june 2006 special issue 283 free jazz now in our 32nd year www.jazz-blues.com &blues report
Cleveland Fats Louisiana Red Live at the Parkview Night Club PLUS...Much More News, CD, DVD & Book Reviews Cleveland Fats Louisiana Red Published by Martin Wahl Communications plus...Omar Coleman Editor & Founder Bill Wahl
Layout & Design Bill Wahl Live at the Parkview Night Club Operations Jim Martin Pilar Martin The big news that was an- nounced since our May-June pulp Contributors issue went to press is a Sunday, Michael Braxton, Mark Cole, June 4 show at the Parkview on Dewey Forward, Chris Hovan, West 58 St. with Cleveland Fats Nancy Ann Lee, Peanuts, Mark joined by blues guitar master Loui- Smith, Duane Verh and Ron siana Red, plus Omar Coleman on Weinstock. harmonica. Coleman’s latest CD was reviewed in our last issue by Check out our new, updated web Ron Weinstock. page. Now you can search for CD The show will have an opening Reviews by artists, Titles, Record Labels or JBR Writers. 15 years of set with Fats and his band, then a reviews are up and we’ll be going all second and third set with Red the way back to 1974. backed by Fats and his band, joined by Coleman. It is expected that be- fore the end of the night Fats and Address all Correspondence to.... Red will have a “shoot-out.” Jazz & Blues Report Cleveland Fats, aka Mark Hahn, 19885 Detroit Road # 320 has just recorded a new CD, which Rocky River, Ohio 44116 was produced by Michael Frank of Main Office ...... 216.651.0626 Earwig Records. Frank, who also Editor's Desk ... 440.331.1930 manages Red in the U.S., came up [email protected] with the idea to pair the two guitar Web ...... www.jazz-blues.com players for some live dates. Fats had the opportunity to continue Copyright © 2006 Martin-Wahl Communications Inc. Fats is a versatile guitarist who his musical education by studying at No portion of this publication may be possesses a strong reverence for the feet of a master. Fats performed, reproduced without written permission the tradition of blues. As a young- traveled, and recorded with Robert from the publisher. All rights Reserved. ster he started playing the guitar by Lockwood, Jr. for the better part of Jazz Report was founded in Buffalo New studying the recordings of such seventeen years. York in March of 1974 and began in Cleve- masters as Muddy Waters, The Since leaving Lockwood’s band, land in April of 1978. We are subsidized Kings (Albert, B.B., and Freddie), Fats has recorded for Ichiban/Wild
solely through advertisement and ask that Earl Hooker, and T- Bone Walker. Dog Blues, Blueswayed, and Honey- you support our advertisers. a W division of He was particularly interested in bee. He has toured England, Canada, artin-Wahl many of the Chess recordings of the and the United States and continues c o m m u n i c a t i o n s 1950s. to play today. While in high school he joined Cleveland Fats is a master blues the band of Otis Trotter, who had a guitarist. He plays with a rich, deep loyal following in Fats’ hometown of tone and is comfortable playing ev- "Buffalonious" Ravenna, Ohio. Playing in Trotter’s erything from solo Delta-style acous- band allowed Fats the opportunity tic to traditional Chicago blues to up- Original mascot from to perform and develop his craft by town Memphis and West Coast blues. the working first – hand with seasoned Fats is a dedicated bluesman and this Buffalo Jazz Report blues veterans. Shortly after finish- can be seen whether he is playing days – mid '70s ing high school Fats met and be- solo or fronting his hard – driving Created by friended Robert Lockwood, Jr. Soon band. Christine Engla Eber thereafter, Fats was asked to join Fats has shared stage with Albert Watch for new t-shirts bearing his image–coming soon! the band of Mr. Lockwood. While a King, Freddie King, Matt “guitar” member of the Lockwood band, Murphy, Johnny Shines, John PAGE TWO June 2006 • Issue 283 Hammond, Jimmy Rogers, Sam Carr handful of tracks for the Checker la- own band in the windy city and of- and Pinetop Perkins, among others. bel, a subsidiary of Chess Records ten sits in with established blues acts He has performed over 1,200 shows (featuring Little Walter on harmonica both in Chicago and other towns. as member of Robert Lockwood, and Muddy Waters assisting on gui- Sorry about the late notice. Jr.’s band; noteworthy shows in- tar.) This allowed him to hit the thriv- Sometimes things just happen that clude: Chicago Blues Festival, King ing Southside blues joints where he way. At least our local readers who Biscuit Blues Festival, Montreal Jazz wound up playing with Jimmy are savvy enough to check the site Festival, Lonesome Pine Special Rogers, Otis Spann, and Baby Face for updates now know about it. Mark (PBS with John Hammond), Tours of Leroy both learning from them, and it down if it is not already too Japan and much of US. helping to develop their styles. Per- late...Sunady, June 4 at The He plays over 100 shows per haps his greatest inspiration how- Parkview Night Club, 1261 West year with his own band, including ever came when he moved to De- 58th St. on Cleveland’s west side. tours of UK and Canada, Chicago troit and found himself playing with The show starts at 8 p.m. For more Blues Festival, King Biscuit Blues John Lee Hooker, the final piece of information, call the club at Festival, Great British R & B Festi- the puzzle that would make up Red’s 216.961.1341. val, BBC radio performance and style. tours of much of the US. In recent years red has found It’s long been said that you have himself incredibly busy. Now resid- Eric Clapton to live the blues in order to play ing in Hanover, Germany, Red announces Fall them. Whether you believe this no- spends a couple of months every tion or not, it would be difficult to ar- year touring the United States. He 2006 U.S. Tour gue that anyone performing on the also spends a great deal of time tour- Doyle Bramhall II and blues scene today has felt the blues ing throughout Europe and for that Derek Trucks add guitars more than Louisiana Red. Born matter the world. He now has over a Iverson Minter in Bessemer, Ala- dozen albums under his belt, and still to Clapton’s band bama on June 23, 1932, Red has continues to record and write new New York, NY, – Following a overcome adversity at virtually ev- material. His style of playing is over- 14 country sold-out European tour ery step of his life. His songs are amplified and raw, while his lyrics are with an impressive seven-night run power and passionate and reflect both honest and often remarkably at London’s Royal Albert Hall and a both his tragic childhood and life personal. He continues to connect historic show in Moscow’s Red struggles. with audiences throughout the world Square, Eric Clapton will travel to the Red’s life sadly began with the and as he puts it “Plays the blues… U.S. for the first leg of an American death of his Mother to pneumonia hard.” tour. European fans have shown when Red was only 7 days old. Playing harp at the Parkview great enthusiasm for the varied set When he was 5 years old the KKK show will be Omar Coleman. list featuring rarely played Derek And murdered his Father. From here he Omar was born in Chicago in The Dominos masterpieces “Got To was shuffled between family mem- 1973. He has been interested in mu- Get Better In A Little While,” “Layla” bers where he was abused physi- sic since childhood. He first took an and “Let it Rain” along with Clapton cally and psychologically. He also interest in hip hop and other popu- classics such as “Pretending,” “I spent two years in an orphanage, lar music, however, once he was ex- Shot The Sheriff” and “Cocaine” where he suffered further abuse. posed to the great blues of the windy mixed with the newer soulful tunes His solace throughout these dif- city, his interests changed quickly. from the latest Clapton album Back ficult times was his music. Red made He started playing the harmonica Home. As the London Times head- his first instrument at the age of 9, while a teenager and he has been line read, “The guitar hero out of an old cigar box and rubber working diligently to master his craft. reawakens” and the Manchester bands. He got encouragement in his His main influences are such mod- Evening News review said, playing from his grandfather, a self- ern day masters as Billy Branch and “Claptons guitar playing just keeps taught bottleneck guitarist, who gave Sugar Blue; however, he also sites getting better.” red his first real guitar – an old Kay Jr. Wells and Big Walter Horton as The U.S. tour will begin on Sep- acoustic that he still has in his pos- influences. Omar plays regularly with tember 15 in Minneapolis and will session. While living in Pittsburgh he John Primer’s band and makes regu- travel to 13 U.S. states plus two Ca- became a protégé of local legend lar stops at clubs such a Rosa’s. He nadian shows in Toronto and Ottawa, Crit Walters, and even received en- occasionally sits in with his idol and along with two nights at Madison couragement from John Lee “Sonny mentor Billy Branch. Square Garden. Further news and Boy” Williamson,” who gave Red an Omar Coleman is a featured show dates of this tour will be an- old standby harmonica. member of the Chicago Blues Har- nounced shortly. At the age of 16, and after lying monica Project. They have recorded Adding additional guitar power about his age, he joined the army to a critically acclaimed CD for and excitement to the shows, fight in the Korean War. After his Maryland’s Severn Records and Clapton has assembled an impres- honorable discharge, and a brief have performed at several venues sive band. The 2006 tour band will stint in New Jersey, he found him- including the Chicago Blues Festi- consist of: Eric Clapton, Guitar, as self in Chicago where he recorded a val. Omar occasionally fronts his well as Doyle Bramhall II and Derek June 2006 • Issue 283 PAGE THREE Trucks also on Guitar, Chris Stainton Fame and Museum’s curatorial direc- and Tim Carmon on Keyboards, Willie At the Rock Hall... tor. “His contributions to the live Weeks on Bass, Steve Jordan on sound industry are countless. Bob Drums, The Kick Horns: Simon Rock and Roll Hall of Fame developed so many important prod- Clarke, Roddy Lorimer, and Tim and Museum to introduce ucts, including the first live mixing Sanders on Brass, and backing vo- Heil Sound Exhibit console, the first electronic crossover cals by Michelle John and Sharon and parametric equalizer, as well as White. The Robert Cray band will be CLEVELAND – The Rock and the first fiberglass speaker horns and the opening act for U.S. shows. Roll Hall of Fame and Museum in numerous other products that have Tickets will be available via Cleveland, Ohio will add new arti- molded the industry into what it is to- www.ticketmaster.com facts from the Heil Sound company day. These artifacts are a wonderful CURRENT LIST OF to the Museum’s technology and addition to our Museum and help ex- U.S. TOUR DATES music exhibits. pand our mission of educating about Sept. 16 (Sat) Minneapolis, MN These exhibits include a Les all aspects of music.” Xcel Energy Center; Sept. 18, (Mon) Paul display that explores the inven- “I am thrilled and honored to have St. Louis, MO Savis Center; Sept. 20 tion of the electric guitar and multi- this exhibit represent my body of work (Wed) Chicago, IL United Center; track recording; the Memphis Re- in live sound,” said Heil. “Those years Sept. 21 (Thur) Grand Rapids, MI Van cording Service installation; and the in live sound were an incredible ride. Andel Arena; Sept. 23 (Sat) Detroit, Evolution of Audio Technology ex- I started out as this small music store, MI Palace; Sept. 24 (Sun) Toronto, hibit, which examines the develop- Ye Olde Music Shop in Marissa, Illi- ON Air Canada Center; Sept. 26 ment of personal audio technology nois. I was catering mostly to the (Tue) Ottawa, ON Scotiabank Place; from Edison’s phonograph to the Hammond organ market, and boy did Sept. 28 (Thur)New York, NY Madi- iPod and Satellite Radio. things change – quickly. Now I look son Square Garden; Sept. 29 (Fri) Heil provided live sound produc- back at those years with amaze- New York, NY Madison Square Gar- tion in the late 1960s through the ment.” den; Oct. 3 (Tue) Boston, MA Bank 1970s for many of the world’s most The Rock and Roll Hall of Fame North Garden; Oct. 6 (Fri) Uncasville, notable groups, including The Who, and Museum is the nonprofit organi- CT Mohegan Sun; Oct. 7 (Sat) ZZ Top, Grateful Dead, Joe Walsh, zation that exists to educate visitors, Uncasville, CT Mohegan Sun; Oct. 9 Eagles, Peter Frampton, Humble fans and scholars from around the (Mon) Philadelphia, PA Wachovia Pie, The James Gang, Jeff Beck, J world about the history and continu- Center; Oct. 10 (Tue) Washington Geils and many more. The dedica- ing significance of rock and roll mu- D.C. MCI Center; Oct. 12 (Thur) tion will take place with a private sic. Charlottesville, VA Charlottesville party at the Rock and Roll Hall of It carries out this mission both Arena; Oct. 14 (Sat) Duluth, GA Fame on June 7. through its operation of a world-class Gwinnet Civic Center; Oct. 15 (Sun) Items on display include the Ma- museum that collects, preserves, ex- Raleigh, NC RBC Center; Oct. 17 vis mixer built for Pete Townshend hibits and interprets this art form and (Tue) Charlotte, NC New Charlotte and the Who’s Quadrophenia tour as through its library and archives as Arena; Oct. 18 (Wed) Birmingham, AL well as Townshend’s guitar and well as its educational programs. Birmingham-Jefferson Arena; Oct. 20 Roger Daltry’s microphone, which is The Museum is open seven days (Fri) Orlando, FL TD Waterhouse still wrapped in red gaffers tape to a week from 10 a.m. to 5:30 p.m. On Center; October 21 (Sat) Jackson- prevent the microphone from being Wednesdays the Museum is open ville, FL Veterans Memorial Arena; launched into the crowd as the until 9 p.m. Museum admission is $20 October 23 (Mon) Miami, FL Ameri- singer twirled it overhead. Another for adults, $14 for seniors (60+), $11 can Airlines Arena. Who mixer on display is the Sunn for children (9-12) and children un- Stay tuned for additional informa- Coliseum, which was used on the der 8 and Museum members are free. tion. Who’s Next tour. About Heil Sound Other historic pieces include the Established in 1966, Heil Sound Langevin recording console, which Ltd. has developed many profes- Cleveland Fats was transformed into a live sound sional audio innovations over the The Schwartz Brothers mixer for the Grateful Dead. The years, and is currently a world leader most famous piece of gear is prob- in the design and manufacture of pro- DC and the ably the Talk Box, which was used fessional grade microphones for Continentals on Joe Walsh’s recording of “Rocky broadcast, recording, live sound and Mountain Way” and by Peter amateur radio markets. For Bookings Contact Frampton on his incredible Live al- With corporate headquarters and bum. The unit is serial number 1 and manufacturing facilities located in is signed by both artists. There are HONEYBEE ENTERTAINMENT Fairview Heights, Illinois, Heil Sound also many photographs of perform- 4786 Dressler Rd #145 microphones are by distributed world- Canton, OH 44718 ers using the actual gear on display. wide by TransAudio Group in Las 330-904-0454 “Bob Heil is truly an innovator in Vegas, and may be contacted at (702) [email protected] the field of live sound,” says Howard 365-5155 or via its website at Kramer, the Rock and Roll Hall of www.transaudiogroup.com. PAGE FOUR June 2006 • Issue 283 2005 International Coburn - Albrightsville, PA, USA; “Blackjack” — Papa George - London, Guitar Player Songwriting Competition England; “Déjà Vu All Over Again” — Magazine launches announces Blues Winners Keith Dunn - Rotterdam, Netherlands; “I’m Good To Go” — Rick Fines - first Internet-based Clevelander Jody C. Getz Peterborough, ON, Canada; “Leave It TV station for takes second place Gone” — Mojo Stu, Mitch Goldfarb - Thorndale, PA, USA; “Missing You” — guitar players The International Songwriting Lene Strøyer Sørensen - Værløse, Guitar Player TV brings guitar Competition (ISC) has to announced Denmark; “Move A Little Faster” — players 24/7 access to the winners for its 2005 annual com- Andy Logan - Nashville, TN, USA; thousands of video guitar petition. ISC received almost 15,000 “Poor Man Blues” — Paul Oscher - lessons, exclusive interviews, entries from 82 countries in its fourth Santa Monica, CA, USA; “Southern live performances, and the latest year, and has been called “the Comfort” — EG Kight, Tom Horner - product and gear reviews songwriting competition to take note Dublin, GA, USA of” by the New York Times. ISC prizes For a complete list of all ISC win- New York, NY – Music Player include more than $150,000 (USD) in ners, go to: Network, the world’s leading music cash and merchandise shared by 50 www.songwritingcompetition.com/ instrument publishing company, has winners in 16 categories. winners.htm partnered with TrueFire TV, a major “Way Down Homeless Blues,” by Judges for the 2005 competition Internet TV broadcast network, to Steve Romig, is awarded First Place include: Tom Waits; Loretta Lynn; launch the first Internet-based TV in the Blues category. This Melbourne Sonny Rollins; John Scofield; Steve station for guitar players. Guitar singer/songwriter has come a long Vai; Macy Gray; Joss Stone; Player TV (www.guitarplayertv.com way since the novelty songs of his MercyMe; Amy Ray (Indigo Girls);
Best of Lou Rawls, Lou Rawls Remember, Pat Martino Thunderbird, Cassandra Wilson
Solo, Gonzalo Rublacaba Time Lines, Andrew Hill Indigo 4, Gianluca Petrella THE RUDY VAN GELDER EDITIONS From 1953 to 1967, Alfred Lion produced a body of work that ranks as the most innovative series of recordings in modern jazz. Almost all of these masterpieces were documented by the extraordinary Rudy Van Gelder; a self-taught engineer who more than set a new standard. Devoid of caution or timidity, he captured the full power and rich sound of jazz ensembles with dazzling clarity. His contribution to the focused approach that Blue Note took at every stage of any album was immeasurable. Decades later, Rudy agreed to take a second look at the original recordings, bringing them into the digital domain with the same skill and focus. Six more RVG Editions have just been released. If you think you’ve heard these gems before, listen again.
Gettin’ Around, Dexter Gordon Smokestack, Andrew Hill Workout, Hank Mobley
The Gigolo, Lee Morgan Horace-Scope, Horace Silver Quintet Joyride, Stanley Turrentine Plus...Six More RVG Titles Released February 21 Mosaic, Art Blakey • A Swingin’ Affair, Dexter Gordon • Dippin’, Hank Mobley • Tom Cat, Lee Morgan • Silver’s Serenade, Horace Silver • Softly As A Summer Breeze, Jimmy Smith
June 2006 • Issue 283 PAGE SEVEN try Blues, The Poetry of the Blues, Bluesmen) as well as a producer of blues recordings, including the classic Chi- cago, The Blues Today! and albums by Junior Wells and Buddy Guy, to name a few of the artists he recorded. Uni- versal Music, through its Verve imprint, has just issued seven of the seven Sonet LPs for reissue in a series, The Sonet Blues Story. Six of these are from The Legacy of We only bring you the Blues series. the Cream of the Crop! Some of the albums in The Legacy of the Blues were from other producers. In fact, the volume by Bukka White reissues the Takoma LP that captured the 1963 Memphis VERVE’S SONET session that Ed Denson and John Fahey taped after White BLUES STORY SERIES had been located. White was one of the great Delta sing- ers who first recorded in the 1930s. He had seen Charlie BUKKA WHITE Patton and was influenced by this pioneering artist. White played a driving slide style that complimented his rough, BIG JOE WILLIAMS shouted vocals. One of the blues most imaginative lyri- WELDON “JUKE BOY” BONNER cists, he could weave a lyric story out of the sky as he SNOOKS EAGLIN would do for Arhoolie. The recordings, many remakes of tunes he waxed for Columbia, are strong, focused perfor- MIGHTY JOE YOUNG mances whether the reworking of Aberdeen and Missis- EARL KING sippi Blues; the train blues, New Orleans Streamline and CHAMPION JACK DUPREE The Atlanta Special, where his playing echoed the train traveling through the countryside; the gospel message of Sonet Blues Story (Series) I Am the Heavenly Way or the country boogie Shake ‘Em VERVE RECORDS on Down, these performances remain as vital as when he Back three decades ago, Samuel Charters produced recorded them over forty years ago. If you have the a series of blues LPs for the Swedish Sonet label, The Takoma album, you do not need this. Otherwise this is Legacy of the Blues, along with some other blues record- one of the best Delta blues recordings of the past half- ings. Charters is known as both a blues author (The Coun- century. Big Joe Williams was another great Mississippi bluesman who is best known for Baby Please Don’t Go. A Delta musician who as much as anyone led the life of the traveling bluesman, Williams lived in St. Louis for a pe- riod where, after Peetie Wheatstraw’s death, he started playing his trademark 9-string guitar. A repertoire that ranged from originals to songs from Charlie Patton, Rob- ert Johnson and Tommy Johnson, Williams played a strong rhythmic style and also sang in a highly exclama- tory fashion. This volume, which includes five previously unissued recordings, was a typically fine session by an artist who rarely made a poor recording. Songs include Patton’s Hang it on the Wall, Big Fat Mama and Black Gal You Sure Been Looking Warm. This is another artist who belongs in any blues collection. Weldon “Juke Boy” Bonner was a Houston based one- man band who was a notable blues poet as well as a per- former but who never was able to get out of his hard life. His recordings for Arhoolie demonstrate his one-man ap- proach with his effective harp and guitar playing as well as his songs which often dealt with topical themes. Re- corded by Arhoolie’s Chris Strachwitz, the performances on Bonner’s Blues Story volume are fine ones opening with I’m a Bluesman, singing about his hard life (“My fa- ther passed when I was two”) with an easy groove fol- lowed by Problems All Around (I can’t get ahead from being held down) taken at a slow tempo. Besides his strong lyrics, Bonner provides likewise strong boogie-laced gui- tar playing and tough rack harp playing that made him a fascinating purveyor of the one-man blues band idiom. Like his other releases, this is a gem that one should be delighted is widely available now. PAGE EIGHT June 2006 • Issue 283 Snooks Eaglin, the remarkable New Orleans singer- from issuing the first album on his own Alligator Records. guitarist, is the only performer in this series who is still The Delmark album is my favorite of the various discs living. Unfortunately, Samuel Charters recorded Eaglin as Young recorded with a band with horns providing a tight a solo artist rather than in a band context, helping per- backing for his extended blues performances. Young ex- petuate the myth of him being a street singer-songster. plained to me several years later that he dropped the horns This is not to say that this disc is not full of engaging because as he got booked increasingly on the then col- performances, including takes on songs from Sam Cooke lege market, horns were not viewed as blues instruments. (Good News), Little Richard (Lucille), John Lee Hooker Sonet has released a session with his then working band (Boogie Children taken at a slower tempo and opening that included horns, with a few overly familiar songs like with Eaglin’s own spontaneous rap), Jimmy Rogers (That’s Rock Me as well as then not overly-recorded numbers like All Right mistitled here as Who’s Loving You Tonight and Percy Mayfield’s Baby Please and an original, Early in the credited to Eaglin), and Lonnie Johnson (Tomorrow Morning, which seems inspired by the Louis Jordan clas- Night), as well as a stunning guitar adaptation of Pinetop’s sic but with different lyrics. There is a nice mix of soul Boogie Woogie and a terrific Funky Malaguena. Previously into his blues stew, but despite the fine piano of Bob Riedy unissued bonus tracks include Shake a Hand and Shake and bassist Sylvester Boines, the session doesn’t fully jell, Rattle and Roll. Listening to these performances one is and while Young sings and plays well, it is overshadowed astonished by the fertility of Eaglin’s imagination, but also by the earlier Delmark release. wishes that he had been plugged in – but would have to The one release of the seven that was not part of The wait for Rounder and Black Top to capture the side of Legacy of the Blues series is the one by Earl King that Snooks that still dazzles us today.–This is not to dismiss reissues the Sonet LP That Gold Old/New New Orleans the many pleasures here, but Snooks is electrifying, not Rock and Roll. Charters assembled a tight band that in- simply astonishing. cluded Dave Lastie and Clarence Ford on saxes, Maurice The late Chicago singer-guitarist, Mighty Joe Young Richard on piano and the French Brothers, Bob and George was a fine purveyor of soul-laced blues in a mellow mode on bass and drums respectively for King to reprise sole of like his good friend Fenton Robinson. This writer had the his classics like Trick Bag, Mama and Papa and Come On pleasure to see Young while a senior at Case Western Re- Let the Good Times Roll, along with Let’s Make a Better serve University in Cleveland, and in fact he came on my World, that Dr. John had recorded, and Do Re Mi, which WRUW blues show while playing The Kove in Kent, Ohio. Lee Dorsey had recorded. King always had a way of put- He was promoting his Delmark album, Blues With a Touch ting songs together with neat lyrical hooks but neither his of Soul at the time and was accompanied on the trip by a soulful vocals or guitar playing were ever in the listener’s Delmark employee, Bruce Iglauer, who was a year or so face, and the performances could show a certain quirki-
June 2006 • Issue 283 PAGE NINE ness. Listening to less familiar songs like Baby Sittin’’or TERJE RYPDAL The Panic’s On, one’s almost tempted to term the music Vossabrygg quirky, but really there is a craftsmanship at work here in ECM how the songs are put together and in the restrained per- From the organ swells and pulsing, splashy cymbal formances that is very engaging. Certainly this reissue is work to the ostinato bass and sparing touches of electric most welcome. piano, the leadoff track of jazz guitarist Rypdal’s most re- Champion Jack Dupree had been resident in Europe cent disc refers unblinkingly to Miles’ “Shh! Peaceful” from for over a decade (and he would remain there for the In A Silent Way. That seminal jazz-fusion work, with its rest of his life) when he entered the studio in 1971 to emphasis on multiple textures and spatial relationships over record with English musicians. The New Orleans born conventional solos, is a likely template for this set overall. pianist and former boxer had first recorded some The ten tracks that comprise Vossabrygg play like a barrelhouse blues and boogie woogie in a style that pre- suite, or, more precisely, like a continuum. Themes, ar- dated the modern New Orleans tradition that Professor ticulated primarily by Rypdal and/or trumpeter Palle Longhair launched. Dupree was a strong player with a Mikkelborg, are both underpinned and linked by stretches fertile lyrical mind and the CD opens with an anti-war of electronics. Interestingly, the sonics manifested by mod- blues, Vietnam Blues, followed by a diverse group of ern-day synthesizers frequently recall the primitive mid- material from the odd rhythms of Drunk Again, and Any- 20th Century pioneer days of the electronic “school” in thing You Want, with its light second-line groove. Dupree character. mixes spoken lines with his vocal lines with plenty of This is a work big on dynamics, frequently moving humor and good spirits as his backing band provides un- from and to a whisper-quiet place. It is also a work that derstated backing with occasional guitar solos from one expects much attention from the listener. Duane Verh Peter Curtley as Paul Rowan adds some harp. One can hear echoes of Leroy Carr, an influence on most bluesmen growing up when Dupree was, on the wistful slow blues OTIS RUSH Will It Be, with nice harp adding to the feel. It’s followed All Your Love I Miss Loving up by a rollicking groove on You’re the One. Dupree has DELMARK a fairly extensive discography out and this is an enjoy- News of a previously unissued live recording of Otis able addition to it. A very different take of Vietnam Blues, Rush from the mid-seventies created much excitement is one of several unissued tracks made available for the among blues enthusiasts. Rush, a Mississippi native, first time. moved to Chicago and became part of the West Side Chi- It should be noted that on several of these reissues, cago blues scene playing some blistering guitar and sing- the playing time is somewhat short, and even those with ing with great fervor. extra tracks do not exceed 45 minutes. Still there is some One of many blues artists in the post-B.B. King style, really good music to be heard on these releases, which Rush’s first recording for the Cobra label, I Cant Quit You are welcome additions to available blues recordings. Baby, charted on the R&B charts, and was followed by Ron Weinstock early recordings including All Your Love (I Miss Loving),
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PAGE TEN June 2006 • Issue 283 My Love Will Never Die, and Three Times a Fool. After the On Love,” “Lover Man,” “Skylark,” “Don’t Get Around Cobra label folded, he briefly was on Chess and then Don Much Anymore” and “You Don’t Know What Love Is.” Robey signed him but only issued one single, Homework. The project’s concept is best summed up by producer Many of these songs have become part of the modern Michael Cuscuna, who states “In 36 tracks on two discs, blues repertoire and covered by such blues-rock acts as we set out to represent listener-friendly vocal jazz by in- John Mayall, Led Zeppelin and J. Geils. He was one of the cluding songs meant to entice the novice just looking to artists featured on the legendary Chicago, The Blues To- get into this music. We embraced the time-honored icons, day series and has had a number of albums issued over veterans making a comeback, new artists (the emerging the past three decades. and successful) and singers from other fields who’ve cho- Delmark issued Cold Day in Hell in the mid-1970s sen to do jazz projects.” The last part of the statement no and it had received a fair amount of airplay on rock sta- doubt refers to Joni Mitchell, Linda Ronstadt and a few tion WXRT which led to WXRT recording and broadcast- others, and they fit in here just fine. Cuscuna obviously is ing Rush in performance from Chicago’s Wise Fools Pub too good at his job to include some who have taken a stab in January 1976. Now about three decades later, this per- at jazz, such as Rod Stewart and Carly Simon. Good man! formance is available for all blues lovers on this new In short, this is a wonderful set sampling the many Delmark CD. Featuring his superb band of the time with possible facets of jazz vocals. It is extremely listenable, Bob Levis on second guitar, Bob Stroger on bass, Jesse flows very well and is an excellent way to sample 37 dif- Green on drums and Alberto Gianquinto (ex-James Cot- ferent singers. On a closing note, all but three of the sing- ton, ex-Santana) on piano, Rush is in superb form. He ers on the set are still with us. Etta Jones, Ray Charles opens with B.B. Kings Please Love Me and redoes his own and Shirley Horn passed away in 2001, 2004 and 2005 All Your Love and It Takes Time as well other songs from respectively. Bill Wahl King, T-Bone Walker and Chuck Willis. To hear Rush, one of the most intense guitarists in the blues, laying out his HARDWAY CONNECTION soul singing You’re Breaking My Heart, or rearranging T- Bone Walkers Mean Old World to the melody of I Cant Hot Ticket Quit You Baby, one is treated to a performance that will WILBE RECORDS reaffirm for many of us why we love the blues…to para- Its been a decade since an unheralded walk-on group phrase Steve Tomashefsky’s liner notes. competed and won the International Blues Challenge in Few blues artists put as much soul into their perfor- Memphis, edging out a group fronted by Susan Tedeschi. mances and reach the level that Rush at his best achieved, Previously unknown to many blues lovers, the Hardway and he was at his best that January 1976 night at the Wise Fools Pub. Ron Weinstock
VARIOUS ARTISTS Jazz Vocalists Here & Now CONCORD Concord has just released this 2-CD set featuring a wide array of jazz vocals from 37 singers on a total of 36 tracks (one is a duet with Vanessa Rubin & Etta Jones.) The project’s proceeds will benefit the Jazz-Alliance International’s (JAI) Education & Advocacy Programs. Disc One features singers covering “more contempo- rary” songs...such as the opening track with Ray Charles doing “Mary Ann,” followed by Shirley Horn covering “Ev- erything Must Change.” Some of the others on the first disc are Freddie Cole with a wonderful version of “I Can’t PALACE Make You Love Me” – a big hit for Bonnie Raitt – and Diana THEATRE Krall and Lizz Wright doing their own compositions “Temp- tation” and “Salt.” Just a few of the other singers on that disc are Cassandra Wilson, Al Jarreau, Karrin Allyson, JUNE 22 Joni Mitchell and Norah Jones. There may be a few pleas- ant surprises for many listeners as they stumble upon some less-known voices such as Jackie Allen (who does a haunt- Thursday, 7:30 PM ing version of “Lazy Afternoon,” Mary Stallings and $35, $30 & $10 Madeleine Peyroux. Brazilian singer Luciana Souza also offers a bossa nova song done as a voice-guitar duo. Disc Two covers older jazz standards, but also done by a variety of singers, including Dianne Reeves, Jane TICKETS:Ticket Office, 216.241.6000 or Monheit, Abbey Lincoln, Jimmy Scott, Kevin Mahogany, playhousesquare.com Nancy Wilson and Ernie Andrews...to name just a hand- ful. This set features such chestnuts as “Taking A Chance June 2006 • Issue 283 PAGE ELEVEN Connection has since become one of Robert Owens gets to the vocal mike CHARLIE MUSSELWHITE the best-loved blues and old school on the popular medley of Roy C songs Delta Hardware soul bands in the Mid-Atlantic. Fea- Morning Train/ Peeping Thru the Win- REAL WORLD turing several truly excellent singers dow (presented in both radio and From the first rocking notes of and a tight band with two keyboards, unedited mixes) as well as the follow- “Church is Out,” to the fade out at the guitar, bass and drums, they have pro- up, One in the Morning, in which Rob- end of the disc veteran harmonica duced soulful and funky music. In the ert attempts to remedy what his master Charlie Musselwhite makes it course of their three self-produced woman viewed as the deficiency in his clear that despite a career that in- CDs, they have come up with some equipment being too short. And when cludes 18 W.C. Handy Awards, sev- strong original material along with one sees Hardway Connection per- eral Grammy nominations and dozens covers of some gems by Roy C. form, one mainly hears them perform- of albums, he’s not content to rest on William Bell, the legendary soul ing their originals along with selected his laurels. Instead, he continues to artist, has compiled 15 tracks from the covers from Dorothy Moore, Etta push himself in fresh directions. three discs on his Wilbe label, which James and others. Hopefully this disc On “Clarksdale Boogie” he incor- hopefully will make their music easier will be available in better stores. porates a drum and bass loop and live to find. What is impressive is the qual- You can get it at the group’s per- crowd samples to transform a normal ity of their originals (which shouldn’t formances of course along with the hard hitting shuffle into something be surprising since guitarist-vocalist Wilbe website, www.williambell.com. edgier. On “Sundown” he uses an in- Robert Owens is Don Covay’s Ron Weinstock cessant, pounding drum beat to ac- nephew) as well as the remarkable cent his bitter take on hard work that vocals of Jerome MacKall backed by CYRUS CHESTNUT left him with nothing “but muscle in the group’s strong playing. Genuine Chestnut his arms and pain in his back.” “Gone Originals range from the get up on TELARC Too Long” is a sarcastic kiss-off to a the dance floor groove of Come On Making his Telarc label debut, pia- former lover who wants to rejoin the and Dance; the southern soul of What nist Cyrus Chestnut mixes original action after way too much water has She Doesn’t Know about a man in an material with some familiar pop tunes passed beneath the bridge. “Invisible affair; Horn-ee Side, perhaps an un- for an appealing 11-track session. Ones” and “Black Water” dip into the fortunate title for a lyric in which Accompanied by bassist Michael deep divisions in our country between MacKall sings about wanting to reach Hawkins and drummer Neal Smith (a the working poor and the rich. the hornee side of his women’s mind; Cleveland native) and guest artists While the devastation of hurricane one of the group’s finest soul ballads, Russell Malone (guitar) and Steven Katrina serves as a starting point for It Must Be Love; and Somebody, a Kroon (percussion), Chestnut serves his observations he makes it clear that deep soul lyric that evokes the Bee up a very palatable, diverse set that the problems go far deeper than just Gees To Love Somebody. Guitarist trumps some of his recordings of the dealing with natural disasters: noth- past two decades. His originals such ing short of a rejection of the rich as “The Brown Soldier,” “El Numero folks’ “let them eat cake” attitude will Tres,” “Ellen’s Song,” and others dem- solve the seething resentment and tur- Blues onstrate that Chestnut is as accom- moil that bubbles just below our sur- plished a composer as he is a per- face appearance of civility. former. Guitar Backed by his crack touring band At any tempo, Chestnut is a phe- nomenal and passionate player and he Blowout chose the right team for this project. With Malone and Kroon, Chestnut de- LIVE BLUES ON Cleveland Fats livers a gorgeous rendition of the bal- THE HIGH SEAS and lad gem “If,” which shows off his deli- The Ledgendary cate keyboard touch. On his speedball original, “Mason Dixon Line,” Chestnut Louisiana Red is remarkably adept, navigating some tricky passages with unfettered finesse (Rare Cleveland Performance) and allowing Smith solo room. Album highlights include a lush, spine-tingling, Sunday June 4th Latinate ballad reading of “The First Time Ever I Saw Your Face” by Chest- 8pm nut, Hawkins and Kroon and a swing- Parkview Nite Club ing version of “I’m Walkin‚” with the core trio and Malone. Chestnut closes the set 1261 W 58th with an amen, a lovely solo piano ren- Read The Review at jazz-blues.com Cleveland OH dering of “Lord, I Give Myself To You.” Click the Featured Story Tab 216-961-1341 This is a very listenable, straight- ahead album that should endure for Sign up at www.bluescruise.com ages. Nancy Ann Lee PAGE TWELVE June 2006 • Issue 283 Musselwhite isn’t forced into the polite instrumental inter- blues of Goin’ To Mississippi or the high energy romp of Shake play that sometime creeps into recordings involving per- It. formers of his status. These guys are used to pushing him While numerous performers think that the path to a blues hard on stage and they do it here with no apologies. As a audience is through vintage equipment or note for note rever- consequence, Musselwhite’s vocals and harmonica play- ence to the songs of the first generation of bluesmen, Slim ing have a forceful, energetic edge that makes this sound knows better. You write your own tunes, tour constantly and more like a debut recording of a hot new talent than some- work your butt off to capture everyone within the sound of thing coming from someone who has done it all before. your guitar. This disc features Slim and the Teardrops very Skip the big box store and shop at Charlie’s Delta hard at work. You can’t like traditional Southside electric blues Hardware. Mark Smith without falling for this release. Mark Smith
EDDIE GOMEZ & MARK KRAMER BOBBY PREVITE Art of the Heart The Coalition Of The Willing ART OF LIFE RECORDS ROPEADOPE Bassist Eddie Gomez and pianist Mark Kramer play True fusion music is what drummer Previte offers here. an array of 12 jazz, pop and show-tune standards on this Not as in the industry term “fusion” but rather music made romantic duo session. from diverse sources; diverse and sometimes almost at The pair seems destined for performing together. Both odds with one another. Neo-garage rock meets blues harp are melodious, chops-perfect players who get deep into meets free jazz- get the picture? each tune and complement each other spectacularly. Coalition is a collection of instrumental tracks fre- Gomez’s use of arco (bowed) bass adds much to this ses- quently disturbing and almost always compelling, an- sion and Kramer’s keyboard style of single-note lines, trills chored mostly by the Hammond-cum-Farfisa constructs and other techniques heighten listening enjoyment. of organist Jamie Saft and Previte’s primarily prog-rock- Included on the disc are lovely renditions of “Won- grounded drumming. Additional coloration comes from derful, Wonderful,” “Chances Are,” “Hello Young Lovers,” the varied voicings of guitarist Charlie Hunter. Jazz is “Call Me Irresponsible,” “They Say It’s Wonderful,” “Smile,” present but on equal terms with other sources, used much “Easy To Love,” “If I Loved You,” “It’s Not For Me To Say,” the way the more esoteric of 70’s Brit and Euro art-rock- and more love song favorites from the earlier decades. ers did (Soft Machine, Henry Cow, etc.). George Orwell’s You won’t miss the drums at all on this relaxed, mel- 1984 is the title source for most of the tracks: “The Minis- low, warmhearted album and you’ll want to play it over try Of Truth” and “Memory Hole” for two, and no doubt and over. Nancy Ann Lee the inspiration for the unsettling mood Previte so success- fully creates here. MAGIC SLIM & THE TEARDROPS Coalition should rate as one of the year’s most inter- Anything Can Happen esting releases. Duane Verh BLIND PIG This 11 cut live disc recorded at the Sierra Nevada WILLIE EGAN Brewery’s “Big Room” features straight up, unadorned elec- Wow Wow: tric guitar blues. With nothing more than two guitars, a bass The Complete Vita/Mambo Sessions and drums, Magic Slim and the latest batch of Teardrops weave EMPIRE MUSICWERKS that deep, hard hitting groove that fans of electric Chicago Willie Egan was one of the less known rhythm’n’blues/ blues love so well. Having stood shoulder to shoulder with the rock & roll pioneers whose recordings were reissued on likes of the legendary Magic Sam and Hound Dog Taylor in European vinyl LPs in the 1970s and 1980s. The UNI dis- Chicago blues clubs after migrating from Mississippi in the tributed Empire Musicwerks label hopes to lift him from 50’s, Slim exudes authenticity regardless of whether he’s lay- his ‘obscurity’ with the release of Wow Wow: The Com- ing down a slow scorcher like Please Don’t Dog Me or Muddy plete Vita/Mambo Sessions. Water’s Still a Fool or filling the dance floor with the shuffle Egan, who died in 2004, was a Louisiana native whose family moved to the L.A. area when he was 9 years old. The notes suggest that he was a rocker in the vein of New Web Exclusives Orleans legends Fats Domino and Smiley Lewis. Egan Check our website monthly for special stories, announcements himself referred to Amos Milburn, Hadda Brooks, Camille and some web-only issues in between our pulp issues. And, Howard and Nellie Lutcher as his main influences while our downloadable e-version of each pulp issues has expanded he had a vocal style akin to Little Willie Littlefield. J.R. review sections, including book reviews. Fulbright recorded him in 1949 (at the age of 16) for the Plus - Thousands of CD & DVD Reviews Elko label, but it wasn’t until he was living in Watts and playing in clubs as the House Rocker that he was noticed in Our Database – by the A&R man for the Pasadena based Mambo/Vita la- Searchable....At Your Fingertips! bel. Paired with guitarist Lloyd Rowe, he produced 12 sides which, with four alternate takes, produces the 16 tracks www.jazz-blues.com on this somewhat short (about 32 minutes) CD. There is the loping instrumental Potato Stomp, where June 2006 • Issue 283 PAGE THIRTEEN both get to display there skills, or the title track with ech- might be a hangup for you, by all means go to oes of the New Orleans sound perhaps filtered through Amazon.com and sample the two cuts there. the West Coast Jump Blues, itself a source of inspiration Both of these concerts were recorded at Manchester for Egan. Then the hard rocking blues, I Don’t Know Where Crafstmen’s Guild, a venue which has been the site of many She Went, as well as Willie’s Blues and Wear Your Black excellent jazz concerts over the years, and many of those Dress. have been released on its record label. MCG is a multi- Nothing fancy about the music here as it is a healthy discipline, minority directed arts and learning center serv- dose of that old-fashioned rock and roll. Ron Weinstock ing Pittsburgh’s urban community. Check them out at www.mcgjazz.org and look into some of the other fine re- cordings they have to offer. Bill Wahl TOM SCOTT W/ PHIL WOODS Bebop United MARGIE BAKER AND FRIENDS MCG JAZZ Live at Bach Dancing BOB MINTZER BIG BAND and Dynamite Society Old School, New Lessons CAP RECORDS MCG JAZZ Born in a dirt-shack in East Texas, Margie Baker grew MCG Records is a product of the Manchester up to earn a Doctorate in Education and become a jazz Craftsmen’s Guild of Pittsburgh. Tom Scott’s live record- and blues vocalist, being mentored by Dizzy Gillespie. After ing finds him fronting a seven piece band, featuring a spe- getting coaxed out of the audience by a guitarist friend at cial guest, alto sax giant Phil Woods, on three tracks. While Henri’s Room at the San Francisco Hilton to sing a song, Scott has over recent decades been known in the con- she immediately got a job from Conrad and Barron Hilton temporary jazz circles, he has turned to his bebop roots leading to her singing two nights a week (5 nights during for this first-class live concert recording. This is a splen- the Summer) at Henri’s Room as well as occasionally at did set of swingers and ballads with wonderfully smooth other Hiltons. unison horn parts throughout. Three Scott compositions Former Paul Butterfield pianist Mark Natfalin often had are heard along with five other pieces, including Wayne Margie sing with his band at festivals and Jimmy Lyons Shorter’s “Children Of The Night,” “Chick Corea’s “Tones booked her not only at the Monterey Jazz Festival but at For Jones Bones” and Cannonball’s “Sack O’ Woe.” The festivals worldwide. other players on the front line are Ronnie Cuber/baritone At the age of 68, CAP Records has just issued her first sax, Randy Brecker/trumpet and Jay Ashby/trombone. nationally-released album, a 2-CD package with two sets The rhythm section consists of veteran pianist Gil from the Half Moon Bay venue just south of South Fran- Goldstein (here on acoustic grand only), Duane Burno/ cisco. Guitarist Rodney Jones, Ruth Brown’s East Coast bass and Willie Jones/drums. bandleader, is the best known of the backing band. Alan Some of the outstanding moments here are Woods’ Steger and Shota Osabe are each heard on piano on one solo on Scott’s “Silhouettes” and Cuber’s baritone work disc and synthesizer for the other, while Harley White on on “Sack O’ Woe” as he follows Ashby’s likewise strong bass and Omar Clay on drums complete the rhythm sec- bone solo. In short, an exquisite and very classy concert tion. Horns are played by Fred Berry on trumpet and from Scott and friends...and not at all what many would Michael O’Neill on saxophone. expect given his popular recorded output. This is a pretty diverse program including songs as- Another live recording from the same venue comes sociated with Louis Jordan (Let the Good Times Roll), from an artist most people would not associate with a big Bessie Smith (‘Gimme’ a Pigfoot), Count Basie (Goin’ to band – tenor saxophonist/flautist Bob Mintzer, known to Chicago), Duke Ellington (It Don’t Mean a Thing If It Ain’t most as a member of the contemporary jazz group Got That Swing), Jimmy Reed (Baby ‘Whatcha’ Want Me Yellowjackets. Recorded in April, 2005, this is the second to Do), Nellie Lutcher (Real Gone Guy), Willie Nelson live MCG release for this unit. (Ain’t It Funny How Time Slips Away), Charlie Parker He also has some guests – Yellowjackets on two cuts (Parker’s Mood), Antonio Carlos Jobim (Favela), Julie (the other three, as, obviously, Mintzer was already on London & Esther Phillips (Cry me a River) and other jazz, hand) and singer Kurt Elling on two others. As for the blues and ballad standards. Given her experience in per- band, the most familiar names for most would be Pete forming over the decades, one should not be surprised Yellin/alto sax & flute, Phil Markowitz/piano and Lawrence how well she delivers this fairly eclectic repertoire with Feldman/alto sax & flute...but as a unit this 16-piece band nice support and some very solid solos adding to the kicks some butt with fresh, modern arrangements and of- musical mix. fers plenty of talented soloists. The two songs Elling sings There is plenty of sass and spirit as well as tender- are Coltrane’s “Resolution” (from A Love Supreme) and ness in how she can caress some of the lyrics, and she is the ballad “My One And Only Love,” a song also associ- one of many excellent older women vocalists (Alberta ated with Coltrane due to his outstanding version with Adams and Odessa Harris from Detroit are two others that singer Johnny Hartman in 1962. The remaining seven cuts come to mind) that are similarly having careers blossom are all Mintzer originals. There is some very nice stuff here. at this stage in their lives when they can go out and per- The only question for some would be if they want to hear form with a bit more regularity. Elling singing the above-mentioned songs...perhaps es- While this should be available at better stores, it is pecially “Resolution,” for which he wrote the words. If that also available at www.jazzbeat.com. Ron Weinstock PAGE FOURTEEN June 2006 • Issue 283 June 2006 • Issue 283 PAGE FIFTEEN BILL CONNORS The trio’s intuitive collaborations, ancient and modern Return at the same time, are captured by five cameras and, while video quality is quite good (with the exception of one shaky TONE CENTER camera angle), there’s a raw feel to the filming and editing One would search a good while to discover a pair of im- that matches the avant-garde style of the musicians on five provisers more kindred that guitarist Connors and pianist Bill original El’Zabar tunes ranging from about four and a half O’Connell. Some sessions thrive on contrast but the unity of minutes to over 18 minutes. “Big M,” a tribute to Malachi, touch and approach by the principal soloists is the key fea- launches the set, focusing on El’Zabar’s imaginative percus- ture of this relatively straight-ahead jazz set. sive talents, Brown’s earthy-toned sparse improvs and long- Connors and O’Connell pass the solo torch so smoothly time friend Bang’s spirited bowing, plucking and strumming. between themselves that unbroken moods prevail. They ap- Other tunes include “Return of the Lost Tribe,” “Where Do pear to hear the same possibilities in virtually all ten tracks You Want To Go?,” and “Oof.” Extras on the DVD include a and are both prone to both energetic readings and graceful January 2005 interview with band members and a Delmark lyricism. The rhythm trio- bassist Lincoln Goines, drummer/ discography. producer Kim Plainfield and occasional percussionist Myra El’Zabar joined the AACM at the age of 18, furthered his Casales reliably keep from a high simmer to rolling boil. studies at the Chicago Conservatory of Music and at Lake All in all this is a pleasant outing. Duane Verh Forest College, and trained formally for seven months in Ghana, West Africa. He founded the Ritual Trio in the early 1980s as a way to bring together two generations of AACM Jazz & Blues on DVD (Association for the Advancement of Creative Musicians) musicians. Initially, the group featured trumpeter Lester Bowie and bassist Malachi Favors. Bang has recorded with the group SMOKIN’ JOE KUBEK twice before and Brown has been a member of the Ritual BNOIS KING Trio since the mid-1980s. This is Yosef Ben Israel’s first re- cording with the Trio. My Heart Is In Texas Anyone who has ever caught Kahil El’Zabar’s Ritual Trio BLIND PIG DVD in live performance knows that this band nobly carries on the tradition of the AACM. This concert performance is an True to this label’s video format to date, the Kubek/ alluring, audio/visual masterpiece that should bring aware- King disc is a no-frills bar set, presented in a straightfor- ness to hordes of new fans. Nancy Ann Lee ward manner with minimal camera play. The New Year’s Eve ambience at the J & J Blues Bar in Fort Worth pro- vides just enough roadhouse backdrop for Messr’s K & K’s four-piece and the end result is that the band’s music itself is the “star”. books The band’s stock in trade is King’s mellow, authorita- tive vocals and Kubek’s intense. rock-ribbed guitar work and here they serve it up tune after tune on an all-origi- SONG FOR MY FATHERS: nal set. The focus changes slightly when the two engage A NEW ORLEANS STORY IN BLACK & WHITE in trade-off solos now and again but the energy level is by Tom Sanction pretty consistent overall. OTHER PRESS The rhythm section does their job and it’s kind of cool Tom Sancton was the Paris Bureau Chief for Time to watch a blues band keep a dancin’ crowd on the floor. Magazine for 22 years, a city where he still lives. He co- The casual bar-side interview is a nice extra. It’s a good authored the bestseller Death of a Princess. He is also show overall and will serve fans of these fellas well in an accomplished traditional jazz clarinetist who has re- between “live” gigs. Duane Verh corded over a dozen albums. This story is a memoir of growing up in New Orleans in the late fifties and early sixties where he fell under the spell of the musicians at KAHIL EL’ZABAR’S RITUAL TRIO Preservation Hall, several of whom mentored him and Live at the River East Art Center were his musical fathers. The memoir is as much about DELMARK DVD their impact on him as well as his own father, therefore Chicago-based percussionist Kahil El’Zabar’s Ascension the plural in the book title. It will be published by Other Loft Series, held in Chicago every three or four months, be- Press June 5. gan in 2003. This DVD documents a live loft-party perfor- Sancton’s father was a Harvard graduate who was a mance at the River East Art Center on December 18, 2004 managing editor of the New Republic before Henry Luce and features El’Zabar (kalimba, drums, percussion), tenor recruited him to write for Life magazine, where he be- saxophonist Ari Brown, bassist Yosef Ben Israel (in the chair came a forceful advocate of racial equality. He married a of the late Malachi Favors) and special guest Billy Bang on woman from an established family in Jackson, Missis- violin. The setting at the fine arts and performing arts center sippi and moved to New Orleans, where he wrote for the is integral to the loose feel of the performance and cameras local press and wrote two novels which had little impact. also capture canvas painters and other artists creating works He later became a public relations person, although not that the music inspires. a very skilled one. The introduction to the book opens June 2006 • Issue 283 PAGE SIXTEEN PAGE SEVENTEEN June 2006 • Issue 283 with the son and his father in Jack- periences with trumpeters Punch BLOWING THE BLUES- son, where his parents had fled after Miller and Kid Thomas; banjo player FIFTY YEARS PLAYING Katrina, and notes his unsuccessful Creole George Guernon; bassist attempt to convince his father not to “Slow Drag” Pavageau and many, THE BRITISH BLUES return to their disheveled, damaged many others – he also tells their sto- By Dick Heckstall-Smith home. ries. With Creole George Guernon, & Pete Grant The memoir opens with Sancton Sancton learned about reading as CLEAR BOOKS and his father attending the funeral well as other experiences, including Those who recall the British jazz/ of Papa Celestin, an event that he the differences between the more blues/rock group Colosseum know could not understand at the age of educated and refined Creole popula- that the bald bloke who often blew five, but did realize the special na- tion and other African-Americans like saxes two at a time was one of that ture of the event. After briefly dis- Lewis. Guernon also took him to first-class outfit’s most distinctive cussing his father’s life, he then re- Emile Barnes, another wonderful features. Tenor/soprano man Dick counted the failures of his father’s Creole clarinet player, in part to wean Heckstall-Smith brought a love of jazz novels, and that in 1960 he discov- him away from simply copying Lewis. from Sidney Bechet to Wardell Gray ered music emanating from the re- And from sitting in at Preservation to Coltrane to his inventive craft and cently opened Preservation Hall and Hall, Sancton soon joined one of the had a big thing for blues besides. discovered among the musicians brass bands and started participat- From pure bop beginnings in the George Lewis, Jim Robinson and ing in their funeral marches and pa- 50’s, he professionally fell in with the “Slow Drag” Pavageau, musicians he rades. burgeoning British blues and r&b had befriended in New York when He also met Antoine Plessy, a scenes of the 60’s. Heckstall-Smith they played with Bunk Johnson in the cousin of the plaintiff in the infamous became a mainstay with Alexis 1940s. Their musical careers had fal- case in which the Supreme Court set Korner’s Blues Incorporated, the leg- tered in the intervening years until forth the doctrine of “separate but endary Graham Bond ORGANization- Preservation Hall opened. And with equal” that permitted the legal deg- where he hooked up with future these friendships renewed, Sancton’s radation of African- Americans for Cream rhythm men Jack Bruce and father eventually brought the family nearly seventy-five years. Ginger Baker- and in the horn sec- there, where the bluesy untutored It was a time when his fondness tion of John Mayall’s late 60’s clarinet of George Lewis and Jim for old African-American musicians Bluesbreakers. That last lineup led Robinson’s tailgate trombone would would be seen as weird by his class- directly to Colosseum, a band that mesmerize the young boy. mates in a world that segregation still blew away live audiences but whose It was Lewis that would first men- ruled, and one in which the Beatles records never met with commercial tor young Sancton who bought his were leading a musical revolution success commensurate with their records, memorizing the solos and that would appear to threaten the collective talent. even trying to play them on a tin preservation of early jazz – and he is The closing chapters of Blowing flute. After getting a clarinet, young torn between his musical and life les- The Blues deal with this conundrum Sancton showed it to Lewis, and af- sons and the music the Beatles pre- which became a constant in ter trying to play it, Lewis said he sented. And, as his high school years Heckstall-Smith’s career. His oscilla- needed a new reed, as the reed was come to a close, he sees some of his tion between the jazz and blues too hard for a beginner. In between friends finally passing on. worlds hasn’t been an easy sell to George telling him about his life and Songs For My Fathers is marvel- record labels. The bulk of the book, showing his Albert System clarinet ous coming of age memoir, bringing however, tells great tales of the ups (Custom built for the legendary to life these long-past masters of and downs of a unique musical era, Jimmy Noone), he showed him ba- early jazz style who brought some populated with some of the most in- sics, playing a phrase and having much life and joy to their music, and teresting, sometimes problematic Sancton play it back, occasionally helped shape young Tom Sancton, characters one could ask for. The correcting his fingering and later who would follow his father to hotheaded Baker, the multi-talented lending Sancton a better clarinet. Harvard. Bruce, the dapper, dedicated Mr. After a few more lessons, he had the I would not be surprised if those Korner, the easier-going-than-one- youngster join him on stage at Pres- reading this book start delving into might-expect Mr. Mayall and the both ervation Hall. the catalogs of recordings by the likes brilliant and self-destructive Graham While having some regrets about of George Lewis, Jim Robinson, Bond make fora a great cast as seen not paying more attention to the Sweet Emma Barrett and so many through the eyes of this witty and in- schooled clarinet players like Willie others, and hear the joyful noise that sightful artist. Humphrey, Lewis Cottrell and Albert they made – and whose music still All fans of the British blues scene Burbank, his apprenticeship with uplifts us today like it did Tom should enjoy this book and a 7-track Lewis taught him what Lewis knew. Sancton four and a half decades ago. CD of unreleased material is a great “With George, it was all playing from Ron Weinstock deal-sealer. Duane Verh the heart.” Lewis is only one of a number of Search Our Review Database Anytime musicians who took Sancton under www.jazz-blues.com their wing and he recollects his ex- PAGE EIGHTEEN June 2006 • Issue 283