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september/october 2005 issue 276 free now in our 31st year www.-.com

RUDY VAN GELDER Chris Hovan’s Interview with the Legendary Jazz Recording Engineer is Revisited as Blue Note’s RVG Reissue Series Reaches 150 Titles

ALSO: SHEMEKIA COPELAND A New CD and On Stage at Fat Fish Blue & Newly Discovered Historic Live Tapes Now On Disc ROCK & ROLL HALL OF FAME AND MUSEUM TURNS 10 Dave Koz September/October 2005 • Issue 276 RUDY VAN GELDER INTERVIEW REVISITED Published by Martin Wahl Communications By Chris Hovan Editor & Founder Bill Wahl From the Editor...This interview by Chris Hovan with the Legendary recording master Rudy Van Gelder first ran in our July-August 1999 issue. At that time the Layout & Design Bill Wahl Blue Note reissue series, Rudy Van Gelder Editions, was in its initial stage in the Operations Jim Martin U.S. Now, six years later, the total number of RVG Editions released by the label will Pilar Martin reach 150 titles with its September release of six more CDs. In recognition of that mark, we have decided to rerun this marvelous interview for those who have not Contributors seen it, and to refresh those who did on the art of Rudy Van Gelder. In addition, our Michael Braxton, Mark Cole, many thousands of web readers who download our issues around the globe will get Chris Hovan, Nancy Ann Lee, a chance to read it as we have only been posting issues for download for two years. Peanuts, Mark Smith, Duane Verh and Ron Weinstock. For many decades now, the name from people in the record business, pri- Distribution Jason Devine Rudy Van Gelder has been synonymous vate record labels at the time, and I started ICON Distribution with recorded jazz . The number recording for them. That’s how I got into of sessions he’s done over the years it. Check out our new, updated web easily numbers in the tens of thousands. The first record I ever made that was page. Now you can search for CD He’s been actively involved in sold as a commercial record Reviews by artists, Titles, Record the recording work of such was one of Joe Mooney, who Labels or JBR Writers. Twelve years quintessential jazz labels as was an organ player working of reviews are up and we’ll be going Prestige, Impulse, Verve, CTI, around here at the time with all the way back to 1974! and of course, Blue Note. In Bucky Pizzarelli and a bass more recent times, Van Gelder player by the name of Bob Address all Correspondence to.... has cut sessions for Highnote, Carter. It was a working trio and Jazz & Blues Report Milestone, Reservoir, Venus, I recorded them for this com- 19885 Road # 320 and N2K, to name just a few. In pany called Carousel Records Rocky River, Ohio 44116 fact, drummer T.S. Monk’s N2K and it was actually available for Main Office ...... 216.651.0626 , Monk on Monk, was purchase. It was played on the Editor's Desk ... 440.331.1930 done at Van Gelder’s and has radio and everybody liked it. [email protected] received many critical plaudits, There was this station in New Web ...... www.jazz-blues.com most recently being named Jazz Album York, WNEW. The disc jockey was Al of the Year in Down Beat Magazine’s Collins and he used to play that every af- Copyright © 2005 Martin-Wahl Communications Inc. Annual Readers Poll. From the first time ternoon and so it got to be quite popular. I interviewed Van Gelder in 1989 for a No portion of this publication may be CH: When you started out, how much reproduced without written permission radio program I was producing I could sense his genuine love for the music and of the recording equipment was available from the publisher. All rights Reserved. his great interest in the legacy he has for purchase and how much did you end Jazz Report was founded in Buffalo New had a hand in preserving. I found him to up designing and constructing yourself? York in March of 1974 and began in Cleve- be no less engaging and immersed in RVG: When I first started making land in April of 1978. We are subsidized his work, his new remastering of Blue records, which was non-commercially, solely through advertisement and ask that Note classics in particular, when we had there was nothing available. That was how you support our advertisers. occasion to again speak one evening in I got into it, radio and HAM radio, and I

May of this year (1999). used to construct my own equipment. a W division of There were no commercial companies artin-Wahl Chris Hovan: For those readers c o m m u n i c a t i o n s who may not be as familiar with your making recording consoles as they are career, tell me briefly about how you got today. The major record companies all involved in the recording business. built their own and if you wanted to do anything you had to do it yourself. Which Rudy Van Gelder: Well, I was al- I did. That’s how I started. How much did "Buffalonious" ways involved in recording when I was I end up designing? Of course, it was ev- a kid. It got to be a business shortly erything. The only commercial designs Original mascot from thereafter. I used to record my friends, were available through radio equipment the many of whom were amateur musicians. manufacturers. They had consoles for Buffalo Jazz Report I used to do it at my parents’ house and radio purposes and that was my first con- days Ð mid '70s then people heard about that and then I sole, which was actually a modified radio would get calls from musicians and sing- console. A neat little thing too. It had one Created by ers in the neighborhood and they would meter, but it made some very nice records, Christine Engla Eber want me to record them, which I did, some of which I’m remastering right now. Watch for new t-shirts bearing his image–coming soon! making demos and that sort of grew for quite awhile. Then I started getting calls CH: Tell us about how you met Alfred PAGE TWO September/October 2005 • Issue 276 sound that way. There was a certain when the stereo LP came in there was consistency and the people who bought this question of compatibility. Who wants those records would look forward to what to buy two of the same music? was coming next because they knew the You had to make both available and that record would have a good sound. The became very difficult so what happened musicians were all of a certain caliber was everything that was made in and he would get a good performance Hackensack was mono. Even towards out of them. So that’s all what blended the very end when we were recording together to launch my adventure in this two-track we weren’t listening in stereo. thing. We were recording in two-track and we were listening in mono because there CH: In a previous interview with me, was only one speaker in Hackensack in you discussed how you tried to give each the control room and only one speaker label its own identity soundwise. With- in the studio. So how could you listen in out getting too specific or technical, ex- stereo when you only have one speaker? plain how you approached that and how And all the judgments, Alfred’s judg- you approached the development of Blue ments, as to mix and balance, and mine Note’s sound. too and the musicians too and how they RVG: I would like to modify some- sounded in relationship to each other, RudyVan Gelder (left) at work, pictured thing of what you said, you say it’s “my and all that during the creative part of with Blue Note’s at a record- sound”, really what it is is my feeling and those recordings was done in mono. It ing session at New York’s in couldn’t be any other way. Towards the 1960. Photo ©Mosaic Images my approach to the musicians I’m record- ing at a particular session. I really don’t end we were running two-track sessions Lion and subsequently began to record but no one had ever listened to them. for Blue Note. like to think of it as being “my sound.” What I’m doing really is trying to let the So there was no particular attention or RVG: I had been recording for vari- musicians be heard the way they want attempt at creating a stereo field at that ous independent jazz labels at the time to be heard. What it really is is the musi- time. and had never met Alfred and I recorded cians’ sound CH: Please discuss your approach a band for the musician called Gil Melle. Alfred [Lion] would be very meticu- to the new Rudy Van Gelder Edition Blue He had a nice little band and came to lous, well-rehearsed, and he would come Notes in terms of working with the ste- me through this other label, I think it was in and see that everything was going well reo and mono tapes and deciding which Progressive Records. Alfred acquired and he knew what he was going to get format to use for the new master. that record, he bought it and released that before he came into the studio. There on Blue Note as a 10" LP and then he were other labels at that time where the RVG: My approach was totally dif- wanted to make another one. At that producers were much looser and they ferent from what I had heard in the pre- time, Alfred was going to a studio in New would just come in and see how things vious CDs. This was first time I had any York which was incidentally also a radio went. And the musicians and the music opportunity to deal with those tapes. studio, WOR studio in New York, and they would very much reflect that. There were Once or twice they sent to me both the had a business of making their record- two ways of looking at it and that’s re- mono and stereo versions, which I de- ing facilities available. So, that’s were flected in the way these records sound. scribed to you a minute ago, and the Alfred went and he took that album to the The difference is in the producer. [Alfred] mono would sound much better for obvi- engineer there and he said, “I want it to had a feeling for the music and when it ous reasons, because no one who had sound like this.” So the engineer listened was working and when it wasn’t work- been involved in the creation of the origi- to it and told Alfred, “Look, I can’t make it ing. He was very good at that. He knew nal session had ever listened to stereo, sound like that, you better go to the guy when things were working. Now that’s but everyone had listened to mono. So I who did it.” So that’s what happened. not to say that the other producers did tried to convince them to release the Alfred came to me and stayed forever not know. It’s just that he was the epitome mono version even though it had previ- after. of that kind of producer. He understood ously been issued as stereo because I what was happening and actually work- felt that the mono version sounded as if CH: You have said that the Rudy ing with him all those years allowed me Alfred would have wanted it to be that Van Gelder “sound” owes a lot to Alfred to understand what is happening and way. And that is really my goal here. Lion and the Blue Note legacy. Please that’s one of the things I’m always grate- However, there are plenty of albums in explain how Blue Note had an impact on ful to him for. this series that are in very good stereo. your own development as an engineer. Until now no one has heard my version CH: How did the invention of stereo of what these early recordings should RVG: In all honesty, I don’t want to effect your approach to recording jazz? say that was the whole thing, but he was sound like on CD. a large part of it and most of it was his RVG: That was a problem for ev- CH: Tell us how this whole project concept of how he wanted his own eryone and not just me. There was no came about for remastering the classic records to sound and how he approached artistic rush to get into stereo from the Blue Note albums. that and the task which he gave me to people I worked for. They had to get into make sure that I could get for him what because they had to get into it. As a RVG: The concept of it came from he wanted out of the musicians that he matter of fact, for quite awhile Alfred and Hitoshi Namekata. He’s the one that runs brought in. So, in that way I was subject others too had to be making...this is the Blue Note label in Japan for Toshiba- to this on-going discipline. That formed pretty important that you understand this. EMI. He wanted me to do it and he called the foundation of what I did later for dif- They had to make two products from the Michael Cuscuna and Michael called me ferent producers and different types of same session. They had to make a mono to see if I was interested and it ended up music. Alfred was really the first client release in order to have anyone buy it that absolutely I would be, just as long who became the foundation of a business and they had to make a stereo release as I could get the original tapes when- for me. Every session he made I recorded to make that available to people who ever possible. It had nothing to do with for him, so that label got a distinctive were buying stereo. And then of course Blue Note New York other than Michael September/October 2005 • Issue 276 PAGE THREE Performance artist Laurie Anderson, returns Shemekia Copeland will be appearing at Fat Bonnie Raitt will be appearing at the Palace to Playhouse Square with her solo work Fish Blue on Wednesday, October 12 at 8 Theatre Wednesday, October 12 at 7:30 pm. “The End of the Moon,” for one 7:30 pm pm. Her new Alligator album THE SOUL Her new album SOULS ALIKE will be released show Sunday, November 6 in the Palace TRUTH has just been released and is re- September 13 on . Tickets Theatre. Tickets are on sale at the Play- viewed in this issue. For ticket information, are on sale at the Playhouse Square Ticket house Square Ticket Office; online at call 216-875-6000, or visit online at Office; online at www.playhousesquare.com www.playhousesquare.com or by phone at www.fatfishblue.com. Photo by Larry or by phone at 216-348-5271. Photo by Sam 216-348-5271 or 800-766-6048. Busacca courtesy of Jones courtesy of Capitol Records. as a producer. Subsequently, there are the Rock and Roll Hall of Fame and Mu- few issues being made in the United Rock & Roll Hall of Fame seum will also kick-off a year-long celebra- States. They are different. They have ex- tra tracks on them. You see, the concept and Museum turns 10 tion the weekend of September 24-25 with of this was to duplicate the original LPs It has been 10 years now since the half-price admission and giveaways, in- as much as possible. They [Japan] didn’t Rock & Roll Hall of Fame and Museum cluding a trip for two to see the Rolling want any of the out takes or none of the opened its doors at the foot of East 9th Stones perform live in Las Vegas. Over additional tracks, they wanted it just as it Street in Downtown Cleveland. The very the years, the Rock Hall has offered a was issued . Of course, that unique I. M. Pei designed building hous- plethora of exhibits, , special made me feel even better. ing the Rock Hall is a now very familiar events, traveling exhibitions, symposiums landmark on the city’s coastal skyline. and much, much more. CH: How long have you been en- I recently went to a at the gaged in this project? Since it opened in September, 1995 more than 5 million people have visited the museum’s intimate theatre featuring blues RVG: I’ve made a hundred albums Rock and Roll Hall - and most of them legends David “Honeyboy” Edwards and on this RVG series in Japan. I’ve already are from out of the area. Many of its visi- Aaron Moore. Both current Chicago resi- done this. I’ve been working on this since tors are from Europe and Asia, as well as dents, “Honeyboy” and Moore both hail 1998 for the whole year of ’98 and now all parts of North and South America. from Mississippi. Honeyboy was born in I’m doing the second hundred, as op- It is estimated that the Rock Hall has 1915 and in 1942 folklorist Alan Lomax posed to the relatively small amount for been responsible for injecting over $1-bil- caught him on tape while doing field re- the U.S. So you really can’t compare the lion into the Cleveland area’s economy in cording for the Library of Congress. The two. its 10 years. During that time the museum guitarist/singer one is of the last of the CH: Some have said that these new has established itself as a unique and original acoustic Delta blues players. remasters possess a sound that is warmer important cultural institution, as it fulfills Boogie Woogie pianist Moore is an- and much more akin to the original vinyl. its mission not only to preserve, study and other one preserving a classic music style. How do you feel about that? interpret rock and roll and its impact on Aaron is somewhere in the vicinity of 80 himself, although his exact age seems to RVG: I was so happy to hear you say society, but also to be a top tourist desti- be a something no one agrees on. No that because that’s my goal. I really want nation and economic driver in Northeast it to sound like that because that’s what Ohio. matter, these two guys, who performed Alfred heard. No one heard it off a CD. I To commemorate its 10th Anniver- both separately and together, were a gas want people to hear the music with the sary, the Rock Hall is announcing plans to experience. They broke up the perfor- warmth and the energy and all the things to open a new Library and Archives in mances with a bit of spoken word blues that Alfred and Francis Wolff put into it. I December 2007 at the Cuyahoga Com- history via a question and answer session really feel that I’m commissioned to do munity College campus in downtown very well conducted by the Rock Hall’s that. I’m driven by that. That’s exactly Cleveland. The 18,000-square-foot facil- Vice-President of Education and Public what I’m trying to do and if someone says ity will be housed within the college’s new Programs Warren Zanes. that then they understand what I’m trying Center for American Music and Record- Michael Frank of Earwig Records also to do and that’s really gratifying. ing Arts. In addition to the announcement came along with them and played some of the new Library and Archives facility, harp. “Honeyboy” has a DVD out which PAGE FOUR September/October 2005 • Issue 276 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. Blue Note has just released twelve more RVG Editions. If you think you’ve heard these gems before, listen again.

Fuego, Symphony for Improvisers, Don Cherry Music from ‘’, Freddie Redd The Big Beat, &

Sunday Morning, Inventions & Dimensions, Oblique, Time for Tyner, McCoy Tyner

Boss Horn, Judgement, Andrew Hill Think!, Lonnie Smith At the Organ, Vol. 3, And Six More Coming September 13... Let Me Tell You ‘Bout It, Leo Parker That’s Where It’s At, Turning Point, Lonnie Smith Down With It, Blue Mitchell Reach Out, The Sounds of Jimmy Smith, Jimmy Smith Coming September 27 A Major Find on Blue Note... These newly-discovered sonically- Never Before Released! pristine concert tapes from Carnegie Hall in November 1957, found in the Thelonious Monk Voice of America archives at the Library Quartet with of Congress in Washington DC earlier this year, capture 51-minutes John Coltrane of remarkable music from two legends Live at Carnegie Hall at the height of their powers.

September/October 2005 • Issue 276 PAGE FIVE will be reviewed in the Holiday Gift Guide Call 440-423-1122 for reservations. ing Blues Magazine has announced the section of our November-December issue. Freddy, the younger brother of Nat results of the 2005 Living Blues Awards. This concert was part of the museum’s (King) Cole, and his trio will entertain in a The readers took the following to the top: Legends Series. New York nightclub atmosphere during din- B.B. King- Male Blues Artist of the year; The Rock Hall also sponsors the Hall ner, singing a combination of jazz, blues and - Female Blues Artist of the of Fame Series, which brings Hall of Fame pop songs. year; Bobby Rush- Best Blues Album of inductees together with fans in an intimate John Hellman, Diane Welsh, and Joan 2004 (New Recording)- Folk Funk; Percy setting to discuss their careers and often Fountain, chairpersons, will organize the si- Mayfield- Best Blues Album of 2004 (His- perform. lent auction. Throughout the year, Access to torical Recording)- His Tangerine and In November plans are underway for the Arts provides art and entertainment to Atlantic Sides; Charlie Musselwhite- the 2005 installment of the annual Ameri- the elderly and the ill with quality live perfor- Most Outstanding Musician- Harmonica; can Music Masters Series, an annual event mances and radio broadcasts. Bobby Rush- Best Live performer; Alvin that celebrates the lives and careers of rock Youngblood Hart- Most Outstanding and roll’s early influences. Previously fea- Musician- Guitar; - Most tured in the series, which began in 1996, Outstanding Blues Singer; Pinetop were Woodie Guthrie, Jimmie Rodgers, Perkins- Most Outstanding Musician- Robert Johnson, , Muddy . Meanwhile, in the other corner, Waters, Bessie Smith, Hank Williams and here’s what the critics had to say: Rob- Lead Belly. This year they will be celebrat- ert Lockwood, Jr- Male Blues Artist of ing , who was inducted into the the Year; - Female and Roll Hall of Fame in the inaugu- Artist of the year; Carey Bell- Most Out- ral class of 1986. This year the series will standing Musician- Harmonica; Jody take place the first week in November with By Mark Smith Williams- Most Outstanding Musician- concerts on November 5 and 6 (details to Guitar; Etta James- Most Outstanding be announced soon). New Release blues... . I hope ev- Blues Singer; Pinetop Perkins- Most The American Music Masters Series eryone had a great summer and enjoyed Outstanding Musician- piano; Mavis includes a main concert, a series of smaller the many blues festivals across the land. Staples- Comeback Artist of the Year; concerts and educational programs, typi- As fall comes, it’s time to pick up the CDs Big James Montgomery- Most Out- cally with guest speakers, lectures, films that will get you through the winter standing Musician- horns; Bobby Rush- and a symposium. Check out months. Here’s what’s on tap for your Best Live performer; Willie Kent- Most www.rockhall.com for information as it is early fall listening enjoyment: Floyd Outstanding Musician- bass; Sam Carr- released. We will also have a good deal of Dixon- Fine! Fine! Thing!; Jimmy “T99” Most Outstanding Musician- drums; info in our November-December issue, so Nelson- The Legend; North Mississippi Chuck Campbell- Most Outstanding stay tuned for more details. Allstars- Electric Blue Watermelon; Musician- other-pedal steel guitar; Happy birthday to the Rock & Roll Hall Bobby Rush- Night Fishin’; Angela Gatemouth Brown- Best Album of the of Fame + Museum...and we wish them Strehli-Blue Highway; Blues Traveler- Year (New Recording)- Timeless; ; many more to come! Bill Wahl Bastardios!; - It’s My Life; - Best Blues Album of B.B. King- 80; Bonnie Raitt- Souls 2004 (Historical Recording)- His Tanger- Freddy Cole to Alike; - A Special ine and Atlantic Sides... . RIP blues... . Evening with and Friends (DVD); Buddy Blues Guitarist tragically perform for Fundraiser Guy- Bring ‘Em In; The Detroit Cobras- passed away last month after a stroke. Jazz singer Freddy Cole will perform Baby; Bettye LaVette- Own Hell To Milton, who was riding high on the in A “New York Kind of Feeling,” the theme Raise; Houston Person- All Soul; strength of his new release, Think of Me, for the annual fundraiser for Access to the Champion Jack Dupree with TS was one of the best selling blues artists Arts, a local nonprofit organization. The event McPhee- Dupree ‘N’ McPhee; The 1967 of the 60’s with such classics as The will take place Saturday, November 5, at The Blue Horizon Session; Johnny “Guitar” Blues Are Alright, We’re Gonna Make It, Country Club, 2825 Lander Rd., Pepper Pike. Watson- What The Hell Was That- The Feel So Bad, If Walls Could Talk and Cocktails will be at 6:30 p.m. and dinner at Funk Anthology; Jimmy Witherspoon- Baby I Love You. Well, that’s it for this 7:30 p.m. Ticket price is $150 per person. Plus; Jimmy Smith- The Sounds Of; month. See Ya! Hubert Sumlin- Blues Party; Hubert Sumlin- Healing Feeling; Dr. John- Live at Montreux 1995/1986; Big Mama Cleveland Fats Musicians Thornton- In Europe; Charles Brown & Friends- Greatest Christmas Hits; Willie The Schwartz Brothers Wanted Dixon- Boss of t he ; Mis- sissippi John Hurt- D.C. Blues- The Li- DC and the Drummer, Bass, Keyboard brary of Congress Recordings, Vol. 2; Continentals Needed for Working Blues Band Snooks Eaglin- New Orleans Street Some Travel Singer; The Siegel- Schwall Band- For Bookings Contact Flash Forward; Delbert McClinton- The Cost of Living; Magic Slim & the Tear- HONEYBEE ENTERTAINMENT drops- Anything Can Happen; Elvin HONEYBEE ENTERTAINMENT 4786 Dressler Rd #145 Bishop- Getting’ My Groove Back; 4786 Dressler Rd #145 Canton, OH 44718 Duwayne Burnside & the Mississippi Canton, OH 44718 330-904-0454 Mafia- Under Pressure; Louisiana Red- 330-904-0454 [email protected] No Turn on Red; Tab Benoit-Voice of the [email protected] Wetlands... And the winner is... . Liv- PAGE SIX September/October 2005 • Issue 276 fact no hype at all...it is fact. It is the rare treat like this release that makes me realize how much fun this job still is after 31 years. Get ready to scoop this one up immediately when it is released September 27! Bill Wahl SHEMEKIA COPELAND The Soul Truth ALLIGATOR When a talented artist gets to compile a goodly-sized body of We only bring you the Cream of the Crop! work, the chances increase that one or maybe several offerings will emerge as landmark works. The Soul Truth looks to be one of the crown jewels in Ms. Copeland’s catalog. A powerful twelve-song set with not a slouch among them, this disc not only holds Copeland’s primo perfor- mances but also stands a testimonial to the second phase of ’s greatest era. Songs such as “All About You”, “You Can’t Have That” and “Uptown Line” evoke in sound and spirit the first half of the 70’s; an era not yet drowned by disco and abundant with soul tunes energized by waves of social change. African- Americans found new expression in those times and female art- ists often waved the twin flags of racial and sexual equality. And, oh yeah, the music was killer, too. THELONIOUS MONK QUARTET The classic production, provided by , evokes WITH JOHN COLTRANE the best of vintage works by singers like Candi Staton, Ann Peebles At Carnegie Hall and Betty Wright. Copeland is full-throttle throughout as each of her workouts seems to best the one before it. Smart program- BLUE NOTE When I first heard this newly-found recording of Monk & Trane mers will jump on this one as well should listeners. This will stand was coming, I was indeed a bit skeptical. Remembering an album as one of Ms. C’s very best. Just buy it. Duane Verh 12 years ago of Monk & Trane live at the 5 Spot issued on Blue Catch Shemekia Copeland live at Fat Fish Blue Wed., Oct. 12 Note, my skepticism is no wonder. That was an amateur record- ing at best. In my review of that album I ended with “ I can strongly recommend this disc to those who collect music by either artist, but others who are just beginning collections should take heed of the sound limitations and should weigh that aspect into your pur- chase consideration, if, in fact, sound quality is even a factor of such decisions. For those whose philosophy is that music out- weighs all else - there is plenty of it to feast on here.” Well...you need not worry about any of that here. The tapes with the Monk/Trane portion of a concert Thanks- giving Eve in 1957 were recently discovered at the Library of Congress in Washington D.C. earlier this year. The concert was recorded by Voice of America for a radio broadcast. The amazing part is that these are indeed pristine tapes with amazingly clear and balanced sound quality. Also on the bill that night was , , Ray Charles, Chet Baker-Zoot Sims and . What a night! Monk had been working with his quartet, including Coltrane on tenor sax with Ahmed Abdul-Malik/bass and Shadow Wilson/ drums, for four months at New York’s Five Spot Café. By this night in November the band was in top form, and that is certainly in evidence (no pun intended) throughout this just-under-an-hour long concert. The program consists mostly of Monk originals (and that’s a good thing) including “Monk’s Mood,” Evidence,” Crepuscule with Nellie,” “Nutty,” “Epistrophy” and “Blue Monk.” The 9-1/2 minute version of the standard “Sweet and Lovely” is another big gem. The concert closes with an incomplete second version of “Epistrophy “ Other than three studio tracks for Riverside and the above mentioned live Five-Spot amateur recordings, this is the only other recorded document of this historically important quartet. And believe me, all the hype about the pristine recording quality is in September/October 2005 • Issue 276 PAGE SEVEN ELLA FITZGERALD & content, the overall atmosphere and the with Palmieri, Scofield and Benitez. leader’s “frontin’” abilities carry the day. Able to fuse rhythms of his Puerto LOUIS ARMSTRONG A bona-fide good-time disc. Rican roots with jazz influences made For Lovers If you can’t find this one in the stores, Palmieri a hit in the 1950s and ‘60s when VERVE try www.jimmyt99nelson.com. he played New York’s Palladium Ball- For Lovers features an 11-tune com- Duane Verh room and he is still capturing world-wide pilation from three reissued CDs originally audiences, now with seven Grammy recorded during the 1950s by two legends, Awards behind him. This album is one vocalist Ella Fitzgerald and vocalist-trum- EDDIE PALMIERI of Palmieri’s recent best and it wouldn’t peter Louis Armstrong. LISTEN HERE! surprise me if he grabs another Grammy. This album launches with the lightly CONCORD PICANTE Nancy Ann Lee swinging classic, “The Nearness of You,” One of the foremost Latin-jazz pia- a 1956 recording with pianist Oscar nists, Eddie Palmieri celebrates 50 years Peterson, guitarist Herb Ellis, bassist Ray in music with this 10-tune album, his OTIS TAYLOR Brown and drummer Buddy Rich, ex- third Concord Picante release (following Below The Fold tracted from the Verve recording, Ella and La Perfecta II and Ritmo Caliente). He TELARC Louis. From that same August 16 session, contributed six original tracks for this Otis Taylor says his music is trance the compilation team includes gems such January 2005 New York studio date and blues and that’s about as good a tag as as “Stars Fell On Alabama,” “Under A arranged four jazz classics, all with the anything I an come up with, although Blanket of Blue,” “Moonlight in Vermont,” soloists in mind. some would argue it isn’t blues in the “Isn’t This A Lovely Day?,” and “Tenderly.” Palmieri leads his Afro-Carribbean conventional sense. One of two tunes extracted from Ella Jazz Octet, featuring trumpeter Brian Below The Fold is his third release and Friends (recorded in 1950 and 1951), Lynch, trombonists and for Telarc and it is a mix of blues-themed “Dream A Little Dream With Me,” per- Doug Beavers, alto saxist Donald songs with a humming riff in the back- formed with the Sy Oliver Orchestra, ranks Harrison, bassist John Benitez, drummer ground, much like a sonic microwave among the best of this compilation. Of Horacio “El Negro” Hernandez and put to music. Since Taylor uses banjo three numbers selected from the July 1957 conga player Giovanni Hidalgo. Guest as one of his non-blues instruments on dates on Ella and Louis Again, most en- artists Michael Brecker (tenor sax), his releases, some of his tunes wander joyable are Louie’s bluesy, seductive take Regina Carter (violin), Christian McBride off into the same material Tony Trischka on “Let’s Do It” and their collaboration on (bass), (), is doing with his progressive bluegrass “Autumn In New York.” The original re- David Sanchez (alto sax) and John banjo, which isn’t that much of a jump. cordings were produced by either Milt Scofield (guitar) add much to this ener- While banjo is the main instrument Gabler or Norman Granz. getic outing. in a lot of Below The Fold, Ron Miles’ Although Ella’s sweet melodious Performing in settings from to ten- trumpet gets major spotlights including voice at times seems disparate against musician ensemble, these musicians putting the riff in “Right Side Of Heaven,” Louie’s gruff, gravely singing and Louie’s make this one of Palmieri’s most excit- as drummer Greg Anton puts in the beat. trumpet playing takes a back seat to their ing and vibrant Latin-jazz recordings. Futoshi Morioka welds some sharp lead vocals, this album is a nostalgic trip. The ensemble creates dense sheets of guitar into “Didn’t Know Much About Nancy Ann Lee sound interspersed with fine soloing and Education,” as Ben Sollee’s cello and horn section forays, especially on one Rayna Gellert’s fiddle make the back- of the hottest tracks, Palmieri’s “Vals Con drop for “Government Lied,” an interest- JIMMY “T-99” NELSON Bata.” It’s full of color and thrust, throb- ing tale of German soldiers executing The Legend bing rhythms and blaring horn section black and white U.S. soldiers in Belgium NETTIE MARIE choruses. Palmieri’s arrangement re- during World War 2. The twist is the Vocalist Jimmy Nelson was a found- freshes “,” going for the roots Germans were only prosecuted for kill- ing member of the late 40’s-early 50’s on the Chano Pozo classic. A dense or- ing the white soldiers. Oakland blues scene alongside artists chestral version of ’s We have to mention the bassist here, such Lowell Fulsom and Ivory Joe Hunter, “Nica’s Dream” features Carter, brass since it is Taylor’s daughter Cassie. With cutting a number of singles for West Coast and horn soloists and great section work. help from Morioka’s guitar, she gets labels. His core band totally remakes everyone’s full attention on “Working For These days he’s a globe-trotting fes- Thelonious Monk’s “In Walked Bud” as The Pullman Company” by going into tival favorite sporting a honey-and-gravel a rousing Latinate tune. The fiery title her best “little girl” voice to sing a tale of voice and an aura of geniality. Supported track by is performed in a waiting for her Dad to come home from here by alumni includ- rousing quintet featuring Brecker’s his railroad job that day. It’s sad and ing Duke Robillard, Sugar Ray Norcia and tenorisms as well as contributions from poignant, all in one shot. trombonist/producer Carl Querfurth, Ol’ Palmieri, McBride, Hernandez and In newspaper jargon, “below the T-99 fronts a rhythm-plus-horns blues Hidalgo. Respite from the brassy, ar- fold” is the part of the front page you session that conjures the sound and mood ranged numbers are the brief duo treat, can’t see in the newspaper box when you of those cut by artists such as Bobby “Tema Para Eydie,” best spotlighting walk by it. Bland for Duke. Palmieri’s robust piano chops and The title here is a misnomer because And if the Nelson originals that pre- Benitez’s basslines and the melodious a lot of Below The Fold is front page vail here are sometimes pedestrian in ballad, “La Gitana,” performed as a trio news in itself. Peanuts PAGE EIGHT September/October 2005 • Issue 276 LIBERATION originals he contributes to this session titled for his astrological sign are a fun-filled blues romp (“Blues for Matt B”) with his MUSIC ORCHESTRA front-line players, a contemporary soul-jazz ballad (“Chillin’ at Not In Our Name da Grill”) featuring Evans on electric piano and an atonal elec- VERVE tric backbeat number, “T.V. Land.” Other tunes on this session Charlie Haden serves up another masterpiece with this disc are by Fuller, Evans, Davis, Rowls, and Quamon Fowler. of music from mostly American composers—, date are his fluid chops, imagination, and a broad compo- , Samuel Barber, and Bill Frisell. Haden reunites with sitional palette that includes acoustic swing, acid jazz, funk, R&B Carla Bley, the primary arranger, conductor and co-producer and gospel. He extracts the best from his colleagues and sparkles with Haden and his wife, Ruth Cameron. The orchestra features in the spotlight on solos. This is an ear-pleasing album that shows bassist Haden and pianist Bley, with Chris Cheek and Tony Malaby Jones’ growth and promise. Nancy Ann Lee on tenor saxes, Miguen Zenon on alto, Seneca Black and Michael Rodriguez on trumpet, Curtis Folkes on , Ahnee Sharon Freeman on French horn, Joe Daley on tuba, Steve Cardenas THE SIEGEL-SCHWALL BAND on guitar and Matt Wilson on drums. Flash Forward Best among the eight selections is a robust four-part med- ALLIGATOR ley, “America the Beautiful,” a nearly 17-minute foray that in- Those who have enjoyed the good-timey atmosphere and cludes two versions of the title tune as well as “Lift Every Voice the quirkier moments generated on Corky Siegel’s Chamber Blues and Sing” and Coleman’s “Skies of America.” The medley could recordings should get an even larger kick from this return of the become a political statement. It begins with staunch intent and Siegel-Schwall band to disc. The fellas cut up, get loose and in ends with cacophonous chaos before it resolves to the main general conjure a mood that recalls the confluence of blues, folk theme. Another highlight is the Orchestra’s take on the tradi- and jug-band vibes of the early revivalist 60’s. The fare is mostly tional tune, “Amazing Grace,” which gets a pleasing blended- light-hearted and energized particularly by Siegel’s inspired-sound- horns remake that sounds real down home bluesy and spot- ing harp work and the signature deep-blues drumming of Chi- lights various soloists, including Haden. The Orchestra also of- cago blues survivor . Lay’s five feature tunes are the fers a satisfying version of “Goin’ Home,” from the Largo of strongest vocal showings as well. Antonin Dvorak’s New World Symphony. Flash Forward blends the authority of veteran players with There are some moments, especially in the melody heads, remarkably youthful vitality and attitude. A nice effort. where the arrangements start out a tad hackneyed (read, his- Duane Verh toric), but when the soloists break out, the tunes become totally refreshing to hear. One of the best examples is on “Lift Every Voice and Sing,” which is transformed beginning with Daley’s tuba solo. This is a very listenable concept album for fans of ar- ranged music, followers of Haden, and admirers of Carla Bley’s imprint. Nancy Ann Lee MOJO STU Real House Blues MUDBONE In the tradition of rascals such as John Mooney and Preacher Boy, Mojo Stu has fashioned acoustic blues into a unique and personal vehicle. Not afraid to couch his core sound of steel- bodied guitar and burly, congenial vocals in cushions of drum machines, soulful backup choruses and occasional synthetic skronks, Stu injects a vitality and individual character into tradi- tional form and makes a whole lot of fun music in the bargain. This is an “up” session of originals that will likely stick with you once you’ve given it a chance. Stu is a one-man streetcorner band for the new century and it’s worth the effort to run this disc down. Duane Verh Gemini MACK AVENUE On his 13-tune follow-up to his debut CD, Eternal Journey, 27-year-old Warren, Ohio-born trumpeter Sean Jones taps the talents of pianist , bassist , reedist Tia Fuller, keyboardist , tenor and Walter Smith III, trombonist Andre Hayward, and drummers E.J. Strickland and Cory Rawls. is still Jones’ domain, yet best among the seven APPEARING AT FAT FISH BLUE WED, OCT. 12 September/October 2005 • Issue 276 PAGE NINE JUDITH OWEN discs show up that blow some urgently needed fresh air into the Lost and Found scene. This is one of those. Duane Verh COURGETTE/ADA/WARNER MUSIC GROUP The word “chanteuse” has been tossed around a lot lately VARIOUS ARTISTS when describing female singers in publicity material accompa- Swing Around the World nying their CDs. Properly defined, Chanteuse is a actually a PUTUMAYO WORLD MUSIC French word for a female singer, especially one who sings in A compilation of various Swing groups from around the world, nightclubs and cabarets. And for many of us, or at least to me, this 12-tune album delivers dance party music featuring musi- the word also evokes thoughts of one who is sultry and mesmer- cians from Zimbabwe, Mauritius, the USA, Italy, France, Hawaii izing. So while the word chanteuse in this sense does not fit that and Greece. many of today’s female singers, it does fit Judith Owen. Among the most fun tracks is the Oscar Peterson Trio with This is the fifth CD for the Welsh-born Owen, but I believe it is singing his trademark, “Mumbles.” Other USA groups the first to get national distribution, and it is the first I’ve heard of featured are the Squirrel Nut Zippers (“Pallin’ With Al”), and her. Our regular readers probably know that we do not review a Jambalaya Cajun Band (“Hey Rock”). Duke Heitger and his Swing whole lot of singers, and I personally review very few. But as with Band (“Swing Pan Alley”) features trumpeter Heitger (originally Lizz Wright recently, I found this to be an extremely intriguing set from Toledo, Ohio) playing a hot muted trumpet on the jumpin’ of music. number. Opening with “ on the Water,” Owen takes a song by The Paris-born Romane, a devotee of Django Reinhardt, of- the early heavy metal band and twists it completely fers an original swing composition, “Gypsy Fire,” which sounds around coming up with a lounge jazz version that should be a hit just like the collaborations of Django and Stephane Grappelli in in the European lounge music scene. She follows with an original, the famous Quintet due Hot Club de France. “Emily,” which certainly brings to mind Joni Mitchell while Owen Toe-tapping highlights. No matter what language the lyrics, retains her own personal stamp. Judith is a singer/pianist/ the music is first-rate from beginning to end. A 35-page booklet and most of the songs here are hers. All are very well featuring a photo and biograph on each band (in English, Span- written compositions with quite meaningful lyrics. ish, French) enhances this compilation disc. One of the other covers is a version of the Police tune “Walk- A portion of proceeds will be donated to the National Dance ing On The Moon,” again twisted well away from the original ver- Institute, a USA arts organization that inspires children with dis- sion. She also does two standards, “Night and Day” and “These tinctive dance programs. For more information, visit Foolish Things.” The sparse accompaniment also adds to the www.putumayo.com. Nancy Ann Lee smoky mood. On some tracks Owen’s voice and piano are heard only with bass, some plus light strings or second vocalists. TAJ MAHAL The album does sport some notable guests. ‘Keb’ Mo plays The Essential Taj Mahal steel guitar an “Train out of Hollywood (another that brings Joni COLUMBIA/LEGACY to mind), adds sax and flute to “Sky High,” guitarist This two Cd set will take you on a retrospective journey through Richard Thompson, who Owen has worked with, is heard on “Night the career of one of America’s more diverse musicians –Taj Mahal. and Day” and Cassandra Wilson adds a second vocal to “Enough.” From the opening track, a 1967 version of Sleepy John Estes’ This is simply a wonderful album blending jazz with small “Leaving Trunk” on through 35 more songs before closing the doses of rock, folk and blues with great success. It is one of the set, Taj lends his stamp to quite a variety of compositions and few treats in the onslaught of female jazz singers hurled at us styles. Although Taj wrote close to half of the tracks, he covers recently. It will be released nationwide on September 13. A chan- songs by such very different writers as Willie McTell, Bob Marley, teuse indeed...check it out. Bill Wahl Carole King, and Horace Silver. Catch Judith Owen live at Wilbert’s downtown Friday, Sep- As this set taps into his vast recordings for Columbia as well tember 16. as his output for Private music, you’ll pretty much hear different musicians on every track. And some of them are quite diverse as well, such as Ry Cooder/guitar & mandolin, Al Kooper/piano, HARRISON KENNEDY Howard Johnson/tuba, and vocalists Hall & Oates, Voice Story Sheryl Crow and the Pointer Sisters. BLACK & TAN Some of the more unique tracks include “Texas Woman Blues” Drawing upon blues, soul and r&b roots, and unafraid with Taj on vocals and upright bass accompanied only by the to shift gears from heavy to light and back, Detroit-bred vocal- Pointer Sisters. Then, the next song, “Cakewalk Into Town,” fea- ist/guitarist Harrison Kennedy lays out one of the more enter- tures Taj, the Pointers and Johnson on tuba. He takes a reggae taining and meaty acoustic-based sets in recent times. Good- turn on Marley’s Slave Driver” and delves into jazz on Silver’s timey blues, complete with kazoo, bump up against smoldering “Senor Blues.” He follows that with “The New Hula Blues,” where Robert Cray-like fare, searing calls for racial justice and church- the instrumentation is National dobro guitar, Hawaiian Steel Gui- steeped soul that evokes departed street-singer Ted Hawkins. tar, tenor, Liliu and baritone ukuleles, slack key guitar, bass and Kennedy was crossing black genres with the chart-busting drums. 70’s Detroit group, Chairmen Of The Board. He sang lead on The last song, a 2005 rendition of the traditional “John Henry,” their eponymous hit which dared inject blues harmonica into is a very tasty guitar duet with Etta Baker. classic Motor City r&b production. His powerhouse vocals fit the A fine sampling of the entire career of Taj Mahal, and a per- varied moods and range of Voice Story as needed. The minimal fect way to revisit for his old followers as well as a concise educa- accompaniment is equally varied and well chosen. Periodically tion for new fans. Bill Wahl PAGE TEN September/October 2005 • Issue 276 ROBERT GLASPER His first album, Mood, was released in Canvas 2003 on the New Talent label. BLUE NOTE Got Keys!! It’s apparent not only from the al- Pianist-composer Robert Glasper bum title but from the array of diverse makes his Blue Note debut (street date Keyboard player to complete originals that 26-year-old Glasper capa- October 4) leading a trio through mostly established trio. bly creates colorful soundscapes. originals performed with bassist Vicente Must be comfortable with Equally talented at composing and per- Archer and Damion Reid. Guesting on Fusion/Blues/Rock styles. forming, Glasper’s definitely a young two tunes each are (tenor talent deserving of wider exposure. sax) and Bilal (vocals). Call 216-470-3570 or email Nancy Ann Lee Glasper and his side team serve up [email protected] a melodious, tight 10-tune mainstream set that’s ear-pleasing from start to fin- strong and supple a singer as ever. ish. He shows passion and imagination Can’t Keep A Good Woman Down The title track and the closing, It’s at the keys and his original tunes dem- MO MUSCLE RECORDS Good to Be Alive, obviously relate to her onstrate his ability to write lasting stuff. One of the most impressive blues overcoming the recent health problems. Highlights include the energetic, time- performers of the past decade has been Cookin’ With Grease is a rocking, funky switching, sonorous “Jelly’s Da Beener,” Sista Monica Parker. She certainly can number that has her recall her musical which really shows off Glasper’s chops; belt out a vocal, but also can powerfully roots and lets folks know that when the the pulsating “Chant,” a mystical trio deliver a lyric without raising her voice, groove is right, you really are “cooking number that features Bilal’s Middle East- and she has always has terrific bands with grease,” while Put It in the Crock Pot ern vocal stylings and creative contri- supporting her. Word that she had over- is a funky tribute to James Brown and butions from all. The only tune not a come serious health issues was certainly the JB’s that the Godfather would likely Glasper original, Herbie Hancock’s welcomed by knowing blues fans and she appreciate. Both ’s Funny “Riot,” features Glasper on Fender has another superb new recording on her How Time Slips Away and Sam Cooke’s Rhodes and Turner augments with fluid Mo Muscle label , have been re- tenorisms. In addition to her regular band, an- corded extensively. Her performance of Glasper was raised in Houston, chored by Danny B. Ceconcini on key- the Cooke classic is solid but she really Texas and first-inspired by his mother boards and with guest appearances by puts more of her stamp on Funny, with who played piano, sang gospel music in Larry McCray and Chris Cain on guitar, her superb delivery of the lyric. Of course church and led a band that played the she presents us with a program of 11 songs like the rocking, Show Me What jazz-blues club circuit. He attended originals (well, one is a James Brown You’re Working With, Put Your Money Houston’s High School for the Perform- adaptation) and two covers to show that Where Your Mouth Is, The Truth and The ing Arts and Manhattan’s New School. the “lioness of the blues” is back and as Bigger They Are the Harder They Fall, September FRI 2 ...... CHOSEN FEW (R & B/DANCE!) SAT 3 ...... DUKE SHERMAN (FROM ERIE PA) FRI 9 ...... DUPREES BLUES SAT 10 ...... HOT ROD BLUES DEVILLE (FROM COLUMBUS) FRI 16 ...... THE KINGBEES It’s More Than Just a Club SAT 17 ...... TRAVIS HADDIX BAND Serving Fine Food & Great Music, with no cover daily till closing FRI 23 ...... ARMSTRONG BEARCAT MONDAYS EDDIE & THE EDSELS SAT 24 ...... COLIN DUSSAULT'S BLUES PROJECT TUESDAYS SEPTEMBER OCTOBER FRI 31 ...... 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September/October 2005 • Issue 276 PAGE ELEVEN certainly represent what once described as “the RENEE’ AUSTIN woman of today” who doesn’t take nonsense from her partner. RIGHT ABOUT LOVE This is not to say that Sista Monica cannot be romantic as she BLIND PIG caresses the lyric of Leave the Door Open and Surrender to With eleven mostly self–penned tracks to showcase her Love. stunning voice Renee’ Austin’s sophomore effort on Blind Pig Sista Monica is as compelling a vocalist as anyone in the is a glorious trip through road house rock, gospel, western swing blues today and with this disc has added to her substantial and Memphis style blues. body of recordings. This will be among my favorites of the year Hitting the ground running with the kick butt rocker, Mouth and is highly recommended. Ron Weinstock of the Delta, Austin quickly downshifts into a lower gear with the soul infused groover, Harder Than it Has To Be. She then BILL RANSOM slows things down even further with Right About Love which is a tender ballad that allows the richness of her voice to work its Generations way into your heart. Just when get all misty eyed about the BONGO TIME PRODUCTIONS promise of love, Austin kicks back into her house rocker mode Adding to Cleveland’s place in jazz history, drummer Bill with the scorching reminder that you can’t take your belong- Ransom assembles some of the best local musicians for his spec- ings with you when you’re done here, U-Haul. After finishing tacular self-produced, 10-tune debut CD as leader. that off she romps through a gospel fueled kiss off directed at Joining him in the diverse array of tunes by Pat Metheney an ex-lover, Thank You Card , a 70’s rocker, Meant To Be, a (“John McKee”), (“Armando’s Rumba”), Miles swampy cover of Bobbie Gentry’s Bugs which would evoke a Davis (“Solar”), John Patitucci (“Backwoods”), Tony Williams smile on the face of any CCR fan and even a cover of the Arthur (“Sister Cheryl”), Kenny Kirkland (“Dienda”), Jaco Pastorius Crudup classic That’s All Right. (“3 Views of a Secret”) and others, are bassist Glenn Holmes, She showcases the lushness of her voice again on Strang- reeds man Ken Leegrand, pianists Phill Jones (8 tracks) and ers On a Train which has an urbane Dinah Washington feel and Jackie Warren (2 tracks), trumpeter Theodore Croker (4 tracks), on the Western Swing inspired Mister Cowboy which could and guitarist David Baker (1 track). tumble off a kd lang disc. What really sets Austin apart from There’s a lot to like about this album. As one would expect, virtually all her peers is the immense versatility of her voice. the selections give Ransom opportunities to show off his traps/ Her slow numbers are rich and nuanced, her gospel and swing percussive artistry and leadership skills, but not in ways that numbers are nimble and her rockers are throaty and powerful. overshadow contributions from his team mates, especially gifted While any number of singers can work their way through a veterans Holmes and Leegrand. good ballad or power their way to the front of a stomping rocker, This is a tastefully conceived, melodic album featuring ex- very few can do both as well as Austin Pick this up and treat citing time shifts, appealing textures and a multitude of percus- yourself to a terrific vocal showcase by an artist who clearly sive colors, as well as plenty of pleasant surprises. For example, has a bright future ahead of her. Mark Smith “Solar” is performed as an Afro-Cuban jaunt spiked by Ransom’s talents on hand drums and percussion instruments, underneath Leegrand’s soprano sax solo and a trumpet-tenor sax chorus. Ransom gives “Backwoods” and outdoorsy feel with a variety of Raising the Standard shaken instruments under Holmes’ bass solo and Leegrand’s (Live at the Jazz Standard Volume 2) lovely soloing. One of the most beautiful tunes is the trio finale HIGHNOTE of the Leonard Bernstein ballad, “Some Other Time,” which fea- Alto saxophonist Frank Morgan’s first HighNote disc, City tures Warren’s light tickling of the ivories, Ransom’s soft brush- Nights, met with rave reviews last year and served up trea- work and Holmes’ spaciously plucked lines. sured standards by , Thelonious Monk, John Largely influenced by Tony Williams, Ransom has worked Coltrane and others. While City Nights didn’t completely docu- with contemporary jazz saxophonists Najee and Marion Mead- ment his three-day 2003 gig at the Standard, this nine-tune ows, trumpeter Cecil Bridgewater and flutists James Newton. disc—also featuring pianist , bassist Curtis He continues to perform with pianist Eric Gould’s trio, which Lundy and drummer —captures some excellent ad- whom he’s recorded. Ransom teaches classical percussion and ditional moments and is just as likely to garner extensive criti- is percussion director at the Cleveland Music School Settlement. cal acclaim. At last word, Ransom was putting all the elements together Morgan opens with a lush version of “Polka Dots and to attain national distribution for this first-rate album. Here’s hop- Moonbeams,” a five-minute take that shows what each of these ing Cleveland-based Ransom garners well-deserved widest no- musicians is capable of under Morgan’s leadership. He’s in- tice for his talents as well as for assembling such a capable side spirational and his warm, woody, fluid expressions grab your team. Nancy Ann Lee attention. He and his empathetic team are adroit at reinvent- ing warhorse standards such as “Footprints,” “Nefertiti,” “Don’t Get Around Much Anymore,” “Old Folks,” “In A Sentimental Over 2,500 CD Mood” and other gems. Cables has collaborated with Morgan & DVD Reviews for more than two decades and that familiarity pays off in their telepathic interactions. At Your Fingertips! It’s great to hear the 71-year-old Morgan excel with such splendid imagination and energy in this diverse live-recorded www.jazz-blues.com performance that includes boppers, ballads, swing and blues. Morgan’s surely had more than his share of hard knocks since PAGE TWELVE September/October 2005 • Issue 276 the release of his eponymous 1955 album. Three decades DAVID “FATHEAD” NEWMAN would pass before he re-emerged on the scene in 1985 after I Remember Brother Ray his absence due to drug addiction and a series of imprison- HIGH NOTE ments. He cut 14 discs between 1985 and 1996, when he With David “Fathead” Newman’s tribute to his departed suffered a stroke. To go through all of that and come back in friend and former boss and patron, he closes a circle or sorts. It such impressive form as you’ll hear, is a testament to his tal- was in 1959 that the soulful tenor great stepped away from his ents and his perseverance. If you don’t already own Volume chair in Ray Charles’ band at the leader’s behest with his solo 1, you’ll want to. Nancy Ann Lee debut for Atlantic- Fathead: Ray Charles Presents David Newman. While Newman has often waxed sides of the r&b persuasion over his KENNY “BLUES BOSS” WAYNE career, his new disc is a straight-ahead small-group jazz date Let It Loose featuring mellow renderings of tunes associated with the late, ELECTRO-FI RECORDS great Charles. The songlist is as nicely executed as it is predict- Kicking things off with the high energy Blackberry Wine, able, highlighted with favorites such as “Georgia”, “Hit The Road which takes more than a little inspiration from the oft covered Jack” and “Ruby”. And Newman is predictably at his best on Chicken Shack Boogie, Kenny “Blues Boss” Wayne rips the blues as evidenced by Brother Ray’s standout track, “Drown through thirteen cuts of piano driven boogie woogie and blues. In My Own Tears”. Vibist Steve Nelson most often spells the sax With stylistic nods to Roosevelt Sykes, Professor Longhair, man with his own workmanlike choruses. Amos Milborn and Jay McShann, Wayne takes the listener The material here is familiar enough to spur airplay which, through New Orleans second line rhythms and ample doses hopefully, will spur success in the marketplace. Both are well- of Kansas City inspired Swing. While the bulk of the material deserved. Duane Verh favors a mid-tempo groove, Wayne slows things way down for the slinky cover of Milborn’s Bewildered and his own CHRIS BEARD thoughtful ballad, Wishing Well. A tasty slice of soul blues LIVE WIRE! makes an appearance in the form of Blues Carry Me Home. NORTHERNBLUES Those looking for something to crank their party to the Son of blues guitarist Joe Beard, Live Wire! is the third next level should head straight to the title cut which augments release from his up and coming heir apparent Chris, in spite of Wayne’s fleet fingered keyboard work with greasy . the title being a tad on the misleading side. The critic’s truth- Overall, the disc is a nice break from guitar driven blues. in-advertising law makes me add that only half the disc was Mark Smith recorded live at a couple gigs in and Chicago while ShemekiaShemekia CopelandCopeland

Wed., Oct. 12 8 PM • $10 Adm.

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September/October 2005 • Issue 276 PAGE THIRTEEN the other half was done at a studio in New?,” and “Lush Life.” It is hard to say Beard’s hometown of Rochester, New which volume is the better as they both York. have several definitive Coltrane ballad “Ten Toes Up” pretty well illustrates performances...like “Naima” on this set, what the live tunes are about, a mix of taken from his album R&B funk with sax support via Quinn with playing bass . Lawrence. “It’s About Time” takes a McCoy Tyner and are on hand more loping route to get to the heart of throughout with either Jimmy Garrison or the matter, thanks to the whirling B-3 Reggie Workman on bass, with Art Davis work of Alan Murphy. Things slow down added on second bass on one. for Lucky Peterson’s “Tribute To Luther Without a doubt, If you enjoy ballads Allison,” which shows one of Beard’s played on the tenor sax, you need to have many influences here. this disc. Then you’ll want volume 1. While the studio tunes are solid, Bill Wahl nothing really jumps out except for the cover of the aforementioned Luther BOBBY PURIFY Allison’s “A Change Must Come,” as Better To Have It Beard trys his best to set the neck of his PROPER AMERICAN RECORDS guitar on fire from the friction of the Some of you may remember the duo strings. The oddest thing on Live Wire! James & Bobby Purify who had a classic In Memory Of are songs coming in multi-parts, “Trib- soul hit, I’m Your Puppet, four decades ago. ute To Luther Allison” in two sections and It seems that there have been at least three Little Milton • 1934-2005 “It’s Over” in three. My only guess is they singers who have performed as Bobby photo by Ron Weinstock couldn’t smooth the two live recordings Purify, the latest being a terrific vocalist of each song into a seamless number for by the name of Ben Moore, who, as Jerry the disc and had to chop them up like Wexler says in the liner notes to the new Serving Delicious that. Purify album “THE MAN CAN FLAT SING Food Bottom line will run this way: if you - and I sure don’t mean to suggest he sings Lunch like and Robert Cray, flat.” & Dinner you will probably like what Chris Beard The disc was produced by the legend- is doing on Live Wire! On the other side ary , author of so many R&B of the coin, if you don’t know any of the classics including The Dark End of the Street and Dr. Feelgood. Penn’s long-time FRIDAY, SEPTEMBER 9 names I just mentioned, congrats. You are now officially in the group of blues partner is on keyboards LIL’ ED & THE fans who are a little out of the loop. on this session, and Penn co-wrote all but BLUES IMPERIALS Peanuts one song (Moore wrote What’s Old to You) $10adv/$12dos with keyboardist Carson Whitsett and Hoy “Bucky” Lindsay. Other familiar names in SATURDAY, SEPTEMBER 10 JOHN COLTRANE the studio band include guitarist Jimmie THE DERAILERS More John Coltrane for Lovers Johnson and bassist David Hood, while with DEBBIE DAVIES IMPULSE RECORDS Charles Rose leads the horn section that $10adv/$12dos The name John coltrane might not includes Harvey Thompson and Wayne bring the thought of music for lovers to Jackson. FRIDAY, SEPTEMBER 16 mind for most, but indeed the tenor sax This is an absolutely delicious record- JUDITH OWEN great could play a ballad with tear jerking ing that justifies Wexler’s praise. Moore with BLUE LUNCH sensitivity as well as he could go on an delivers some wonderful songs including $10 intense firestorm excursion. He could also, a terrific number, My Life to Live Over (a of course, go anywhere in between. completely different tune from the old SATURDAY, OCTOBER 1 This is actually volume two of the Guitar Slim number) with Purify-Moore Coltrane for Lovers series (hence the ANTHONY GOMES reflecting about how he would change “more”) and, as with the first - simply titled some things if he could live things anew. $10 Coltrane for Lovers, it offers tracks from There’s a bit of topicality as Purify his classic album with vocalist Johnny delivers a lyric about things being wrong TUESDAY, OCTOBER 11 Hartman, cuts from his Ballads album and for a young man to grow up when there’s DAVE WECKL ballad cuts from some of his other albums Nobody Home to help him grow up with $20 on Impulse, plus one from a 1957 Verve Johnson adding a strong solo here. More date. of a classic Memphis-funk groove is www.wilbertsmusic.com The tunes on this edition are “You’re present on Somebody’s Gotta Do It with Weekend Shows 9:30; Weekdays 8:30 A ,” “You Are Too Beau- strong, punchy horns, but the entire disc 216-902-4663 tiful,” “I Wish I Knew,” “Naima,” “Autumn is first-rate with strong playing to accom- 812 Huron Rd E.. • Cleveland Serenade,” “Say It (Over And Over Again) pany the terrific songs and fabulous vo- “Wise One,” “Feelin’ Good,” “What’s cals from Purify-Moore. Fans of old school PAGE FOURTEEN September/October 2005 • Issue 276 R&B and deep will find few skill, clarity and warmth. This is a first- Eastern Campus for the past eleven discs as satisfying as this terrific record- rate, engaging listen from start to finish. years. At Tri-C, and of particular interest ing. Ron Weinstock Nancy Ann Lee to Berklee, he has been responsible for the growth and excellence of the college’s JAMES BLOOD ULMER arts and cultural programs, including the Berklee College of Music names nationally recognized Tri-C Jazz Festival- Birthright Dr. Larry Simpson Senior Vice Cleveland, and the college’s recording HYENA arts and technology, and community mu- Blood Ulmer has so far recorded an President of Academic Affairs sic programs. exceptional trio of discs during his tenure Berklee College of Music President He managed the college’s partner- with the Hyena label. This most recent of Roger H. Brown announced the appoint- ships with the Rock and Roll Hall of Fame the three is a solo effort that is a gem of ment of Dr. Lawrence J. Simpson to the and Museum, Cleveland Museum of Art, quiet intensity. This former guitarist for newly created position of Senior Vice and the Playhouse Square Foundation, President for Academic Affairs at the pio- and serves on the boards of the Associa- Ornette Coleman traverses the modal neering music college. At Berklee, tion of Performing Arts Presenters (chair), bridge that connects primitive blues with Simpson will lead and oversee the aca- the Community Partnership for Arts and avant-garde jazz and produces works that demic initiatives of the college, including Culture (chair), The Cleveland Orchestra, are both grounded and free-form in their curriculum, faculty, and all areas directly Young Audiences of Greater Cleveland, nature. Coupled with a deep-blues voice related to teaching and learning. He joined the Cleveland Institute of Music, the Mu- for the ages, Ulmer casts spell after hyp- the college on August 22. seum of Contemporary Art, and the Down- notic spell on each track here, grabbing Simpson comes to Berklee from town Cleveland Partnership. one’s attention and holding on with a grip Cleveland, where he has been president Longtime readers of this magazine unexpectedly strong for a single player. and chief academic officer of Cuyahoga may remember that Larry Simpson was a The material takes interesting turns Community College’s Metropolitan Cam- regular contributor to these pages. We towards and away from the blues, includ- pus for the past year, and headed the wish him the best of luck. ing a charming Caribbean-flavored portrait of Ulmer’s granddad, “Geechie Joe” and a post-Ornette guitar piece “Love Dance Rag”. His dark reading of the Howlin’ Wolf classic “Sittin’ On Top Of The World” alone justifies the disc’s purchase. Birthright is one of this year’s best. Duane Verh

RANDY JOHNSTON Is It You? HIGHNOTE On his fourth outing for HighNote, gui- tarist Randy Johnston delivers a 10-tune MIND • BODY • SOUL mixture of standards and originals per- formed with (piano on five EXPO 2005 tracks), Dwayne Burno (bass) and Gene SEPTEMBER 9, 10 & 11 Jackson (drums). The quartet serves up a catchy, is- Lakeland Community College • Kirtland, Ohio land-beat remake of the public domain East of Cleveland Just Off I-90 classic, “Careless Love,” a bopping ver- sion of Johnston’s “The Jump Back,” and Friday 3 - 8:30 PM, Saturday 10 AM - 8:30 PM., Sunday 10 AM - 6 PM a melodious bossa reading of the lesser Featuring over 100 vendors in 23,000+ square feet of known gem “I Miss You,” composed by space with everything to stimulate your Mind, Body & Soul, New York based pianist Sayuri Goto, as plus feature speakers, mini-workshops and lectures. well as three others. Davis, who stinted with , Tom Harrell and other Headline Speakers: groups, enhances with his lyricism. Bryan Kest - World-Renown Yogi • Laura Lee - Your Angels Revealed However, Johnston’s playing best PLUS MANY WORKSHOPS EACH DAY stands out in the trio setting with Burno Limited Openings • Register Now and Save Your Place! and Jackson, as he proves on a lush read- ing of the ballad, “Nancy (With the Laugh- For information, including limited vendor space available, or ing Face),” and a lightly swinging remake to register for a workshop go to www.thejourneymag.com, or call 440-223-1392 of the warhorse tune, “Who Can I Turn To,” one of two Gus Kahn compositions, as well as three more tunes. Johnston’s at his most expressive on this disc, showing that he can play in peak form at any tempo and improvise with September/October 2005 • Issue 276 PAGE FIFTEEN September/October 2005 • Issue 276