The songs for my album Cry Love came like automatic writing, as if exhaled after too long at a high altitude. And they were recorded as if my band, the WPA Ballclub, had known them for a long time.
A common theme thematically and lyrically is absence. Absence can be volatile. The songs that inspired Cry Love have much in common, particularly a sense of space. Bedrock instruments such as bass or drums are absent or played as loops. Sometimes there’s hardly instruments at all.
Our decade since 2020 has been a slow developing picture of things absent or out of focus. First place. Then time. Then people. Then, this year, the absence for me and my family became the loss of a person. Earth, air, sky, salty sea, and sand were thrown amuck. Cry Love and these songs guard that space – that absence – with music. – Paul Burch
A while back, if I remember right, my life was one long party where all hearts were open wide, where all wines kept flowing.
I ran away. O witches, O misery, O hatred, my treasure’s been turned over to you!
I managed to make every trace of human hope vanish from my mind. I pounced on every joy like a ferocious animal eager to strangle it.
So…it dawned on me to look again for the key to that ancient party where I might find my appetite once more.
– A. Rimbaud, A Season in Hell
“Paris” – Moondog
The Viking of 6th Avenue, who lost his sight as a boy, spent most of his life performing on the corners between 52nd and 55th street. His compositions and collages made him friends like Charlie Parker, Benny Goodman, and Arturo Toscanini, who testified in court on Moondog’s behalf in his suit against DJ Alan Freed for co-opting “Moondog” for his radio show in Cleveland. Freed lost and apologized on air. This is Moondog’s late in life collaboration with the London Saxophonic. Beautiful.
“If I Lived in a Picture” – The Green Pajamas
The Green Pajamas are from Seattle and, like me, have never been on a major label. But that’s never stopped them from making gorgeous tunes like this one that upon first listen instantly vaulted them to one of my favorites ever.
“Telephone Blues” – Snoozer Quinn
My dear friend, supersonic guitarist and producer Richard Bennett, turned me on to Snoozer Quinn, the lost jazz pioneer who in the ’20s and ’30s scared the wits out of contemporaries Lonnie Johnson and Eddie Lang with his out of this world sound. There are stories of musicians filling hotel rooms and hallways to gander at a Snoozer jam session. Louis Armstrong was a great fan, as well.
Snoozer left the cutthroat NYC scene and went home to Louisiana where he died young from tuberculosis – but not before a musician pal captured him literally in his deathbed. The best part of this story is I turned Tim O’Brien onto Snoozer and Tim turned on his ole pal Bill Frisell. My good deed.
“How Much I Owe” – The Radio Four
All of the Nashboro gospel recordings are beautiful, but I’m especially drawn to the urgency of the Radio Four. Thanks to Jonathan Marx of Lambchop for the introduction. Featuring the great country bassist Lightning Chance, whose credits include Hank Williams and the Everly Brothers – and suggesting the Jordanaires’ “number system” for vocal parts be applied to Nashville sessions.
“Poinciana” – Ahmad Jamal Trio
Recorded live at the Pershing Hotel in Chicago. I especially love “Poinciana” for drummer Vernel Fournier, who reminds me of Nashville great and WPA batteur Justin Amaral. Bassist Israel played on Charlie Christian’s “Profoundly Blue.” Recorded by Chess Records engineer Malcolm Chisholm, who probably cut a session for Muddy Waters the next day.
“Sun Rays,” “Last of My Kind” – Pony Hunt
Jessie Antonick, who performs as Pony Hunt, is a musical gem. I love this live performance of “Sun Rays.” The finger snaps just send me.
I also dig their lovely version of my tune, “Last of My Kind,” which sounds like an alternative version of the WPA Ballclub.
“So Sweet You Are” – Dog On Fleas
I’m sure these lyrics got into my head for songs like “I Won’t Miss My Baby Anymore” and “Braggin'” which share the Willie Dixon “left is right, I may I might” school of playful revelation.
“Ready to Leave” – Emahoy Tsege Mariam Gebru
For me, all of Ethiopian composer and pianist Emahoy Tsege Mariam Gebru’s works are enchanting. But I especially love the album Souvenirs, her first vocal collection. Mississippi Records describes it as “songs of wisdom, loss, mourning, and exile sung directly into a boombox,” which aptly describes my feelings writing Cry Love.
“The Whale Has Swallowed Me” – J.B. Lenoir
Both John Lee Hooker and Mr. Lenoir excelled at sparse blues storying around a hypnotic, looping beat. And a whale of a story it is. The great Fred Below, on drums, powered hundreds of classics at Chess.
(Watch a great live video of J.B. Lenoir performing the song on YouTube.)
“Misery” – Barrett Strong
A hypnotic, menacing tune in which melancholy carries a blade and a broken bottle. Sung from the heart of misery itself by Motown’s first hit artist (“Money”). I love the looping carousel bass line. Los Lobos did a beautiful version, too.
“I Need Somebody to Lean On” – Elvis Presley
Elvis was having a hard time musically and spiritually in the early ’60s but still made some beautiful records. By Doc Pomus and Mort Shuman (“Save the Last Dance for Me”). Elvis sounds inspired and committed with phrasing that evokes a bit of Chet Baker.
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“Complex” – Tristen
I’ve been crazy for Tristen’s music since I first heard her perform with a trio in front of Whole Foods (of all places) over a dozen years ago. That was the old Nashville. We both play Epiphone Casinos, which makes us siblings of sorts – members of an exclusive club. I’d like to think so, anyway. “You can have your way until you get in my way.”
“Blow Wind Blow” – Muddy Waters
A great era for Muddy on stage with fiercely driving rhythm courtesy three guitarists and Pinetop Perkins.
Photo Credit: Jim Herrington. Pictured: Paul Burch (L) and Fats Kaplin (R).