedal chops, but
in general I think you're correct about most of the bass being carried
in the LH by most guys, with pedals used more for percussion than
melody. That's what my organ-playing friends always told me.
I don't give much credence to critics and liner note writers. Even the
best ones are often pretty ignorant about basic aspects of jazz
musicianship. I remember a gig with McCoy Tyner, Richard Davis, and
Elvin Jones back when they had that band in the early 80s. Leonard
Feather was furiously scribbling away during the first few numbers.
After the second tune they forgot to announce the name of the tune, and
Leonard hollered out in a rather demanding and disruptive manner to ask
the name, then went back to scribbling. After the third tune he got up
and left, never to come back.
The next day, his review totally panned the gig. I couldn't believe it.
He only heard the first three tunes! Once they got warmed up it was
like a spiritual experience, one of the best bands you'll ever hear in
your life. I learned then not to trust a critic.
Pat Smith
Steven Rosenberg
That seems wise -- I always imagine those guys getting their feet
tangled playing so many notes on the pedals.