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Home , Big Bill Morganfield, Brazilian Dreams, Brian Auger, Desafinado, Hollywood Fats, Julie Driscoll

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September/October 2003 Issue 264 Free

Brian Auger Brings His Oblivion Express To Night Town ’s Oblivion Express Published by Martin-Wahl Communications, Inc. Editor & Founder Bill Wahl Layout & Design Bill Wahl Operations Jim Martin Pilar Martin Tim Murrett Contributors Michael Braxton, Mark A. Cole, Dewey Forward, Chris Hovan, Brian Auger’s Oblivion Express will London at the time and used to drop by to Nancy Ann Lee, Tom Mazzone, roll into Night Town for the third time on see the trio’s shows and would often sit in Peanuts, Mark Smith, Duane Verh, Ron Weinstock and Diane Wells. Monday and Tuesday, October 6 & 7 for from time to time. Auger arranged a two shows nightly at 7 & 9 p.m. You might recording session shortly before want to buy your tickets in advance for Williamson’s return to the States to docu- Check out our new, updated this one–you don’t want to miss this train. ment the rapport the great bluesman had website. Now you can search The Oblivion Express released its with the trio, and some other musicians for CD reviews by artists, titles, record companies or JBR writ- first, self titled in 1970, but the were asked to join in on the recording - ers.Nine years of reviews are group’s leader, Brian Auger, goes back saxophonists Joe Harriott and guitarist currently up, and we’ll be way before that. Jimmy Page. The resulting album, Don’t going all the way back to 1974! Auger had been playing since Send Me No Flowers, was released just The site is now compatible he was a young child in London. His older a short time before Sonny Boy died. He with both Netscape Navigator brother had a large collection of American then put together a band called and Internet Explorer as well jazz recordings by Ellington, Fats Waller, with , Rod as AOL. We apologize to all of , George Shearing and Stewart and - three singers you were unable to navigate many others, on the front line. the site in the past. and young “After play- Brian listened ing with Address All Correspondence to: to them all. In Steampacket,” Jazz & Blues Report his teens he’d Auger stated” I 19885 Detroit Road was playing wanted to put Suite 320 jazz at parties my own band Rocky River, Ohio 44116 and other together again gatherings. to combine Main Office...... 216.651.0626 Soon there- numerous ele- Editor’s Desk...... 440.331.1930 after, he’d be ments–the jazz Fax...... 440.331.0886 found playing sounds I had Comments - [email protected] in some of the always loved, web - www.jazz-blues.com top clubs in the newly- London with emerging rock ‘n some of that Brian Auger & Julie Driscoll roll, the kind of ©2003 Martin-Wahl Communications, Inc. city’s finest. In blues I had No portion of this publication may be reproduced 1964, Auger won first place in two cate- learned about from Williamson and without written permission from the publisher. All rights reserved. gories in the prestigious Melody Maker Baldry, and soulful funk which goes so magazine’s musicians poll–”Jazz Piano” well with the organ. I was trying to build a Jazz Report was founded in Buffalo, New York in March of 1974, and began in Cleveland in 1978. and “New Star.” bridge between all these diverse ele- The name was changed to Jazz & Blues Report Sometime in the early 60s, Brian was ments and after a while they started call- in 1991. We are subsidized solely through adver- tising, and ask that you support our advertisers. in a record store where they were playing ing it ‘jazz-rock’ or ‘fusion.’ But you have ’s Back at the Chicken to remember, this was still several years Shack album. He was hooked...he before Miles put out Bitches Brew, so we a division of bought a Hammond B-3 organ and his life were treading in unknown waters.” was changed. Inspired by Smith and The new band went by the name of martin-wahl Mose Allison, he started the first Brian the Brian Auger Trinity with Julie Driscoll, communications Auger Trinity as a jazz-blues trio . and their first album in 1967, Open, fea- Sonny Boy Williamson was living in tured their classic (especially if you were

PAGE TWO September • October 2003 • Issue 264 Jazz & Blues Report of the late sixties hippie variety) organ- driven version of ’s “Season of the Witch.” In 1968 The Trinity became the first fusion group to headline at the Montreaux and Berlin Jazz Festivals. After another album, , and a tour of the U.S., the group broke up due to typical band problems. Auger relates, “After the shambles of Trinity, I was in a cynical mood. I encour- aged everyone in the new band to be cre- ative as possible, and not to worry about what the record company or the public might want. This seemed to be going against the commercial tide and I thought we might be headed the quickest way toward oblivion, so tongue-in-cheek, I called the band the Oblivion Express.” But the public did like their . Sarah Vaughan liked them too, and The Oblivion Express Today recorded three of Brian’s songs. The same year Auger was the first to take first on Marimar Records which features both “Brian – Brian Man, You’re Crazy!” place in both the Jazz and Rock cate- vocals and instrumentals. There are -Jimmy Smith gories in the major European Rock & Folk brand new versions of songs from previ- “His power and love for the music magazine. Their breakthrough album was ous Auger albums – “Isola Natale” (previ- was the foundation for one of the most the very jazzy Closer to It – of which ously on Open) , the title track which was memorable tours I have ever done. With Auger says “We called it that because we first heard on Closer To It), Richie his great solid foundation it made it possi- got the exact sound I was looking for, and Haven’s “Indian Rope Man” (originally on ble for us to blow free. Brian is true inspi- it went on Billboard’s Rock, Jazz and R&B Streetnoise) and “Never Gonna Come ration to work with despite the fact t hat he charts and really established me in the Down” (first heard on Happiness is an Englishman! Brian is a bad U.S.” The Oblivion Express toured with Heartaches). mutha!!!” -Les McCann I first became familiar with Auger jazz, rock and R&B acts such as Herbie “Brian Auger is a superb technician Hancock & the Headhunters, Chick Corea from the Trinity albums when I was a bit younger and wilder. Luckily I lived through on his instrument but he also plays with and Return to Forever, Weather Report, feeling that is a rarity. I am looking for- The Crusaders, Earth Wind & Fire, Blue that period in time and am still able to enjoy his music today, as I have been a ward to recording with him in the near Oyster Cult and ZZ Top. future.” -Eddie Harris In 1977 Brian had a wonderful fan ever since. reunion with Julie Driscoll (now married I’ll be on that train for sure. “Mr. Brian Auger is a personal friend and known as Julie Tippets) for the album Bill Wahl and a great artist. I have had the oppor- Encore on (I believe) Warner Bros. tunity to work with Brian just as a trio. He Records. It offered very memorable ver- Some Notable Quotes made his keyboard sound like a big band! sions of classics from and “Brian Auger is one of the best B-3 He is a , arranger, complete Traffic – “Don’t Let Me Be Misunderstood” artists I have ever heard in my life. This keyboard player and a great accompanist. and “No Time To Live.” technique is awesome and the amount of I enjoy playing with Brian – he can really As the nineties began, Auger got energy he generates is unparalleled and make it happen.” -Louis Bellson together with and their band relentless. He is a tremendous talent with “Brian is one of the originators of the toured for four years. Brian’s son, Karma, a wonderfully warm and compassionate high energy Hammond organ style along played drums for the band for their last personality, a combination that is hard to with Larry Young in the tradition of Jimmy year. In the mid-nineties, Auger got the beat. He deserves all the accolades.” Smith. I remember in the late sixties rights to re-release many of his catalogue -Herbie Hancock when Brian and I were in London togeth- albums worldwide and they appeared on “Those who remain oblivious to the obvi- er. Our paths crossed at different times CD for the first time. The new Oblivion ous delights of Brian Auger’s Oblivion Express both socially and also playing with the Express was formed, and Auger was sur- do so at their own risk.” -The likes of and the guys from prised to find the media hailing him as the My favorite rock artists are Van Cream. I consider Brian a great friend “Godfather of Acid Jazz” as he was tour- Morrison, Bonnie Raitt, Brian Auger and and musician.” - ing Europe. Loudon Wainwright.” -Mose Allison The latest addition of Oblivion Express is a family-oriented affair bringing “When I first heard Brian’s album some youthful spunk into the equation. ‘Definitely What’ I could not believe how Brian still plays the Hammond B-3 which ahead of its time it was. A visionary in his Feed On Our Database he bought in 1968, his son Karma is on own time with music that still comes over drums, his daughter Savannah is on fresh today – and he’s still doing it just as Search thousands of reviews! vocals, Don Lutz plays bass and Chris great – keep up the good work mate!” www.jazz-blues.com Clermont is on . The new band has -Simon Bartholomew an album titled Voices Of Other Times (The Brand New Heavies)

Jazz & Blues Report September • October 2003 • Issue 264 PAGE THREE BLUES WATCH By Mark Smith

New Release blues…. Wrap up your summer with these hot new releas- es: Joe Krown- Down & Dirty; Various Artists- Genuine Houserockin’ Christmas; Eric Bibb- Natural Light; Scott Ellison- Bad Case of the Blues; Tony Furtado- Live Gypsy; Los Straitjackets- Supersonic in 3- D; North Mississippi Allstars- Polaris; James “Blood” Ulmer- No Escape from the Blues: The Electric Lady Sessions; ZZ Top- Mescalero; Various Artists- Martin Scorsese Presents the Blues ( Original Soundtrack recordings includ- JazzFest presents ing : Feel Like Goin’ Home; Piano The Pat Metheny Trio Blues; The Soul of a Man; Warming By November 9 at Severance Hall the Devil’s Fire, Godfathers & Sons; Norman Brown Tri-C JazzFest Cleveland and Jazz on Red, White & The Blues and The Road the Circle present an evening with The Pat to Memphis) ; Blind Boys of Alabama- Norman Brown Metheny Trio at Severance Hall, 11001 Go Tell It on the Mountain; Renee Euclid Avenue, on Sunday, November 9 at & Brian Culbertson Austin- Sweet Talk; Big Dave- Blues to play Allen Theatre September 18 7:30 p.m. The award-winning guitarist will be From the Middle; Rory Block- last Fair joined by bassist Christian McBride and Deal Gone Down; Jay McShann- Goin’ An enduring presence on the jazz drummer Antonio Sanchez in a special to Kansas City; Johnny B. Moore- charts and a bounty of industry awards acoustic trio concert. Rockin’ in the Same Old Boat; Big Bill characterize the careers of Norman Pat Metheny has achieved acclaim Morganfield- Blues in the Blood; Duke Brown and Brian Culbertson, two smooth from critics and peers, winning countless Robillard- Exalted Lover; Bobby Rush- jazz artists who exemplify the mindset polls as “Best Jazz Guitarist” and numerous Live at Ground Zero; - that musical adventure is as much about gold records and Grammy awards for work Muddy “Mississippi” Waters- Legacy the journey as the destination. The in rock and jazz. Pat Metheny’s body of Edition; Martin Scorsese presents the Warner Bros. Iabelmates have teamed for work, as part of a writing team with key- blues- single disc collections by The a concert tour that will spotlight them at boardist Lyle Mays, includes compositions Allman Brothers Band; Eric Clapton; Playhouse Square’s Allen Theatre, for solo guitar, small ensembles, electric and Son House; Robert Johnson; Keb’ Mo’; Thursday, September 18 for one 8 p.m. acoustic instruments, large orchestras, and B.B. King; J.B. Lenoir; ; Stevie performance, where the hits of both artists ballet pieces, with settings ranging from Ray Vaughan; Muddy Waters; Bessie will be showcased, as well as numbers modern jazz to rock to classical. Smith; Jimi Hendrix; Mississippi Fred from their latest albums: Just Chillin’ In just the last decade, Christian McDowell- Heroes of the Blues: The (Brown) and Come On Up (Culbertson). McBride has arguably become the most Very Best of; Sonny Boy Williamson- Guitarist Norman Brown is well acclaimed acoustic and electric bassist to Bluebird Blues: The Secret History of known for powerful live performances that emerge from the jazz world. In addition to Rock & Roll; Various Artists- The Blues create a party-vibe, both onstage and in his many solo recordings, McBride has been Came from Memphis; Various Artists- the audience. The fact his name is often featured on over 200 recordings and has The Blues Came from Texas; Various mentioned in the same sentence as mas- toured and/or recorded with artists such as Artists- Blues Guitar Heroes; Sister ter guitarists Wes Montgomery and David Sanborn, Chaka Khan, Ray Brown, Rosetta Tharpe- The Gospel of the George Benson is ironic for Brown, who, George Benson, Diana Krall and Sting. Blues; Dr. John- All By Hisself: Live at at age eight, vowed to make the guitar his Drummer Antonio Sanchez, a native of the Lone Star ’86; Albert King- Live ’69; life after hearing the mind-exploding bril- Mexico, is a Magna Cum Laude graduate of Robert Lockwood Jr- The Complete Trix liance of Jimi Hendrix. It took Brown’s Berklee College of Music in Boston. At the Recordings; John Mayall- A hard Road- steelworker father to steer his son to the New Conservatory in Boston, he Blues Breakers with Peter Green; Maria equally life-changing influence of Wes studied with George Garzone and Danilo Muldaur- The Very Best of; Joe Louis Montgomery, which turned the boy’s Perez. Sanchez has played with the late Walker- Heritage of the Blues; John Lee musical direction from rock to jazz. Dizzy Gillespie’s United Nation Orchestra, Hooker- End of the World Blues and, On his way to becoming one of John Patitucci’s and Victor Mendoz, finally, Triple Trouble ( Tommy Castro, today’s freshest and most innovative among others. He was first noticed by Pat Jimmy Hall and Lloyd Jones- backed by jazz/urban virtuosos, Brown added Metheny while playing on a double bill in Reese Wynans, Tommy Shannon and George Benson to his list of seminal influ- Europe with the Danilo Perez Trio. Chris Layton of Double Trouble); ences. Motown Records liked what they Tickets are on sale now for Delbert McClinton- Live (two disc heard, signed him, and his resulting three $50/42.50/37.50, at the Severance Hall box release recorded April 03)…. That’s it albums between 1992 & ‘96 all met with office, or can be charged by phone by calling for this month. I need to squeeze those critical acclaim. A recording “lull” ensued 216/231-1111 (toll free 800-686-1141). Order last couple of drops of sunshine out of until 2000 due to the guitarist’s in-demand online at www.clevelandorchestra.com summer!! See ya. touring schedule... the same happy rea-

PAGE FOUR September • October 2003 • Issue 264 Jazz & Blues Report the JOURNEY A Mind, Body & Soul EXPO With Headline Speakers & Music September Dr. Wayne Dyer • Neale Donald Walsch 5, 6, & 7, 2003 Dr. William Glasser • Earnie Larsen • Wah! Lakeland Community College Kirtland, Ohio Lakeland Community College Dr. Wayne Dyer Neale Donald Walsch is located 20 miles East of Cleveland located off of Interstate 90 at the State Rt. 306 exit

The EXPO will feature over 100 vendors in Music & Chants by Wah! 23,000+ sq. ft. of space with everything to stimulate your Mind, Body & Soul! Dr. William Glasser Earnie Larsen alternative medicine, aromatherapy, crystals, nutritional supplements, spiritual guidance, astrology, intuitive readers, healing work, massage therapy, Zen meditataion, informative lectures, workshops, demonstra- tions, Yoga, Tai Chi, QiGong, Sacred Dance, Hypnosis, Telepathic Communication with Animals, Drumming, Healing Harp, Raw Food Preparation, candles, incense, herbs, and much more... Friday 35-11 PM, Saturday 10 AM - 11 PM, Sunday 10 AM - 6 PM.

Jazz & Blues Report September • October 2003 • Issue 264 PAGE FIVE son a three-year recording hiatus preced- Back By Popular Demand! ed 2003’s Just Chillin’ CD. Jazz on the Circle Brian Culbertson’s meteoric rise “The Song Is You” should not be mistaken for overnight suc- Presented by Tri-C JazzFest The ninth season of the award-win- cess. Like Brown, Music 101 also began ning Jazz on the Circle concert series will at age eight for Brian, first on piano. At Tri-C JazzFest Cleveland, with the kick off in October. A collaboration age nine it was drums. Next came trom- support of WRMR 1420 Classic Pops AM between Severance Hall, the Cleveland bone at 10, followed by bass at 12. and The Andrews Foundation, presents a Museum of Art, the Northeast Ohio Jazz As early as junior high, his talents as second season of “The Song Is you”. The Society and Tri-C JazzFest Cleveland, the a writer were evident when his 7th grade five-part series will begin on Sunday, seven-concert season features interna- piano recital consisted entirely of Brian’s October 5th at 3 p.m, at the CCC Metro tionally-acclaimed guest artists. original compositions. A -playing, Campus Mainstage Theatre. Hosted by Jazz on the Circle concerts are pre- award-winning high school jazz band radio personality Bill Rudman and pianist sented in Reinberger Chamber Hall and director was so impressed with Brian’s Joe Hunter, the sessions will feature live the Concert Hall at Severance Hall and in music prowess, he allowed the pre-teen music, recordings, videos and guest vocal- Gartner Auditorium at the Cleveland to build a recording studio in the director’s ists Susan Hesse, Barbara Knight, Erin Museum of Art basement. Never mind that the band Kufel, Vince Mastro and Evelyn Wright. The 2003-2004 season begins on director was also Brian’s dad... he knew a Admission is only $10 at the door – October 12 with the and rising star when he saw one. (The senior no advance reservations necessary. Russell Malone Duo in Reinberger Culbertson was eventually rewarded The Song Is You Program Chamber Hall at Severance Hall. Pianist Benny Green and guitarist Russell twofold: by his son’s success, and with a SESSION 1: October 5 (3 PM) Malone have brought together a recording job...as one of the musicians in Brian’s Irving Berlin: The Proud Father of and touring project dedicated to the mem- touring band) 20th Century Song Featuring vocalists ory of the late jazz bassist Ray Brown. Merging his enthusiasm for music Erin Kufel and Vince Mastro Compositions being performed include with the emerging technology of comput- SESSION 2: November 30 (3 PM) standard jazz tunes as Thelonious Monk’s ers, Brian became a high school student Richard Rodgers and Lorenz Hart: “Ask Me Now,” Benny Carter’s “When by day and a composer/producer by night, It’s Smooth, It’s Smart, It’s Rodgers Lights Are Low,” Cannonball Adderley’s garnering a list of prestigious Downbeat and Hart Vocalist Barbara Knight “Wabash,” Billy Strayhorn’s “The Intimacy student awards for , piano and SESSION 3: January 11, 2004 (3 of the Blues,” and John Coltrane’s composition. By the time he was a 20- PM) Peggy Lee: The Art of the Singer “Moment’s Notice”/”Lazy Bird.” year-old college student, Brian was Up-close-and-personal look at the 50- On November 9 Tri-C JazzFest authoring commercial jingles for corpo- year career of a legendary American singer, Cleveland will present the Pat Metheny rate giants the likes of McDonald’s, Sears, featuring rare film and interview clips Trio with Christian McBride and Antonio United Airlines and Oldsmobile. SESSION 4: March 4 (3 PM) Sanchez in Severance Hall’s Concert In 1994, he recorded his smooth jazz Cole Porter: Mr. Sophisticate Hall. Winner of countless polls as “Best debut CD in a bedroom of the Featuring vocalist Susan Hesse Jazz Guitarist” and 14 Grammy Awards, apartment he shared with three college SESSION 5: April 18, (3 PM) Pat Metheny has performed with artists as buddies. Self-produced and unencum- I Love The Blues – She Heard My diverse as Steve Reich, Ornette bered by industry expectations, Long Cry: The Impact of the Blues on American Coleman, Herbie Hancock and David Night Out was an instant sensation, Popular Song Featuring vocalist Evelyn Bowie. Metheny’s body of work includes spending 10 consecutive weeks in the Wright compositions for solo guitar, small ensem- Top 5 on the Contemporary Jazz Charts Directions and Parking: The CCC bles, electric and acoustic instruments, (two of those weeks at #2). That debut Metro Main Stage Theatre is located at large orchestras, and ballet pieces, with release spawned a run of chart-topping 2900 Community College Avenue in down- settings ranging from modern jazz to rock CDs and #1 singles. Seven album later, town Cleveland. At Woodland Avenue, to classical. Brian enjoys success and stature as one near East 30th, turn right into Entrance #6 On December 6 Paquito D’Rivera of the most in-demand artists in the busi- for underground parking. Fifty cents (two and New York Voices will present ness for production and writing collabora- quarters) will be needed to exit. “” in Gartner Auditorium tions. For more information, call 216/987- at the Cleveland Museum of Art. Paquito Tickets for the Brown/Culbertson 4400 or visit us online at www.tricjaz- D’Rivera’s interest in vocal quartet music concert are $25 & $30, on sale at zfest.com Playhouse Square’s Box Office; online at About The Hosts began in the 1960s in Havana, listening to radio programs on Miami’s WQAM that www.playhousesquare.com; tickets.com BILL RUDMAN is a music historian featured wonderful vocal quartet harmony outlets at Tops Friendly Markets; by and broadcaster who specializes in clas- for commercials and station IDs. His fas- phone at 216 241-6000 or toll-free at 800- sic American song.His radio program, cination with Brazilian music also began 766-6048.) “Life Is a Song” is heard on WRMR 1420 around this time, coinciding with the AM and his nationally syndicated movement. D’Rivera had “Footlight Parade” is carried locally both dreamed of one day incorporating his love on WRMR and WCLV 104.9 FM. of American vocal quartet music with the JOE HUNTER is a versatile pianist Log On... melodies and harmonies of his favorite who has performed with many national www.jazz-blues.com Brazilian . With the help of the artists, including Ernestine Anderson, vocal stylings of New York Voices, Buddy DeFranco and Scott Hamilton. He D’Rivera’s “Brazilian Dreams” have come currently serves on the Jazz Studies true. Faculty of Cuyahoga Community College.

PAGE SIX September • October 2003 • Issue 264 Jazz & Blues Report On January 17, 2004, Terence when Franz Welser-Möst will conduct the Always Swing” Jazz Series (Columbia, Blanchard will perform in Gartner premiere of Beethoven’s MO). The project will bring together artists Auditorium. One of the most important Diabelli Variations in an for from each region, forming an “all-star” musicians, composers, and bandleaders piano and orchestra by Uri Caine. ensemble to celebrate North America’s of his generation, and winner of Down On March 13 the Caribbean Jazz rich musical history. The ensemble’s Beat magazine’s Readers Poll in the Artist Project will present a concert in the Art repertoire will represent each region’s of the Year, Trumpeter of the Year, and Museum’s Gartner Auditorium. One of connection and heritage to jazz. Jazz Album of the Year (2000) categories, the most refreshingly innovative groups in Across The Americas will premiere in Terence Blanchard has also enjoyed suc- Latin jazz today, the Caribbean Jazz Pittsburgh and will then appear in cess at the top of the Billboard jazz Project never fails to surprise and delight Cleveland for one day on the Jazz on the charts. He is a multi-Grammy Award listeners with their inspired melding of Circle series. nominee, most recently in 2002 for “Lost jazz and Latin music. Whether putting a Series subscriptions for Jazz on the in a Fog” from his album Let’s Get Lost. fresh, Latin spin on jazz standards or Circle 2003-2004 are currently on sale. His latest release on Blue Note, entitled bringing their compelling original compo- Single tickets for all Jazz on the Bounce, consists of all original music. sitions to life with distinctive artistry and Circle concerts go on sale Tuesday, On February 29 the Uri Caine Trio will virtuosity, the Caribbean Jazz Project has September 2. perform in Reinberger Chamber Hall at created a signature sound unlike any Tickets are available in person at the Severance Hall. Uri Caine is a pre-emi- other group in Latin jazz. Severance Hall Ticket Office, by phone at nent “straight ahead” jazz pianist and a The ninth season of Jazz on the (216) 231-1111 or 1-800-686-1141 or “cutting edge” innovative pianist, musi- Circle concludes on May 2 with the Jazz online at www.clevelandorchestra.com . cian, and composer who is not afraid to Across The Americas concert in the There are no added service charges experiment with new forms. Utilizing Reinberger Recital Hall at Severance for tickets purchased through the instrumentalists, vocalists, assorted street Hall. The Jazz Across the Americas Severance Hall Ticket Office. sounds, and digital recording effects, Concert is being co-curated by the Jazz on the Circle is a collaboration Caine makes well-disciplined and well- Chicago Jazz Series, the Contemporary between the Musical Arts Association, thought-out music that cuts across all cat- Arts Center of New Orleans, Detroit Jazz Cleveland Museum of Art, Northeast Ohio egories, encompassing jazz, classical, Festival, Kuumbwa Jazz Center (Santa Jazz Society and Tri-C JazzFest synthesizer, ethnic and religious music. In Cruz, CA), MCG Jazz, Monterey Jazz Cleveland. Funding is provided by the addition to his Jazz on the Circle perform- Festival, Syracuse JazzFest, Tri-C Kulas Foundation and John P. Murphy ance, Uri Caine will make his Cleveland JazzFest Cleveland, Vancouver Foundation. Orchestra debut as soloist in concerts on International Jazz Festival/Coastal Jazz & Promotional support is provided by February 26, 28, and March 2, 2004, Blues Society (Vancouver, B.C.), and “We WCPN.

Jazz & Blues Report September • October 2003 • Issue 264 PAGE SEVEN EDDY “THE CHIEF” career, from his early years with Graves’ orchestra, to reformist forays CLEARWATER with Weather report and his own Word FEATURING of Mouth Band. One of Jaco’s favorite LOS STRAITJACKETS Herbie Hancock tunes, “Wiggle Rock ‘N’ Roll City Waggle,” features Graves’ current lineup playing around a bass track BULLSEYE BLUES & JAZZ originally live-recorded by Pastorius Eddy Clearwater came upon his at a Sanibel Island gig in the late name playing upon the stage name of 1970s. Other selections are “Teen We Only Bring You Chicago superstar, and local 1960’s Town,” featuring Wooten; “Punk Jazz” competitor, Muddy Waters. The Cream of the Crop starring Bona; “Barbary Coast” and Any one with a knack like this “Elegant People” spotlighting could be expected to have a light- Veasley; “Continuum” highlighting hearted nature, and the blues-meets- NONET Haslip; and more. While all of the bass country guitarist/singer usually deliv- On This Day...At the Vanguard soloists satisfy listener expectations, ers this nature on disc, Rock ‘N’ Roll BLUE NOTE other highlights include an awesome City is no exception. Captured in live performance on tenor sax solo by Ed Calle on the A couple of nicely done minor- the final night of a week-long brisk-paced “Domingo” and solos by key tracks aside, this is an easy-goin’ engagement at Manhattan’s Village Mike Levine (piano) and Billy Ross set of party rock with deep roots over- Vanguard, saxophonist Joe Lovano’s (piccolo) on the racing “(Used to Be tones. Residing somewhere between Nonet delivers a sophisticated set of A) Cha Cha.” Screamin’ Jay Hawkins and seven tunes by Tadd Dameron, John An added bonus to this exciting Gatemouth Brown, Clearwater’s play- Coltrane, David Arksin, Billy album is that it’s an enhanced CD fulness and throwback sensibilities Strayhorn and two Lovano originals. which also contains videos, artist pro- mesh well with the roots instrumental- This is a communal effort with each file and more. The liner booklet con- ist Straitjackets. player contributing top licks. tains photos and extensive biographi- No brilliant moments, perhaps, Three years after Lovano’s first cal notes, comments from Graves and but fun and entertaining. nonet album (the Grammy winner Sound Consultant Larry Warrilow Duane Verh 52nd Street Themes), the leader and (Graves’ first guitarist who wrote his cohorts pick up where they left in synergistic collabo- off, expressing bebop, swing and ration with Jaco), and historical boundary-stretching themes on JACO PASTORIUS BIG BAND details about each tune. Seven inter- arrangements by Lovano, Willie Word of Mouth Revisited lude tracks feature Jaco’s actual spo- “Face” Smith and Steve Slagle. HEADS UP ken comments. The superb rhythm section of The Peter Graves Orchestra, This is an exceptionally appealing pianist , bassist Dennis renamed “the Jaco Pastorius Big album. One can only hope The Jaco Irwin and drummer Lewis Nash, pro- Band” for this venture, invites some of Pastorius Big Band will continue on vides plenty of punch and artistry. the finest electric bass players on the (much like the ) to Horn players include trumpeter contemporary jazz scene as guest perform Pastorius’s charts and to Barry Ries, trombonist Larry artists to perform Jaco Pastorius’ write new compositions in the spirit of Farrell, alto saxist Steve Slagle, music. Bassists Victor Bailey, Richard the legendary bassist. For more tenor saxophonists George Garzone Bona, Jeff Carswell, Jimmy Haslip, information on Jaco, visit the official and Ralph Lalama, and baritone sax Christian McBride, Marcus Miller, website, www.jacopastorius.com. man Scott Robinson, all solid inno- David Pastorius (Jaco’s nephew), Nancy Ann Lee vators and/or leaders on the New Gerald Veasley and Victor Wooten are York City scene. backed by a noteworthy orchestra One of Lovano’s best perform- and additional guests. CLASSIC BLUES ON A BUDGET ances is his expressive, dreamy solo This 14-musician tribute band 50th Anniversary Super Savers on Coltrane’s “After the Rain,” devoted to the legacy of the leg- DELMARK arranged by Slagle. Smith’s smooth, endary bassist is the life-long project In its continuing celebration of a half- tight arrangements and Lovano’s of trombonist/conductor Graves, who century of blues and jazz recording, this prime solos on Dameron’s “Focus” first hired the late Jaco Pastorius in sturdy Chicago-based label has released and “Good Bait” rank among the 1971 for a five-year stint as bassist several budget-priced discs highlighting best highlights. with his orchestra, then the house specific genres and styles contained in Throughout, Lovano solos with band at Bachelors III in Ft. their venerable catalog. Each one cov- finesse but doesn’t hog the spotlight. Lauderdale, FL. Graves’ orchestra ered here provides nice glimpses into its Rather, he (and the other soloists) served as the foundation for Pastorius specialty and makes for a nice gateway enhance well-chosen tunes and to explore his brilliance and talents as to the specific turf they cover. attractive arrangements to make writer and arranger. For those who got caught up in the this a pleasurable listen from start to The 13 tracks featured span most 90’s “swing” scene- actually a “jump” finish. Nancy Ann Lee of Pastorius’ diverse and prolific movement- the fare on For Jumpers

PAGE EIGHT September • October 2003 • Issue 264 Jazz & Blues Report Only may frame that sound in a recording was simply one of those... gee smoother, less frenetic setting than that I wonder what this will do. So with one of last decade’s revivalists. In addition, mic, one guitar and one guitar player, jazz fans may figure out how many a and little-to-no studio effects or process- 12387 Cedar Road solid post-WW II jazzman made a living ing, One Quiet Night Solo Baritone Cleveland Hts. playing for dance crowds in between Guitar was born, and is quite the peace- Reservations: 216-795-0550 “real” jazz gigs. There’s plenty of quality ful journey exploring the rich, natural blowing from the likes of Jacquet, tones and subtones of the instrument. MON SEPT 8 7 PM and others. The eventual Consisting of some new composi- WILLIE & LOBO transit of jump to r&b is indicated on tions and familiar Metheny tunes includ- Narada rec. artists. International gui- vocalist Erline Harris’s track. ing a cool version of Last Train Home, he tar/violin duo in Night Town debut. The second full generation of also includes the Keith Jarrett tune My TUES SEPT 9 7 PM Chicago blues flourished on that town’s Song, the very popular Don’t Know Why MICHAEL MANRING West Side in the 1960’s and Delmark written by Jesse Harris and popularized Electric bass player extraordinaire. was well-represented with the likes of the by Norah Jones, as well a classic golden SUN-MON SEPT 14-15 splendid late guitarist/vocalists Magic oldie of Gerry and the Pacemakers, SUN 5 & 7:30 MON 7 & 9 PM Sam and Luther Allison. Also notable on Ferry Cross the Mersey – probably my MONTY ALEXANDER West Side Chicago Blues is a raucous favorite on the disc. Telarc rec. artist. Jamaican pianist. live track from Otis Rush and some no- Metheny said “There are occasional TUES SEPT 16 7 PM nonsense instrumental work from gui- flaws in the tuning and the recording itself BEPPE GAMBETTA tarist Jimmy Dawkins. - it was intended for nothing more than From Italy. Master finger-picking Blues From Up The Country fea- my own research and the pleasure of guitarist performs solo. tures nice sides by Robert Nighthawk playing at home one night,” which is kind WED SEPT 17 7 PM and Big Joe Williams and a couple of of one of the things I like about it. You can NEW BARLEYCORN Half-way to St. Patty’s Day. spirited takes from the trio of Sleepy hear him working through the tunes and MON SEPT 22 7 PM John Estes, mandolinist Yank Rachell get a bit if a glimpse into the musical YELLOWJACKETS and harmonica player Hammie Nixon. thought process. It’s also like having your Heads Up rec. artists While not definitive anthologies of these friend Pat come over to your house and Legendary group. diverse styles, these discs are great sam- just start noodling around on his guitar, TUES SEPT 23 7 PM plers and, perhaps most importantly, and you just sit there and drift away...... very listenable stand-alone sets. Jim Martin RACHEL Z TRIO Back from tour with Peter Gabriel’s Duane Verh band. Stunning pianist. ANSON FUNDERBURGH THURS SEPT 25 7 PM PAT METHENY AND THE ROCKETS MAHAVISHNU One Quiet Night Which Way Is Texas? PROJECT BULLSEYE BLUES AND JAZZ NYC group’s tribute to Solo John McLaughlin. WARNER BROS. After a four year recording hiatis, MON & TUES OCT 6-7 7 & 9 PM Elements.... There are two; Anson Funderburg and crew deliver the Element 1, the baritone guitar, origi- raw boned Texas blues and fifties style BRIAN AUGER’S nally made in the late 50s by Danelectro. OBLIVION EXPRESS rock that have kept them on the road for From London. The Godfather of It differs from a standard guitar in that it twenty five.years. True to form, the band “Acid Jazz”. Legendary B-3 player. is tuned a fifth lower,. This allows you to relies on substance and finesse rather play bass and chords on the same instru- than instrumental flash to make its point. WED & THURS OCT 8-9 7 & 9 PM ment giving the player a wide range of While Funderburgh can bend the LAVAY SMITH harmonic possibilities. strings with the best of them he’s content & RED HOT SKILLET LICKERS Sultry San Francisco vocalist with Element 2, Pat Metheny, made in to fill in the spaces around vocalist Sam her all-star 8-piece band. the early 50s by Dave and Lois. He dif- Myers’ harmonica, Gentleman John fers from the standard guitar player in Street’s stinging piano and the brassy SUN OCT. 12 7 PM that he possess superior skills, imagina- horn charts laid down by The Texas MIKE PETRONE TRIO tion, and knows how to make use of a Horns (Mark Kazanoff on tenor and alto JOHN PETRONE TRIO wide range of harmonic possibilities. sax, John Mills on baritone sax and Gary Cleveland legends. Father & Son pianists meet for the first time. It all happened in late November of Slechta on trumpet). That’s not to say 2002 in his home studio in New York. that he’s a mere rhythm player here- cuts MON OCT 13 7 PM The recording, not intended for release, like Can We Get Together and Toss and TRIO DE PAZ From Brazil. Malandro rec. was just an evening of playing for himself Turn prove to the contrary. artists. Featuring Romero and experimenting around. It’s simply that that this is a band, Lubambo, Nilson Matta & Remembering a low Nashville tuning that not a guitar solo project where the other Duduka Da Fonseca. he had worked with years ago on the musicians simply provide a backdrop for 10/5 ...... JACKIE WARREN 10/21-22 . . MASTERS OF GROOVE tune “The Search”, and his newly endless soloing. With echos of Muddy & LARRY MUEHLING 11/2-3 ...... JIMMY SCOTT acquired baritone guitar, made by Waters and John Lee Hooker fueling 10/19 ...... HOWARD LEVY 11/6 ...... BATTLEFIELD BAND & ANTHONY MOLINARO 11/17-18 ...... Canadian luthier Linda Manzer. The much of the sound, Myers regales listen-

Jazz & Blues Report September • October 2003 • Issue 264 PAGE NINE the disc features Funderburgh’s first ed all-time favorites such as John recorded vocals on one Woman I Need Lennon’s “Yesterday,” Duke Ellington’s and Toss and Turn both of which reveal “Take Love Easy,” the Ray Evans-Jay that he could keep the Rockets in flight Livingston standard, “Never Let Me Go,” should Myers be unable to suit up for a and more. Alone worth the album price gig. is her near-whispered, impassioned Overall, another fine release from interpretation of the familiar Jacques this veteran band. Mark Smith Brel tune, “If You Go Away.” Horn totally reinvents the standard, “Everything Must Change,” which features her nearly spo- SHIRLEY HORN ken lyrics against pulsing rhythms. May the Music Never End Hargrove’s warm flugelhorn fills and solo VERVE on Harold Arlen’s “Ill Wind” add beauti- Vocalist/pianist Shirley Horn recent- fully to Horn’s heartfelt lyrics. ly faced major surgery that prevents her Horn and colleagues turn each song from playing the piano on this (her sev- into a treasure. These musicians are pros enth) Verve recording. Hence, Horn who never disturb the steamy, torchy focuses on with piano support moods of Horn’s songs, especially from George Mesterhazy (9 tracks) and Mesterhazy who plays softly and sensi- guest Ahmad Jamal (2 tracks). Bassist tively (as Horn would have supported Ed Howard and drummer Steve Williams herself). This is a gorgeous, laid-back round out the rhythm team and Roy album. Nancy Ann Lee Hargrove guests on flugelhorn on two ers with tales about getting rid of a no tracks. good woman, Some Sunny Day which Horn has a distinctive vocal style CHRIS CAIN features some fine single string soloing that’s been lauded by critics and other Hall Of Shame by Funderburg, the celebration the ladies vocalists as “the personification of the BLUE ROCKIT throw when he’s back in town, Hoodoo word ‘cool’,” “the preeminent jazz vocal- Like Robben Ford, Chris Cain is a Party, which is driven by New Orleans ist of her generation,” and “the sexiest guitarist that successfully straddles style piano, and the time that is wasted if voice alive.” Indeed, whether Horn’s between blues and fusion music. Cain, growing up means all you have left to do singing a ballad or a swinging blues especially, has shown a knack for blend- is get old, Don’t Turn the Child away number, she delicately shapes each song ing both in the same tune both as player from Heaven. for peak emotional impact. and composer. Hall Of Shame finds As an added treat for longtime fans Spanning the decades, she’s select- Cain at the top of his game. It might be September FRI 5 ...... ARMSTRONG BEARCAT BAND SAT 6...... COLIN DUSSAULT'S BLUES PROJECT FRI 12 .....JAKES BLUES SAT 13.....CRUISIN FRI 19 .....HEART & SOUL It’s More Than Just a Club SAT 20.....TRAVIS HADDIX BAND Serving Fine Food & Great Music, FRI 26 .....BLUESCASTERS with no cover daily till closing SAT 27.....COLIN DUSSAULT'S BLUES PROJECT MONDAY EDDIE & THE EDSELS

TUESDAYS ERNIE KRIVDA & THE FAT October TUESDAY BIG BAND FRI 3 ...... BLUES DEVILLLE WEDNESDAYS MY THREE SONS SAT 4...... (T.B.A.) OCTOBER 17TH HALFWAY TO ST. PATRICK’S DAY PARTY FRI 10 .....TONY KUSSA JR. BAND MORRISON & MCCARTHY 5 TO 8PM SAT 11.....BECKY BOYD & REAL LIFE THURSDAYS THE SAVANNAH JAM WITH FRI 17 .....MR. STRESS & THE ALLSTAR BAND BAD BOYS OF BLUES SAT 18.....JOE BELL & THE SOUL PATROL SUNDAY OCTOBER 12TH FRI 24 .....BFD BLUES BAND SPECIAL EVENT NASHVILLE’S SAT 25.....COLIN DUSSAULT'S BLUES PROJECT 2002 MALE BLUES STACEY MITCHHART FRI 31 .....DAVE C & THE SHARPTONES LUES AN SE AND GUITAR & VOCALIST OF THE YEAR & B U C -U B Also visit us at The Yukon on French Creek 30676 Detroit Road Westlake (440) 892-2266 37399 French Creek Road Avon Ohio www.TheSavannah.com

PAGE TEN September • October 2003 • Issue 264 Jazz & Blues Report his best solo effort to date. CANDYE KANE Serving Delicious Food With a laid-back keys & rhythm trio Whole Lotta Love Lunch & Dinner in tow, Cain consistently maintains a RUF RECORDS breezy groove while keeping the “blues” On her debut Ruf Records aspect credible with solid, inventive solo release(after a long stint on the Bullseye choruses. Anchoring the proceedings label) blues belter Candye Kane rips and also are his savvy, usually “noir”-shaded roars her way through 13 cuts about the lyrics. This is truly contemporary blues. joys of both quick carnal pleasure and Cain’s voice has reached a nice, longer term emotional attachment. As mature point as well. Strong tracks here with her prior efforts Kane uses blues, include the leadoff “First Time For rock, gospel and soul as the musical SEPTEMBER Everything”, a tribute to Albert King- vehicles for her tales. While some of the Sun. 7 Whiskey Store Featuring “The World Got The Blues before tales have been told before such as the Jimmy Thackery & Tab Benoit Sunrise” and the very Ray Charles-like seemingly mandatory tale about the title track, which also features nice piano virtues of her plus size Fit, Fat & Fine, and Wed. 10 from Tony Lufrano. Nice job. Going Back Where I Belong, a quick Little Charlie and the Nightcats.. Duane Verh reminder of her bi-sexuality, everything The modern day and here is delivered with Kane’s typical pas- Jr.wells – West coast jump blues kings KURT ELLING sion and wit. Fri. 12 Dave Hole What sets this disc apart from some Man in the Air Alligator’s slide guitarist master of its predecessors is her inclusion of cuts BLUE NOTE Sat. 13 Wallace Coleman that stretch her stylistic boundaries even Vocalist Kurt Elling maintains his Cleveland’s Blues harp maestro’s more than usual. Ragtime piano fuels I’m edge of excellence, writing and singing CD release party Not Getting Older with funk finding its lyrics to tunes by an array of jazz artists, Thurs. 18 Bop City- featured way into the mix on I Got A Secret, a tale and contributing one original. On his about one sided love driven by scratch members of Robert Lockwood Jr.’s band sixth Blue Note recording, he performs guitar and horns. Sun. 21 with Laurence Hobgood (piano, Rhodes What’s That I Smell is another well West Coast harp ace electric piano), Rob Amster (bass), executed excursion into new territory Tues. 23 Flaco!- Frank Parker, Jr. (drums, percussion) with its piedmont style acoustic blues and guests Stefon Harris (vibes), Jim Amazing hip-hip/jazz from Denver about cheatin’ delivered as a duet with Gailloreto (soprano sax). Drummer Paul Thur. 25 Larry Gardner- “riveting Charlie Musselwhite. Kane even picks up Wer tico and Brad Wheeler sit in on the and powerful live performances” the late night torch on the slow, sultry mood-shifting opener, “Minuano,” a Pat –REAL BLUES MAGAZINE When the Hangover Strikes which Metheny/Lyle Mays tune. Fri. 26 Chris Duarte Band sounds like something off a Dinah Elling’s aim for this project was “to in-your-face, Texas blues-rock Washington disc but with lyrics that only address a broad array of Sat. 27 Gary Primrich Candye would pen.. More typical of her experiences...like a walk through an blues singer/ and harmonica prior discs are the rocking I’m A Sucker aural art gallery.” One of the best tunes is master From Austin Texas and the cheater’s tale, 27 Times, the the William Eaton piece, “In the w/special guest Colin Dussault straight blues of A Lion In My House and Winelight,” a romantic number the slinky harmonica driven Put It All In OCTOBER enhanced by Harris’s solo and a funky There, a song about males of, well, vari- Fri. 10 backbeat. Expressing spirituality, Elling ous sizes. The title cut is a straight out sings hornlike lines, meeting the chal- Little Ed & the Blues Imperials – rock and roll reading of the Led Zeppelin lenge of Coltrane’s powerful, winding genuine house-rocking masters classic. Wrapping up the stylistic journey tune, “Resolution,” which also spotlights Fri. 17 Lonnie Brooks (tentative) are the wonderful Memphis gospel meets a fine piano solo from Hobgood. Elling’s Philly soul of Wrap Around Joy and Sat. 18 John Mayall (tentative) original, “The More I Have You,” with Something’s Got a Hold on Me. Overall, Sat. 25 vocalese sections, captures the essence this is another fine release by an artist Alvin Youngblood Hart & Rory Block of his unique style. that deserves wider attention in the blues Fairmont Music settlement Benefit show There are plenty of highlights as world. Mark Smith Elling adds flair to other delectable tunes Thurs. 30 by Josef Zawinul, Herbie Hancock, Magic Slim and The Teardrops Courtney F. Pine, Bobby Watson, Bob ROSA PASSOS & RON CARTER “the last real Chicago blues band,” This is no-frills, unapologetic, straight-no- Mintzer and others, including the title Entre Amigos (Among Friends) chaser, bewitching blues for the ages tune by Hobgood. CHESKY Elling’s a true poet and you’ll want Singer Rosa Passos, bassist Ron Carter, guitarist Lula Galvao, percussion- to absorb his lyrics through repeated Weekend Shows @ 9:30/Weekdays @8:30 play. ist Paulo Braga and Billy Drewes (tenor You may also want to check out his sax and ) serve up 11 Brazilian 216 902 46633 official website, www.kurtelling.com, to jazz tunes for a mellow, intimate set rem- 812 Huron Rd. E. • Cleveland read his lyrics. Nancy Ann Lee iniscent of performanc- Jazz & Blues Report September • October 2003 • Issue 264 PAGE ELEVEN es. BIG BILL MORGANFIELD for Last Tango (Theme from Last Tango Passos is the star and, with the Blues In The Blood in Paris) which has the programmed exception of Drewes who solos on a cou- BLIND PIG machine stuff, though I must admit - it is ple of tracks, the other musicians mostly Big Bill’s lineage must be both bless- well done. Gato is his passionate Latin- provide accompaniment on this recital- ing and curse. Being Muddy’s progeny self throughout no matter what the like performance featuring vocals, guitar obviously gained him attention, but the groove might be. and bass. inevitable comparisons to his dad must In short, still on the more commer- Compositions by Brazilian be a load as well. If anything, Big Bill as cial side of things, but a good listen for singer/songwriter Antonio Carlos Jobim a composer these days probably bears the casual or light jazz fan and very nice- predominate and include all-time more similarity to John Lee Hooker than ly done. Bill Wahl favorites such as “,” Muddy. The single-riff motifs of most of “Insensatez,” and “Garota de Ipanema.” Blues In The Blood bear this out and, Most tunes were arranged by Galvao, as whatever his actual influences are, it’s JANIVA MAGNESS he’s the one who mainly takes the refreshing to hear Big Bill reaching for his Use What You Got melody lead. Passos arranged four own voice. BLUES LEAF RECORDS3 songs. One of the prettiest Jobim num- Much of the success of this disc, and As on her prior release, West Coast bers, “Eu Sei Que Vou Te Amar,” is it is a good one, is to the variety of back- blues chanteuse, Janiva Magness, has gracefully enhanced by Drewes’ clarinet drops Bill’s band provides. Thanks in assembled an enjoyable collection of playing. great measure to multi-instrumentalist tunes that cover a broad range of styles. There’s not much new happening (guitar, keyboards and With a stellar band including husband here yet Passos’s soft vocals, backed mandolin), the sound moves from clas- Jeff Turmes on bass on saxophone, Zach with guitar, bass and percussion (and sic Chicago to Delta and back, which Zunis on guitar, David Kida on drums, tenor sax or clarinet on some tracks), keeps things consistently fresh. Check it Andy Kaulkin on piano and organ and provide an alluring and pleasant listen. out. Duane Verh David Woodford on saxophone, she Liner notes by Chip Stern reveal no biog- takes on fifties style rock and roll ballads, raphical information about this lovely I’m Not Ashamed and Who Will the Next singer or how the session came about. GATO BARBIERI Fool Be?, rumba, I’m Lost Without You, So you’ll have to just kick back, listen, THE SHADOW OF THE CAT slow, seamy grinders, Stormy Blues, and let the music speak for itself. PEAK/CONCORD Memphis style R & B, All Night Worker, Nancy Ann Lee Released in 2002, this one slipped rocking blues, Find a Fool and Matchbox through the cracks somehow and finally and horn drenched big band style blues, surfaced. Oh well, it happens. Who’s Gonna Help a Brother Get Further. Gato certainly has changed since his Her strong voice, which occasional- early days playing avant-garde in the ly recalls Angela Strehli, is a fitting vehi- tradition of Pharoah and Coltrane. Unless cle for this broad array of styles and she one is really into honking and screech- delivers each cut with enough conviction ing, his best work is still on the Impulse! to make the tunes her own. A fine release and Flying Dutchman labels from the worthy of your attention. Mark Smith early seventies. In 1976 he released Calienté, crossing over into commercial territories. That album included his ver- sion of Carlos Santana’s “Europa,” which JAMES BLOOD ULMER those who listen to Wave stations around No Escape From The Blues: the country might think is the only song The Electric Lady Sessions Barbieri ever recorded. He kept record- HYENA ing discs in the same vein, but could In late summer 2001, this one-time never really top Calienté for a crossover Ornette Coleman sideman released one venture. Many of his albums since, in of the most exciting blues records of the fact, have been downright lame. past several years. Produced by Living THEY’RE BACK... The Shadow of the Cat is still mellow Colour guitarist/bandleader Vernon Reid, Gato indeed, but it is very tastefully done Memphis Blood: The Sun Sessions was FRIDAY OCTOBER 10TH without the overproduction we’ve a collection of vintage blues standards IN THE MUSIC HALL become accustomed to. You might call it running the spectrum from the Delta to SHOW STARTS AT 9PM Latin jazz for lovers (or those trying to Chicago. The energy and intensity of that head in that direction on a particular set was nothing short of phenomenal, night) as most of the cuts are ballads and owing as much it seemed to freewheeling very listenable. One is kind of R&B-ish, free-jazz roots as blues; two genres that with Cassandra Reed singing vocals. share more than a little attitudinal kin- Sheila E plays congas and percussion on ship. 12112 Madison Ave. much of the disc (that is a good thing) Ulmer and Reid are back with a wor- 216-226-5681 and you actually hear real drummers thy follow-up. The earthy, hoodoo-rich and percussionists throughout, except atmosphere of No Escape is sometimes

PAGE TWELVE September • October 2003 • Issue 264 Jazz & Blues Report light, as on classics such as Jimmy Reed’s “Bright Lights, Big Sonny Boy Williamson. City”, sometimes brooding, such as on Ulmer’s “Are You Glad To Given Piazza’s current rich catalog of self–penned numbers Be In America?” and always most original in character. Ulmer is it is interested in hear him breaking into the blues following the establishing himself as a truly individual interpreter of blues, both same cover tune route as virtually every artist that has picked as a gritty vocalist and a roots-conscious guitar improviser. up an instrument. Sentimental favorites from this early period Collaborator Reid adds fiery instrumental contrast as does the include his duets with mentor George “Harmonica” Smith who edgy, ferocious work of electric fiddler Charlie Burnham. This is appears on the Bacon Fat tune Up the Line, the Chicago not gimmicky stuff. In order to keep the genre from dissolving Flying Saucer Band tune, Talk to Your Daughter and on his entirely into blues-rock, Ulmer’s is the type of jolt blues can use. own release Help Me. Proving that Smith taught him well, Run this one down. Duane Verh Piazza soon found his way into the featured harmonica slot on recordings by the likes of the legendary , Pee Wee Crayton and Shakey Jake some of which are included /DANISH RADIO BIG BAND here. BLUE NOTE Also of note from the early days are the cuts credited to the An exciting journey for listeners, this seems to be a giant leap Mighty Flyers including Shot From the Saddle, Blues For for Rosnes, the composer. Her piano chops have long been estab- Honey, P.S. I Love You and Texas Twister which feature Junior lished in small groups and she possesses a confident style that’s Watson on guitar and show flashes of originality but with a always full of surprises. Throughout her career, Rosnes has harder Chicago edge than the swinging upbeat West Coast recorded with small groups. Her most significant experience with sound that would come to mark the work of the band after it a large band developed in the early 1990s when she became the was renamed and the Mighty Flyers. The second pianist for the Carnegie Hall Jazz Band for the next decade. disc showcases the various incarnations of the Piazza led Jim McNeely directs the Danish Radio Big Band on this first- Mighty Flyers. Fans will rejoice at the inclusion of cuts from the rate recording featuring pianist Rosnes performing six of her own hard to find Murray Brothers releases, Harpburn and So Glad compositions and two other tunes. Her eighth Blue Note release, to Have the Blues. Also included is an unreleased live cut from the CD launches with “Ancestors,” an energetic foray for the full the W.C. Handy Awards as well as a smoking version of orchestra as well as Rosnes’s gutsy improvisations spiked with Chicken Shack Boogie recorded at the same show that pro- the driving percussive artistry of Ethan Weisgaard. The fun-filled duced the band’s sadly out of print, Live at B.B. King’s. “Bulldog Chicken Run,” a homage to bassist Ray Drummond Working through the striking original material on disc two, (AKA “Bulldog”) known for his food runs during set breaks, was it is easy to see why Piazza individually and the Mighty Flyers originally a small group recording. These two pieces were arranged by Michael Mossman. McNeely arranged “Black Holes,” a piece that begins eerily then shifts to brisk bopping tempos. Tickets: Box office, tickets.com locations, Recorded by Rosnes on her CD, As We Are Now, the tune is mas- www.playhousesquare.com, tered beautifully here. Two other Rosnes compositions, “Orion’s 216-241-6000 or Belt” and “The Quiet Earth” are equally enticing. “Lament” by J. 1-800-766-6048. J. Johnson is given a Latin flavor and “Early One Morning” is a reinvented traditional English melody Rosnes heard while grow- ing up in Canada. These are some of the most haunting and extraordinary big band arrangements you’ll ever hear. McNeely evokes plenty of emotion from the band musicians and Rosnes’s compositions will touch your heart. Nancy Ann Lee

ROD PIAZZA Modern Master The Best Of Rod Piazza 1968-2003 TONE COOL NORMAN To say that Rod Piazza knows his way around the harmonica BROWN is like saying that B.B. King is a pretty good blues guitarist. In both cases the understatement is so far off the mark as to be insulting. Simply put, Piazza, like King, is one of the preeminent forces on his instrument of choice and will long be cited as the inspiration BRIAN for the next several generations of players . This two disc, 29 track, release traces Piazza’s development CULBERTSON from early Chicago blues disciple to his present status as West Coast blues legend. Those that are late to the game will find the Allen Theatre cuts from his early releases with the Dirty Blues Band, Bacon Fat SEPTEMBER 18 and the Chicago Flying Saucer Band, where he performed under Thursday, 8 PM names like Lightnin’ Rod, Record Party Ron and Rod $30 & $25 “Gingerman” Piazza, to be particularly interesting with their focus on the straight Chicago blues of Willie Dixon, and Jazz & Blues Report September • October 2003 • Issue 264 PAGE THIRTEEN as a band have won countless blues Harold O’Neal (Piano), Robert Hurst musicians. awards over the past few years. The (bass) and Rodney Green (drums). Outstanding musicianship is really tunes are well written and the band is Don’t be misled by the album title to what makes this album. Among name simply top notch. While Piazza would expect bluesy expressions and down- players are Brian Lynch (first trumpet), sound great fronting anyone, the fact is home beats. The leader has “heavily Conrad Herwig and Chris Washburne that he has always had one of the best rearranged” familiar tunes. Osby is a (). Flutists Karen Joseph and blues bands around including his wife, modernist whose interpretations lean to a Eddy Zervigon serve up appealing solos Honey Piazza, who channels Otis Spann heady, urban side despite selected tunes on some tunes. Lead vocals by Herman into her piano, rock steady bassist Bill by Duke Ellington (“East St. Louis Olivera dress up “La Voz del Caribe,” Stuve and a host of first call guitarists and Toodle-Oo”), Gillespie-Parker (“Shaw “Lazaro y su Microfono,” “Ritmo Caliente drummers including , Nuff”) and others. Gershwin’s II,” “Dime,” and “Lo Que Triago es , Alex Schultz, Rick “Summertime” receives a restless, edgy Sabroso II.” The rousing “Billie,” a hom- Holmstrom, Jimi Bott and Steve re-invention that loses most of its original age to , features horn-sec- Mugalian. flavor. The finale, “St. Louis Blues,” is tion layering much like the Tito Puente This release is a must have for any given a slow, drawling treatment with an band. One of the tunes that best demon- fan of harmonica blues. Mark Smith ultra modern edge. strates Palmieri’s breadth is “Tema para Osby’s talented and inventive, as are Renee,” a strings-laced, languorous his cohorts. Yet, there’s something miss- piece dedicated to Palmieri’s eldest GREG OSBY ing from this cerebral session – perhaps daughter (who was named after com- St. Louis Shoes warm accessibility or a stronger essence poser Rene Hernandez, the genius of BLUE NOTE of the St. Louis spirit he claims as inspi- Machito’s band). Another enterprising On his latest recording for Blue ration. Nancy Ann Lee showpiece is Palmieri’s “Gigue (Bach Note, alto saxophonist Greg Osby rein- goes Bata)” which comfortably shifts vents nine tunes by other composers back and forth between European classi- rather than introducing originals as he EDDIE PALMIERI cal and Afro-Cuban beats. has in the past. Ritmo Caliente With the exception of a couple of In the latter 1970s, then teenage CONCORD PICANTE tracks, this is a beat-driven party album Osby played after-hours weekend jobs in A master of Latin and Afro-cuban that should have you up and dancing. St. Louis, and after the sets ended in the jazz and salsa, pianist Eddie Palmieri Nancy Ann Lee wee hours of the morning, they’d cross delivers 11 tracks of “hot rhythms” on his the bridge into East St. Louis, Illinois and second recording for Concord. Seven of BLUES jam from 2 to 6 a.m. This period con- the eleven tunes are written by Palmieri tributed to his education about and most of the tracks are delightful, har- SHORTS Mississippi River blues culture, from monious mambos. Palmieri leads from BY MARK A. COLE which he draws minimally for this project the piano and takes confident, sturdy featuring performances with sidemen solos. Some are old tunes revisited and Nicholas Payton (trumpet, flugelhorn), performed with a full complement of Sonny Landreth The Road We’re On Sugar Hill Records The slide master, Sonny Landreth, is at it again. The Louisiana bluesman was born in Mississippi, but he’s called the “King of Slydeco”. The cd boasts special guests, including Bonnie Raitt. The cajun songlist is comprised of a bunch of gems. “All About You” is a mover, so is “Gemini Blues.” You’ll enjoy this, espe- cially if you’re a slide fanatic. WALKIN’ CANE 702 UNION AVE. LAZY-EYE RECORDS One of Cleveland’s classy blues- men, Austin Charanghat /Walkin’ Cane is promoting one helluva album. The disc is acoustic, and the artist really stretches the strings. On loan from his band, the Cane plucks and oozes the blues. Songs are culled from Robert Johnson, Big Arthur Crudup, Snooks Eaglin, and Walkin’ own. His baritone voice will knock you out!

PAGE FOURTEEN September • October 2003 • Issue 264 Jazz & Blues Report Lou Pride Michael Hill’s Blues Mob The Memphis/El Paso Sessions Electric Storyland Live Severn Records Ruf Records The soulster Lou Pride is revised and Electric Storyland Live is indeed revived. Vibrant horns and the voice of absolutely live. The Blues Mob is a Pride make a potent mix. These sessions crackin’ ensemble that is a trio now. This are subtitled; The Memphis/El Paso cd is a double threat in that it’s a double Sessions 1970-73. Lou’s take on James cd. The successive shows were a week- Brown’s “It’s A Man’s Man’s Man’s end treat for the respective audiences. Brand New Location... World” is astounding,as is the following Many of Michael’s songs have become “Work For Love.” Kudos to Severn classics before their time. You couldn’t Brand New Building Records for unearthing these treasures. forget “Monticello Night,” or “New York State Of The Blues.” Hill’s a contempo- 2920 Detroit Avenue Phillip Walker rary bluesman that’s mowing down the Call for Schedule The Best Of Phillip Walker competition. Hightone Records Jessie Mae Hemphill 216-771-6551 One of swingingest guitars that you Shake It Baby are gonna hear in blues, Phillip Walker was born in Louisiana and moved on to Hightone Records With musicologist Dr. David Evans Over 2,200 CD Reviews Texas. Phillip was employed by Clifford at the helm, Jesse Mae Hemphill had a Chenier and he’s been recorded by At Your Fingertips! great release but it got lost by the way- numerous labels – to name a few; side. These sessions are from 1980 to Log on to Playboy, Vault, Fantasy, Joliet, Rounder, 1988. The woo-ful “Shame On You” www.jazz-blues.com and and now Hightone. Betcha you don’t sparkles. Jessie Mae, Dr. Evans, and browse through our database know he wrote “Don’t Be Afraid Of The band recorded this at various locales in of over 2,200 jazz and blues Dark,” popularized by Robert Cray; yep, Mississippi. Her music is almost hypnot- CD reviews from issues dat- Phillip Walker. Special guests include ing back to 1991. And more to ic with a droning beat. See for yourself; Jimmy Vaughan and the Memphis come from the archives. rant and rave! Horns.

Jazz & Blues Report September • October 2003 • Issue 264 PAGE FIFTEEN PAGE SIXTEEN September • October 2003 • Issue 264 Jazz & Blues Report