Chewing Pine

Bo Diddley – “You Cant Judge A Book By Its Cover”

You can’t, but you can guess that Bo influenced everyone – even folks that were recording before him and persisted through the decades.

Frank Frost – “Back Scratcher” (Video)

Frank Frost gets pretty funk for a blues dude.

Henry Thomas – “Bull Doze Blues”

This should be familiar to anyone with a radio – it got covered. And while the resultant track might not be my favorite from Canned Heat, the Henry Thomas version has a weird ghostly feel to it unmatched by other players.

Lonnie Johnson x Eddie Lang

I think, at this point, I like Eddie Lang a bit more than Django. Sacrilege, I know.

Lang, though, occasionally performed under different names and worked with Lonnie Johnson on and off again. That last guy might be as talented as the two older folks – he sang too. Bonus.

R.I.P. Koko Taylor (1928 – 2009)

I can’t say that she was my favorite blues singer, but there’s no doubt that Koko could belt ‘em out. During the early ’00s, I was fortunate enough to see her perform in SE Ohio. And for a woman of that vintage, Koko was still screamin’ out the chorus from “Wang Dang Doodle” and singing the praises of Chicago. She apparently passed away as a result of complications from surgery. Bunk.

Sighque

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Screaming Out the Ju-Ju for Jim-Jim

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Harry Taussig – Fate is Only Once (Tompkins Square, 2008)

Comparing this, the lone, 1965 release of Harry Taussig, to another instrumental Tompkins Square Records re-release – that of Richard Crandell – reveal some striking differences. Even with obvious proficiency at the acoustic guitar, Taussig’s less polished playing easily places his talents a bit bellow those of Crandell.

That being understood, Taussig’s limited career is to blame for any perceived blemishes listeners find here. He does reach beyond his natural abilities, but that, in a musician, should lead to expanding one’s talent. Unfortunately, Taussig wouldn’t record again, so listeners won’t ever know.

Based solely on the contents of this album – although not really in the same league as 6 and 12 String Guitar – the potential follow-up could have been staggering.

Beginning Fate… with a Rev. Gary Davis cover forces a specific expectation. Davis, who should be considered rag-time guitar’s most creative practitioner, can so rarely be matched, that leading the disc off with “Baby Let Me Lay It on You (That’ll Never Happen No More)” could have only led to disappointment. To Taussig’s credit, he is able to imbue the song with a strong lyrical feel. The playing here just doesn’t seem to be as syncopated or assured as that of Davis’.

There are a few other covers, hinting at Taussig’s affinity for clear and danceable melodies. In his cover of a Shelton Brooks number, the guitarist is able to morph “Dark Town Strutter’s Ball” into something of his own – or at least a Rev. Gary Davis version of the song.

A great deal of the album is devoted to lithe numbers and dancing guitar, but “Dorian Sonata” is a drastic departure in tone from the rest of the disc. The pronounced chording accents the tune, but the progression moves towards a darkness absent in the other eleven tracks. While not in the music, downheartedness seemed to overcome Taussig in the titling of “Rondo to Death” as well as “Fate is Only Once.”

This final track perhaps points to the future stylistic changes that Taussig foresaw for himself. A very distinctive melody persists for a minute at the beginning of the song. And while he undoubtedly duffs a few notes, Taussing moves to an unsettling rag – not all too accented – but slow and emotionally heartfelt none the less.

Everything about Fate is Only Once can be understood from this last track. An earnest and emotional man poured every part of himself it into these recordings. And because of that, it’s regretful that solitary disc is all listeners have to reflect upon.

Tracklist:
01 – Baby Let Me Lay It on You (That’ll Never Happen No More)
02 – Blues For Zone VII
03 – Dark Town Strutter’s Ball
04 – R.R. Bill & Co.
05 – Rev’s Rag
06 – Sugar Babe, Your Papa Cares For You
07 – National Ragtime Stomp
08 – Rondo to Death
09 – Monte’s Blues
10 – Dorian Sonata
11 – St. Louis Tickle
12 – Fate Is Only Once

Richard Crandell – In the Flower of Our Youth (Tompkins Square, 2008)

A few years ago, picking up any music publication exposed readers to “New Weird America,” alternatively referred to as “Freak Folk.” Devandra Banhart was a fashion plate and James Jackson Toth was releasing dozens of albums. Now, Banhart’s an exhibitionist and Toth plays in a more straight ahead style. The faux-media frenzy that coalesced around all of these artists was capitalized on by some who began re-releasing hard to find folk albums – again occasionally and insipidly called “loner folk.” Tompkins Square isn’t amongst the profiteers. They helped reintroduce Peter Walker to the world and have been steadily releasing albums that touch the past and push the future.

Richard Crandell is still around, picking. Of late, he has released two albums for Tzadik in 2004 and 2007, while In the Flower of Our Youth was re-released on compact disc last year followed by the TSQ vinyl version. This album, finds the guitarist fully formed and basking in the influence of all that is instrumental American folk music. There is a hint of blues, but nothing as overt as in efforts by Fahey. Of course Kottke too is a cornerstone of this music, being given “Minuet for Leo” as a namesake. This is a two way relationship though. On his 1975 album Chewing Pine Kottke turns in a rendition of Crandell’s “Rebecca” that eschews the droning low note and sounds less muscular than the version found here.

It’s odd to describe instrumental guitar music as muscular, but that’s why Crandell is unique. He also manages to summon some pretty dark imagery during “Diagonal” and “Shamrock.” In the later track, notions of Ireland are the assumed genesis of the music, but somewhere Crandell gets lost. He may intend to invoke rolling hills and beer, but in Crandell’s unification of variegated techniques, he accidentally creates something much darker than the title could hint at. It does some bouncing and dancing around, but a menacing undertone is persistent throughout. Given that gloomy notion, it should be understood that a great deal of the music found here is quite playful and if the tunes aren’t enough, listeners can hear Crandell blurt out, “Have a burger. Good night,” during “Assembly Line.”

In the Flower of Our Youth can be rewarding for listeners who enjoy this segment of American music and culture. At times Crandell even comes close to the consistency of his forbearers. But if you don’t own Transfiguration of Blind Joe Death, pick that up first.

Rev. Gary Davis – Manchester Free Trade Hall, 1964 (Document Records, 2007)