As Rock and Roll was turning into Rock in the Sixties, most of the great power trios retained their “roll” thanks to drummers who were rooted in jazz. When Cream entered the scene, it featured the jazziest rhythm section of them all, with Ginger Baker’s rolling, tom-tom based grooves harking back to Chico Hamilton. Baker later experimented with African music and returned to his jazz roots with a power trio of a different sort. “Time moves differently with Ginger,” Frisell once told Rolling Stone. “You could find 100 drummers to play the same tune, and Ginger would find something different to do with it.”
In the four years since we spotlighted Mike Baggetta he has been a busy man. He has relocated from New York City to Knoxville, Tennessee; played on David Torn’s Sun of Goldfinger record; gigged with Nels Cline playing lap steel (Cline on steel, not Baggetta), and released Wall of Flowers [Big Ego Records]. The last features a true supergroup power trio, ala a modern day Cream, as Baggetta, Mike Watt, and session legend, Jim Keltner join forces. Knoxville being relatively close to Nashville, Baggetta has been playing here quite a bit and took time before a gig at Rudy’s Jazz Club to come over and talk about Wall of Flowers and the joys of looping with a TimeFactor.
I can’t believe it has been four years since I spoke to Eivind Aarset, the guitarist largely responsible for sending me on this Guitar Moderne journey. Now is the perfect time, as he is featured on four new records. We spoke about three of them, and surprise, surprise, his first new guitar in, well, forever.
As advertised, Big Ears 2019 was a guitar extravaganza. My wife Liz and I were able to see Bill Frisell, David Torn, Mary Halvorson, Anthony Pirog, and Rafiq Bhatia, some of them multiple times, as well as other, non-guitar improvising legends and newcomers. Once again, venues like the Tennessee Theater, The Bijou Theater, The Standard, and The Mill and the Mine offered stellar sound quality and sight lines, and the local food was fabulous.
Wow! Last week saw Guitar Moderne’s viewing stats more than triple, with a slew of new subscribers signing up and a host of new followers on Instagram. First, thanks to all the new fans; I will try to keep posting things of interest to guitarists interested in everything about moving the instrument forward. I am trying to figure out what caused the jump. All I can imagine is that I put up two posts about Bill Frisell in rapid succession. I deduce it was the Guitar Moderne equivalent of Guitar Player magazine putting Jimi Hendrix or Stevie Ray Vaughn on the cover to boost sales in years past. I will, of course, continue to cover this modern guitar pioneer, as well as other icons like David Torn, and Nels Cline. I would hope you also check out the lesser known players I post as well.