Tune Tag #11 with Jeremy Shatan of "AnEarful" Pt. 1: Miles Davis, Jobim, Robert Palmer, Mutual Benefit, DJ Logic, Garland Jeffreys

Jeremy gives us an earful of the exotic, the experimental, & the avant! No worries, mate, it's all guaranteed to not need a drop of novocaine! Plus, a peek at a fan letter Frank Zappa wrote...at 16!🤣

Tag! You’re It, Jeremy!

A self-described “music obsessive” born in New York (who, judging by this photo, stands head and shoulders above the crowd), Jeremy describes his Substack as “Giving you an earful about an omnivorous array of music, from cutting edge sounds by living composers to new (and old) classics in rock, folk, hip hop, pop, R&B, reggae, jazz, global, and more. Established 2009.”

Feel free to read, subscribe, and get “AnEarful” from Jeremy by clicking here!

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Jeremy’s Song #1 to Brad: Mutual Benefit, “Growing at the Edges,” Transgressive Records

Jeremy’s rationale: I chose the title track to Mutual Benefit’s new album (released October 6, 2023) just because there are few things more exciting than new music from an artist you love that manages to enlarge your appreciation of their work.

I’ve been on board with Jordan Lee (pictured above) and Mutual Benefit for almost 10 years, since Love’s Crushing Diamond in 2013, and one thing I love about his music is how carefully concealed the rock-solid structure of his songs is beneath the ethereal outer layers. This new album may be his best, an extraordinary achievement that I want to share it with you and as many other people as possible.

Brad’s #1 Song to Jeremy: Robert Palmer, “Closer to the Edge,” 1994

Jeremy’s response: Well, this was unexpected! A Robert Palmer track from an album of which I was barely aware. I’ve long thought Riptide (1985) was his last album worthy of consideration, and the brief part of this I listened to did not cause me to change that assessment. However, we’re not here for me to pass judgment, but rather to find connections between the songs being shared. The only link I can see is the use of the word Edge or Edges, which seems too obvious…but I’m going with it!

Brad’s rationale: With little else to go on from an artist (Mutual Benefit) about whom I knew nothing, I just leaned on a word from the band’s song title, “Growing at the Edges.” Hence, Robert Palmer’s “Closer to the Edge” from his Honey, an album on which he did everything but empty the ash trays in 1994!

Palmer produced, arranged, and even hand-lettered the writing on the front cover!

Jeremy’s #2 Song: Miles Davis, “Black Satin,” 1972

Brad’s response: Jeremy chose a Miles Davis song (and album) produced by noted jazz producer, New Yorker Teo Macero, who, 22 years later, produced the Robert Palmer Honey album, from which “Closer to the Edge” came. Macero was a Columbia Records staff producer for two decades beginning in 1957.

Macero, for the Palmer record, is actually listed as having done “additional production” (as opposed to assistant producer) hinting at post-production or later overdubs. Palmer is listed as a producer (and arranger), with Richard Coble serving as Production Co-ordinator. Very smooth move, Jeremy!

Jeremy’s rationale: My perusal of the credits for the Robert Palmer album revealed a surprising contributor: Teo Macero (pictured above, right, with Miles), who is noted on the album for providing “Additional Production.”

Macero was a sax/trumpet player who studied with Edgar Varèse, the pioneer of musique concrète, and taught Macero editing techniques, which were a critical part of his piece, Poème électronique. Macero became legendary for his production work on many of the greatest albums of Miles Davis’ electric period, hence, my pick for song #2.

FR&B would be woefully remiss if Frank Zappa’s infatuation with the works of Varèse (above, left) went unnoticed (with a hearty thank you to Jeremy for bringing up Varèse’s influence on Macero). If you’ve ever sent a fan letter (and were embarrassed to mention it to anyone), please know that Frank sent a fan letter to the great composer in 1957. An excerpt: “Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa, Jr. I am 16 years old…that might explain partly my disturbing you last winter. The reason for my letter at this time is that I am visiting relatives in Baltimore, and as long as I am on the East Coast, I hope I can get to see you. It might seem strange, but ever since I was 13, I have been interested in your music.” For perplexed longtime listeners of Zappa’s music, the final piece of the puzzle! Zappa’s teenage letter to the composer, in its entirety, can be seen here.