Scott Henderson/Tribal Tech: Nomad 30 Years On

Who are the most self-critical instrumentalists? I’m going for guitarists.

And in this age of social media, fans have never had a better insight into musicians’ views of their own work.

Steve Khan, Francis Dunnery, Andy Partridge and James Grant often take a pretty dim view of their own stuff. Allan Holdsworth was famously virtually unable to listen to his own guitar playing.

But, as we’ll see later, brilliant guitarist Scott Henderson may take the biscuit… Scott emerged as a poster boy of jazz/rock guitar in the mid-to-late ’80s, when, along with Holdsworth and Frank Gambale, he would often appear alongside metal players du jour in the pages of Guitar World or Guitar Player.

A remarkably fluid improviser with a ‘rock’ sound but ‘jazz’ attitude, Henderson’s technical ability was always tempered by a strong blues feeling (distinguishing him from Holdsworth and Gambale). In 1985, he formed Tribal Tech with ex-Wayne Shorter bassist Gary Willis whilst pursuing a sideman career with Jean-Luc Ponty and Chick Corea (and, later, Weather Report’s Joe Zawinul).

I first heard Scott in my late teens when a very shrewd guitar-playing college acquaintance played me his third album Nomad, recorded in 1988 but not released until early 1990. I was instantly smitten, picking up on the strong ‘Weather Report with guitar’ vibe – mainly due to Willis’s fretless bass – but realising quite quickly that they had their own thing going on.

Also, like Weather Report, Tribal Tech were also fortunate to have not one but two fine composers in their ranks. Willis’s ‘Tunnel Vision’ may be Nomad‘s standout, but Henderson was extremely modest about his superb, much-transcribed solo, telling his website:

The opening eight bars is good because it’s not me – it’s a melody I’m playing written by Willis. I start playing after the first eight bars and things get considerably worse… We had a good laugh when a critic who reviewed the album commented on how great the beginning of my solo was. Then the tune was put into one of the new Real Books and that eight-bar melody was mis-labelled as my solo. Willis said to me: ‘Wow, I’m really making you look good…’

The excellent opener ‘Renegade’ was another embarrassment for Henderson:

On every Tribal Tech album, there are amazingly bad playing and production flaws, because we thought we were capable of producing the albums ourselves, and we clearly weren’t. We had little to no experience in the studio and were learning as we went. An experienced producer would have made those records much better, but we couldn’t afford one anyway, so they are what they are. The funniest solo is mine on ‘Renegade’ – I didn’t have any vocabulary for that 6/4 feel, so I’m clearly playing lines meant for 4/4 and they don’t fit the groove at all. It’s one of my most embarrassing solos…

Then there’s Henderson’s superb album-closer ‘Rituals’, the very ’80s-Wayne-Shorter-influenced tune:

The last time I listened to the Tribal Tech version, I thought I’d throw up. I played the melody in a horribly stiff way, with the thinnest tone ever, and the arrangement sounds like we’re trying to be Journey – very dated and funny. Then there’s the pan flute synth sound… Holy shit, talk about corny.
It’s one of my favorites but it didn’t get the production it needed. The drum sound is pathetic and the keyboards aren’t loud and clear enough. Those are some badass voicings and sometimes they’re buried. It’s not a tune I could play trio because there’s too much going on, but I’d like to re-record it and make it sound like it should…

Well, whatever. Nomad is a great album, with excellent compositions and playing from everyone involved, including drummer Steve Houghton, percussionist Brad Dutz and keyboard player David Goldblatt.

Tribal Tech went through a few other personnel changes until their split in 2013. Scott continues on with a highly-regarded solo career and occasional appearances on the irreverent podcast Guitarwank.

Book Review: Pat Metheny (The ECM Years 1975-1984) by Mervyn Cooke

You know the guy: long, bushy hair, beatific grin, jeans, sneakers, long-sleeved T-shirt, usually rhapsodizing intensely via some kind of guitar gizmo. Despite his many stylistic detours, Pat Metheny is a brand all right, and his music inspires a devotion and attendant sales profile that has rarely – if ever – been afforded to ‘jazz’ musicians.

If you – like me – aren’t always enamoured by the bulletproof sincerity of his stage presentation (in Gary Giddins’ memorable words, he ‘intones plush melodies with excessive sobriety, as though the notes were transmitted directly from God’ – the main reason why I’ve always preferred his stuff on record rather than live…), it’s beyond doubt that Metheny is one of the great guitar soloists.

Mervyn Cooke’s superb new book ‘Pat Metheny: The ECM Years, 1975-1984’ sheds light on the first – and, for me, best – decade of the guitarist’s recording career, when he was the famous European jazz label’s top turn. It’s an academic study, though never boring and certainly never predictable, with close attention played to Pat’s guitar styles, musical history, tunings, key collaborators (loads of new stuff about Jaco, Charlie Haden, Michael Brecker, Gary Burton and Lyle Mays here), equipment, album cover designs and inspirations.

There are fascinating details, like Metheny’s obsession with flat ride cymbals (hence his deliberate placement of drummers onstage, ride cymbals always in close proximity to his left ear) and his singular band-leading philosophies. There are solo transcriptions and quotes from archive interviews. Cooke also shrewdly compares Metheny’s studio work in this era to that of Weather Report’s, drawing parallels between both acts’ meticulous sculpting of supposedly ‘spontaneous’ musical performances and attempts to concoct ‘through-composed’ – rather than vamp-based – material.

Metheny fans will love ‘The ECM Years’, as will anyone who has even the faintest interest in guitar trends of the last 40 years. It also serves as a rich biography of ECM Records in its early years, with numerous revelations about label boss Manfred Eicher.

Reading the book sent me running back to choice cuts from Pat’s early albums that I liked during my teenage years – Bright Size Life, American Garage, 80/81, As Falls Wichita, So Falls Wichita Falls, Travels, Rejoicing, First Circle, Song X. Revisiting As Falls Wichita in particular has been somewhat of a revelation. (Prog fans: check out side one, below. It’s a cinematic masterpiece, analysed in great detail by Cooke.)

Mervyn Cooke’s ‘Pat Metheny: The ECM Years, 1975-1984’ is published by Oxford University Press.

28 Great Drum Grooves Of The 1980s

Steve Jordan
Photo by Deborah Feingold

Could it be that the ’80s spawned more ‘drum-based’ songs than any other music decade?

New recording technology meant that the drums had never been louder and prouder in the mix. Stylistically, influences from ’70s fusion and classic soul/R’n’B were still fresh and relevant. Hip-hop and go-go brought a funky swing. Metal and punk added a unashamedly aggressive dimension. And let’s not underestimate The Collins Effect: Phil brought a whole lot of attention to the drums.

Here are 26 notable grooves from the decade. My definition: pieces of music where the drum parts are intrinsic to the architecture of the piece. Eagle-eyed readers will spot lots of shuffles here – fast ones, slow ones, medium ones, half-timers. Bernard Purdie and John Bonham’s influences apparently loomed large. Play ’em loud…

28. Joan Armatrading: ‘The Key’ (1983)
Drummer: JERRY MAROTTA

27. Cameo: ‘She’s Strange’ (1984)
Drummer: LARRY BLACKMON

26. Japan: ‘Still Life In Mobile Homes’ (1981)
Drummer: STEVE JANSEN

25. Lee Ritenour: ‘Road Runner’ (1982)
Drummer: HARVEY MASON

How does he find time to fill out the groove with all those 32nd notes on the hi-hats? With such solidity? Only the master knows.

24. Steve Khan: ‘Uncle Roy’ (1983)
Drummer: STEVE JORDAN

Apparently Khan’s instruction to Jordan was to play an ‘Elvin Jones type of thing’ on this half-time shuffle. He completely ignored the guitarist and came up with an outrageous groove , turning the snare off, smacking the crash/ride cymbal as if his life depended on it and adding some tasty footwork for good measure.

23. U2: ‘Sunday Bloody Sunday’ (1983)
Drummer: LARRY MULLEN JR.

Love or hate the track, it was the beat of choice for air-drumming schoolkids across the land (at least it was at my school). You can even hum it.

22. TONY WILLIAMS: ‘Sister Cheryl’ (1985)

In essence, Tony ‘straightens’ out the jazz swing ride cymbal/hi-hat pattern, adds some snare backbeats and then dials in almost a Latin feel. It’s a revolutionary beat on an album full of them (Foreign Intrigue).

21. Weather Report: ‘Volcano For Hire’ (1982)
Drummer: PETER ERSKINE

Maybe Joe Zawinul came up with this pattern, but it’s superbly played and certainly one of the most striking and powerful in WR’s illustrious drumming legacy.

20. INXS: ‘What You Need’
Drummer: JON FARRISS

Nimble-of-foot dancefloor funk/rock smasher from one of the best groove drummers of the ’80s.

19. China Crisis: ‘In Northern Skies’ (1989)
Drummer: KEVIN WILKINSON

A different kind of half-time shuffle, with crossed hands, neat ghost notes and a nice tom-tom emphasis on the ‘3’.

18. Prince: ‘Dance On’ (1988)
Drummer: SHEILA E

Sheila unleashes her ’70s fusion chops on this curio from Lovesexy. Quite unlike anything else in her or the Purple One’s discography.

17. Joni Mitchell: ‘Be Cool’ (1982)
Drummer: JOHN GUERIN

LA session legend Guerin ended his 10-year sideman gig with Joni playing this inspired take on a medium jazz swing. Holding two brushes, one marks out time with triplets and other ‘brushes’ in quintessential jazz style.

16. Level 42: ‘It’s Over’ (1987)
Drummer: PHIL GOULD

One of many crafty, original ’80s grooves from the Isle Of Wight sticksman, this one was achieved by playing 16th notes on the hi-hat with both the foot and the hands. On a good system you can really hear the subtleties.

15. Jeff Beck: ‘Space Boogie’ (1980)
Drummer: SIMON PHILLIPS

Of course it takes its cue from Billy Cobham’s famous ‘Quadrant 4’ double-bass-plus-ghost-notes shuffle, but Phillips’s beat is in 7/4 and bloody hard to pull off. He maintains the intensity remarkably well and throws in some killer fills.

14. Jeff Beck: ‘Star Cycle’ (1980)
Drummer: JAN HAMMER

Another classic from Jeff’s There And Back album, the composer/keyboard player takes the sticks himself for a classic, still-funky, displaced-snare groove. Hammer has always been a superb drummer – check out his First Seven Days album for more evidence.

13. Weather Report: ‘Molasses Run’ (1983)
Drummer: OMAR HAKIM

Lots to choose from in Omar’s prestigious ’80s discography but this one sticks out. His beats have a sense of structure befitting a natural songwriter/arranger (which, of course, he is too).

12. Joni Mitchell: ‘My Secret Place’ (1988)
Drummer: MANU KATCHE

Kind of a variation on number 8, this cyclical groove almost IS the song.

11. Bennie Wallace: ‘All Night Dance’ (1985)
Drummer: BERNARD PURDIE

Another classic from the shuffle master on this track from the saxophonist’s hard-to-find Blue Note album Twilight Time, this managed to incorporate both of Purdie’s trademarks: ghost notes and hi-hat barks.

10. Adam & The Ants: ‘Ant Rap’ (1981)
Drummers: CHRIS HUGHES, TERRY LEE MIALL

There are two or three grooves on this and they’re all corkers. The song led to an outbreak of desktop hand-drumming by schoolkids in the early ’80s, driving teachers to distraction.

9. Grace Jones: ‘Warm Leatherette’ (1980)
Drummer: SLY DUNBAR

Trust Sly to come up with two such original takes on the shuffle.

8. Paul Simon: ’50 Ways To Leave Your Lover’ (1982)
Drummer: STEVE GADD

What a treat to hear and see this classic live version from Central Park, possibly with some tiny deviations from the recorded take. Much imitated, never surpassed. And check out Gadd’s superb extended coda.

7. John Scofield: ‘Blue Matter’ (1986)
Drummer: DENNIS CHAMBERS

One of the great beatmakers of the ’80s or any other decade, the Baltimore master busted loose with two classic go-go grooves for the price of one.

6. Van Halen: ‘Hot For Teacher’ (1984)
Drummer: ALEX VAN HALEN

Modern Drummer magazine said it best: ‘The song begins with Alex pounding out a fairly complex floor-tom pattern featuring the ever-popular hairta rudiment, played over shuffling double bass drums. Add some tom hits and then a driving ride cymbal, and you’ve got one of the most classic drum tracks of the ’80s—or any decade.’

5. The Police: ‘Murder By Numbers’ (1983)
Drummer: STEWART COPELAND

Yet another ingenious variation on the medium jazz swing, Copeland turns 4/4 into 6/8, adds some weird emphases and catches the ear every time.

4. King Crimson: ‘Frame By Frame’ (1981)
Drummer: BILL BRUFORD

At Robert Fripp’s prompting, Bruford plays the lion’s share of the beat on one of his Octobans, not the hi-hat. From the classic album Discipline.

3. Chuck Brown & The Soul Searchers: ‘We Need Some Money’ (1985)
Drummer: RICKY WELLMAN

The right foot that floored the drumming world.

2. Toto: ‘Rosanna’ (1982)
Drummer: JEFF PORCARO

Impossible to leave out this half-time classic. Porcaro fused The Purdie Shuffle with a Bo Diddley beat to create a monster.

1. John Martyn: ‘Pascanel (Get Back Home)’ (1981)
Drummer: PHIL COLLINS

Phil came up with numerous cool variations on Harvey Mason’s ‘Chameleon’ beat in the ’80s, but this is my favourite. It’s basically ‘Chameleon’ but with a very groovy triplet figure inserted between the hi-hats and snare. From the classic Glorious Fool album.

Any more classic ’80s drum grooves?

Memorable Gigs Of The 1980s (Part Two)

9. David Sanborn Band/Al Jarreau @ Wembley Arena, November 1984

We were sitting high up behind the stage with a great view of two of the great modern American drummers: Steve Gadd (with Sanborn) and Ricky Lawson (with Jarreau). To be honest, my parents and I left in the middle of Al’s set but Sanborn was fantastic with Marcus Miller and Hiram Bullock running amok on the huge Arena stage. The saxophonist was at his commercial peak here and probably could have headlined the show.

8. Marc Almond @ The Palladium, 12th October 1986

I have absolutely no memory of why I was at this gig but it was a genuine eye-opener. Almond was long past his pop fame and seemed to be acting out his own private, Berlin-inspired drama. Looking at the footage today, I’m still not sure if it’s brilliant or total sh*te.

7. Miles Davis @ Hammersmith Odeon, 21st April 1982

I remember someone shouting ‘Turn the guitar down!’ Poor Mike Stern wasn’t the critics’ flavour of the month and Miles was obviously exceptionally ill, but the gig was unforgettable. One of my first and very best. I saw Miles three or four times during the ’80s but this was the bomb for sheer atmosphere and occasion.

6. Robert Palmer @ Hammersmith Odeon, 25th September 1988

There really isn’t anyone around these days like the much-missed Robert with his gravelly voice, weirdly cosmopolitan compositions and ever-present smirk. He had a highly-drilled, sh*t-hot band with him at the Hammie Odeon too featuring Frank Blair on bass and Eddie Martinez on guitar. The gig started with a five-minute Dony Wynn drum solo which fair blew the minds of my brother and I.

5. Yes/No People @ Limelight, 9th September 1986

I think this gig was part of what was then known as the Soho Jazz Festival. There was a lively crowd of ‘jazz revival’ hipsters and rare-groove fans – this was my first taste of an underground scene that was quickly building momentum. DJ Baz Fe Jazz kicked off with some Blue Note post-bop (yes, people actually danced to that stuff) and then Yes/No People featured Steve Williamson on sax and the cracking Mondesir brothers (Mark and Mike) rhythm section. The band only lasted a year or so but nearly dented the charts with their ‘Mr Johnson’ single.

4. John McLaughlin/Mahavishnu Orchestra @ Hammersmith Odeon, 12th July 1984

The sign on the door said ‘Billy Cobham will not be appearing’ – heartbreaking to me at the time (McLaughlin apparently dumped Billy just a week before the tour). But Danny Gottlieb sat in with some style and John rattled off some outstanding licks in black shirt and black headband. It was bloody loud too. It was the first time many British fans had seen him since Mahavishnu Mark 1 days and as such there was a big hippie turnout.

3. Bill Withers @ Hammersmith Odeon, 18th September 1988

From memory, Bill spent most of the gig sitting at the front of the stage, talking about his life and career while Pieces Of A Dream accompanied with gentle jazz/funk. Bill wore a sweater and golfing slacks and seemed incredibly old, more Val Doonican than Curtis Mayfield.

2. Weather Report @ Dominion Theatre, 26th June 1984

The duels between keys man Zawinul and drummer Omar Hakim were spellbinding. This was clearly the dog’s b*ll*cks. Well, it was better than Duran Duran anyway. Omar’s huge shades, trash-can cymbal and big grin linger in the memory.

1. Level 42 @ Wembley Arena, 12th January 1989

Level again, but this time for all the wrong reasons. We were in the back row of the dreaded Arena, and the band were flogging their substandard Staring At The Sun album. The audience reaction to the ‘new stuff’ was distinctly subdued. After a contractually-obliged encore of ‘Chinese Way’, Mark King returned to the stage alone. ‘You ‘ad a good night?’ he bawled. The audience erupted. ‘Well, you can all go and f**k off home then’, deadpanned the thunder-thumbed one. Reply – and further encore – came there none…

Bubbling under:

Mike Stern/Bob Berg Band @ Town & Country Club, November 1989

Will Downing @ Hammersmith Odeon, 20th November 1988

Coltrane Legacy (Alice/Ravi Coltrane, Reggie Workman, Rashid Ali) @ Logan Hall, 10th July 1987

Ry Cooder @ Hammersmith Odeon, 27th May 1982

Bill Frisell @ Town & Country Club, 24th April 1989

Ornette Coleman/Prime Time @ Town & Country Club, 28th August 1988

Check out the first selection of memorable gigs here.

Were you at any of these concerts? Let me know your memories.

Victor Bailey (1960-2016)

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Victor in 2008

I was really sad to hear today of Victor Bailey‘s passing.

Born in 1960, he was part of the illustrious Philly bass fraternity alongside such luminaries as Christian McBride, Alphonso Johnson and Stanley Clarke.

He replaced Jaco in Weather Report at the age of just 21, teaming up with Omar Hakim to make one of THE great bass/drums team in music history. They featured on the albums Procession, Domino Theory, Sporting Life and This Is This, and appeared regularly on each other’s solo projects. They also toured with Madonna together in the mid-1990s.

I’m pretty sure I saw Victor five times in concert – first in an outrageous Weather Report gig at the Dominion Theatre (26th June 1984), then in a very cool jazz/funk/groove unit with drummer Lenny White at the Subterania, twice at Ronnie Scott’s with an electrifying Zawinul Syndicate, and finally about ten years ago in a trio with Larry Coryell and White at the Jazz Cafe. At all times, Victor’s playing was tasty, expressive, exciting.

I was pleased when he was recently the subject of a long, excellent feature in JazzTimes magazine in which he talked frankly about music, bass playing and also his illness. I hoped the piece might be the start of a healthy, fruitful period for Victor. Sadly it wasn’t to be.

Victor Bailey (27th March 1960 – 11th November 2016)

10 Great Album Covers Of The 1980s

One of the many positives of the recent vinyl resurgence is the potential for some decent album covers again. For a while, it seemed as if the art was being lost.

Back in the ’80s, as the cliché goes, you would generally buy an album, stick it on and then peruse the cover at some length while you listened. The best covers seemed to take on a life of their own. Budgets were healthy, the musicians cared and you could see the time and effort that went into the work. I particularly liked those covers with a ‘psychological’ aspect, some kind of story or scene, an image that maybe enhanced the lyrical themes of the album. Or, failing that, one that would look pretty good on a wall or even in a gallery.

Here are ten album covers of the ’80s that still beguile, from the decidedly Spielbergian to the spooky/superb.

10. Weather Report: Procession (1983)

Cover artwork by John Lykes

weather report

9. It Bites: The Big Lad In The Windmill (1986)

Cover artwork by David O’Connor

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8. Wayne Shorter: Phantom Navigator (1988)

Cover artwork by Jean-Francois Podevin

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7. Level 42: Level 42 (1981)

Cover artwork by Joy Barling

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6. Japan: Oil On Canvas (1983)

Cover artwork by Frank Auerbach

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5. George Duke: Guardian Of The Light (1983)

Cover artwork: unidentified (anyone know?)

george

4. Jeff Beck’s Guitar Shop (1989)

Cover artwork by Mark Ryden

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3. Peter Gabriel: 3 (1980)

Cover artwork/photography by Hipgnosis (Storm Thorgerson/Audrey Powell)

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2. Talk Talk: The Colour Of Spring (1986)

Cover artwork by James Marsh

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1. Gil Scott-Heron: Moving Target (1982)

Photography by John Ford, artwork by Donn Davenport

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