member of the cast (which included Brian Wilson as an extra. train spotters) not to require bronze body make-up. Got it?
‘I just started making sounds of Mother Earth and the feelings.‘ Dale explains when speaking of his music. ‘So. my playing is that of anger. that of frustration. of happiness — it all depends. has to do with Mother Earth. the sounds. It‘s not anything that‘s played to appease musicians. Y’know. I
could give a shit about playing towards That's all there is to it. And ifl can
: teach musicians how to become a good ‘ human being — from their soul — that’s
musicians. l'play to people. People don‘t know an augmented 9th or 13th . . . musicians do. I can‘t even play a scale. ljust make sounds on my guitar that are coming from my soul. That‘s the reason people can relate.‘
Those sounds. drenched in reverb. sounds that Tarantino believes have more to do with the stylised suspense and violence of a spaghetti western than golden-haired air-heads in shorts. have been enormously inﬂuential — Hendrix took notes, the Ramones took the breakneck drone. The Cramps married it to Link Wray and The Stooges. and today the likes of Man Or Astroman still scour the surf for
came from 30 years of the martial ans and the world of karate, from masters
Dick Dale: you twanged, sir?
inspiration. Has Dale been aware of his guitar‘s legacy‘.’
‘No.’ he says. with a heavy sigh. ‘Y‘know. as I say. I never hung around
with musicians. I don‘t like musicians —
I never will like musicians ~ uh . . . l
A young musician is one who tries to
impress people about how he can play
— he’s just learning. He‘s dangerous. He gives the world a bad name. He doesn’t have manners. he doesn‘t want to take care of his body. he's a total fuck-up.
the whole thing. y‘see'.’ My training
who taught their young to respect their
heritage. Music becamejust one facet of the diamond. One facet.‘
Dick Dale is the star attraction of a special surf-themed night at The Arches. GIaSgow on Sat 8 with guests
The Beat Poets. The Kaiser's and The Pendletones. bouncy castle. surfboards and many things beach-related. He
3 then plays The Music Box. Edinburgh
on Sun 9.
: It must be just like old times for vibes
like professionals. There’s a difference.
man Joe Locke. In the late 80s, he was a regular visitor to Scotland, and won a lot of admirers with his explosive playing. After missing out for a couple of years, Joe returned last year to show off an even more energetic and highly developed command of his ' instrument, and does so again this yeaL
In addition to his date at the Glasgow Jazz Festival, Joe will also be stopping over at The Tron, where the Edinburgh Jazz Project have extended their season to take in return gigs by the vibes player and trumpeter Robert Mazurek’s fiery quintet. Locke will play with a trio led by pianist Steve Hamilton in Edinburgh, while his Glasgow outing will feature Tommy Smith, Terje Gewelt and Cindy Blackman.
Locke’s sparkling mallet work is put to good use on his most recent album Wire Walker (Steeplechase), which features the dynamic Dave Kikoski on piano, and also captures the more reflective side of his playing. The vibes lack the weight and density of piano, but lend themselves to a more linear, horn-like harmonic approach which he exploits to the full. He is a natural showman as well as a gifted improviser, and clearly relishes every
Joe Locke: natural showman
moment on stage.
If Locke will provide a thrilling penultimate flourish to the Tron season, the Robert Mazurek Quintet will doubtless come up with a no less exuberant finale. The group are more than familiar with the basement club following two remarkably successful runs during the Edinburgh Festival Fringe with their tight, high-energy take on classic hard bop.
Mazurek is joined by saxophonist Eric Alexander in an excellent front line, backed up by a fluent, punchy rhythm trio of Randy Tressler (piano), John Webber (bass) and George Fludas (drums). For this week at least, The Tron basement is going to feel more like New York than douce Edinburgh. (Kenny Mathieson)
Joe locke plays at the Tron Jazz Cellar on Sun 2, and the Robert Mazurek ouartet on Wed 5. Also see Glasgow Jazz Festival listings.
; m1:- Glean sweep
3 Like the broom with a changed head
'1 I and a replacement shaft, Scots group
The Tannahill Weavers is still working
after more than quarter of a century, i but with no original members. ‘That’s
? if you don’t class being in the band for 1 25 years as being an original member,’ says fiddler John Martin. ‘Hoy Gullane - actually joined the hand back then - and many have passed through the ranks. I’m a “new boy” though; I’ve
} only been in for five.’
The continuity is in the band’s rich
a sound, a major component of which is ; their pioneering mix of the Highland
3 bagpipe with the fiddle, flute and
i whistle, and the fact that ‘the band ls i absolutely Scottish. More than 95 per l cent of the repertoire is Scots. And
; Roy writes one or two songs.’
In fact, the closing song of their most recent album, Capernaum, is a strong composition by Roy. A lament-ln-exile, ‘Hame, flame, Hame’ has a lyric which would delight Billy Kay.
In comparison with other major ‘ Scottish touring bands, the Weavers . lay relatively rarely at home. ‘I think the main reason was that for years Roy lived in Holland, and others were living in other parts of Europe, so It was prohibitively expensive to get together for a one-off gig, but we’re here more often now. We’ve already played Aberdeen and Stirling this year.’
Hotoriously wild In their early barnstonning days, John humorously recognises that the band now plays a more refined music, to a different audience. ‘There’s no head-banging. If people want to clap along, that’s fine, but we wouldn’t want to encourage that sort of thing.’
But having said that, he admits ‘ln September/October we’re back In the States, and we’ll be playing a caslno ln Reno. We still get some weird glgs.’ (Horman Chalmers)
Tannahlll Weavers play the Tron Theatre as part of the Glasgow Folk Festival on Sat 1.
The List 30 Jun-l3 Jul 1995 39