Hey man, it’s cool: the All-Star Jam is for posting just about anything that interests you. Just stomp your foot, if you please.
Apropos of nothing musical, I’ve had the strange fortune this week to catch, first, the last half hour, of Terrence Malick’s The Tree of Life and then, a couple of days later, the first half hour of the film. Has anyone seen this, either in full or in part, even out of sequence? As I await delivery and posting of a really cool interview with a key artist in the Hall, I thought I’d share my thoughts on what I saw.
SPOILER ALERT! I may be giving away some key plot developments…after the jump, but probably not. Continue reading »


A drummer worth watching.
A few years ago we promised to examine the stage stances of rock musicians by instrument, beginning with a mostly likely eventually groundbreaking piece on bassists. I don’t think we ever took this series any further…until now.
You hear the phrase that a great performer is “larger than life.” For rock musicians, that larger than life pose is literally grounded in the musician’s basic stance. Everything the musician does from that initial stance—be it swaying to the music, keeping time with his or her foot, placing a foot on the monitor, punching the air with a sweaty fist—flows from that initial stance, or gesture. You might find it curious that we’re rebooting this series with an examination of the stance of drummers, since few drummers actually stand up in the first place. However, I encourage you to think of a drummer’s stance in broader terms, that is, as the drummer’s presence from behind his or her kit. A distinctive drummer “stance” can add a lot to one’s enjoyment of a band’s live performance.
There’s no “right” stance, although as we examine the rock stances of various musicians, we may argue that there are “wrong” stances. I wouldn’t put it past us. It is highly likely, throughout the course of this series, that we’ll overlook an important stance. Please don’t hesitate to add to this base of knowledge. In fact, I am incapable of doing this survey justice alone.
UPDATED…after the jump!
I was listening to American Routes on NPR last night while washing the dishes. Over the years, host Nick Spitzer has opened my ears to all kinds of American roots artists I’d previously found boring. Not everything he plays works for me (I still can’t stand most of that accordion-driven music from Louisiana), but as great DJs can do, there’s something about the way he sets up and frames the music he plays each week that often works wonders.
While I was scrubbing a roasting pan last night, Spitzer introduced Robert Johnson‘s original recording of “Crossroads.” Because there’s so little blues music I’ve liked over the years and because I’ve never previously found anything that interesting about Johnson, the most legendary bluesman ever and probably an inspiration for not only the movie Crossroads but my favorite blues-based movie, Black Snake Moan, I put down the scrubber and let the pan soak a few minutes longer, so I could pay full attention to what Spitzer announced was probably Johnson’s most influential recording.
I forgot to mention that I saw late last night that Flying Burrito Brothers bassist Chris Etheridge died yesterday at the age of 65. Etheridge co-wrote “Hot Burrito #1” with Gram Parsons. I suppose as a goof Etheridge is playing drums in this video.
I didn’t realized he’d been spending his recent days as part of Willie Nelson‘s band, but what do I know about the world of country music?
I also didn’t realize Etheridge left the Burritos after their first album, The Gilded Palace of Sin. I like that one and the follow up a a lot. I thought that group of musicians had a great vibe together that I never enjoyed half as much in their various post-Burritos incarnation. After Gram Parsons left the Flying Burrito Brothers Etheridge would hook up again with his old International Submarine Band co-conspirator on Parsons’ solo albums.