The video of Paris moments from “Out of a Jam,” the open mic series.
Here is the Facebook open mic night event page where you can find all the information and click “going”!: https://www.facebook.com/events/229815516058026
March 15, 2023
The video of Paris moments from “Out of a Jam,” the open mic series.
Here is the Facebook open mic night event page where you can find all the information and click “going”!: https://www.facebook.com/events/229815516058026
February 15, 2023
I have decided to show excerpts from the series for the first time anywhere, at TAC Teatro, and then hold our own huge open mic. In the coming weeks I will post more information about it all, including more details about the location – it will be a night to remember, as we will be able to play and celebrate in the theater, in the cabaret and in the courtyard. I want to give a few little tours of those spaces by video when and as I can. There will be beer and wine to drink for real cheap – a key to the success of any open mic – and I will create the best sound system I can.
“Out of a Jam” open mic film series generique
I really want to see as many of the people who played in the open mic scene in Paris in 2011 as possible, since many of you will be in the film, and we can celebrate the time that has passed since then! And I want as many new faces, musicians and fans of open mics to attend as possible! This evening will be devoted to the open mic, and I will keep the film part to a minimum – unless people want more and more and more! – as my goal is to have as many of us play music, and talk and have fun, and I don’t want anyone feeling like a hostage in a cinema seat! That said, this series will be a real nostalgia trip for many of you, and the most complete look at the open mic phenomenon that I know of.
The date is 24 March 2023. I’ll keep you updated as we approach the hour….
December 17, 2022
A year and more before I started writing this blog, I had already begun my musical open mic adventures. Among the places I discovered in Paris and its environs, was a regular open mic in Aubervilliers, most often at a bar called “Le Chien Qui Fume,” or, “The Dog that Smokes.” I say most often at, because the open mic was run by an association called “Les Artistes des Couleurs et de la Diversité.” It was run by a musician named Zayen, of Kabyle origin. It started in a bar in Paris, called the Aveyronnais, where I first attended, and then moved on to Aubervilliers, which is a town with a large Kabyle population.
Kabyle musician Malik Kazeoui in Aubervilliers open mic
I attended open mics there weekly for around six months – sometimes even twice per week – and had all sorts of interesting experiences, including once when the mayors of the twinned cities of Iena in Germany and Aubervilliers attended one of the open mics. Zayen had a small success with a song called Baden-Baden, about a Kabyle refusing to fight in WWII, and then returning to his country and passing on his story there.
Kabyle singer Malik Kazeoui singing in French in Aubervilliers open air open mic
In recent months I made contact with Zayen again, finding that he was now an elected politician connected to the new mayor’s party in Aubervilliers, while he remains a professional musician with growing success. In fact, his small association has also grown since it was founded in 2008, and we recently met with it and another Berber association in Aubervilliers to share ideas.
On Wednesday, though, it felt like old times as Zayen invited me to play at the “open mic” in the street, organized to celebrate an afternoon snack, music and poetry, at this holiday period with everyone in the neighbourhood. I took along my Gibson J200 and sang five songs, and then gave my guitar to another musician, Malik Kazeoui, and he played some kabyle songs and something in French.
French singer singing song about Aubervilliers in Aubervilliers
It was freezing cold, but I took off my coat and played hard and kept warm. It turned out to be a wonderful moment too thanks to an excellent quality of sound system and soundman support, provided by the same technicians from the Espace Renaudie, with whom I worked to show my film of Eugenio Barba a few weeks ago. That was a complete surprise for us all, as they had only known me as the journalist who interviewed Barba on film, or the man connected with TAC Teatro in its performance of Ajamola.
For me the most touching moment was when a five-year-old boy approached the stage after I had sung one or two songs and he handed me 1 centime as payment for my singing – or perhaps it was a signal to get me off the stage? In any case, I thanked him and told him that it was more money than I had earned in five years off the streaming rights to my CD, “Out of a Jam.”
Check out the videos to get a taste of this neighborhood event in Aubervilliers!
November 17, 2022
PARIS – Today I stumbled on a recording I did in Abu Dhabi exactly 10 years ago and I wanted to post it again to mark the occasion. It was one of my musical adventures following the Formula One season as a journalist, and that year, 2012, I had set myself the goal of recording a song with a local musician in every one of the 20 or so countries that I visited. The idea was a real challenge, and I think I succeeded in my goal, but unfortunately the sound quality of the recordings was not of CD-level quality. But what a treasure to find this one of a star oud player and musician living in Abu Dhabi named Layth Aldaene, who is an Iraqi, and who is still playing around the area and farther afield, including recently with a symphony orchestra. I decided to post this today because this weekend is also that of the season-finale 2022 Abu Dhabi Grand Prix in Formula One, so it seemed a great moment to post.
This recording took place in the House of Oud, which was a community center and workshop for building ouds, teaching the oud, spreading oud culture and everything else oud that you can imagine. I suggest you check out Layth Aldaene’s web site, as it has lots of his amazing music on it, and some cool videos.
I chose as a song to play my song “Let Me Know,” which I always felt had a middle eastern sound to it. In fact, I had written it purposefully with a middle eastern sound – although the guitar chord progression had itself been given to me by Laurent Guillaume, with whom I recorded the song on my CD.
In any case, this recording was done in the workshop of the House of Oud and you can hear the luthier actually working on an oud while we play the song, and read more about it on the post I did at the time. This was a real jam of my song, as we had never rehearsed it.
Also, FYI, here is a link to the song as I recorded on my CD (with Laurent Guillaume doing the lead guitar):
August 26, 2022
We had planned to have dinner in Scopello at the Nettuno restaurant with Ornella’s family Wednesday and then head off to the jam. But the dinner started late, many more family members arrived, and conversation and good cheer began to take over and extend the time at the table, and reduce the potential time at the jam. Then, as with the last outdoor restaurant meal with the family – last week – a sudden downpour of rain began. It never rains here in the summer. It’s not supposed to. Will not, does not. Unless we have a family gathering or a jam session to attend.
The conversation, family get-together and rain all persuaded me by midnight that I was going to miss the jam session again, and I was going to miss it for valid reasons. I had my guitar ready in the trunk of the car, I had made the “effort,” but it had failed. Once again. Then at about two minutes past midnight, Ornella said to me: “You are going to miss the jam! Go and play, Brad. Don’t worry about us.” In fact, I had been told that many of the members of the family had come to see me play, but I suppose inertia had settled in there too….
I decided not to let that get me down, and in any case, I fully expected to go to the jam – a few minutes’ walk away from the Nettuno – and find that it had been packed up, closed down, over with, all thanks to the downpour, which could have short-circuited all the guitar amps and everything else. There, I thought, I would have my excuse. Part of me had the jitters about playing the jam again also because it had gone so well the first time, and I had had so much fun, that I expected it would fall flat this second time.
I got my Gibson J-200 from the car trunk and went to the jam. It was bopping big time. The stage was curiously dark and wet, but there were musicians on it, playing to a vast crowd of manic spectators jumping up and down in delight at the front of the stage. Michelangelo, the jam organiser and MC, immediately saw me with my guitar on my back at the front right corner of the stage and he approached: “Brad, we had a problem tonight with the rain cutting out a lot of things, and we had to set up all over again, and try to make it work after that…. anyway, the point is, I had to change the format a little: You only get one song. And you are up next.”
Man! I could not say no to that. I had no more excuses! And anyway, I started feeling the pulse of excitement of the idea of going up and playing just one song and if it all failed, I had my excuse there too! I just finished a massive bacon and cheese burger, a massive chocolate Sunday, got wet in the rain, came over to the jam, had one song and got up with no warming up!
I got the Gibson out, waited, when the guy finished, I climbed up on the stage where someone said: “What chords?” I realised it was one of the other musicians – turned out to be the bass player – and he wanted to know what chords I would use for my one song. I didn’t even know what my song would be. I had, in advance, been planning three: “Crazy Love,” “You Ain’t Goin’ Nowhere,” and “Wicked Game.” I thought for a moment about the simplest of them, but also I decided to go for a contrast to the crowd pleasing, foot-stomping, fast-moving, singalong song of the guy onstage before me. I chose “Wicked Game,” by Chris Isaak. It is just three chords from beginning to end, and there can be plenty of room for the jamming of the harmonica and lead guitar between verses on those three chords.
I whipped through the song with huge pleasure – and a few rough spots – and then got off the stage fast. It seemed to go fairly smoothly, and the others had lots of room to jam. I blew my voice out a little, since I had a bit of a problem hearing myself and so I forced it too much, but in all, I was really happy to have done it, and I was happy to have been able to do it fast during what was clearly a difficult night for the organiser – with that rain storm!
Now here is where the real story starts: I got off the stage and began packing my guitar away in its case when a guy approaches and starts speaking English and congratulating me. He turned out to be another musician, a drummer, and he asked if I played professionally. I said no, and asked him if he did. He said he did, and that he was also studying jazz drumming at the conservatory. But he said his band was playing in Castellammare soon, and so I should come and listen. The band, he said, was called Babel Tower. It turned out that they had played recently at Picolit, where my musical adventure began last month.
Babel Tower in Castellammare del Golfo
We talked for some time about music, his life, and the band playing around Sicily. I was still a little breathless after performing, and I had to go and find Ornella’s family. So we parted without exchanging contacts.
Then Ornella and I later in the evening went to the Picolit Pub in Castellammare, and I tried to remember the name of the band that this drummer played in, so I could speak to one of the owners of Picolit about it. Since they have a lot of bands there, she had no idea! But then I looked at the names of the bands that have played there recently, and I recognized the name “Babel Tower.” I then found the Instagram page of the band, and looked at the photos and…there I saw the photo of the guy I spoke to at the jam session.
I returned to the owner, told her it was this band, and she said: “Oh yes!!! And by the way, the singer of the band is sitting at the table beside yours!” Unsure whether I should speak to the singer of Babel Tower and tell him I had just met one of the other band members, it was again Ornella who pushed for this. I decided that, yes, I’d love to know the name of the drummer I met and maybe send him a message on Facebook.
So we approached the singer of the band, and we explained the situation. He gave me the link to the Instagram page of the drummer of the band and I followed it. Then, we got involved in more conversation with the singer, pulled our chairs over to his table, and after some minutes of talk, it began to dawn on both Ornella and the singer that they knew each other! They had not seen each other for 15 years or so, but they realized that he had been one of Ornella’s sister’s best friends! And as it turned out, he had long been trying to make contact with her, but as she no longer lives here, he had not found out how to communicate.
This happy situation then led eventually to the singer inviting me to play with Babel Tower at their next gig, in a small town not too far from here on Saturday night! Now, let us remember and realize and think about all of these happy repercussions that came form a moment’s decision as to whether I should or should not make the effort to play at the jam! Had I done the easy thing and just sat back lazily, I would never have met these musicians, never had the fun of playing the jam, never been offered to play this weekend, and Ornella and her sister would never have met this old friend! Astounding what action, and music, can do!
Babel Tower, I learned, plays nearly 300 dates per year throughout Sicily, doing all manner of rock, pop and reggae. I suggest you look them up and give a listen! And maybe you will discover something that will change your life too!
July 28, 2022
CASTELLAMMARE DEL GOLFO, Sicily – Just over 20 years ago I wrote a lighthearted Op-Ed column in the International Herald Tribune newspaper using a personal experience I had to show how a single bad action by someone can have many, many bad repercussions going on for days, weeks or more. This morning when I awoke and thought about the jam session I took part in last night at the Chiringuito pub in Scopello, I suddenly realized that precisely the same ripple effect happens when someone does something good, leading to all sorts of other good things.
I am talking, of course, about the results of the effect that began in my previous blog item, where the generosity of a musician – Francesco Riotta – in giving me the microphone and his guitar during his own gig at a bar in Castellammare del Golfo led to meeting another musician after the performance, who in turn told me that there was a jam session in a nearby village every Wednesday and I should go. After coming here for five or six years, once per year, I had never found an open mic or jam session, and it seemed the only thing missing in our summer paradise. All it took was the generosity of Riotta for the good things to start happening.
Brad playing I won’t back down in Scopello
I took the first opportunity to go to check out the jam session at the Chiringuito Scopello pub, which was last night, Wednesday. This is also proof of how important it is to “get yourself out there” if you want any kind of satisfaction in life: Ornella’s uncle and aunt own a restaurant in Scopello, and we have also been going there for years without ever knowing that the Chiringuito hosted a jam session every Wednesday through the summer for the last three years!
Scopello is part of the commune of Castellammare del Golfo, where we are staying, but it is a kind of separate village suburb, about a 15 minute drive away. It is a beautiful tourist attraction area, with lots of restaurants, and beautiful views, beautiful nearby beaches, and a gathering place for some of the people in Castellammare who want a night out that is slightly different from the usual one of wandering around the streets of the main town.
The setting for the Chiringuito is absolutely fabulous! It is an outdoor pub and restaurant, and the stage is quite big, with a decent sound system, good lighting, and a fabulous location that means that you can be seen and heard when you perform by people in the bar area, the lounge area, the restaurant area, and the tables in front of the stage itself. But standing up there and playing and seeing also the surrounding mountains and the sea in the distance – although it is not really clearly visible in that darkness – is a heavenly sensation.
Brad and band playing Mad World in Scopello
The open jam is run according to the usual method, with a sign up list, and it starts around 10pm. But the list order is not strictly followed, especially because much of the jam involves several musicians onstage at once. IE, it is not just an open mic with a single performer or band. It’s a bit of a free-for-all, and once everyone has had a chance to perform once, then the stage is opened to even more mixing, if there is enough time.
It is wonderfully hosted by Michelangelo Bologna, who plays harmonica on the videos where I am playing (and elsewhere), and he speaks good English. And as with just about everything here, it turned out that Michelangelo was Ornella’s cousin! (It seems everyone we meet here is Ornella’s cousin, so for me that was not really a surprise.) And Ornella and I both thought he was an exceptional harmonica player. Turns out he studied harmonica at a jazz conservatory!
Michelangelo Bologna demonstrating (English subtitles) his harmonica studies.
Michelangelo told me that last week there were 30 musicians! Given that it lasts only until around 12:30 or 1am, it’s best to get there on time – although I was too early, arriving at 9pm.
There was a large cross-section of performers last night, with lots of blues, a bit of rock, and some acoustic stuff too. In general it was an everything goes kind of jam.
What a pleasure this was to play again in front of such a big crowd, to have some wonderful musicians play along with me, mistakes and all, and an incredibly enthusiastic audience, many of them right in front of the stage. For me, it represented the real moment of passing from my Covid hibernation to a break out back to pre-Covid days – ie, I’ve barely played in public at all since the beginning of the pandemic. And for all I know, this place was bursting with the latest, extremely contagious variant…but I couldn’t not do this! And underpinning it all was that generosity of handing over the stage two days before. Incredible how good things come from good things, and bad things from bad. In case you missed it, check out the link – which I add again here – to that story I did in the IHT Meanwhile column for that story I did way back when. And now think about how those repercussions of badness can be the opposite when the initial act is a good one…!
Brad and band Plauing What’s Up!? In Scopello two vid points of view.
PS, I thank Ornella Bonventre’s daughter, Morgana, for all the videos and photos she took of my performances. I also thank Ornella’s aunt, Daniele, for the video she took of my What’s Up!, while standing in a different position to that of Morgana – I combined both of them toward the end of the What’s Up video to have a different perspective.
July 26, 2022
CASTELLAMMARE DEL GOLFO, Sicily – I had reached such a bursting point of frustration and desire in wanting to play some music on stage somewhere, anywhere, last night, that before we went out to dinner I said to Ornella: “I want to bring my Gibson J200 with me just in case I find a place to play!” It being very hot, and the likelihood of finding a place to play being very small in this dream of a fantastic seaside town on the coast of Sicily near Palermo, in the end I chose not to take my guitar. Then the miracle happened.
We ate in a wonderful, cheap, heart-warming restaurant – the town is full of them! – and then headed off to one of our two favourite pubs in Castellammare. I am speaking of the Picolit pub, which I have written about in the past, and which features live music at least four nights per week in its outdoor terrace, with the natural amphitheatre of a public staircase. (Our other favorite joint is Cantina Aurelia, which does not feature live music.) As soon as I heard and saw that it was guy on an acoustic guitar – occasionally joined by a bass player – I thought we had to go an listen.
There was something very attractive in his sound, and demeanour: I immediately felt something a little Brazilian in it, but it was manifestly more African, Jamaican, and reggae-related. His performance is very intimate, warm, and he has a great way of communicating with the spectators both through the music and its stories, as well as directly involving them – for instance in using them to create harmony for a chorus to one of his songs. The musician’s name was Francesco Riotta, and while he comes from Palermo, where he was raised in the tangle of culturally mixed streets in the central part of the city, he has also travelled all around playing his music, and learning more sounds, and mixing his culture and language with that of the countries he visits: English, French, African, Spanish, German, etc.
I was intrigued by his guitar, which was steel-stringed but sounded more like a nylon-string guitare, and I could not read the brand name. So when he took a break, I decided to go to ask him if I could look at the guitar, which he had placed in its case. We got into a conversation immediately, and we switched from English to French, as he said he had lived in Paris for a while, and had even written and performed a song in French, and done a video with an African musician, who he met in the Goutte d’Or part of Paris. (He had gone there to seek out African musicians.)
Brad singing What’s Up! at the Picolit in Sicily.
He asked about me, and when he learned that I played guitar and sang, he asked if I wanted to do a song at the end of his set. Hey presto! That need to get up and do a song on stage that I had felt overpowering me before dinner was about to be calmed! Unbelievable! I did two songs, and I was joined by his bass player, Daniele Ferrantelli. This thanks to a generous, human musician who knows what it means to create a great vibe during a gig and give something to a fellow musician. In fact, Francesco knew it very well, because I turned out not to be the only one he lent the stage to. There were a couple of guys who go up from the Picolit clients and did a kind of rap competition – in Italian – and then another singer, a woman named Kristen Palmera, took the mic and she did a couple of songs, for which Francesco played the guitar – one was Hit the Road Jack….
Francesco Riotta’s latest clip.
But in the magic way in which these things almost always happen in the life of the musical troubadour, after the “open mic” ended and the instruments were put away, several of us joined together for a drink, and one of the rappers approached me and he too spoke in French. He informed me that in a neighbouring town, called Scopello (which is actually part of Castellammare, but a 15-minute drive from here), every Wednesday night there is an open jam session in a bar, and I should attend. Wow! It was only the day before that Ornella and I were saying that Castellammare is a perfect place for us, with the exception that I cannot satiate my need to play music by dropping into an open mic in the way I can at home. Hey presto, now I can! I will report on that here once I do it….
Francesco Riotta singing in English at Picolit in Sicily.
PS, lest I give a wrong impression about this place, it is absolutely full of music, and there are several bars with live music several times per week. But they book acts long in advance, so I’ve never had a chance to play in one.
PPS, and for those who noticed the hole in my storytelling…the guitar was a Crafter!!! (The hole was there on purpose, but against my wishes, because I had gone blank while writing this on what the name of the guitar was!!!)
Another great song with Francesco Riotta.
July 20, 2022
A few months ago, a friend I met at the open mics in 2009 posted some great news on her Facebook page: A song of hers had hit second or third on the IBBA blues chart in the UK. This news was so cool that I examined the list a little closer and…I found that at the top of the list was the band of another friend who I had met in the open mics in Paris two or three years after this, and who is now living in the UK.
When I met them, both of these performers were totally unknown, had not yet had any kind of breaks, and how could you guess they would? Except that both were hugely talented musicians. But you meet with a lot of talented musicians at the open mics. So I think that in addition to their talent, what has helped both Emma Wilson, the first mentioned friend, and Marco Cinelli, the second mentioned, is that they are also hard workers, ambitious, and knew how to make the most of circumstances.
“Chew My Gum” by The Cinelli Brothers
I have been meaning to do a post for months about them, but all my other projects lately have been keeping me away from the blog and making me feel guilty about it! Because this is a great story, and fortunately for them it continues to gather power, so I can still write about it.
Both are still appearing on the blues lists, both have just released new albums, and both continue to progress at a steady rate in their careers and musically. In short, I was delighted to hear their latest stuff, which is amazing. I met Emma in 2009 on my first year of travelling the world to perform in open mics. She ran an open mic in London at a bar near London Bridge, called the River Bar, and her hosting was amongst the nicest, smoothest, and fairest of any I know. It was an intimate, basement room in the pub, and Emma made sure that spectators kept silent in order to listen to the performers.
After my performance, she invited me to do a little showcase at the open mic a few months later, and it was a huge moment for me on my first visit to play in the UK since I was a teenager! I have followed her career since then, and found her continuously developing her music, her venues, her breaks and the musicians she gets to play with. Last year she recorded two songs with Terry Reid, who is one of those music-legend Zeligs who has been around forever, playing with everyone, and also remains forever young! (A song he wrote at 14 was played by The Hollies, REO Speedwagon and John Mellencamp!) But the coolest moment from the 1960s has to be when he was invited by Jimmy Page – who was just breaking up the Yardbirds – to become the vocalist of a new band he was forming, but Reid turned it down and suggested he try a guy he knew named Robert Plant!!!
Emma is now being interviewed regularly in the music press, constantly showcased for her brilliant blues singing talent. In fact, this year she won the Emerging Blues Artist of the Year award in the UK. Her new album, just out last month, called “Wish Her Well,” demonstrates beautifully her great vocal and emotional range as a singer. Her voice climbs from the silky quiet to the belting it out hard-edged blues thing. I love this full spectrum of sounds to her voice that sets her aside from so many one-trick poney blues singers. And the album is getting great play around the world now, too, it seems, as it rose to the top of the Roots Music Report list at one point this month, and at the time of this writing is still 12th on the list.
Emma Wilson winning the Emerging Blues Artist of the Year.
Marco Cinelli was a whole different thing: He had come to France from his native Italy, and was looking for places to play, open mics specifically, and I had already developed my open mic Thumbnail Guide for Paris, so he was consulting me on where to play. We met several times at open mics, and once for a little jam in a park in Paris, and my memories of him are always that of a good guitar player who knew how to do the classic Robert Johnson kind of stuff on an acoustic, and who stood out for his quiet demeanour. Unassuming, and gentle, he would never have struck you as what the French call “a bête de scène,” which is perhaps translated as “a beast of the stage!”
But then I saw this name of this band on the IBBA blues list in the UK: The Cinelli Brothers. And I said to myself, surely there cannot be a whole lot of Cinellis out there doing blues music. I did a search and found that these Cinelli Brothers were indeed Marco as the lead guitarist and singer, and now his brother Alessandro on drums, and Tom Julian-Jones on harmonica, guitar and vocals and Stephen Giry on bass, guitar and vocals. And I found some videos and recordings, and BOOM! A bête de scène is born!
I got in touch with Marco – we had been friends on Facebook for years – and got the story from him and his band’s site, about how from France he had moved to the UK and started up the band and had met with some success. Their first album came out in 2018, and reached No. 2 on the IBBA chart. He told me that their new CD, No Country for Bluesmen, (a title I love for its literary reference to W.B. Yeats and Cormac McCarthy) was just about to come out, and he sent it to me. Wow! The guy has a great voice and guitar licks, and this band really has a sound and feel that while classic blues is also unique. And you have to check out this video of The Cinelli Brothers live at the 100 Club with special guest, the great Matt Schofield on lead:
Like Emma Wilson, they have been featured in the blues music media far and wide, and here’s a nice bit of information from their web site: “The legendary radio DJ David ‘Kid’ Jensen has played a different track from their album on six consecutive weeks of his United Djs radio show, naming them as his favourite blues outfit, and his favourite blues album in many years.”
They tour regularly around Europe and the UK – they played at the Henley festival this month, where Tom Jones also featured – and I can only hope that in another few years, this success grows even more.
Both of these cases got me to reflecting about what it takes to succeed in music, and one of the things I forgot to mention in addition to their hard work and talent, is that always present word whenever we talk about success: Persistence! Both, of course, had started in music well before I met them a decade and more ago. Both have pushed it all to the limits and kept going, despite the times they played to empty rooms and unappreciative audiences. And both are now bringing us all the kind of sounds we love to hear – not to mention the stories!
Check out the Cinelli Brothers too!
September 15, 2021
The last thing I imagined after watching the F1 race on Sunday – and being at first appalled by the crash between the two series’ leaders, and then ecstatic about Daniel Ricciardo’s victory – was an email from Melissa Cox telling me she had a song from Chris Kenna, and did I by any chance have any photos of Daniel Ricciardo to illustrate it in a video. The last thing I imagined after reading that email was that my next 48 hours and more would be occupied passionately making a video myself for what I feel is an absolutely fabulous, dynamic, and cool song of tribute to one of the finest, nicest, coolest and most deserving drivers in Formula One.
The situation, it turned out, was actually linked to the previous post in this blog, about Elliott Murphy. Melissa Cox and I, who had met at performances of Kenna and Cox a few years ago, got in touch because it turned out that she not only plays violin with Kenna, but she is also part of the regular band playing with Elliott Murphy! So those two worlds suddenly joined.But whenever I had met Chris Kenna in the past in bars around Paris, where he is a mainstay of the Paris music scene, we had always spoken about his love of Formula One – which, of course, has been central to my own life and livelihood. And another passion of mine that then joined up in these last few days.
Well, when I heard this fabulous song for Ricciardo, and Melissa asked for photos, of course, another passion took hold: Making videos, mostly those involving music…but this time, with Formula One as a theme. And so, another passion suddenly joined up here, and little by little I got hooked on making this video.
Of course, time pressed as it seemed this thing should come out as close to Daniel Ricciardo’s victory as possible, while his many millions of fans are hot on the story. So that is where all these merging passions came together to force me into a personal lock-down and finish this thing. It would never have been possible, of course, had I not many friends, colleagues and acquaintances in Formula One who kindly helped me out, including especially Bernard Asset, who is one of the series’ best and most respected photographers – and who I worked with on my book about Formula One published at Assouline (which will be spoken of more in a future blog post), who incredibly selflessly allowed me to use a lot of his photos and even chose a selection, treated them and sent them very quickly. And there was the McLaren team’s media staff as well, who gave me access to their collection and videos; and Steven Tee, who is another of the great F1 photographers, and whose LAT Images is probably the biggest, best database of F1 photos there is.
It was especially great fun to be able to make a music video for someone else from the Paris music scene, as I have made many for my own songs, but few for other people. And Kenna and Cox are no ordinary other musicians based in Paris. Kenna was a farm boy from south-western Victoria state in Australia, who grew up milking cows and trapping rabbits with his brother before dreaming of being a rock star. He may not be a household name, but got a lot of big tastes of that life and world as in Australia he opened for bands like Midnight Oil, Men at Work, The Church and Ian Moss (Cold Chisel), and then when he later moved to France – for the love of a woman – he not only has lived off his own gigs in small venues and bars ever since, but he occasionally supported big names here too, including for Jeff Beck, Peter Green and Tommy Emmanuel.He has now been playing with Cox for more than a decade, when the two Australians ran into each other at a gig, and he asked her to play a tune with him. She is from Sydney, where she studied classical violin since the age of 10, but then later got discovered jazz, blues, folk, rock and world music. Although her dream had always been to live in Paris, she first tasted a bit of the rest of the world. To quote from her bio: “Under the name Black Sesame, she released an album of electro-pop songs in between residencies as a jazz singer in Tokyo and Guangzhou. But it was Paris she dreamed of; and an invitation to study film composition at L’Ecole Normale de Musique saw the dream become reality.”
So she got to Paris, and has never left – or rather, the two now live in a remote village and commute for gigs, recording, etc.!
As I write these words in closing, I think about how amazing life is when one thing leads to another in an organic manner that you could never have predicted between the moment of one action – for instance, Ricciardo’s victory, or Kenna and Cox meeting at that gig, me writing the Elliott Murphy item leading to Cox contacting me about the song – and the string of events that it sets in motion! And speaking of motion, and e-motion, check out the video and song now because there is LOTS of motion, locomotion and emotion in this “I Can Take Anybody Down” cry of victory for Daniel Ricciardo and his fans!
This blog item feels more and more like liner notes, and no liner notes are complete without the lyrics to the album (well, that’s arguable!), so here I am also going to post the lyrics to this song (which you can also find at Chris Kenna’s bandcamp page, with the song:
They call me the honey badger
And I hail from the west,
I’m an animal behind the wheel –
It’s the thing that I do best.
Nothin’ gets me higher,
Higher than the moon,
(Than) when I’m trippin’ major nutsack
On a Sunday afternoon.
When I’m thirsty for a shoey
Then I hardly use the brakes;
If someone holds me back,
Well I just pounce on their mistakes.
When they see that number 3,
With Lando by my side,
Well they know their race is over
So they take the corner wide.
I can take anybody,
I can take anybody down.
I can take anybody (passion and commitment)
I can take anybody down.
The boys in orange hold their breath
Until their faces all turn blue,
Well I’ll get them on the podium
If it’s the last thing that I do.
All the stallions and the toros
They’re all chafing at the bit,
(And) Mr Hamilton is arguing
With the boss down in the pit.
I can take anybody, (passion and commitment)
I can take anybody down.
I can take anybody, (passion and commitment)
I can take anybody down.
[Uh, watch your back, we’ve got the McLaren on turn 20]
Here comes Danny Ric
[We need to go faster otherwise we let the McLaren pass]
Here comes Danny Ric
Coming up behind you
[Keep pushing – mate, you need to go now]
It’s Danny Ric, oh yeah
Coming up beside you
[Oh shit, he’s got you]
It’s Danny Ric!
I can take anybody (passion and commitment)
I can take anybody down
September 8, 2021
Not only have I come to his music 48 years late – and keep in mind that even in March 1973, a month before this was released, I was keenly aware and waiting for the latest sounds, coming home one day that month with that month’s release of Led Zeppelin’s “Houses of the Holy” and Pink Floyd’s “Dark Side of the Moon” – but I have also come to the memoir late. Fortunately, not 48 years late! This brilliant memoir was published in English in May 2019, and in French last November. So I am only a little behind on that! And the way I have started this blog post will make me look quite ignorant to the millions who have known and loved Elliott Murphy’s music for nearly 50 years!
As far as I can see, Elliott Murphy’s memoir, “Just A Story From America” is a self-published – or I should say, independently published – book in English, but with a bona fide French publisher in the translated version. And it also came out in a Spanish translation at a publisher in Spain under the title, “The Last Rock Star.” So maybe the promotion and marketing of the English edition was a little lacking. (Unless I am being arrogant again!) In any case, I have now read this memoir as quickly as I read that memoir of Steve Forbert a few years ago, or Terence Rigby’s memoir (by Juliet Ace) a couple of months ago. Forbert, like Murphy, was another of the many “new Bob Dylans” and Rigby was another “supporting role” kind of artist, which you could almost say in some small way Murphy was too. Someone who was never a household name, but played as well as the big guys, and often WITH the big guys. On the other hand, in fact, no. You can only say that the comparison between the great actor of usually secondary roles, and the great musician who was eclipsed in the fame sweepstakes by friends such as Bruce Springsteen, Lou Reed, Billy Joel, and many more, is a great and real act of his own. End of story. So I am writing this blog post today to say to any of the few readers of this blog who do NOT know Elliott Murphy’s music AND Elliott Murphy’s writing, to please, waste no more of your life’s time and get to know him.
While reading the memoir, I went to YouTube and started my searches for his albums, in order of appearance. There are now some 40 of them, so to listen to all of the Elliott Murphy albums will take me some days. But I was immediately astounded upon hearing his first: Aquashow, released in 1973, by Polydor. Here I was listening to a cross between David Bowie, Bruce Springsteen, Bob Dylan, Billy Joel, and wait for this, Graham Parker and Elvis Costello, all wrapped up into one.
Elliott Murphy performing “Last of the Rock Stars”
But there’s more, much more: At the same time that I discovered the musician I also suddenly discovered Elliott Murphy the writer and journalist, and there will be many more discoveries yet to come: Elliot Murphy has published in Rolling Stone, Spin, Vanity Fair, among other magazines, and written books in addition to the memoir – novels, short story collections and poetry. As a writer, he has as great a voice as he does as a singer. That voice and the story it tells so beautifully makes this memoir a touching work from beginning to end. Extremely touching. It is the highly personal story of a man who confronted the death of his father when he was 16, when his father was 48, and actually witnessed his father’s fatal heart attack, running off to find a doctor to help – too late – and then having his fairly wealthy, Long Island idyllic life disintegrate around him.
Elliott Murphy’s album Acqushow
His father was a show business impresario, having created an amusement attraction called Aquashow, with dancing girls and water shows, that was hugely successful; followed by a successful restaurant that hosted stars and the political elite. His mother dined with Eisenhower, met with Elizabeth Taylor, the world of Elliott Murphy Sr., revolved around high style and success. Until the heart attack showed how flimsy the world really is.
For the boy, Elliott, known at the time by his middle name, James – or rather, “Jimmy” – it was, naturally, his whole world that fell apart. As it did for his mother, who at first tried to keep the restaurant going, but it failed eventually. Eventually, she ended up as a salesperson at Tiffany & Co. and stayed there for 20 years.
No wonder Elliott Murphy was angry at life. But it was an anger that he channeled into his touching first album with his new name, his real name: Elliott Murphy. The album being called…Aquashow. Yes, Elliott Murphy’s Aquashow lived on.
Without the backstory, I think that no one could have known where this album came from. Except in the authenticity of the cry of pain.
Watching his life unfold as an artist in this memoir is a lesson in life and career: So much of his life was made by his audacity – and a little arrogance? – as he always went directly to the source of what he hoped would be a launching platform for his career. During a trip through Europe when he was 21, he stopped off at Cinecitta in Rome hoping to finagle his way into acting as an extra in films, arriving decked out in such a way that he thought they would believe his story that he was an actor in cowboy films in the U.S. Fellini took one look at him and offered him a role as an extra – actually something a lot more than that – in his film Roma!
This kind of thing is repeated again and again throughout his life and career as he found himself scoring deal after deal, moving from Polydor to RCA – where Paul Rothchild produced the album, “Lost Generation,” in 1975, and where he then recorded his “Night Lights” album – then to Columbia, where he recorded his last album for a major label, “Just a Story From America,” the same title as the memoir.
During this period, he lived a life that he turns into a dream read with fabulous anecdotes about meetings with a seemingly endless string of household names in show business, that includes such a diverse cast as Frank Zappa and Liza Minnelli. Zappa invited him into a studio while he was recording an album, Zappa’s guitar amp was in the studio, but Zappa was seated in the engineering booth with the engineer, and playing his guitar from there that was attached to the amp in the studio! Minnelli he met at a party, and the two were encouraged to sing together…but he knew none of her broadway music show tunes, and she knew no pop, rock, folk, Dylan or otherwise! He met Jean-Michel Basquiat, who was just as arrogant about him as I was (until now), who looked away from him while they shared a stretch limousine, and said: “I hear you’re a has-been.” (He regrets now that he was so pissed off at that that he did not buy any of the drawings Basquiat was selling for only a hundred bucks each. Imagine the value today – that would be a very much “living well” kind of revenge.)
Here we see the life of a rock star up close and personal throughout the 1970s, and then the fairly sudden change for the singer songwriters when punk suddenly took over and made them all irrelevant. (How did Forbert come out and thrive at that moment?!!?)
That period coincides in his life with the moment he goes entirely and almost fatally off the rails. Like so many others – not Zappa – he was taking drugs – mostly cocaine – and alcohol as a daily diet. He was in so deep that he did not even know it. In short, he managed to discover his own problem with the help of a freak moment meeting an attractive woman who had herself been an alcoholic, and who took him to a meeting where he discovered he DID have a problem, and he had an epiphany. He never touched a drop of alcohol or drugs again, some 30 years ago now.
That was it. From then on, his work took precedence over his lifestyle. But his lifestyle also improved. He ended up moving to France in around 1989 – a country where he had had quite a big success that he was not even aware of for years thanks to the record company’s keeping it secret from him – and then he met his future wife – Françoise – and then had a son, Gaspard, in 1990. He has lived here ever since, worked on something similar to Bob Dylan’s “never ending tour,” – not to mention getting invited to play with Bruce Springsteen during his Paris visits on several occasions – and he has expanded that writing career too. With this memoir as the latest result. Go out and get it! I have told only a fraction of the fabulous tales this book contains. It’s a real discovery…of course, as I indicated earlier, I’m probably preaching to the converted and I’m the only idiot out here who didn’t know much about Elliott Murphy until now!