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|The Good Humor Man - Raza Report (2010)
Grammy Winner Ry Cooder Builds A Rolling Tribute To Chavez Ravine.
"I wanted Fernando to build this ice cream truck like the old Good Humor trucks that used to go through the neighborhood," Cooder says. "But inside the box, we'll have a diorama of Chvez Ravine. On the outside, I will have a [full body] mural where every panel tells a piece of the story. It will be done by genius Chicano artist Vincent Valdez, whose painting Kill The Pachuco, a violent depiction of the '40s Zoot-Suit Riots in Los Angeles, won critical acclaim."
Source and link: http://www.lowridermagazine.com/historybook/0604_lrmp_the_good_humor_man/viewall.html#ixzz2QeYkui9a
Jan. 17 2013
Vincent Valdez: Portrait of the artist as a musician - Trumpet another medium for soulful artist
Confidence is another factor. Ry Cooder helped with that. “He told me, 'Hey, I like your sound. You sound like a 90-year-old man playing on a porch somewhere in the Old South,'” Valdez recounted. That's not to be taken that he sounded wheezy, winded or about to fall off a rocking chair. “He liked that I have an old style of playing, which I could see. Because I really like the old-time guys like Buck Jones, old Dixieland. They have a real raw sound.”
Source and article link:
Ry Cooder 1970 interview: "My 1970 Interview with the Guitar Wizard".
Listen to part 1 and 2 of the 1970 Bill Henderson's interview with Ry Cooder:
History of Songs - Ry Cooder
Classic Album covers : Into The Purple Valley – Ry Cooder
The story behind the album cover:
Ry Cooders slide guitar tips
When Guitarist magazine was granted a rare interview with slide guitar supremo Ry Cooder recently, we couldn't resist asking for his tips for slide guitarists.
Check out the September issue of Guitarist, available 24 August, for the full story on Election Special: from the tone-laden vintage guitars Ry used on the album and his frank views on American politics, to the recording techniques that have helped him become one of the most widely admired guitarists in the world.
The New York Times, May 30, 2012
To Hear Doc Watson, You Really Had to See Him
By RY COODER
Article written by Ry Cooder in the New York Times about Doc Watson, who died at age 89 on Thuesday:
"Later that day, I was sitting on a bench playing guitar, and Doc and Ed Pearl walked by. Doc stopped and listened. “Who’s that?” he asked Ed. “That’s Ry Cooder, he’s a youngster.”
“Sounds pretty good,” Doc said, and they walked on."
Source: The New York Times
Link to the article:
Guitarist/songwriter Carol Bean talks about Ry Cooder, Taj Mahal, Route 66, Ash Grove in L.A , & Kiwi blues scene
May 3 2012
Carol Bean: Route to original Blues
Carol lived in five countries before settling in New Zealand. Her dad was an RAF pilot during WWII who flew Sunderland sea planes. At the age of 14, Carol got her first guitar. At 16 she was a student sitting with Ry Cooder at McCabe's Music Store. She spent the next year learning chops from Dave Cohen, an LA session musician at the legendary music venue the Ash Grove.
Source and interview at:
Ry Cooder Talks to NY Times About Chávez Ravine As Dodger Stadium Marks 50th Anniversary
April 7 2012
Read the two articles at:
Russ Titelman 1996 Interview
Interesting 1996 Interview with Ry's brother in law Russ Titelman. He talks about Phil Spector, Lowell George, Ry Cooder, Randy Newman and others.
Link to the interview:
Joachim Cooder Enlists Inara George, Petra
Haden, More for 'Love on a Real Train'
Febr. 14 2012.
Percussionist and composer Joachim Cooder has enlisted seven musician friends to create the collaborative project Love on a Real Train, whose self-titled debut is out April 3 on Aeronaut Records. Petra Haden, Inara George, Matt Costa, Robert Francis, Frank Lyon, Jon Hassell, and Juliette Commagere have each contributed to Cooder’s atmospheric melodies. Though he’s spent a lifetime traveling the world playing music with his father Ry Cooder, and other renowned musicians, ‘Love on a Real Train’ is Cooder’s debut as a leader.
What began as midnight tokes in the basement of Cooder’s Echo Park home evolved into this collection of lushly textured, ambient tunes. "I made instrumental tracks and then sent them out to artists I’m friends with," says Cooder. "They write and sing or perform over the tracks and then send them back to me if they live in another city, or I book studio time and have them record here in LA. We've been working at a very leisurely pace and it ended up complete, with this amazing cast of characters."
From lifelong exposure to so many different cultures and iconic musicians, Cooder demonstrates a unique level of sophistication on these songs. Collaborating with talented childhood friends Inara George and Petra Haden—each the daughters of renowned musicians themselves (Little Feat frontman Lowell George and jazz bassist Charlie Haden, respectively)—doesn’t hurt either. Cooder began playing drums at the age of five and has since contributed to a number of albums by artists such as Dr. John, Mavis Staples, The Buena Vista Social Club, and Hello Stranger. In addition to appearances on film soundtracks including ‘Last Man Standing,’ ‘Primary Colors,’ and ‘The End of Violence,’ Cooder has also produced a number of songs and records by Juliette Commagere and others.
Hear some tracks from Love on a Real Train here:
Bright Light Blue (feat. Frank Lyon):
Pointed into Zoom (feat. Inara George):
Strike Up Your Matches (feat. Matt Costa):
"Love on a Real Train" Tracklist
1. Space Shells (feat. Petra Haden)
2. Bright Light Blue (feat. Frank Lyon)
3. Pointed into Zoom (feat. Inara George)
4. Being Alone (feat. Robert Francis)
5. Slowly in the Night Sky (feat. Petra Haden)
6. Strike Up Your Matches (feat. Matt Costa)
7. Gold (feat. Juliette Commagere)
8. Come Home (feat. Robert Francis)
9. Shinkansen (feat. Jon Hassell)
The new Ry Cooder book called:
"Los Angeles Stories"
Another masterpiece of social and political observations, brought to you as book in which Ry Cooder tells stories as a collection of loosely linked tales that evoke a bygone era in one of America's most iconic cities, post World War II Los Angeles.
Published by City Lights Publishers.
Available at www.nonesuch.com and at all the better bookstores!
Ry Cooder finds a new voice in telling Los Angeles stories
Recent releases have found Ry Cooder delving into social commentary, with the albums Chavez Ravine, My Name is Buddy and his newest release, Pull Up Some Dust and Sit Down. Now, Cooder turns to the printed page for his storytelling.
His first book, "Los Angeles Stories", offers Chandler-esque tales that take us to the darkened downtown streets, windswept neighborhoods and stuccoed apartment houses of postwar Los Angeles. With a musician’s ear for language, Cooder’s stories and the characters who people them – drifters, trolley drivers, disc jockeys, salesmen, jazz musicians and of course, cops and robbers -- take us on a journey into a Los Angeles that has long gone the way of Chavéz Ravine and the red cars. In doing so, he brings a sense of place he remembers from his childhood.
"I remember it pretty well, "Cooder says, “and things that are all gone now, or different, see?”
Source, article and audio interview at:
Ry Cooder has 'Los Angeles Stories' to tell
Ry Cooder puts California tales on page in his book 'Los Angeles Stories,' as he did in song on his albums 'Chavez Ravine,' 'My Name Is Buddy,' 'I, Flathead.'
By David L. Ulin, Los Angeles Times Book Critic
December 4, 2011
Let's start with the hands, Ry Cooder's hands. They're large, expressive: hands you could see wrapped around a guitar neck, or in the act of making things. They move when he speaks, creating shapes in the air that take form and dissipate, all in the space of a few words. On a Friday afternoon at the Petersen Automotive Museum, Cooder is using those hands to help recount the saga of "El Chavez Ravine," a 1953 Chevy pickup he commissioned to be rebuilt in 2007 in the style of a vintage ice cream truck and covered with an elaborate mural, by the artist Vincent Valdez, depicting the eviction of Mexican American families from the neighborhood that is now home to Dodger Stadium.
Source and link to the interview:
Book excerpt: from 'Los Angeles Stories' by Ry Cooder
'All in a Day's Work' - 1940
Source and link to the excerpt:
Ry Cooder about Los Angeles Stories at Book Soup
The Sunset Strip
West Hollywood, CA
Interviewed by Book Soup staffer, Tosh Berman, we got the lay of the land, “Each chapter represents a year.” The overview being, ”People telling their stories of hard times and failures.” Cooder reflected on his intro to music, “KXLA out of Pasadena played Hillbilly music for the workers at the defense plant. And local musicians recorded the commercials – ‘come on down and get with us.’ I’d get off the electric bus on Berendo for the Jazzman Record Store.”
Source and article at:
Nick Lowe: The Cream Interview
Posted by Adam Gold on Thu, Sep 29, 2011 at 3:26 PM
Part from a great Nick Lowe interview.
One was I got a phone call right out of the blue by John Hiatt. He called me and I hadn't spoken to him for ages, I mean probably not since we had this horrible experience happen. I hadn't spoken to him since it happened, and he called me and said, "Look, I'm feeling better. I'm out in the wide world again and I want to make a record, and I want you to play bass on it." And I thought, "That sounds pretty good. Yeah, I think I could play a bit of bass. I haven't played for a while, but I could probably do that." I said, "Where are you doing it?" And he said, "In LA," and I said, "Oh okay, yeah. Alright, yeah, I'd like to do that. Let me get my diary, and when do you want to start?" He said, "Well there's a plane leaving in about four hours," he said, "I've got a studio for four days, and I've got Ry (Cooder), (Jim) Keltner's gonna do it, and Ry may or may not do it. He said he'll come and have a look and if he likes it he'll come for the other four days. He'll give us a day and if he digs it, he'll stay for the other three, but he's made it very clear that if he doesn't dig it, he's not doing it."
Source and full article link:
RY COODER live in-studio talks with Jon Wiener at KPFK 90.7 FM Pacifica Radio Los Angeles about his new CD, “Pull Up Some Dust and Sit Down.”
Air date: Sept. 7 2011
Listen to this interview at:
New Zealand 13thfloor.co.nz Ry Cooder interview about "Pull Up Some Dust And Sit Down"
Listen to this interview at:
Perfect Sound Forever
online music magazine presents...
Jim Dickinson interview by Joss Hutton January 2002)
Q: Were you aware of Ry Cooder's work with Captain Beefheart before you hooked up and recorded with him (on "Boomer's Story," "Southern Comfort," "The Border," "Paris, Texas," etc..)?
- God, yeah! I first heard Ry play on a tape that Dale "Susie Q" Hawkins had, in what must've been 1967 or '68, when Ry must've been about nineteen. That Beefheart record [Safe As Milk] was one of my ultimate favourites but I didn't know that was Ry on there until I met him. Cooder's first solo record [Ry Cooder 1970] came out when I was in Miami and I remember sitting in my music room with the earphones on listening to it. We [The Dixie Flyers] had just been recording with someone who was, er, not quite as impressive and I thought to myself "What would I give to be working on music like this?" Anyway, within two years, I was.
- I met him through Chris Etheridge [Flying Burrito Brothers], who I'd been with on a Ronnie Millsap session that Dan Penn was producing, and it got to be like a joke. I would talk about Duane Allman and Chris would be like "Duane Allman ain't shit compared to Ry Cooder!" [Laughs] So I hired Chris for this Brenda Patterson session, my first in Los Angeles - I had Dr John in there too - and I said to him "O.K., bring me your Ry Cooder, if he's so good bring him on" - just like I didn't know who he was. Cooder played the first day of the session, he was in the middle of his Into The Purple Valley album, had just fired Van Dyke Parks, and I fit right into the square peg in his round hole.
Link to the full article and source: http://www.furious.com/perfect/jimdickinson.html
Another Jim Dickinson interview can be found here:
Ancient wisdom comes to us dressed in slacks
Interesting article about Ry Cooder & The Moula Banda Rhythm Aces, Dublin 1988!!
-- The first thing I noticed was a photograph of Ry Cooder playing his old Stratocaster. If Ry didn’t look old, he didn’t look young, either. The caption said that he was performing that night at the Dublin Boxing Stadium, and while I didn’t know his music very well, I knew of his reputation: how the Rolling Stones had borrowed (or stolen) songs from him, and how he was one of the first modern blues innovators. --
Read the article at:
Aerosmith – Joe Perry and producer Jack Douglas
The Boneyard – July 2011
A new clip of Joe Perry and Jack Douglas at The Boneyard discussing gear setups based on some things Joe learned from guitarist Ry Cooder. The clip, shot at Perry’s Boneyard studio, largely focuses on the guitarist recounting his attempts to copy Ry Cooder’s amplifier set-up to album producer Jack Douglas. “He (Cooder) was really private about it, and kept a blanket over his gear at shows,” the jut-jawed Perry explains while sorting through his own equipment and detailing how Cooder ultimately revealed at least some of his secrets to him.
Lyle Lovett about Ry Cooder and his work with John Hiatt
Lovett, whose star began to rise with his signing to MCA Records in the mid-'80s, was an unknown 23-year-old when he first crossed paths with Hiatt on Jan. 31, 1980. The occasion: a Ry Cooder concert at the Paramount Theater in Austin, Texas.
"I was a big Ry Cooder fan," said Lovett. "And that's who I bought tickets to see. It was a great show, and Cooder kept talking about his guitarist, somebody named John (Hiatt), and his Telecaster. He (Cooder) said, 'You should remember that name.'"
Good advice, since, confessed Lovett, "I'd never heard of him before."
Tom Paley and Ry Cooder
Veteran Tom Paley formed the now famous New Lost City Ramblers, played with greats like Woody Guthrie and was responsible for teaching the young Ry Cooder to play guitar.
Watch the interview on youtube: http://www.youtube.com/watch?v=hGPervSVSys&feature=relmfu
Ry Cooder: The Ali Farka Touré Interview
Taken from the Jas Obrecht Music Archive January 21 2011
Quote by Jas Obrecht, Interviewer (Guitar Player etc.): Ry Cooder was always great to talk to because of his deep knowledge and passion for early blues and roots American music.
Ry Cooder and Ali Farka Touré first crossed trails in London in 1992. As a token of his admiration, the legendary African musician presented Cooder the one-string lute he’d played as a child. The musicians agreed to collaborate in the future. Two years later, Touré journeyed from Timbuktu to the U.S. for a tour and to record an album, Talking Timbuktu, for the Rykodisc label. Asked to produce the album and sit in on guitar, Cooder quickly agreed. “I’m glad to do it,” Cooder told me at the time. “Ali Farka is a charismatic man who’s got a lot of power and strength. He’s ferociously energetic, so his vibe and everything goes out. He’s like the village headman. He’ll just come in and reset the molecules in the room.”
Read full article at:
Ry Cooder – Talking Country Blues and Gospel
Taken from the Jas Obrecht Music Archive May 24 2010.
Sometimes the most memorable interviews happen unexpectedly. Researching Blind Willie Johnson, the sublime prewar gospel-blues slide guitarist from Texas, I was struck by how magnificently Ry Cooder had used Johnson’s “Dark Was the Night – Cold Was the Ground” in his Paris, Texas soundtrack. I sent Cooder a note asking if he’d give me a quote. A few days later, on February 25, 1990, the phone rang and it was the man himself. After talking about Blind Willie Johnson, Ry suddenly moved on to another Johnson – Robert – and unraveled one of the great myths surrounding the legendary Mississippi Delta bluesman. Read on.
Read full article at:
Ry Cooder interview about "Across The Borderline"
See link below:
Thank you for this one, Mikkel from Denmark
Excerpt from The Gibson Interview: Arlen Roth
The King of All Guitar Teachers Discusses Hot Licks, Dylan and That Wicked Crossroads Duel
By: Michael Wright
What is the piece that Ralph Macchio is “playing” at the crossroads?
The piece he plays at the “crossroads” is a slide guitar song from my first album, called “Landslide,” which he heard and immediately said, “That’s the piece I want to play in the movie!”
Can you talk about your involvement in that film, particularly in the legendary end duel with Steve Vai. In the 1980s, every video store copy of that film in the country was worn out to the point of being nearly unwatchable when you got to that scene!
Haha! Well, my involvement with that movie started off way, way back — long before we ever shot a minute of actual film! Director Walter Hill and Ry Cooder called me up in New York and said they needed me to literally make Ralph a guitar player by the time he walked onto the set, and to create many guitar parts for the film for Ralph to “mime” to. We wanted it to be as believable as possible that he was really playing the parts, but of course, it was really myself, Cooder and Bill Kanengiser who really played his parts in the film. So, I taught him at his home on Long Island, four days a week, two hours a day, for nearly two whole months before we started filming!
The original ending, which I have on tape somewhere, was a slide guitar duel between me and Cooder, that was a much better, and less “’80s” way to end the film…and much more true to the script! Still, it was great to work with Vai, and we became great friends as a result. For several of the guitar scenes, especially the ones down in Mississippi, Walter Hill would let me sit in the director’s chair, since he knew nothing about what was really going on! That was a great thrill. Also, many of the parts were done right on the spot, because he’d say, “Ralph should be playing here!” So I would record a new piece at that moment, live, and then teach it to Ralph in his trailer. I always created pieces that I knew were within the parameters of what Ralph could look “believable” doing, since I had created that language for him on the guitar. We worked six weeks on location in Mississippi, which was really a blast! I tried to fight “tooth and nail” against that last scene having the ’80s “Heavy Metal” vibe, but Tim Zinnemann, the producer, would always say, “But Arlen, this is 1984” — to which I would always reply, “Yes, and you’ll be permanently dating it as such, rather than keeping it timeless!” Also, in the original ending, Ry was supposed to play the Jack Butler character. Others we considered and discussed for the part were Keith Richards and Stevie Ray Vaughan. Shuggie Otis was also originally in the film, and was supposed to be losing to Vai, as the scene opened before Ralph joined the competition, but they thought it was too “politically incorrect” to have a black person losing to a white person, so his scene was cut! I helped Walter Hill direct that final scene with Vai.
Part of a 1987 Guitarworld Steve Vai interview, talking about the "Crossroads" guitar duel, Ry Cooder and Arlen Roth
.....Being in the film was a kick, says Vai , but working side-by-side on the soundtrack with Ry Cooder was something of a revelation for Steve.
"Ry Cooder is one of the best groove players I've ever witnessed in my life," he says with enthusiasm. " I've never seen anybody so strong in the groove. I practiced on time a lot. For a long period, from 1980 to 198I, I concentrated totally on my sense of timing. It's something you really gotta keep in touch with. That's one of the first things that goes when you don't concentrate on it; for me, that is. So I practiced a lot and got it together, then left it for a while and was slapped in the face when I played with Ry Cooder. He is truly a living, breathing master."
Vai and Cooder collaborated closely on the film's finale, the showdown sequence in which the devilish Jack Butler challenges the young blues apprentice to a Six-string duel. "I'm playing all my parts," says Steve, "and when the other guy goes into his classic al fast thing, that's me, too. I think Ry did a lot of the other stuff with Arlen Roth, who for some reason didn't get proper credit in the film. Arlen worked very hard on the project. He taught Ralph Macchio how to hold and finger the guitar to make it look realistic. And he recorded a lot of the slide guitar parts throughout the film, along with Ry."
Credit where credit is due.
Source and full article at:
INTERVIEW: RY COODER - VIVA MEXICO
Published Date: 12 January 2010
By Jan Fairley
Source: The Scotsman
'THIS music, it's the greatest thing in the world – better than sliced bread, or gasoline for your car or shoes even." This is maverick guitarist Ry Cooder's view of the San Patricio Project, his collaboration with the Chieftains which will be given its first outing at Celtic Connections this month.
The San Patricio Project maps the story through music of a group of Irish immigrants, who found themselves pressed into military service in the Mexican-US war of 1846. A year later they abandoned the Americans to fight for the Mexican side, identifying with their cause through shared conscience, Catholicism and hopes of land. They lost the battle; those who survived were captured, with many of them court-martialled and hung for desertion.
Both Cooder and Chieftains band leader Paddy Moloney express similar passion for the vibrant messages of Mexican music and the contemporary political resonance of the story. "You can find all the days of your life chronicled in it," says Cooder. "It's this emotional thing and if you hear it live and, better, if you get it down on record, you got it forever."
San Patricio is, however, very much Paddy Moloney's project; he has had the San Patricio story working away in his imagination for almost 15 years, "thinking all the time there would have been music and in the music there'd be a shared history". It is clear from his anecdotes that there has been fantastic musical chemistry while recording the disc in Mexico, New York, Ireland and Spain.
Moloney has always been a musical wanderlust, intrigued by the journeys of the Irish Diaspora. The San Patricio story has given him an opportunity to work with a host of original Mexican artists from both sides of the border. Their vibrant music – embodied in thriving local traditions – embraces myriad irresistible folk styles.
The resulting meeting of Irish and Mexican cultures reveals that the two countries have a shared affinity for haunting melodies and catchy dance rhythms played on fiddles, harps, guitars, flutes, whistles, brass and percussion of all sorts. Moloney's research on the project led him to some extraordinary, lesser-known folk artists first recorded in the early 1990s by Mexico's intrepid Corason record label. His manager, Steve Markham, introduced him to the award-winning Lila Downs, who has brought Mexican traditions to a world music audience, while Cooder pointed him in the direction of the massively popular Mexican band Los Tigres Del Norte.
Moloney tells me he was knocked out when he went to Mexico to meet and record with pioneering groups like Los Folkloristas, classic trio Los Camperos del Valle and harpist La Negra Graciana. He was flabbergasted to meet the young members of the San Patricio Battalion pipe band, founded in 1997 in Churubusco, Mexico City, to commemorate the 150th anniversary of the famous battle. They play a Lullaby For The Dead over which Liam Neeson narrates a dramatic poetic monologue by Irish novelist and composer Brendan Graham.
Moloney and Cooder have collaborated before, notably in 1995 when Cooder added his distinctive slide guitar sound to the Chieftains' Long Black Veil. Moloney later played flute on Cooder's My Name Is Buddy (the Cat) project.
Cooder's own strong attachment to Mexican music dates way back, notably to his work over a long period with Tex-Mex accordionist Flajo Jiménez. For his folk-blues score for Wim Wenders's film Paris, Texas, Cooder found an old Mexican song called the Canción Mixteca. "Paddy asked me for that song for San Patricio and it's perfect as it sums up why Mexican music is so amazing and why I love it so much," says Cooder.
"They have this beautiful Spanish language for singing, romantic and languid, and I have never ever met a Mexican person who does not know that song. It tells the immigrant story and it's the kind of song you hear when Mexican families and friends sit around as they do and sing. It's rooted in everyone's lives, back to their grandfathers and earlier, and I have gotten to play it better over the years. It's not exactly of the San Patricio period but this isn't the History Channel and it enlarges the scope of the record."
For Cooder, living in Santa Monica, Los Angeles, the Mexican-American war is reflected in today's US immigration and border politics. "You know these are Mexican territories originally and now they're 80 per cent Spanish speaking. And we've been through all that history over long years with the expulsion of the Mexicans and now they've built this wall at the border which keeps getting higher in some places."
The project has two prongs to it – a record which fluently sequences various artists whose music offers different angles to the San Patricio story; and Chieftains concerts in different places which will play the music whenever feasible with different musicians involved. Joining the band, and Cooder, in Glasgow will be Los Cenzontles (The Mocking Birds) a young roots group who play on the record, and who capture the energy of today's Mexican-American scene, teaching and honing their craft at California's renowned Mexican Arts centre.
Moloney and Cooder were introduced to the band by long-time friend Linda Ronstadt. For the San Patricio album, Ronstadt sings the classic ranchera A La Orilla De Un Palmar, which her grandfather taught her. Moloney tells me a funny anecdote about when The Chieftains played with Los Cenzontles last year at the San Francisco Blue Grass and Old Time Festival. "There were about 45,000 people gathered at our stage and Ry was in the audience and we did the Cenzontles song El Chivo (the Goat), with amazing dancing. And afterwards Ry said, in that way he has, 'Paddy I want to talk to you.' And I thought, 'Oh hell, he's going to tell me he didn't like it.' And then he says, 'Paddy that was the best thing!'"
While Cooder has toured recently with Nick Lowe, he's always focused more on making records and – to the annoyance of many fans – has not actively promoted albums such as Chávez Ravine and I, Flathead. I ask him why he's decided to come to play a one-off concert in Glasgow in mid-winter. He says he's heard good things about Celtic Connections and is curious to see how the Glasgow crowd take the music.
"They haven't heard it in advance so it's going to be new to them," he says. "Plus you know a musician has got to play music, that's what we're here for. And I said to Paddy, 'We got to bring that message around as people don't know or understand enough about the past and its relevance, they're too busy making a living or texting their friends.'
"One way to get their attention is through a good record and a message and, well, I like to point the finger of scorn, and maybe this will be a stop on the road to perdition if people stop and listen as this music has incredible power."
• The Chieftains, Ry Cooder and Los Cenzontles play Glasgow Royal Concert Hall on Tuesday 26 January, as part of the Celtic Connections festival. San Patricio will be released on Fantasy on 8 March.
Walter Hill about Ry Cooder
Extract from a Walter Hill interview.
Read the full article on:
- One of my favorite elements is Ry Cooder’s score. That was your second picture with him, and you went on to do a lot more. How did that collaboration begin? How did you first hear of him?
WH: My girlfriend at the time was a big fan of his. She had his albums, and was always playing them. I’d seen him play once at the old Ash Grove on Melrose Avenue, and there was just something about his music I thought would work very well in film. I’m also interested in the kind of film scores that don’t underline the drama. Film music should be mainly atmospheric.
I also liked the way Ry worked. We’d go into a studio, and he’d try various things, and we’d go back and forth about the ideas; almost like making a record. It’s a terrific process, and a lot of fun. He’s an unbelievably talented guy… but not that interested in scoring films anymore. He’s branched out into a kind of musical literature.
- Do you know his album Chavez Ravine (2005)?
WH: Yeah, it’s great. He’s got so much more he wants to say now, so working on films… you know, a composer is really confined to a supporting role.
Another interesting article/interview from 1999
For some interesting Ry Cooder articles and interviews spanning Ry's career, visit: www.rocksbackpages.com/artist.html?ArtistID=cooder_ry
RY COODER INTERVIEWED (2009): Dry, wry and moving right along | Elsewhere by Graham Reid
Ry Cooder -- if a slightly flinty 15 minute conversation with someone who rarely gives interviews suggests -- gives the clear impression of someone who doesn’t like to waste his time. His answers can sound abrupt, he barely laughs even when he makes a mild joke, and bristles at some questions.
The other problem in talking with Cooder is simply this: at 62 he has such a long career that you barely know where to start. He played with Captain Beefheart and was guest guitarist playing slide on the Stones’ Let It Bleed and Sticky Fingers in the late Sixties/early Seventies; he recorded a series of much admired solo albums in the Seventies which explored regional American musics (Hawaiian, Tex-Mex, gospel) as well as blues and jazz; and spent most of the Eighties recording soundtracks, among them the haunting music for Paris, Texas and Walter Hill’s Western The Long Riders.
He has recorded with Mali guitarist Ali Farka Toure and Cuban Manuel Galban, worked with John Lee Hooker, Mavis Staples and most famously perhaps with the Buena Vista Social Club which he pulled together.
He recently released an expansive double CD retrospective The UFO Has Landed but it could have happily been a five CD box set.
So rather than dig back in these byways -- because he gives the impression of a man who moves on quickly -- it might be better to ask him about what he is doing now and hope that we can work towards these other things, as well as his most recent ambitious trilogy of conceptual albums which have explored the Hispanic music of East LA (Chavez Ravine in 05); Depression-era America (My Name is Buddy, 07) and the car culture of the 50s (I, Flathead, 08).
But right now, other than being on tour with Nick Lowe . . .?
You know Paddy Moloney and the Chieftains? He’s working on a record and he’s asked me to help -- but otherwise I’ve just got to make sure my amps are working right and I’ve got the right shirt and right shoes for this tour.
You seem to be constantly busy but I am sure do take time out. When you do, do you still practice every day?
I spend a good part of the day playing the instruments, several different one. It’s necessary because you can’t play if you don’t play, especially when you get older you’re gonna lose the facility and ability to range around on the thing if you don’t keep doing it. Plus I like to do it, it’s comforting and soothes my troubled mind so to speak.
We are all aging however, do you notice any attrition of your faculties when it comes to playing?
No, in actual fact I’m a far better player now, my coordination is better than it ever was which can the case with musicians. Probably not horn players, trumpets are tougher on you -- although Louis Armstrong sounded good although even he had to taper off at a certain point. It has something to do with musculature in the face.
But for the instrument that I play, and the piano for instance, as long as you stay on it and don’t have any other health problems you are going to get better. It stands to reason, you have more understanding and comprehension and more ability to coax these interesting sounds from the thing.
I think I’m getting better, so the aging thing doesn’t bother me in that regard. There are other things which seem annoying, eyesight is one. But not on the instruments.
We were just in Europe and we were paying really good, I was improvising and it sounded nice and I was feeling fine.
Delighted to hear it. You’ll forgive me I don’t actually know where to start with your long career but I find it curious, given that you are an active musician, that people have frequently described you as ‘a musicologist’.
That’s just idiocy to me. That’s so facile and just tossed away by people who just don’t understand. Real musicologists are scholars who study and understand certain things academically, and they do the research and they know what they know.
But musicians don’t approach things that way, you approach it from the ability to intuit things, that’s what playing an instrument is. You might be old like Jascha Heifetz [who played classical violin into his 80s] or some Russian pianist, but it always comes from your ability to produce a tone, it’s a tone production thing and you try to make a beautiful sound and that takes all kinds of things intuitively.
Some people have the intellectual ability to grasp Beethoven which I could never do. But we musicians do this out of feeling and some kind of quest and that has got nothing to do with scholarship and study. So actually when people say that about me they are totally wrong.
I appreciate the notion, they want to feel I‘m a guy who knows things. But I don’t know anything, I just make it all up. It’s just some kind of crazy fantasy world for me, that’s what it has always been.
On the other hand if you stay aware you’ll learn things and that helps you gain a kind of resonance in the things you do.
It’s not good to just sit there and twang because you’ll reach a limit. But if you learn about other people and other experiences then you can broaden your horizons.
You seem to have always followed your instincts and worked with many different people, but latterly the musical challenge of the California trilogy saw you unearthing important areas of American culture as much as music. That seemed such a long view and took place over a longer period of time than your previous work.
No, that’s the thing I’m saying, I can’t work that way. I usually stumble on something. This business of Chavez Ravine was always there, right there. I was looking at Don Normark’s photographs [of LA in the 40s] one day and I thought, ‘man, I know [Mexican-American singers] Lalo Guerrero and Don Tosti were still alive but not for very long so I thought I might as well get to it.
This East LA music is one of the greatest things and so unique I just thought, ’Let’s get to it. If you wait another second these cats are going to evaporate and there ain’t no more‘.
And it was true. I made the record, worked on it for three years, and both of them died during the process. If you wanted to put your hands down on a sound or musical concept that is peculiar to Los Angeles you have to have the people who did it. You can’t have as a fan, that’s what I am. I like things, but it doesn’t mean I can represent these people they have to be there. The old people are gone in 60 seconds and I‘ve been knowing this all my life. My greatest mistakes were always made when I got lazy and didn’t try hard enough and someone was lost. 2009 is rough on twangers is what I‘m sayin‘ Everybody is dying: Jim Dickinson, Mike Seeger for christsake.
It comes up fast and this knowledge is lost and that person’s not there to take your call or chat a bit or learn something from.
I just had a long e-mail correspondence with Mike about banjos while I was in Europe and then he stopped e-mailing and thought, ’I wonder what’s wrong?’ and then I got back and got the news.
So what are you going to do?
You better make your hay while the sun shines. That’s what I’m trying to do, get something done, bring the word out. And have a nice little time.
You seem to have done a lot of one-off projects with people such as Ali Farka Toure and [Indian slide guitarist] VH Bhatt. Do things like that just stop naturally or do you like to just move on?
It appears to you this way but it’s like this: [record producer and boss of World Circuit] Nick Gold called and said, ’Do you want to record with Ali Farka Toure, do you know who he is?’ and I said, ’Yeah I do -- but who are you?’
He said he owned a record company in London and so forth. I said, ’You want me to play with Ali, but does he want to play with me?’ because of course I would play with him any time.
Then the phone rang one time and a friend said there’s this guy who plays weird Indian slide guitar and I said, ’I don’t know anything about Indian music, it’s crazy. It’s too long and it’s too hard. I can’t do it’. But be he convinced me.
So I went over there to see Bhatt.
But sometimes these things are like stops along the way because you are moving along your path. You meet somebody but the path stays the same.
I can’t play Indian music to save my life and I can’t play African music very easily either.
But the good thing about records is they bring people together and you have an experience. For instance you are in a studio. Me and Bhatt were there two hours, me and Ali were there three days. Barely.
But in that time if you can conjure up something then you can say, ’At least we have a record and we moved towards something from his side and my side and then we moved on‘.
That’s what musicians do habitually. The fact is there are things in your life you continue to do and you pursue. But me and Bhatt were there hardly three hours. But he was obviously a virtuoso cat and had the raga thing down and the lore and the musicology down, what the hell am I going to do?
In retrospect you were extremely lucky with the whole Buena Vista project because it came about by pure accident when the musicians from Mali didn’t turn up, right?
Yeah. Total accident. I have a good fix on that because Nick Gold had an idea to bring West African Malian guitarists to join the guys in Cuba, which I thought was a bit unlikely. I didn’t know what those guys could do together.
But when we got down there and the Africans couldn‘t make it we said, ’Let’s just get all the cats we can find’ -- because we knew the names, because in Cuba you always know the names because there aren’t that many who are living.
So we got a room together and once you’ve done that you think of all the classic records which have been made in this particular room or place, and some of these people have been involved. So it was, ’What are we going to do?’
One of the simplest ways is to just put everybody together and see if they relate and can come up with something, since they weren’t normally going to be found playing with one another.
For instance [singer] Compay Segundo and [pianist] Ruben Gonzalez never would have recorded together because in Cuba they have these distinctions. But me coming from Santa Monica, you don’t make them and you learn not to.
You can say, ‘Okay, you can do this, I insist. Plus we are we are going to make it sound really good’ and everybody loves it when it sounds good. And you go from there and achieve some rapport. It could easily not have happened.
As a producer do you drive these project or are you more like the facilitator.
Coming from the outside, and I’ve found myself in this situation over and over, everybody is there with a common goal so my task is to make it sound good technically.
Musically I want to do a certain thing because somebody has to count off and say, ’That’s too fast, that’s too slow, that’s too happy, that’s too sad‘. In other words, somebody as to be the camp councillor and if I do a good job and find a way to do it that’s comfortable and even democratic -- although conceptually someone has to be the boss. But I don’t mean The Boss, I’m not James Brown, I can’t do that. I have to stay within the context and see if we can push this down the road to see if we can make something good.
But I’m not the author of this, I’m simply the facilitator as you say. But we have to have some motive. It is intuitive.
You used to do a lot of soundtracks, why did . . .
I don’t do that anymore. I hate films, films make me sick now and if something makes me sick I always back off. They call you, you don’t call them. [Director] Walter Hill used to call me and we were friends and we understood one another. But there aren’t any Walter Hills anymore.
Added: 5 Oct 09
Source: Unknown Australian interview. I got this from my friend Bob M. Bob is a Ry Cooder adept and collector just like me. Thank you Bob!
The Lowe-down with Cooder
Ry Cooder and Nick Lowe are making long-awaited returns to Australia — together, writes Jo Roberts.
AGE may have turned his hair into a shock of white but it has certainly done nothing to dull the self-deprecation of British music icon Nick Lowe.
‘‘He needed a bass player, so he asked me to do it,’’ explains the genial Londoner, as to why legendary US guitarist Ry Cooder asked him to join him on a rare tour this year. ‘‘Also ’cause he knows that I can do a bit of a turn as well, he knows I’ve got a few songs.’’
Yes, Lowe has a few songs, just a few, crafted during a 40-year career with Brinsley Schwarz, Rockpile and 12 solo albums, penning classics such as So It Goes, Cruel to be Kind, I Knew the Bride, All Men are Liars (featuring the genius rhyme of ‘‘Rick Astley’’ and ‘‘ghastly’’), (What’s so Funny Bout) Peace, Love and Understanding and too many more to name — but the show he is bringing to Australia in November with the reclusive Cooder, he stresses, is ‘‘essentially Ry’s show’’.
‘‘I always feel they’re always quite relieved when I stop singing my stuff and Ry comes on again,’’ Lowe says with a chuckle. ‘‘But it’s sort of the nature of it really, because certainly he hasn’t toured for so long, you can’t really blame them; you can see me any day of the week.’’
Not quite; but it’s true that Cooder is the rarer bird. Although he is still releasing albums — this year’s I, Flathead was the final in his California trilogy of 2005s Chavez Ravine and 2007’s My Name is Buddy the US rootsman refuses virtually all interviews, rarely plays live and has not played in Australia since the 1970s.
This tour began in June as just 14 dates in Europe but not surprisingly, fans weren’t going to let Cooder and Lowe off that lightly.
By the time Lowe was chatting to EG from Edinburgh two weeks ago, he and Cooder had clocked up almost 24 shows across the continent and Britain.
‘‘I was very pleased [to be asked] because I’m a great fan of his,’’ Lowe says. ‘‘And frankly, he could have a much better bass player than me, because I hardly ever play it any more; I only play a bass when he asks me to do it. So I’ve got this amateur style, which he thinks is quite agreeable,’’ he laughs.
‘‘But at the same time I know how to stay out of his way and not play too much.’’
The two legends from opposite sides of the Atlantic first met in 1987 when, with drummer Jim Keltner, they played together on John Hiatt’s album Bring the Family. The four reunited in 1992 for the short-lived Little Village project.
‘‘It wasn’t a really great success artistically, or some would say in other ways as well, but I personally got a lot out of it,’’ Lowe says.
In October, Lowe reunited with Cooder and Keltner at the Great American Music Hall in San Francisco for a benefit show, after which Cooder asked Lowe to join, essentially, him and his family on tour. ‘‘He wanted to do something with his boy Joachim, who plays drums with us,’’ Lowe says.
Joachim Cooder has carved out his own career as a drummer, percussionist and producer (he recently produced his father’s anthology, The UFO Has Landed), and together with his partner, singer Juliette Commagere, has been playing with Cooder snr and Lowe.
Lowe says Cooder fans will hear many of the American’s well-known songs, as well as some new tracks, while his own songs are sprinkled throughout Cooder’s set. ‘‘And we just do the ones that work,’’ says Lowe, who has worked to reinvent a quieter version of himself.
‘‘It might sound a bit arrogant to say this but I felt like I had to train my audience off the old stuff a bit, because I just couldn’t do it any more,’’ says Lowe, now 60. ‘‘A lot of the songs I did when I was younger were a young man’s thing.’’
Another reinvention came for Lowe in 2005 when his partner gave birth to their son Roy, now four.
‘‘I never really was a kidsy sort of person, I just wasn’t interested,’’ he says. ‘‘When my friends were having children, they’d talk about them and it used to go in one ear and out the other, whilst glazing my eyes over. Now I can’t get enough of it.’’
Ry Cooder & Nick Lowe with Joachim Cooder and special guest Juliette Commagere play the Palais Theatre, St Kilda, on Saturday November 28.
Tickets on sale Monday August 10 through Ticketmaster, 136 100.
Music review: Rare Ry Cooder gig
Joel Selvin, San Francisco Chronicle Senior Pop Music Critic
Saturday, October 4, 2008
When Bonnie Raitt, Elvis Costello and Emmylou Harris are sitting in the nightclub balcony, you can bet there's a heavy-duty act onstage. Guitarist Ry Cooder making his first appearance in around 20 years Thursday at the Great American Music Hall qualifies as a major event to a small but select circle, who snapped up $100 tickets to the two-night fundraiser.
In a series of albums he recorded during the '70s and '80s, Cooder fused folkloric musical ideas with rock sensibilities in a unique blend that may not have burned up the charts but attracted a feverishly devoted following. Cooder later moved onto film soundtracks and world-music record production, where he scored an unlikely million seller with a swinging set of Cuban octogenarians who came to be called the Buena Vista Social Club. He doesn't get out much.
"You live in a lucky city," said his daughter-in-law Juliette Commagère, who opened the evening with an extraordinary 10-piece band that included Cooder's son, Joaquim, on drums. "Ry said he would never play in L.A."
Typically, it was another musician who coaxed the cranky recluse out of hiding. Audie de Lone is a Mill Valley keyboard player whose son suffers from the rare genetic disorder, Prater-Willi syndrome, which leaves its sufferers perpetually starving. Last year, de Lone got his longtime musical associate Elvis Costello to play two special shows at the Music Hall that launched the Richard de Lone Special Housing Project, and Costello appeared again Thursday, singing a couple of acoustic numbers on his own and climbing aboard the Cooder trio for the encore.
Billed as "Guitar-Bass-Drums," Cooder was joined by bassist Nick Lowe, another longtime de Lone musical associate, and drummer Jim Keltner. The three musicians (along with songwriter-guitarist John Hiatt) recorded and toured together briefly in the early '90s as Little Village, and backed Hiatt on his classic album "Bring the Family."
When Cooder performed in the '70s and '80s, he always brought with him big ensembles. He wrapped his own vocals in gospel background singers. His last band featured outstanding instrumentalists such as keyboardist Van Dyke Parks, saxophonist Steve Douglas and Tejano accordion king Flaco Jimenez. He has never before done this kind of casual nightclub performance with just a two-piece rhythm section.
In horn-rimmed glasses and sweatshirt, Cooder looked more like a college professor dressed for the weekend than a rock star. He used only a couple of small vintage amplifiers and a couple of guitars, tuned differently. His style is based on open chord tunings that allow for surprising harmonies. Even on his own records, he is a consummate accompanist and not a flashy guitar showman, so it was not surprising to see him slip most comfortably into that role behind Lowe, feeling his way around as Lowe opened with Little Village's "A Fool Who Knows."
"There's going to be train wrecks," Lowe said happily. "There will be car crashes. But that can be entertainment gold."
While the program stayed close to slow and midtempo pieces, the rhythms left room for Cooder to scoot around and rumble away underneath the booming bass lines, while Keltner casually decorated the beat with subtle, cunning, equally slow tattoos. If it was somewhat tentative, it was also masterful, and when Cooder slipped on the bottleneck and took the mike to sing "Fool for a Cigarette," the roomful of partisans got what they came to see. The show grew in confidence with every song.
Cooder ad-libbed a verse to "How Can a Poor Man Stand Such Times and Live?" about Sarah Palin and brought the house down every time he reached the chorus. Lowe, who switched between electric bass and acoustic guitar, brought considerable warmth to his hosting, sang like a bird and occasionally pushed the tempos up to a chugging, Johnny Cash drive, dipping into fine songs from his criminally overlooked recent solo albums such as "The Man in Love," "The Beast in Me," and "Soulful Wind." Cooder punched out glistening, economical solos, offbeat accents and offhand flourishes.
The trio returned for an encore of Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding" and the old Arthur Alexander R&B song "You Better Move On"; (he had sung another Alexander song, "Lonely Just Like Me," minutes before). Costello joined them for some Louvin Brothers and it was over, Cooder waving to the cheering crowd with a sheepish grin, clearly happy, but perhaps a little unsure of what to make of the enthusiasm. Cooder is a brilliant guitarist, a craftsman and an authentic artist in a world of imitators, but he is not Mr. Show Business.
"The syndrome is rare," said Richard de Lone's mother, Lesley, earlier, referring to the reason for the benefit, "but not as rare as a performance by Ry Cooder." Lucky us.
This article appeared on page E - 1 of the San Francisco Chronicle
Ry Cooder Interview
Fretboard legend, Ry Cooder visited Japan in 1996 (correction: must be May 22nd 1994 - Tjerk)as part of the The Great Musical Experience, a "high concept" extravaganza which used Nara's grand Todaiji temple as a globally broadcast, laser lit backdrop for Dylan, monk choirs, the Chieftans, Bon Jovi, Joni Mitchell, Okinawan funk, 3-meter taiko drums, Osaka glam-rockers et exceedingly incongruous alii. Though the result was far less than the sum of the parts, Cooder immediately homed in on the improvisational virtuosos among the Okinawans, Chieftans, and local rockers, creating the most memorable music of the event far from the stage, cameras or public performance schedule. Cooder's shamanic collusion approach to music (e.g., A Meeting by the River) greatly inspired us and the whole Kyoto Coven Works project, and offers perhaps our last, best antidote to the sensual anaesthesia of corporate MTV.
Link for the interview and Source:
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BBC TRANSATLANTIC SESSIONS
Did you ever heard of the absolutely fabulous BBC series Transatlantic Sessions? No? If you appreciate the music of Ry Cooder, I'm convinced that you appreciate this music too. In my opinion, this music is high standard, TOP OF THE BILL!! The overwhelming beauty of the music, played with so much love and honesty, for me brings up tears in my eyes, goose pimples all over my body and shivers down my spine.
Jerry Douglas (dobro and lap guitar)
Aly Bain (fiddle)
My personal dream: RY COODER as guest musician with the Transatlantic Sessions.... I can hear the music....
Transatlantic Sessions DVD's 1, 2, 3, 4 and 5 are available on DVD. Some of the Transatlantic Sessions series are also available on CD.
You can order Transatlantic Sessions CD's and DVD's at:
Transatlantic Sessions DVD 5 out now.
Transatlantic Sessions once again brings together the best of Nashville, Ireland and Scotland in an award-winning format that affords, in the words of one critic, a unique insight into the sheer joy of making music.
Recorded in a beautiful old hunting lodge at the entrance to Glen Lyon near Aberfeldy in the Perthshire Highlands, top vocal and instrumental exponents of the Country and Celtic traditions gathered to rehearse and play together with no audience except themselves and a resident house-band of their peers. As with previous series, music co-directors were Nashvilles Jerry Douglas and Shetlands Aly Bain.
Leavening the intimacy of the music-making through each of the six programmes in the series is a strong element of spectacular Highland scenic photography while this time around a greater emphasis on informal backstage conversations and stories serves to highlight the series genuinely historic qualities of collaboration and performance.
1) ALY BAIN: THE BOYS OF 25 / THE GLASS OF BEER
2) ERIC BIBB: GOIN’ DOWN THE ROAD FEELIN’ BAD
3) KATHLEEN MACINNES: ORAN NA CLOICHE (Song of “The” Stone)
4) BÉLA FLECK: FALANI
5) EDDI READER: LEEZIE LINDSAY
6) DIRK POWELL: BOATS UP THE RIVER
7) ALISON KRAUSS: LAY MY BURDEN DOWN
1) MICHAEL MCGOLDRICK: HELVIC HEAD / KISS THE MAID
2) SARAH JAROSZ: ANNABEL LEE
3) DIRK POWELL: SOME SWEET DAY
4) SHARON SHANNON: DREAMCATCHER / OFF THE HOOK
5) DECLAN O’ROURKE: TIME MACHINE
6) PHIL CUNNINGHAM: THE LAKE CHARLES WALTZ
7) AMOS LEE: JESUS
1) BÉLA FLECK: BIG COUNTRY
2) MUIREANN NIC AMHLAOIBH:WESTERN HIGHWAY
3) AMOS LEE: CLEAR BLUE EYES
4) JERRY DOUGLAS: ‘A New Day Medley’ A New Day / North
5) DIRK POWELL: WATERBOUND
6) SARAH JAROSZ: RUN AWAY
7) NOLLAIG CASEY: LIOS NA BANRIONA / THE CROSS REEL
1) SHARON SHANNON:FLYING CIRCUS/WINDCHIME DANCE
2) IAIN MORRISON: A LEWIS SUMMER
3) SARAH JAROSZ: RING THEM BELLS
4) ALISON KRAUSS: LONESOME MOONLIGHT WALTZ
5) SAM BUSH: THE BALLAD OF STRINGBEAN AND ESTELLE
6) DECLAN O’ROURKE: GALILEO (SOMEONE LIKE YOU)
7) ALISON KRAUSS: DIMMING OF THE DAY
1) PHIL CUNNINGHAM: THE HUT ON STAFFIN ISLAND) / SHAKE A LEG / WING COMMANDER DONALD MACKENZIE’S REEL
2) EDDI READER: DRAGONFLIES
3) DÓNAL LUNNY: CÚNLA
4) MUIREANN NIC AMHLAOIBH: LEAVING LIMERICK
5) SAM BUSH: SAME OL’ RIVER
6) KATHLEEN MACINNES:GUR MILIS MÒRAG (Morag Is Sweet)
7) ERIC BIBB: DON’T EVER LET NOBODY DRAG YOUR SPIRIT DOWN
1) JOHN MCCUSKER:THE BRETON SET:
Sailing Through the Narrows / Kev’s Trip to Brittany /Pur the Orangutan/Billy’s Reel
2) IAIN MORRISON:BROKEN OFF CAR DOOR
3) AMOS LEE:WINDOWS ARE ROLLED DOWN
4) ALY BAIN:T’AIMSE IM' CHODHLADH (I Am Asleep, Don't Wake Me)
5) SAM BUSH:LITTLE GIRL OF MINE IN TENNESSEE
6) ALISON KRAUSS:I BELIEVE IN YOU
7) JERRY DOUGLAS:ROUTE IRISH
a) IAIN MORRISON:FIRE IN MY HANDS
b) MUIREANN NIC AMHLAOIBH: PÉ IN ÉIRINN Í (Whoever She May Be)
a) RUSS BARENBERG: WHEN AT LAST
b) NOLLAIG CASEY: A STÓR MO CHROI (Treasure of my Heart)
c) KATHLEEN MACINNES: REUL ÀLAINN A’ CHUAIN (Star Of The Sea)
Featuring amonst others, Alison Krauss, Eddi Reader, Amos Lee, Phil Cunningham, Donald Shaw, Mike McGoldrick, John McCusker, James MacKintosh, Sarah Jarosz, Sam Bush, Declan O'Rourke and Iain Morrison, Sharon Shannon, Donal Lunny, Nollaig Casey and Jim Murray.
You can watch and listen to fragments of the Transatlantic Sessions here: http://www.bbc.co.uk/scotland/music/index.shtml
If the above BBC link does not work (message: "not available for your area" (probabily UK only)), visit youtube and search for Transatlantic Sessions.
Jerry Douglas interview about Ry Cooder
"This is a part of a complete Jerry Douglas interview", source unknown
PM: Have you been or are you influenced by the great slide guitarists as well as dobro
and lap steel?
JD: Yeah, of course I am. I mean, Duane Allman and George Harrison.
PM: Is Cooder in there much, or--
JD: Cooder, absolutely. I just got his new record the other day. I love hearing him play
slide, but I love the tone of his guitar.
PM: He's unbelievable.
JD: Have you heard his new record?
JD: Oh, God, you've got to go get it. It's hilarious.
PM: Is it the one about the dog or something?
JD: No. This one is called I, Flathead. It's got a picture of a guy with like one of those
who set the world's speed record on the Bonneville Salt Flats kind of a car.
JD: And he says in the notes that his inspiration came from a driver named Dick Nixon--
not the president. But there was a speed racer named Dick Nixon.
PM: He's always got such obscure things that he's concentrating on.
JD: You've got to get this record. He's got a song on it called "I Want To Go To Steel
JD: And there's a couple times when Spade Kooley's name is invoked.
JD: It's in that song, and also he's got a song called "Spayed Kooley," but the Spayed is
spelled S-p-a-y-e-d, it's about a dog.
PM: What a knucklehead.
JD: Yeah, but it's great. It's a really good record. It's the first studio record he's done in a long time of that kind, of his own, of himself.
PM: But you get off on him, or Sonny Landreth, and all the slide guys just as well.
JD: Derek is my favorite, Sonny Landreth is another favorite.
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