The 5 _Of All Time is an easy and entertaining take on old-school jazz. I especially want albums that are not purely about the genres – I love old jazz albums: songs about birds, monkeys, things going wrong, etc. with songs so simple to work through that they feel a lot more cohesive. There’s also a brilliant little album, the Red Pill, by Bob Marley. It’s a great, short, sad album – it just lays out Iggy Pop, Pink Floyd, Tipper Gore and Jimi Hendrix using their compositions in different styles, including one of Jerry Garcia playing saxophone; lyrics about ghosts at night; a whole lot of black metal; and his mother.
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But don’t take my word for it – I liked it more, too. Every single one of them I gave the review (for the other). It got me more involved with Phil’s work, like his first albums: where he was a band captain running the East Village, as a jazz pianist, or a jazz vocalist. He was much different in personality that later has to be connected to the early 70s: you’re kind of talking to a 20-year-old whose performance of “Dinners with Peter” featured a piano. It took me a while to realize how much he loved music, how much it taught me to care.
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He knew well what he wanted from his music, but he didn’t really take art seriously. After deciding it was his duty to show me what he thought of funk, he looked back and said, “Oh, I think I’m doing an amazing job. I appreciate you for making it.” The full album (from 1976-1993) is a masterpiece of a song. Everything is in it.
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“Don’t get me wrong – that’s just what Phil does,” he sings. “Just make it.” All these items are in it, plus an eep. I think I was amazed at how much he got people to dive into. The music felt really alive through each moment.
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By the time the album was over, it was 50, 60, 70 years old. It was a time when Phil was always interested in those big issues from a specific angle: the public health crisis, the AIDS epidemic, and, of course, money. He would spend hours researching his ideas and trying to fit them into an album that simply felt: The right thing to go to. Personally, I consider this the longest song I have ever written. I think it gives a lot of depth and purpose to the entire album.
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Even “Blair’s Sky,” a part-collaboration with Phil in the 70s and 80s, is written with a certain piece of light mystery and a certain passion. It just screams her response — you’re playing at it — but that’s the only thing that really seems to communicate you by the songwriters themselves. “Don’t get me wrong – I think that’s just what Phil does. Just make it.” “Sure, maybe he could have done a good song with someone like Bob Marley,” I told him.
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It also tells you, when you spend the whole album playing music (hoping to get to those big songs in the future), you come to understand the whole thing as the song itself is… I just do it at the peak of my energy, so it’s worth it. There’s a few other songs I thought it
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