ALL THAT MOODY - DAVEY GRAHAM
1. Anji (Graham) - 1:26
Roger suggested we do this with bass. We hope you like it.
2. La Morena (Graham) - 4:42
From fragments, some learned from Felicity's American, Chris, who was in Edinburgh in '62. The rest from Spain - at the time it reminded me of Wyn, my mother, who was black-haired and dark skinned like Dusky, her sister.
3. Travelling Man (Graham) - 1:57
My attempt to write a 'pop song'! (Never tried again)
4. Sunshine Raga (Graham) - 3:46
Inspired by a jugalbandi of Pandit Ravi Shankar and Ustad Ali Akbar Khan. In the Bhilawal mode (I think)
5. A Smoother One (Goodman) - 2:12
One of our Qabhlah group said it reminded him of the words "Eli poked us in the middle" ("Fred" was always doing that with jazz tunes)
6. Kim (Graham) - 2:24
My attempt at a piece in 7/4 with 4/4 middle. My justification is that I had not then heard enough bouzouki. Also for my daughter who was named after having seem the film with Dean Stockwell from Kipling's work. Had she been a boy we'd not have changed her name.
7. Jenra (Graham) - 2:04
After my first visit to Morocco I wanted a piece in a triple rhythm, which is so common there among Berber musicians.
1. No Preacher (Graham) - 2:37
A little irreverence (from a young man).
2. To Find The Sun (Graham) - 2:23
I was looking for a tune to one of Shakespear's sonnets (with little musical experience) one cold winter on the Grove. Now we all have Carnival in July.
3. Tristano (Graham) - 3:38
After the late great Lennie Tristano. Probably today, Keith Jarrett is what I would mean about a tremendous horizon at the piano. Fortunately Roger Bunn is rather good on jazz guitar chords - "Roger, how do your hands do that?"
4. Blues For Geno (Graham) - 3:05
(Was miss-titled Blues At Genos on the original Eron album) The later Geno Foreman was as good on blues piano as he was at blues guitar. As you can tell, I love "Snooks" Eaglin, too.
5. Fingerbuster (Graham) - 1:53
Learned from Geno, with some of me. Davis used to play it; it closely resembles "Little Rock Getaway" and Ivor Mairants's "Spirit of New Orleans" Ivor's book. "My Fretting Years" is a good read.
6. Blue Raga (Graham) - 4:38
The great Afghan musician Essa Kassimi, with Qadir Darwesh on tabla, have a fine version of this, Bairami mode.
Produced by Davey Graham
Recorded at Trident Studios, St. Annes Court, London W1
Sleeve design and graphics by Stephanie Clarke
Liner notes from the back of the original album:
This album could properly be called "The Complete Davey Graham" since it includes a few numbers which earned him the international fame on earlier (now deleted) albums and which his fans have urged him to reissue. However, Davey has revised those few earlier tracks so they should prove of much interest to those who still own some of the old albums as will his later works which many may not have heard before. Davey plays guitar and finger cymbals; Keshav Sathe accompanies on some tracks playing tabla and tambora; Roger Bunn plays bass.
Davey Graham was born in England of a Scots father and a Guyanan mother. It was whilst at school in Kensington that he injured his right eye which made it virtually sightless. Havng lost much interest in an academic career he left school to work as a librarian but soon became fascinated by the folk revival. He had been playing the guitar since he was aged 10 so he decided to devote his life to music. At first this meant busking in cinema queues but he soon graduated to singing in cafes, then London folk clubs and cabaret, colleges, universities, radio, television and for many years at Edinburgh Festivals. As a musician he appeared in the films "The Servant" directed by Joseph Losey and in Ken Russell's "Hound Dogs and Bach Addicts". He wrote the music for the two films.
Much eastern influence will be recognised in this album but most listeners will already be aware that Davey led the way into the east-west rapprochement by introducing into his compositions influences of musical forms from India, Morocco, Turkey, negro blues, modern jazz etc. For like a troubadour of old, Davey was and still is a 'Travelling man', sometimes playing at clubs, concerts and festivals all over Europe whilst at other times he would live and work with Arabs in order to gain some new influence.
There will always be novices anxious to test their skills at 'Anji' and for that purpose Davey has chosen to include it notwithstanding that there are current albums by Simon and Garfunkel and Bert Jansch playing their versions of Davey's popular composition. 'Anji' first appeared on the Topic EP "3/4 AD" which was so successful that Davey subsequently recorded eight albums, mainly for Decca.
A few years ago Davey retreated from the limelight in order to teach and compose. Ever ready to learn he took lessons on reading and writing musical scores from Bill Murray in Walmer, Kent. At home he plays Indian sarode, Moroccan oud and Greek bouzouli and is at present transcribing for the guitar early English lute music and Gaelic pipe tunes. He still plays at English clubs and once or twice a year amakes a Scottish or Continental tour. Thus, although he is often descibed as the legendary Davey Graham this is by no means true.
Reproduced below is a letter from John Renbourn
"I've just been listening to the cassette of Davey's record and it's undoubtedly one of the best. As you know, back in the early 60's when most of the guitar players around were struggling to sound like Broonzy, Josh White or Brownie McGhee, Davey had already evolved a style that was to influence just about every guitarist on the folk scene. Davey himself has always been too original to fit neatly into any set musical category and in exploring so many different types of music he has made some important innovations in guitar technique. He is the first player I know to use super-harmonies played behind a fretted note with the left hand and also to bend notes by pulling the open string behind the nut. He also developed new tunings of which DAGAD is probably the best known."
"The record successfully represents the range of Davey's playing and will no doubt impress his established followers as well as being a great introduction to those who so far have not heard the man himself. Please let me have a copy as soon as you can."
"Best wishes '
"John Renbourn Devon 5-10-76 "
Note: The label of this record has the words ERON RECORDS written in Cirth Runes (one of the runic alphabets devised by J.R.R, Tolkein). It looks something like this:
It is noted in Record Collector Rare Record Price Guide 2010 that a mint copy of this LP is worth £200, but sell for a lot more on ebay. On 31st May 2009, a copy sold on ebay for £295.01
This LP is one of only two albums from the ERON label to be re-released. It is available on 10" vinyl and CD from Rollercoaster Records.