Clarence Clemons
January 11, 1942 - June 18, 2011
Not too many rock star deaths affect me deeply. But watching Clarence play his solo in "Secret Garden" on this video pulled a tear or two from my dry eyes. I wish I had the words to say how much I admired his musical ability, the way he was able to play simple lines that would blow away even the most skilled jazz musicians because of the passion he put into them. Though it's true that there aren't too many rock bands traveling the world with a full-time saxophone player on board, I feel it's safe to say that Clarence would have been the best of them all. As a sidekick he was irreplaceable. Like Dean Martin losing Jerry Lewis or Oliver Hardy losing Stan Laurel. The comedy references are apt, as well, since there was always a light-hearted and humorous rapport he shared with Springsteen. Man, I can only imagine how Bruce has felt the last couple of days, because it's obvious to anyone who has followed the E Street Band for even a short time that Clarence and Bruce were closes as brothers. Family. That's a hard one to get through.
His solo in "Secret Garden" has come to be my favorite. The top of a long list that I think of as definitive sax breaks in rock history. He really was the best. This one, however, NEVER fails to give me goose bumps and chills. It's like a ghost floating into a room, hovering, taking in all there is, like a sweet fog that surrounds everything, barely perceptible before it wafts back out... It's a lonesome sound, but not a lonely one. It echoes the tone of Springsteen's voice with all the innocent wonder of discovering a lover's inner world. The realization that, as much as your heart desires, you will never have ALL of her. The place that sets her apart from masculinity. That makes her a woman. It is a treasure worth all the gold in the world, but a man can never have it. What Clarence Clemons does with his tenor sax on that song is mourn the loss of something we men can never have. "Where everything you want...Where everything you need...Will always be...a million miles away"...then there's Clarence. Tenderly sending us off on that first mile.
I can't really explain why I like that solo the best. I think part of it is because it's so "Un-Clarence" like. Most of his playing is exuberant and/or anthemic. But in "Secret Garden" he takes an entirely different approach. Settled down, laid back, no longer stealing the spotlight up front...any man that can steal the spotlight from Bruce Springsteen has got major talent...but this time he's almost hidden in the music. His melody slowly twists through the simple synth lines that permeate the song from start to finish. He masterfully controls the dynamics throughout the entire arrangement, oh, it just takes your breath away. It's like every once in a while he'll blow a quiet whole note that augments the lyrics...and then he takes that whole note and stretches it when the solo kicks in. He stretches it and weaves it masterfully, letting that magic whole note branch off into hushed tones like threads in a tapestry.
I know "Secret Garden" is one of Springsteen's more commercial songs. I still have a tad bit of a music snob in me, I guess, because I feel I must apologize for picking a favorite Clemons solo from such a successful Springsteen song. Oh, not saying that he didn't have quite a few hits, but this one is kind of in the same vein as "Born in the USA", "Glory Days", "I'm on Fire"...you know, the Springsteen songs that just about EVERYBODY knows and likes. Even the people who have never heard another note of music from the Boss but maybe have "Dancing in the Dark" on a homemade mix tape, sequenced between Kool & the Gang's "Cherish" and that song by Lisa Lisa & Cult Jam (I am still in the same decade, aren't I?). "Secret Garden" is surely a fixture on many "love-themed" playlists on the back of it's appearance in Cameron Crowe's film "Jerry Maguire". And that's cool. Because it kicked ass in that movie. It was placed in the perfect spot and it's no accident that Crowe didn't cut the soundtrack before Clarence's solo, because it conjured up the atmosphere so completely, if not even better than the lyrics...certainly with as much emotive power.
But yeah..."Secret Garden" is my favorite. I do, however, appreciate the wealth of Clarence's great performances in the E Street catalog. And it was a HARD decision, too. There were, however, a few Big Man moments that I want to acknowledge as some of his very best.
"Night" (from Born to Run)...jumping in after the machine gun blasts that open this track, Clemons gives this under-rated song a book-end hook that only shows up at the start and the conclusion. It's a clever trick...I mean, the riff is so exubarent, so catchy, a fantastic sax line that you expect will come back around in the form of a solo in the middle of the track. It doesn't. Springsteen's song structure teases, as if purposefully holding back...until the end. And there it is, every bit worth the wait, making you want to take the needle off the record and put it right back on.
"Drive All Night" (from The River)...okay, maybe I was wrong. Maybe "Drive All Night" is Clarence Clemons' best solo. Let's just call it a tie for number one, okay? It's just that the first thing I usually think of with this song is the Boss's wailing "heart and soul" outburst. The sax solo kind of gets lost, but only because I'm so smitten with the last couple of minutes. Clarence sounds like a horn man playing in a roadhouse some time in the 50s with a serious rhythm and blues act. He rips into the middle of the song with so much passion that there's no mistaking the meaning the narrator is trying to convey. An aching, somewhere in the guts, that hurts almost as much as it feels good. He digs into that place, gives it a sound for a moment, then moves over to let Springsteen do what he will (and can) with the inspiration he's just been given. I've always maintained that "Drive All Night" is one of the best love songs ever written. Proof? "I swear I'd drive all night just to buy you some shoes and to taste your tender charms"... You hear a lot of people sing about how much they love their woman, but few are so perceptive and brilliant that they know the value of shoes in a woman's world. This is a man who really has been in love and has learned the valuable lessons.
"The Promised Land" (from Darkness on the Edge of Town)...One of the marks of a great musician is that they are immediately recognizable to anyone who has heard much of their music. Not so much "recognizable", I don't guess, but more of like "That could only be Clarence Clemons!" And the middle section solo here has "Big Man" stamped all over it. I'll never forget the show of love the audience displayed for CC when he stepped up front to play this solo at the Tulsa show a couple of years ago. He had said that the last tour the E Street Band did, which included this show, were "pure hell because of the pain". We all knew that he was in ill health. You could tell. Even so, his playing was fantastic. When "The Promised Land" came around he didn't miss a note. It was an empowering thing, almost, if that makes any sense. Like a glimpse of that Promised Land Bruce sings of and an affirmation that yes, we can get there if we only believe in it.
"Jungleland" (from Born to Run)... EPIC. This might as well be Clarence's signature solo. It's almost like a song within a song, sandwiched between the beginning and end of it's namesake. He starts out with a melody that could have come straight from West Side Story and slowly, almost imperceptibly adds more texture to it until by the end of his part it's become something majestic. Yearning. Much as I love the other songs on this list, I would still tell anyone who has never heard Clarence Clemons play that the place to start is "Jungleland". When I was a kid - 16,17 years old - I played saxophone in my high school's stage band (basically a big band jazz thing). I wanted to play improvisational solos and the way I learned how was to play along with records. I got pretty decent on a few, but the one I played the most, the one I liked the most and the one I eventually played better than the others was "Jungleland". Such an incredibly cathartic song to play. I wish all of you could know just how awesome it is to play along with Clarence Clemons, even if it's only a recording of him.
"Badlands" (from Darkness on the Edge of Town)... I include this as an example of how well Clemons' playing complimented Springsteen's. Bruce is not a "show-ey" guitar player. Still, if you listen closely you will find out just how good he is. The Big Man shared that same quality. He wasn't a flashy player. He wasn't the kind of player that traded in "how many notes can I fit into this bar?". He knew what the song needed, and that's exactly what he gave it. "Badlands" is a perfect example where you can hear Bruce turn over the reins and let the Big Man shine.
"Born to Run" (from Born to Run)... I don't think I even need to say much about Clarence's contribution to this song. Let's just say his playing constitutes a high percentage of why it is possibly the greatest rock and roll song ever written. Listen to that rumbling baritone sax blast at the start...there's the foundation of the Wall of Sound Springsteen was going for. CC's solo is a tad faster than what he usually played but his signature is still intact. Listening to the song right now and I'm struck by just how prevalent his playing is throughout. Nothing but texture and shading. Exactly what the track demanded. "Born to Run" is classic not only for the song itself, but for the sound. I've only now realized how much Clarence Clemons contributed to that sound.
Okay, there are many others..."Thunder Road", "Bobby Jean", "The Ties That Bind", "Rosalita", "New York City Serenade" among others. But there are only so many hours in the day. Though I see Clarence Clemons' passing as a major loss, I never realized how much I really enjoyed his playing. I mean, of course I love it and always have, but I don't think I ever gave him nearly as much credit as he deserved. I would like to correct that here and now.
I think it was the Righteous Brothers who had a hit with "Rock and Roll Heaven". I'm sure you've heard it. "If you believe in forever then life is just a one night stand - If there's a rock and roll heaven then you know they've got a hell of a band." That band has grown bigger and bigger ever since Buddy Holly died, but one thing is for sure: yesterday they got as good a sax player as they could have dreamed of.
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