Category Archives: Music et al

Rev Gary Davis Van Gelder

Rev Gary Davis Van Gelder

Reverend Gary Davis
August 30, 1896 – May 5, 1972

The discography of the Reverend Gary Davis is longer than the four albums he recorded at the Van Gelder Studios in Englewood Cliffs, NJ.

Much longer.

And there are recordings that some of his students did while they were trying to learn the guitar playing intricacies that Davis could do.

I will stick with the four recording sessions that he did at Van Gelder mainly because of that studio’s fame for so many classic recordings, particularly jazz.

Rev Gary Davis Van Gelder

Gary D. Davis

Gary Davis was born on April 30, 1896 in Laurens, South Carolina. He was the oldest of eight children and the only one to survive.

Rev Gary Davis Van Gelder

In his 20s he moved to Durham, North Carolina and barely supported himself busking in its streets mainly the blues until he was ordained a minister in 1937. At that point, despite requests, he tried to get away from “secular” music, particularly when recording.

He moved to New York in the 40s where he continued busking and living in poverty. To supplement his income, he gave guitar lessons. $5 a lesson.

Van Gelder Recording Sessions

While he had been recorded several times earlier than his first Van Gelder session, the highest quality recordings came from those in Englewood Cliffs.

August 24, 1960

Rev Gary Davis Van Gelder

Rev Gary Davis Van Gelder
Harlem Street Singer

Matt Fink in his All Music review says, “…Gary Davis laid down 12 of his most impassioned spirituals for Harlem Street Singer. Starting off the session with a version of Blind Willie Johnson’s “If I Had My Way I’d Tear That Building Down,” here renamed “Samson and Delilah,” Davis is in fine form. His vocals are as expressive as Ray Charles’ while similar in richness to Richie Havens’ work. Harlem Street Singer features his inspired country blues fingerpicking as well. Many moods color the selections, from the gentle “I Belong to the Band” to the mournful “Death Don’t Have No Mercy,” only to be followed by the joyous shouting of “Goin’ to Sit Down on the Banks of the River.” Overall, the collection is well worth the purchase and should be considered essential listening for fans of country blues or gospel.”

Track listing

Unless noted otherwise, all compositions are by Davis:

  1. Samson and Delilah” (Traditional) – 4:02
  2. “Let Us Get Together” – 3:08
  3. “I Belong to the Band” – 2:54
  4. “Pure Religion” (Traditional) – 2:57
  5. “Great Change Since I Been Born” – 4:03
  6. “Death Don’t Have No Mercy” – 4:41
  7. “Twelve Gates to the City” (Traditional) – 3:08
  8. “Goin’ to Sit Down on the Banks of the River” – 2:55
  9. “Tryin’ to Get Home” – 3:46
  10. “Lo I Be With You Always” – 4:17
  11. “I Am the Light of the World” – 3:34
  12. “I Feel Just Like Goin’ On” – 3:29

Rev Gary Davis Van Gelder

August 10, 1961

Rev Gary Davis Van Gelder

A Little More Faith

Again Bruce Elder from AllMusicGary Davis’ second album for Prestige Records is a confusing affair, at least as far as its title — Little More Faith is how it’s listed in lots of reference sources, but its front cover calls it A Little More Faith, while its spine (at least for the CD issue) calls it Have a Little Faith. But by whatever name it’s called, it’s a masterpiece: its dozen songs recorded on one day in August of 1961 are nothing less than priceless. Davis presents an easy virtuosity on his solo guitar, and runs his voice across a surprisingly wide range in what is mostly gospel repertory. Not that any blues fans will mind his approach: Davis was one of those figures where the sound and feel of blues becomes indistinguishable from those of gospel. He was just doing what came naturally on this record, laying down 12 songs he knew well from across decades of performing, including a raw and affecting “Motherless Child” and the upbeat, inspiring “There’s a Bright Side Somewhere.” And his easy, unselfconscious approach demonstrates that he never once thought twice about his contributions to an already classic body of music. Included among the jewels here are some of the roots of the blues revival of the next generation, including Davis’ rendition of “I’ll Be All Right Some Day,” a song that Jorma Kaukonen parlayed into a killer opening for his solo magnum opus, Quah, about 13 years later. And speaking of natural, the stereo mastering of this album works amazingly well, despite the fact that it puts Davis‘ voice on one channel and his guitar on another; mono sound might be more authentic, but this way you can fully appreciate his playing and his singing, each on its own terms.

Track listing

Unless noted otherwise, all compositions are by Davis:

  1. You Got to Move” (Traditional) – 3:18
  2. “Crucifixion” – 4:57
  3. “I’m Glad I’m in That Number” – 2:58
  4. “There’s a Table Sittin’ in Heaven” – 3:28
  5. Motherless Children” (Traditional) – 4:12
  6. “There’s a Bright Side Somewhere” (Traditional) – 3:12
  7. “I’ll Be All Right Some Day” – 3:03
  8. “You Better Mind” – 3:26
  9. “A Little More Faith” – 3:40
  10. “I’ll Fly Away” (Albert E. Brumley) – 4:32
  11. “God’s Gonna Separate” (Traditional) – 3:35
  12. “When I Die I’ll Live Again” – 3:28

Rev Gary Davis Van Gelder

Late 1961

Say No to the Devil

Bruce Elder in his AllMusic review states, “His second Prestige album of 1961 shows the Rev. Gary Davis not breaking stride for a second, even in the wake of the triumphant A Little More Faith. The repertory here is perhaps a little more traditional gospel in orientation, and the songs more cautionary in nature — but that doesn’t stop Davis from displaying some overpowering dexterity, and if anything his singing is even more exuberant here. And this time out, in addition to his six-string guitar, he treats us to his powerful 12-string playing on “Time Is Drawing Near” and “Lost Boy In The Wilderness,” the latter a shimmering five-minute showcase for the instrument that’s almost worth the price of admission by itself; and he also shows off his considerable harmonica dexterity — of a distinctly old-school style — on “Hold To God’s Unchanging Hand” and “No One Can Do Me Like Jesus.” The stereo mix on this album, when compared to its predecessor, is also a bit more naturalistic, without sacrificing any detail in the finely nuanced playing or singing, and the result is an album as fine as its predecessor, and an equally worthy part of any serious acoustic blues collection.

Track listing

Unless noted otherwise, all compositions are by Davis:

  1. “Say No to the Devil” – 4:01
  2. “Time Is Drawing Near” – 4:26
  3. “Hold on to God’s Unchanging Hand” (Traditional) – 4:35
  4. “Bad Company Brought Me Here” – 3:38
  5. “I Decided to Go Down” – 4:25
  6. “Lord, I Looked Down the Road” – 4:20
  7. “Little Bitty Baby” (Traditional) – 4:32
  8. “No One Can Do Me Like Jesus” – 3:40
  9. “Lost Boy in the Wilderness” – 5:01
  10. “Tryin’ to Get to Heaven in Due Time” – 4:24

Time Is Drawing Near:

Rev Gary Davis Van Gelder

March 2, 1964

The Guitar & Banjo of Reverend Gary Davis

From Richie Unterberger at AllMusicBecause this is an all-instrumental recording, it’s an offbeat entry into the catalog of a performer known both as an important guitarist and as a singer. Some might miss Davis‘ vocals on this 1964 recording, but on the other hand there are plenty of records with him singing around. This gives listeners a chance to hone in on his dexterous guitar skills, blending ragtime, folk, and blues, usually on guitar (though he plays banjo on a couple of songs, and harmonica on one). “Maple Leaf Rag” is a natural showcase for Davis’ talents, and “Candy Man,” which may be his most well-known song, is here presented without words, making for an interesting juxtaposition with more commonly heard versions on which he (or others) sings. As further evidence of his eclecticism, there’s a version of “United States March aka Soldier’s Drill” — not the best format for his strengths, certainly, but an illustration of his ability to adapt his style to unexpected material.

Track listing

Unless noted otherwise, all compositions are by Davis:

  1. “Maple Leaf Rag” (Scott Joplin) – 2:58
  2. “Slow Drag” – 2:27
  3. “The Boy Was Kissing the Girl (and Playing the Guitar the Same Time)” – 2:42
  4. “Candy Man” – 2:54
  5. “United States March” (Traditional) – 6:31
  6. “Devil’s Dream” (Traditional) – 3:50
  7. “The Coon Hunt” (Traditional) – 3:32
  8. “Mister Jim” – 4:15
  9. “Please Baby” – 3:18
  10. “Fast Fox Trot” – 2:22
  11. “Can’t Be Satisfied” – 2:55

Rev Gary Davis Van Gelder

Trumpeter Steve Madaio

Trumpeter Steve Madaio

Trumpeter Steve Madaio

Remembering Steve on his birthday
July 18, 1948 – January 15, 2019

For some Woodstock performers I am often surprised how little information I can find. On the other hand, some have so much, it is difficult to limit what I intended to be a short essay about them.

Steve Madaio falls into the latter category.

Trumpeter Steve Madaio

Facebook basics

His Facebook page says that he attended Lynbrook High School, Lynbrook, NY and then the Mannes School of Music in NYC. He later lived in Palm Desert, CA.

Steve played trumpet with Paul Butterfield at Woodstock on Day 3 of that famed festival. He had first joined the band in 1969 on their Keep On Movin’ album. He stayed with the band for their next album, Sometimes I Just Feel Like Smilin'”.

Trumpeter Steve Madaio

Credits

That was not the end of his musician’ s path. Not by a long shot!

The Rate Your Music site listed 153 credits for Steve. In addition to the obvious example of Paul Butterfield, a few of the other names listed are: James Cotton Blues Band, B.B. King, John Lennon, Ringo Starr, Rolling Stones, Dave Mason, Etta James, Carly Simon, Lynyrd Skynyrd, Martha Reeves, The Temptations, Boz Scaggs, Dionne Warwick, Ace, Bobby Bland, Paul Anka, Richie Furay, Janis Ian, Bonnie Raitt, Freddie Hubbard, Rita Coolidge, Four Tops, Joe Cocker, Eric Clapton, and many more.

Trumpeter Steve Madaio

Steve Wonder

Trumpeter Steve Madaio

National Association of Music Merchants video w Steve speaking about his time playing with Stevie Wonder. He played trumpet on most of Stevie Wonder’s recordings during the innovative and creative period between 1971 and 1976.  Stevie was experimenting with electric keyboards and synthesizers, which Steve witnessed and took part in, including working on the classic album Songs in the Key of Life. 

Ah, those horns on “Sir Duke” !

Madaio died January 15, 2019 in Palm Desert, Calif. The musician was said to have suffered a heart attack in his home. [cochellavally obit] [an extensive Desert Valley obit]

AllMusic credits

Trumpeter Steve Madaio

Grateful for Robert Hunter

Grateful for Robert Hunter

Grateful for Robert Hunter
Robert Hunter at Miller Hall, PA on September 28, 2013.

June 23, 1941 – September 23, 2019

As we go through our daily routines, having someone else’s words as companions is comforting.

Robert Hunter’s lyrics have been that faithful companion.

Rolling Stone magazine said of him, ’s musical experimConsidered one of rock’s most ambitious and dazzling lyricists, Hunter was the literary counterpoint to the band’s musical experimentation. His lyrics — heard in everything from early Dead classics like “Dark Star” and “China Cat Sunflower” and proceeding through “Uncle John’s Band,” “Box of Rain,” “Scarlet Begonias,” and “Touch of Gray”— were as much a part of the band as Jerry Garcia’s singing and guitar.

Here is a taste of just a few.

Grateful for Robert Hunter

Althea

I told Althea I was feeling lost
Lacking in some direction
Althea told me upon scrutiny
my back might need protection

I told Althea that treachery
was tearin me limb from limb
Althea told me: now cool down boy –
settle back easy Jim

Grateful for Robert Hunter

Black Muddy River

When the last rose of summer pricks my finger
And the hot sun chills me to the bone
When I can’t hear the song for the singer
And I 
can’t tell my pillow from a stone

I will walk alone by the black muddy river
And sing me a song of my own
I will walk alone by the black muddy river
And sing me a song of my own

Grateful for Robert Hunter

Box of Rain

Look out of any window
any morning, any evening, any day
Maybe the sun is shining
birds are winging or
rain is falling from a heavy sky –
What do you want me to do,
to do for you to see you through?
this is all a dream we dreamed
one afternoon long ago

Grateful for Robert Hunter

Brokedown Palace

Fare you well my honey
Fare you well my only true one
All the birds that were singing
Have flown except you alone

Goin to leave this Broke-down Palace
On my hands and my knees I will roll roll roll
Make myself a bed by the waterside
In my time – in my time – I will roll roll roll

Grateful for Robert Hunter

China Cat Sunflower

Look for awhile at the China Cat Sunflower
proud-walking jingle in the midnight sun
Copper-dome Bodhi drip a silver kimono
like a crazy-quilt stargown
through a dream night wind

Grateful for Robert Hunter

Days Between

There were days
and there were days
and there were days between
Summer flies and August dies
the world grows dark and mean
Comes the shimmer of the moon
on black infested trees
the singing man is at his song
the holy on their knees
the reckless are out wrecking
the timid plead their pleas
No one knows much more of this
than anyone can see anyone can see

Grateful for Robert Hunter

Ripple

If my words did glow with the gold of sunshine
And my tunes were played on the harp unstrung
Would you hear my voice come through the music
Would you hold it near as it were your own?

Grateful for Robert Hunter

Scarlet Begonias

I ain’t often right
but I’ve never been wrong

It seldom turns out the way
it does in the song
Once in a while
you get shown the light
in the strangest of places
if you look at it right.

Grateful for Robert Hunter

Friend of the Devil

Got two reasons why I cry
away each lonely night
First one’s named sweet Anne Marie
and she’s my heart’s delight
Second one is prison, baby
the sheriff’s on my trail
If he catches up with me
I’ll spend my life in jail

Grateful for Robert Hunter

Sugar Magnolia

Sugar Magnolia blossom’s blooming
Head’s all empty and I don’t care
Saw my baby down by the river
Knew she’d have to come up soon for air

Sweet blossom come on under the willow
We can have high times if you’ll abide
We can discover the wonders of nature
Rolling in the rushes down by the riverside.

Grateful for Robert Hunter

Touch of Grey

Must be getting early
Clocks are running late
Paint by number morning sky
Looks so phony

Dawn is breaking everywhere
Light a candle, curse the glare
Draw the curtains
I don’t care ’cause
It’s all right

I will get by / I will get by
I will get by / I will survive

Grateful for Robert Hunter

Greatest Story Ever Told

Moses came riding up on a guitar
His spurs were a-jingling, the door was ajar
His buckle was silver, his manner was bold
I asked him to come on in out of the cold
His brain was boiling, his reason was spent
He said if nothing was borrowed then nothing was lent
I asked him for mercy, he gave me a gun
Said Now n’again these things just got to be done

Grateful for Robert Hunter

Terrapin Station

Let my inspiration flow
in token lines suggesting rhythm
that will not forsake me
till my tale is told and done

While the firelight’s aglow
strange shadows in the flames will grow
till things we’ve never seen
will seem familiar.

Grateful for Robert Hunter