TCat wrote:
I agree with what you said about Ian and Ruth Underwood. You can always be assured that there will be some stellar musicianship when one or both of them were involved. Ruth was one of the most amazing percussionists ever and never gets a lot of credit. Ian was an amazing multi-instrumentalist, especially on the keys and the sax, but at least he got one song with his name in the title.
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I have never thought that ANY of the musicians that FZ used in his groups, were not valuable, when almost all of them had bits and pieces that were their own bits in them, which kinda gives you an idea that FZ's ideas were not quite as well set in stone as we think and that a lot of stuff that was done came from the many different folks out there.
And, in some ways, this shows in many places, where the different kinds of music and attitudes change from album to album, but still this bit is in there and then this bit is over here, and then that one bit is elsewhere ... and this kinda of came alive in the Roxy album/DVD when FZ uses George Duke's bit ... he probably dumped that bit in rehearsal over something else, and FZ's ears perked up on how to use it for something sooner or later ... and there it was.
FZ gets a lot of credit, and I think his strength was the arranging of a lot of his music and how he combined the folks, which gave him, and them, a strength that is not found these days ... in most music, that just seems so commercially attached that it can't sound any different on the next album!
SIDEBAR ...
During his time, there were a lot of musicians that WANTED to play with FZ ... and I'm almost positive that it was not just for this or that or their knowledge of music, since it could be said that most of them in the very early days, were not exactly musically educated, and FZ kinda helped them learn a heck of a lot, REALLY FAST, which defined his ability as a "conductor" and "arranger", something that he is not given credit for as much as he is for his guitar, for example ... the rest of the music shows his talent, not just the guitar ... or his ability to let the other folks also work their magic.
There was a story, by a DJ in Santa Barbara that was trying to interview FZ and talk to him, and he was a bit of a princess and stuck up, until the warm up for the band, which was something like 45 minutes of non stop continuous material, with no lyrics ... just a lot of flow of music that according to the DJ was absolutely astoundingly magnificent ... and then they left for the show ... in the end, FZ finally set down for a yak ... and he asked how he liked the show ... "it was sh*t". And FZ knew that he was had. The rest of the story was specially great from that moment on, btw!
I think that towards the late 70's and early 80's when the rock/pop audiences started showing up, that the whole thing suffered some and I think that FZ never really enjoyed the fact that he just simply wanted one night of total freedom and no audience (so to speak) and just play freely ... without anyone knowing anything and just let the musicians play ... but I am convinced, that something like this scares audiences ... and the days of the Fillmore were long gone ... and the real problem was ... in those days we were so stoned we didn't care ... now it was like ... not as stoned and we want our favorite music!
FZ was likely not the only one to have this issue ... I would say that even in King Crimson, the same thing took place and ... sadly, in the end, it was OK with them all, because the memories and the results were magnificent ... but you know that some freedoms were not there ... according to Bill Bruford, who later went on stage with many folks without a plan and still did a great show! But, you're not going to get a "progressive music" audience there I bet ... because everyone is going ... what is that?
------------- Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com
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