(Note: this post is part of a series.)
Day 8. Wait, what?
I needed a vehicle to recognize Sir-Not-Appearing-In-This-Film.
Any such list is bound to have a criminal omission on it. Mine, true to type, has at least three. At least: three of this magnitude:
Frank Zappa, “Drowning Witch”
How does one choose “a” Zappa piece? Which of the forty zillion musical ideas deserves the single highlight? I played in a trio whose repertoire included “Sleep Dirt”, so y’know, maybe that one. Or perhaps it’s a legendary composition like “The Black Page”. Or hell, why not go straight to the obnoxious–there’s plenty to choose from, after all.
I went with the tortured idea-mill otherwise known as “Drowning Witch”, partly because it seems to have a little of all of it. (This is the version from the third installment of the “You Can’t Do That On Stage Anymore” series.) But really, I just needed to recognize FZ as an influence, and as a genius of just as much depth as anyone may care to discover. (To paraphrase from the liner notes: “This is a hard song to play. How hard? The 1984 band *never* played it perfectly, and the 1982 band only came close on two occasions. This edit captures some of the best efforts of both.” Consider the musical caliber of FZ bands, against that statement.)
Béla Fleck, “System Seven”
Jeez, I could have picked any of a dozen Béla Fleck songs and been happy with the choice. In the end I went with a quiet, unflashy piece from the first “Tales from the Acoustic Planet” record, where by “backing band” what is really meant is “acoustic supergroup”. It makes the point as well as any: the man has been a wildly important figure in multiple musical genres, and it’s certainly hard to imagine my musical life without him. (For anyone looking for a delightful story, check out Fleck’s “Throw Down Your Heart” documentary.)
It sometimes seems strange that I have followed Sam Bush even more closely than Béla; knowing my usual preferences it would be easy to conclude I’d always gravitate toward Fleck first. This probably says more about Sam than about Béla, and make no mistake–on the recordings we used at all three of our kids’ births, only Sam appears more often than the Banjo Boy Wonder. There are times–a lot of them–when it seems that there is simply nothing he cannot do with a five-string banjo.
JS Bach, “Ciaccona”
As a composition, Bach’s “Ciaccona” / “Chaconne” is simply a monstrous, haunting masterpiece. I keep telling myself that some day I will actually get around to tackling that one in earnest…and I’ll have my hands full doing it. The version of it that really took my attention for the first time was an arrangement for guitar (in the Guitar Craft tuning) played by Bert Lams on the first California Guitar Trio record, “Yamanashi Blues”. Spine-chilling! On the other hand there is a tradition of playing it on the mandolin (hell, it was written for violin, which is tuned the same), and I can certainly say that just playing the main chord sequence, voiced as it is, just burrows right down where I live.
The YouTube clip above is the very definition of aggravating. Incomplete, with several random splits in the timeline,…grrrrh. Nonetheless, it is Mike Marshall playing…the same Mike Marshall that guys like Sam Bush go to for technical tips and help with the truly impossible passages. And he’s playing this ludicrously beautiful piece as well as you’ll hear it played.
Well, I fell better now, having found a way to include Zappa, Bela, and Bach. And I’ll call the project done.
For now. 🙂