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Home , Berkshire Blues, Ernie Krivda, Everette Harp, George Duke, Jay Beckenstein, Lynwood Slim

july-august 2006 issue 284 free now in our 32nd year

& report www.jazz-blues.com

Stanley Clarke & Together Again At Playhouse Square George Duke

Published by Martin Wahl Communications T OGETHER AGAIN Editor & Founder Bill Wahl

Layout & Design Bill Wahl Top 20 singles chart, helped to pro- pel the album to the top of the jazz Operations Jim Martin charts that year, and remains a top Pilar Martin request on Smooth Jazz and Urban Contributors Adult radio formats. They went on to Michael Braxton, Mark Cole, record two more albums together, Brian Gilmore, Chris Hovan, The Clarke Duke Project Vol. 2 in Nancy Ann Lee, Peanuts, Mark 1983 and 3 in 1988. Smith, Duane Verh and Ron In fact, although though they Weinstock. have remained great friends and oc- casionally collaborated and played Check out our costantly updated together on special occasions, it has website. Now you can search for CD actually been 15 years since they Reviews by artists, Titles, Record last toured together as The Clarke/ Labels, keyword or JBR Writers. 15 Duke Project back in 1991. years of reviews are up and we’ll be Demand for their special brand going all the way back to 1974. of jazz- continues to make the Clarke Duke Project, including Ron Address all Correspondence to.... Stanley Clarke & George Duke - 2006 Brunner on drums and Phil Davis on Jazz & Blues Report Stanley Clarke and synthesizers, one of the top touring 19885 Detroit Road # 320 keyboardist George Duke are to- attractions in the world. At each stop Rocky River, 44116 gether again. The Clarke Duke so far in current the tour, which be- Main Office ...... 216.651.0626 Project is now engaged a major gan May 25 in Raleigh-Durham, Editor's Desk ... 440.331.1930 U.S. and worldwide swing. Two cit- North Carolina, critical acclaim has [email protected] ies are included on the tour which been heaped upon bassist Stanley Web ...... www.jazz-blues.com readers of our pulp version either Clarke and pianist/producer George Copyright © 2006 Martin-Wahl Communications Inc. live in, or nearby. The band will be Duke for their bold forays into funk, No portion of this publication may be playing our home city of jazz, R&B and rock. Those elements reproduced without written permission on Saturday, August 19 at the Ohio have served Clarke and Duke well, from the publisher. All rights Reserved. Theatre at Playhouse Square, and both collectively and solo, through hundreds of musical undertakings Jazz Report was founded in Buffalo New in Detroit on Saturday, September York in March of 1974 and began in Cleve- 23 at Music Hall Center For The and countless trips around the globe. land in April of 1978. We are subsidized Performing arts. In the midst of the Clarke Duke solely through advertisement and ask that The month of July will take Project tour, on June 27, George

them to , Eastern Europe Duke released his 31st solo CD, In you support our advertisers. a W division of artin-Wahl and Russia to appear at major jazz a Mellow Tone, which features such c o m m u n i c a t i o n s festivals as well as private venues. top notch musicians as drummer This part of the tour began with the , saxophonist on July 1. , bassist Brian They will also be playing in jazz Bromberg and other noteworthy mu- "Buffalonious" venues in in Russia in St. Peters- sicians. The CD showcases Duke’s burg and Moscow. unique take on jazz standards and Original mascot from The current tour also carries his own re-interpretations of his own the with it an anniversary celebration compositions. Stanley Clarke has Buffalo Jazz Report for Clarke and Duke. It has been also just released a new CD, also an days – mid '70s 25 years since they first joined acoustic affair titled Standards, with Created by forces in 1981 when they released and Ndugu Chancler. Christine Engla Eber their first self-titled album, The Both CDs are reviewed in this issue. Although Stanley Clarke and Watch for new t-shirts bearing his image–coming soon! Clarke-Duke Project. That album’s hit, “Sweet Baby,” reached the Pop George Duke are best known world- PAGE TWO July/August 2006 • Issue 284 Heights,” and doing workshops at various universities around the country. George Duke was recently inducted into the Okla- homa Jazz Hall of Fame for his contributions to jazz and music over a nearly 40-year career. It stated, “The Jazz Hall of Fame honored one of the great contempo- rary jazz producers, composers, arrangers and artists, the phenomenally talented George Duke. He received the Jay McShann Lifetime Achievement Award for his many years of musical contributions to jazz, pop, R&B, Blues and classical music in America and internation- ally.” Some interesting production projects are also in the works, including a foray into the Broadway Musical scene For more information on Stanley Clarke and George Duke, visit them online at www.stanleyclarke.com or www.georgeduke.com. For the benefit of our web readers, or local pulp Archival photo of Stanley Clarke and George Duke performance readers who are world travelers, or those who are into from the first Clarke/Duke Project tour in 1981 such tidbits, the July through September dates for the wide for their collaborative efforts with the C-D Project, Clarke-Duke Project Tour are as follows: each was a star in his own right before they joined 7/1 Montreaux, Switzerland - Montreaux Jazz Festival forces. Duke, born in in 1946, studied music 7/2 Madrid, - Festival de Jazz at San Francisco Conservatory and San Francisco State 7/5 Cartegena, Spain - Mar de Musicas College. He worked with Gerald Wilson and Bobby 7/8 Tabarka, Tunisia - Theatre de la Basilique Hutcherson, and then Don Ellis and Jean-Luc Ponty. 7/10 Stockholm, Sweden - Berns During the seventies, Duke worked two stints with Frank 7/11 Helsinki, Finland - House of Culture Zappa, and between those he worked for two years with 7/13 Budapest, Hungary - Millenaris Kht . It was with Cannonball that he 7/14 Rotterdam, - North Sea Jazz became very familiar to jazz audiences worldwide. He 7/15 Graz, Austria - Jazz Summer Graz co-led a group with drummer for a while 7/17 Tel Aviv, Israel - Hangar (Bitan) 11 before delving into the record production aspect of the 7/19 Riga, Latvia - Riga Arena music business in the late seventies, producing efforts 7/21 Moscow, Russia - Ikra Club by Jeffery Osborne and others. 7/22 St. Petersburg - Jazz Q. Festival Stanley Clarke was born in 1951 in . 7/23 Wiesen, Austria - Festivalgelande He played accordion, violin and acoustic bass before 7/28 Tulalip,WA - Tulalip Ampitheatre taking up electric bass. He split Philly for 7/29 Berkeley, CA - Berkeley Jazz Fest after high school after deciding to swith from his plans 7/30 Winter Park, CO - JVC Jazz Fest of being a classical musician in favor of jazz. He would 8/3 Jacksonville, FL - Florida Theatre find quite a bit of work, on both acoustic and electric 8/4 West Palm Beach, FL - Kravis Center bass, and landed a gig with , followed 8/5 Gainesville, FL - Phillips Center for the PA by tours or recording dates with such top jazz names 8/12 Long Beach, CA - Long Beach Jazz Fest as , , , Horace Sil- 8/18 Richmond, VA - Kanawha Plaza ver, and drummer . Then, while with 8/19 Cleveland, OH - Ohio Theatre the great tenor saxophonist , he met 9/8 Lancaster, CA - Lancaster Perf Arts Ctr pianist and became a founding member 9/9 Reno, NV - Hawkins Ampitheatre of the supergroup , with which he 9/10 Guerneville, CA - Russian River Jazz Fest arts would go on to record eight albums. He worked with 9/23 Detroit, MI - Music Hall Center both jazz and rock groups after leaving RTF in ’77 and For The Performing arts hooked up with Duke forming the Clarke-Duke Project four year later. STANLEY CLARKE WEB SPECIAL! On a recent note, Clarke is hosting a new televi- Check out Brian Gilmore’s revisit sion series on BET-J entitled “On the Road with Stanley to Stanley Clarke’s song “School Clarke.” On the show Stanley visits Black musicians, Days” - from the mid-’70s album composers, conductors and educators around the coun- of the same name. It has been a try. He delves into the influence of Black music from its full 30 years already, and Brian origins to the development of jazz, its presence in film, spoke with Stanley and David television and theater, and the “Philly Sound” of his Sancious recently for the retro- hometown. The shows ran in June, but keep your eyes spective piece. In our August open for repeat showings. He is also currently scoring Special...only at jazz-blues.com a new TV show for The Disney Channel, “Lincoln July/August 2006 • Issue 284 PAGE THREE (Carey Bell, Lazy Lester, etc)- Blues fore Keb Mo and Bob Dylan. In addi- Harp Meltdown, Volume 3- Live; tion to his touring (usually with Kirk Nathan & the Zydeco Cha Chas- Joseph on sousaphone, Tim Green Hang It High, Hang It Low; David on sax and Eric Bolivar on drums), Junior Kimbrough- Shell Shocked; Osborne often writes for others. His Bug Henderson and the Shuffle song ‘Watch the Wind Blow By,’ was Kings- Electric Snow: Best of Bugs recorded by Tim McGraw, hit No. 1 Henderson (import); Alex Korner- on the country charts and appeared Kornerstoned: The Anthology 1958- on a multi-platinum album. The song By Mark Smith 1983; Chicken Shack- Complete most recently appeared on Tim Blue horizon Sessions (import-re- McGraw’s Greatest Hits, vol. 2, re- New Release Blues.... Get out mastered); Mel Brown and the leased in March. Osborne’s songs the check book and party on!! Here’s Homewreckers- Blues- A Beautiful have also appeared on GRAMMY- the discs that will keep you groovin’ Thing; Keene Brothers- Blues and winning albums by Keb’ Mo’, and between festivals this summer: Hol- Boogie Shoes; Sweet Betty- Live and have been recorded by Double lywood Blue Flames- Road to Rio; Let Live; Jimi Prime Time Smith- Trouble and Dr John. Anders also Tab Benoit- Brother to the Blues; Back on Track; Five Blind Boys of plays with the Voice of the Wetlands Michael Coleman and the Delmark Alabama- Collection 1948-1951(im- All-Stars and has produced albums All-Stars- Blues Brunch at the Mart port); Rick Derringer- Collection: by Clarence Bucaro and Jesse (Live); Albert Castiglia- A Stone’s The Blues Bureau Years; Katherine Moore.”.....RIP Blues.... Keyboard Throw; C.J. Chenier- The Desperate Whalen- Dirty Little Secret wiz Billy Preston, died June 6th at the Kingdom of Love; Smokin’ Joe Blues on the radio.... Blind Pig age of 59 after spending several Kubek and Bnois King- My Heart’s Recording artist, the Rev. Billy C. months in a coma due to chronic kid- In ; Bernard Allison- Ener- Wirtz now has his own radio gig. On ney failure. Preston was best known gized-Live in Europe; Popa Chubby- May 26th, the pastor of the First for his singles “Outta Space,” “Noth- Stealing the Devil’s ; Dr. John- House of Polyester Worship and Hori- ing From Nothing,” “Will It Go Round Mercenary; Charlie Musselwhite- zontal Teenage Throbbing com- in Circles?” and for his gigs as Delta Hardware; Steven Seagal menced hosting “The Reverend keyboardist with the Beatles, the (yeah, that Steven Seagal)- Mojo Billy’s Rhythm Revival” on WFIT- Stones and Eric Clapton. He also Priest; Keb’ Mo’- Suitecase; Omar FM in Melbourne, Florida. The pro- penned Joe Cocker’s big hit “You are & the Howlers- Banboozled: Live in gram will air every Friday from 10 pm so Beautiful.” Germany; Dr. John- What Goes to midnight (EST), and can be heard 2006 Blues Awards.... The Blues Around Comes Around; Muddy Wa- live worldwide via streaming audio on Foundation hosted the annual Blues ters- King of Blues (Box the station’s website (http:// Awards (formerly the W.C. Handy Set); Otis Rush- Live at Montreux, www.wfit.org/). Called “part preacher, Awards) in Memphis. The late Little 1986; Guy Davis- Skunkmello; Doug part carnival barker, part big-time Milton won a whopping four awards: MacLeod- Where I Been; Fred wrestling announcer and full-time Soul Blues Male Artist; Soul Blues McDowell- I Do Not Play No Rock ‘n’ boogie-woogie piano player,” the Album for Think of Me; Song of the Roll:Tthe Complete Sessions ;Har- Reverend is an extremely knowl- Year for Think of Me and Album of the monica Shah- Listen At Me Good; edgable musicologist as well as year for the same release. Also rack- Lee Gates- Black Lucy’s Deuce; amusic journalist for Blueswax.com ing up multiple wins were guitarist Willie “Big Eyes” Smith- Way Back; and the Charlotte Observer. Accord- Hubert Sumlin who took home two Juke Boy Bonner- The Sonet Blues ing to Wirtz, “blues, R&B, gospel, hill- awards for—Best Guitarist and for Story; Magic Slim & The Teardrops- billy, social commentary and musical Traditional Blues Album for About Tin Pan Alley; Memphis Slim- finds from the outer reaches of real- Them Shoes and Paul Oscher who Boogie Woogie (Remastered); ity will all be featured during the show. took home awards for Acoustic Art- Ronnie Earl- Heart and Soul: The It will be an entirely new all-inclusive ist of the Year and had his disc Down Best of Ronnie Earl; Savoy Brown- genre that I call Greasy Listening.” in the Delta selected as the Acoustic Blues, Balls and Boogie; Studebaker The Reverend promises to make it Album of the Year. While the voters John & the Hawks- Self- Made Man; “Two Hours of Uplifting Anarchy.” are still a sentimental lot they did Deborah Allen- Memphis Princess; In other blues news, 525 World- stretch a bit more this year with a Jay McShann- Hootie Blues Live; wide has announced that New Or- number of first time winners includ- Mitch Woods- Big Easy Boogie (cd leans guitar god Anders Osborne ing Eddie Shaw, Al Kooper, Mookie and dvd); Slick Ballinger- Missis- has been added to its roster of art- Brill, Janiva Magness, Tab Benoit sippi Soul; Arthur Smith- Guitar ists, joining Mavis Staples, The Howl, and Zac Harmon. The B.B. King En- Boogie; Clarence “Gatemouth” Garrison Starr and others. According tertainer of the Year award went to Brown- Dirty Work at the Crossroad to press releases, “Osborne is in the Buddy Guy and the Band of the Year 1947-1954 (import); Lynwood Slim- studio working on his next record, but is Rod Piazza and the Mighty Fly- Last Call; Betty LaVette- Child of the he continues to make high-profile live ers. Congratulations to all the win- Seventies; Long John Baldry- Look- appearances, including his recent slot ners. ing at Long John Baldry: the UA Years on the Acura Stage at this year’s New That’s it for this month. See you 1964-1966 (import); Various Artists Orleans Jazz and Heritage Fest be- at the Festivals. PAGE FOUR July/August 2006 • Issue 284 Orbison Roy Orbison was ’s Caruso. He pos- At the Rock Hall... sessed a three-octave range and sang in a soaring, oper- atic tenor. Orbison was a balladeer who specialized in el- CLEVELAND – There are a number of interesting new egant reveries on the subject of love. Though the Texas- or fairly recent exhibits now open at the Rock & Roll Hall born singer/guitarist briefly recorded for Sun Records of Fame and Museum in downtown Cleveland. We have where he had one modest hit, “Ooby Dooby,” Orbison never covered some in depth in previous issues, and others we really fit in with the rowdy rockabilly crowd. Early on, he are announcing here for the first time. The following is an enjoyed success as a songwriter, placing songs with Jerry overview of the exhibits. Lee Lewis, the Everly Brothers and Buddy Holly. After sign- Bob Dylan’s American Journey: 1956-1966 Few fig- ing with Nashville-based Monument Records in 1960, his ures in the history of American popular music have reached own career took off. Orbison’s sumptuous, sophisticated the status of Bob Dylan. Many people have declared pop hits include “Only the Lonely,” “Blue Bayou” and “It’s Dylan’s lyrics to be poetry; his songs also unearth and Over.” On the rock and roll side, he cut his biggest hit, revitalize the American folk and blues tradition, serving as “Oh, Pretty Woman,” in 1964. The singer was enjoying a a key link in the chain that extends from Southern work successful comeback, on his own and with the Traveling songs, blues and Anglo American ballads to the many con- Wilburys, when he died of a heart attack on December 6, temporary singer-songwriters for whom Dylan is a main 1988. He was inducted into the Rock and Roll Hall of Fame influence. But Dylan’s story is not simply that of a musical in 1987. The exhibition will include rare records, memora- evolution. As a public figure and artistic innovator, he has bilia and personal artifacts covering his life and career, taken and chronicled a journey emblematic of modern including clothing, instruments and pieces from his model America’s own development. The exhibit features more plane collection. than 150 artifacts, including Dylan’s 1949 Martin 00-19 Rick Nelson: From Idol to Icon In remembrance of guitar, typed and handwritten lyrics, rare concert posters Rick Nelson’s untimely death 20 years ago on New Year’s and handbills, signed albums, and dozens of photographs. Eve, the Museum is paying tribute to this early pop icon At the center of the exhibit are four films exploring differ- with an exhibition of never before seen artifacts. The ex- ent facets of Dylan’s career, with rare performance foot- hibit is in the Museum’s Main Exhibit Hall and includes age and interviews with Dylan and other artists. In addi- costumes, instruments and handwritten lyrics. tion, three viewing stations allow visitors to watch excerpts Sam Cooke: A Change is Gonna Come In celebra- from the Dylan films Don’t Look Back and Eat the Docu- tion of American Music Masters honoree, Sam Cooke, this ment, as well as an interview with Dylan himself. Through- exhibit features items from Cooke’s career, some of which out the exhibit space are seven listening stations that en- are on display for the first time anywhere. Featured arti- able visitors to hear Dylan’s musical evolution and inno- facts include commendations and music industry awards, vations during this 10-year period. wardrobe items and other personal belongings, in addi- Haunting and Yearning: The Life and Music of Roy tion to contracts, photographs, advertisements, concert

July/August 2006 • Issue 284 PAGE FIVE programs and records. Highlights from STANLEY CLARKE the collection include the tuxedo Cooke wore in the early 1950s while Standards a member of the Soul Stirrers, his KIND OF BLUE RECORDS William Morris Agency contract from GEORGE DUKE 1960, one of his signature red sports coats and the ukulele he used to com- In A Mellow Tone pose music while on the road. We only bring you BPM RECORDS Unless otherwise noted, all tick- the Cream of the Crop! As Stanley Clarke and George Duke ets can be purchased at the Museum tour the world again, each has a brand box office or by calling Ticketmaster new CD out, though both are in a differ- at 216.241.5555. ent vein than the music the pair creates For more information on concerts together. They came in right before and special events call 216.515.8444 presstime, but we’ll squeeze them in. or visit www.rockhall.com Stanley Clarke has recently released Standards on Kind of Blue Records, a Guitar Player TV Boasts Hot relatively new label from Switzerland with an impressive start. It is an acoustic trio Lineup of Guitarists outing from start to finish, and is one of SAN MATEO CA – Guitar Player the more enjoyable such offerings I’ve TV (www.guitarplayertv.com), a web- heard in a while. Starting with a latin- based television station driven by a tinged version of “Lover Man,” the three partnership between the Music Player come up with a nicely varied set of Network and TrueFire TV, announces songs, including “Mack The Knife,” Salt an expanded channel lineup featur- CEPHAS & WIGGINS Peanuts,” “Now’s The Time,” Take Five,” ing several accomplished legendary Shoulder To Shoulder Monk’s “I Mean You,” Gerry Mulligan’s and contemporary guitarists includ- ALLIGATOR “Geru” and Sonny Rollins’ “Oleo.” The ing: The release of the new Alligator CD disc closes with a burning version of the • - A consummate by (John) Cephas & (Phil) Wiggins will old bop warhorse “Perdido.” Oddly, 2 artist, and one of the most versatile certainly be welcome by lovers of Christmas songs are listed to be the two guitarist walking the planet today, acoustic blues lovers. The two are in closers after that, but they are not on Carlton brings over 30 years of ex- usual fine form with Cephas’ assured the disc. Perhaps the cover as not perience and insight to his exclusive guitar and Wiggins’ remarkable crying changed from a European version, or GPTV channel, Mr. 335. . Ann Rabson adds piano to whatever. • Roger McGuinn - Byrd-man six tracks while Daryl Davis is heard Clarke may have made his mark Roger McGuinn’s GPTV channel, on one.’ popularity-wise with electric bass, but he McGuinn’s Den, reveals Rogers pas- It opens when a fine Cephas origi- has always been a master of the acous- sion for folk music and home record- nal, “Ain’t Seen My Baby” that shows tic with a strong, fat tone and incredible ing, along with intimate performances off Cephas’ Piedmont guitar style, and ideas. Although he takes some relatively of McGuinn’s legendary tunes. closes with a blues taken from Robert short solos here, he is more in the tradi- • - Son of re- Johnson’s “Walking Blues,” “The Blues tional piano trio bass player role. Drum- nowned , Frank Three Ways” on which Daryl Davis mer Ndugu Leon Chancelor, who has Zappa, Dweezil’s GPTV channel fea- adds some solid piano. worked with many of the greats over the tures his own renditions of his father’s In between, the pair rework Skip years, fits Clarke extremely well through- music played on the original equip- James’ recording of the Delta classic out, and gets some short solos as well. ment Frank used in the seventies. “Catfish Blues,” on which Cephas Now that you have that important • Joscho Stephan - Gypsy jazz shows himself to be one of the most bass/drums thing happening, pianist wunderkid, Joscho Stephan keeps consistently able interpreters of James’ Patrice Rushen literally has a field day, gypsy jazz very much alive and well music. Another highpoint is Cephas’ and she shines brighter than most might on GPTV channel, Gypsy Guitarre, Piedmont reworking of Charlie Patton’s expect. Why? Well, Rushen has, since featuring eight exhilarating, and very deep delta blues, “Dirt Road,” with the late seventies, focused on more and passionate performances. Rabson’s piano adding to the tune’s more R&B/pop material, and made her GPTV’s new line-up of eighteen flavor. “Seattle Rainy Day Blues” is an- mark there. But before that, some will channels also features several very other standout original with a wonder- remember her promising mid-seventies popular educational channels includ- ful lyric and solid piano from Rabson albums (I believe on Prestige) as a ing Jazz Anatomy from Mimi Fox, behind the two.” leader, and her fine work with such Blues Alchemy from David Ham- The performances are consistently names as Donald Byrd and Sonny burger, Assembly Lines from Mark strong with the piano especially lend- Rollins. She then worked with Jean Luc Stefani and many more. ing a bit more city feel to some of these Ponty and Lee Ritenour before going off For more information on Guitar cuts adding up to what is another ex- on her own. Her early influences such Player TV and its featured artists, go cellent addition to their body of record- as McCoy Tyner, and to www.guitarplayertv.com. ings. Ron Weinstock Oscar Peterson are very evident in her PAGE SIX July/August 2006 • Issue 284 here, and she fits Ndugu and Clarke like a glove. To make the ANJANI total experience even better, this music is extremely well pro- Blue Alert duced and recorded. There is also a second disc, a DVD in- COLUMBIA cluded shot during the recording sessions with four songs and Anjani Thomas has been playing piano and adding her interview clips. A nice bonus. vocals to many of Leonard Cohen’s albums dating back to George Duke’s brand new CD, In A Mellow Tone, is also 1984. Before joining the Canadian poet/songwriter/singer, she more of a straight jazz effort than the Clarke-Duke Project worked the jazz clubs in New York and performed with Stanley plays, but not all in the pure straight-ahead acoustic direction Clarke and others. After she wrote the title track based on of the Clarke disc. Drummer Terry Lynn Carrington and up- some poems she happened across at Cohen’s place one day, right bassist are with Duke on all but two of he was quite taken with it and gave her a pile of them to work the eleven tracks, and those two are solo pieces for George. with. She indeed went to work and the result is this gorgeous, Duke states that “The central idea for this album was to melodic, very laid back, smokey collection of ballads show- perform traditional standards along with new songs that fit casing her very sweet voice and piano playing. within that framework. I wanted the vibe to be soulful and It is not her first album, but it is the first on a major label. cool without losing character or depth.” I’d say he accom- No doubt Cohen had something to do with getting her heard plished that quite nicely. The standards he referred to are Duke by the powers to be at Columbia, and no doubt that’s all he Ellington’s title track, which opens the disc, plus “For All We had to do. Having heard some samples of her earlier music, it Know,” “Never Will I Marry,” “Spring Is Here” and the disc’s is quite obvious she has dropped her voice very low for this closer, “I Loves You Porgy,” a solo acoustic piano piece from outing, on which she sounds like a bit of a female Leonard George. The other solo piece is a reprise of the Clarke-Duke Cohen, and her phrasing and sense of timing is very much hit “Sweet Baby,” as he plays acoustic piano and sings. Duke like his. Check out “Half The Perfect World” and the closing included more originals for the disc, the lightly swinging, al- waltz “Thanks For The Dance” for instance. Wonderful. most Mose Allison-like “Down The Road,” a ballad with a vocal The entire set is performed with very sparse accompani- from Duke which was previously sung by Diane Reeves, “So ment, in fact she is mostly solo with just her voice and key- I’ll Pretend” and another slow acoustic ballad for the trio sans boards, and I presume the bass and the light brushwork on vocals “Just Because.” Also heard, between those two bal- drums is her as well. lads is a straight-ahead burning version of “Quiet Fire” and a It would be very tempting to start spouting off some lines rendition of Sergio Mendes’ “So Many Stars” precedes all three. from the lyrics on some of these songs, but if you are at all While only the two ballads feature just the three musi- familiar with Cohen, you’ll know what to expect from his cians comprising the trio named above, the other tracks in- clude such players as Ray Fuller or Mike Miller/guitar, Munyungo Jackson and/or Airto Moriera/percussion, Everette Harp/saxes and Dennis Farias/trumpet. Some nice, mostly mellow music from Duke and friends. Some will no doubt feel that there are a bit too many of his vocals, but his core fans who enjoy his singing and would probably be the most likely to search out the CD, probably won’t think that way at all. Some serious kudos must go out to Bromberg for some very solid basswork throughout. Bill Wahl VARIOUS ARTISTS Blues Harp Meltdown Volume 3 MOUNTAIN TOP RECORDS 2 CD SET This is the third CD documenting ’s annual tour of harp masters. Recorded in January 2004, Hummel brought to the tour guitarist Steve Freund, drummer-harmonica player Willie ‘Big Eyes’ Smith, Carey bell & Lazy Lester for a smorgasbord of blues stylings. Hummel himself is a formidable harp player and revives a Lloyd Price Crescent City rocker Where Y’at along with Little Walter’s Roller Coaster followed by Freund who sings two numbers followed by Smith ably han- dling Hoodoo Man Blues. Cephas & Wiggins come off typically fine on five numbers including an instrumental, Fats Domino’s Going to the River and Robert Johnson’s Walkin’ Blues. The second disc has some strong performances by Bell including It Ain’t Right and I’m Ready while Lazy Lester handles his own Blues Stop Knocking, Slim Harpo’s Raining in My Heart and his own Sugar Coated Love. Freund plays on Bells selec- tions and Hummel’s band able supports all the performances except those by Cephas & Wiggins. Blues harp fans will find plenty of music to entertain them here. Ron Weinstock July/August 2006 • Issue 284 PAGE SEVEN protegé. Leonard Cohen perhaps sums her up best as he states COLIN DUSSAULT “Anjani’s music is exotic, dreamy and hypnotic.” To add to the pleasure, this music was marvelously recorded. Crank it & HIS BLUES PROJECT BAND up a bit, sit in your favorite chair, close your eyes – it sounds Watch This like she’s right in the room with you. Yes, and many will wish. ERICA RECORDS Do yourself a favor, pick this one up, or at least check her Colin Dussault and his Blues Project band proudly dubs them- out at www.anjani-music.com where you can click to the selves the”The hardest working band in .” That Amazon link to sample some songs. You can read all the lyr- just might be true, and they have certainly been around for quite ics at www.BlueAlertMusic.com. Indeed, Hawaiian-born Anjani a while. might just give you a glimpse of musical paradise. What a Formed in 1989, the band has, of course, undergone numer- coincidence. Bill Wahl ous personnel changes over the years. There is no shortage of talent in the current unit. Pianist Greg Hurd and I actually had a POPA CHUBBY trio together for a couple of years around 1980. We played songs Stealing the Devil’s Guitar by Coltrane, , , Joe Henderson and BLIND PIG The Doors. Yes, you did read that right. A mix of beer, coffee and New York City falls far behind Chicago, Memphis, Kan- some other stuff can do funny things to some people. When our sas City and, well, virtually every other major city when it regular bassist was not able to make the gig, Fred Tobey was our comes to the average blues fan’s identification of blues hot first choice...always a fat tone, and rock solid. Joining them on spots. So to say that Popa Chubby is one of the brightest this disc are remaining bandmembers guitarist Jim Feeney, who stars on the New York City blues scene could be seen as faint has been on board since the beginning, Drummer Rick Fischer praise. That’s a shame since he has released a steady stream and leader Dussault on harmonica and vocals. of consistently good releases. This one is another fine effort. Though named “Blues Project” they cover a lot more ground What distinguishes Chubby from other blues artists is that he than that, including country, rap, folk-rock, Celtic, old style rock roots his blues in modern experiences rather than engaging & roll ballads and even an old standard, “Don’t Get Around Much in the all too frequent and often silly efforts of too many blues Anymore.” And yes, there is some blues too. There is a warning musicians to convince us of their roots in the Mississippi delta. attached. If you happen to be a Republican, or a big fan of the Chubby is proudly from the Bronx and combines the many current administration for any other reason, you’ll want to take different sounds heard in that melting pot to fuel his songs. heed of the advisory printed on the front cover of the booklet. The opening track, “Slide Devil Man Slide” takes the blues After Katrina, Dussault reworked Arlo Guthrie’s “City Of New Or- straight on, but the disc soon moves into other directions with leans” to the point that some will say “right on” and others will say classic Otis Redding style soul making an appearance in “Back “arrest him.” But, he certainly gives fair warning! Several guest in my Baby’s Arms” and “Why I Can’t Have You.” Chubby musicians from the Cleveland area are heard on various songs, reveals time spent with Commander Cody and His Lost Planet including Robert Lockwood Jr., who plays on “Blues For Robert Airmen with “Young Guns,” which is a natural heir to that Lockwood Jr.,” guitarist Austin Charanghat and singers Mary band’s “Hot Rod Lincoln.” Chubby also proves to be adept at Bridget Davies and Becky Boyd team up for backup vocals on rap on “Smuggler’s Game,” which deftly fuses his smooth one cut, and Davies sings second lead on the Lockwood Blues rhymes with sitar. While Chubby clearly enjoys the pure joy opener. of letting things rip on his electric guitar as evidenced by “Long This extremely diverse, not-really-a-blues-album is Dussault’s Deep Hard and Wide,” and his sinister tale of dog lust, “Virgil 8th CD release so far. Sounds like they were certainly having fun. and Smokey,” he also proves his mettle on acoustic guitar on Check it out at www.colindussault.com Bill Wahl “In this World” and “Buffalo Chips.” The disc closes with a cynical take on men of God, BRIAN BROMBERG “Preacher Man,” which is fueled by evil sounding slide guitar Wood II that gives way to the snake charmer allure of “The Devil’s ARTISTRY MUSIC Guitar” that will soon have you in its spell. For blues with a In the hands of a lesser creative talent, bassist Bromberg’s modern twist this is just the ticket. Mark Smith chops would end up being simply annoying. Another player possessed of this one’s speed, precision, melodic and har- CHARLIE HUNTER TRIO monic smarts minus Bromberg’s rock-solid jazz instincts and Copperopolis lyrical wisdom would doubtless seek to astound the listener ROPEADOPE with a stream of technical stunts and slickness ad nauseum. It’s for more than formality that this disc should be credited to What Bromberg’s latest disc delivers is an imaginative and the group rather the individual. ’Tis the group that’s the star here. consistently refreshing set primarily of standards and quality Motifs and coloration change from tango-meets-New Orleans sec- jazz literature, throwing the spotlight on his combined impro- ond line to Mingus-by-way-of-Carla Bley and parts beyond. Moods visational artistry and (yes) his mind-blowing chops. transit from bashing good jazz-rock fun to more introspective fare. The multi-faceted but singularly focused solo Bromberg The constant on this set is the congeniality of this threesome’s carves from the innards of the Ellington gem “Caravan” sets interaction. If the play is not brilliant it is inspired-sounding and the high creative tone for Wood II. He continues to dazzle true to the spirit of improvisation. Guitarist and ersatz bassist Hunter, throughout on a set that spans from Wayne Shorter to Jimmy reed and keyboard man John Ellis and drummer Derrek Phillips Giuffre to Earth, Wind and Fire. His trio-mates- pianist Randy are reportedly together for the last time and one can only hope Waldman and drummer contribute most re- their future ventures can generate as many tasty moments as spectably- Waldman making particularly good use of his role- they bring forth on Copperopolis. Duane Verh reversed status here. Duane Verh PAGE EIGHT July/August 2006 • Issue 284 ROBERTA FLACK EDDIE DANIELS QUARTET The Very Best Of Roberta Flack Mean What You Say RHINO IPO RECORDINGS Singer/pianist Roberta Flack was certainly the reigning queen Backed by a sterling rhythm team, Eddie Daniels re- of jazzy, sexy R&B during the early seventies. Right off the bat her turns to playing tenor (as well as clarinet) on his first album, 1970’s First Take, served up the big hit (though it first straight-ahead jazz recording in a decade. Joining him took two years for that to happen) “The First Time Ever I Saw for a sentimental journey in jazz are pianist Hank Jones, Your Face,” along with a number of equally pleasing songs. Some bassist Richard Davis and drummer Kenny Washington. of her other early albums brought such gems as “Killing Me Softly Playing tenor, Daniels displays novel phrasing and ideas With His Song” and “Feel Like Makin’ Love.” Then from her clas- that engage the listener. While Daniels’ tenorisms are con- sic album with the late Donny Hathaway we got tunes like “Where sistently solid and highly expressive, his best instrument may Is The Love.” She continued recording some very good music – still be the clarinet, which he plays on seven of the 12 tunes. though more in a commercial R&B vein - including more ses- He revolutionized the clarinet, melding jazz and classical in- sions with Hathaway and some with Peabo Bryson, including their fluences to create his own elegant style, especially notable beautiful duet “Tonight I Celebrate My Love.” on his graceful interpretation of Strayhorn’s “Passion Flower.” All the above songs and many more are included on this Uptempo tunes such as “Nagasaki,” and Jones’ “Why You…” single disc, 17 song retrospective of Roberta’s recordings. Note – featuring Daniels on clarinet — have a light, airy feel, due that I said Retrospective, as that is really what it is, rather than as also to Jones’ keyboard stylings. Other tunes include Charlie titled. Granted, it is a matter of opinion, but many will agree that Parker’s “My Little Suede Shoes,” Irving Berlin’s “How Deep an actual “Best Of” would include more songs from the early Is the Ocean,” Ellington’s “Azure,” and more gems polished years and less from the latter. Some of are here, but there are no to brilliance by this magnificent foursome. songs from the albums Chapter Two or Quiet Fire, and only one A fluid player, Daniels excels throughout and has picked from First Take and Feel Like Makin’ Love...which are, artisti- the right team for the job. The versatile Jones can play ev- cally speaking, her four finest recordings. erything from stride to bebop and the contributions of ace As a sampling of her career and her hits, one can’t go wrong veterans Davis and Washington combine to make this satis- with this release. If you remember, and want to revisit, her early fying album a huge success. Nancy Ann Lee sexy/jazzy stuff, you might just want to bite the bullet and pick up the four CDs mentioned in the paragraph above...or at the very VARIOUS ARTISTS least her first two albums, which should be obvious by reading the Texas Harmonica Rumble titles. DIALTONE RECORDS Either way, you will no doubt enjoy hearing Roberta Flack This disc collects performances by Orange Jefferson, Lazy once again. She is still performing concerts today. You can check Lester, Bobby Rush, Sammy Myers, Mel Davis and Joe Jonas, up on her at www.robertaflack.com, where you can also see her backed by some solid groups, except for Orange Washington tour dates. Bill Wahl who is backed solely by guitarist Thierry Cognee. July SAT 1...... MIKE MILLIGAN & STEAMSHOVEL FRI 7 ...... THE STOKES BROTHERS (BLUES) SAT 8...... THE DEACONS (EVANGELISTS OF SOUL) FRI 14 .....HIPNOTIC DOG (SOUTHERN ROCK) SAT 15.....DENZON & THE ROADDOGZ It’s More Than Just a Club FRI 21 .....THE KRAKER BROTHERS (BLUES) Serving Fine Food & Great Music, with no cover daily till closing SAT 22.....ACES & EIGHTS, AUGUST FRI 28 .....K.G. BLUES 6 & 13 RIBUTE O IMI ENDRIX (5-9PM) SUNDAYS T T J H SAT 29.....E.T. KING AND DETERMINATION MONDAYS E D D I E & T H E E D S E L S

TUESDAYS JULY AUGUST 4 CLOSED FOR THE HOLIDAY 1THE GEEZECATS August 11 THE GEEZECATS 8 TBA 18 TBA 15 TBA RI YNG T (CLASSIC ROCK) F 4 ...... W I 24 TBA 22 TBA SAT 5...... TONY KOUSSA JR. BAND 31 TBA 29 ERNIE KRIVDA & FRI 11 .....MINGO FISHTRAP THE FAT TUESDAY BIG BAND SAT 12.....KRISTINE JACKSON’S WEDNESDAYS JULY AUGUST BASICALLY BLUE 5KENTUCKY THUNDER 2BRYAN LEE 12 LEVEE TOWN 9KENTUCKY THUNDER FRI 18 .....DAVE C. & THE SHARPTONES 19 LAWLESS 16 LAWLESS SAT 19.....CLAY MCLINTON BAND 25 J.P. & THE CHATFIELD BOYS 23 J.P. & THE CHATFIELD BOYS FRI 25 .....DUPREE’S BLUES 30 NORTH OF TEXAS AT HE WAMP OOGIE AND S 26.....T S B B THURSDAYS THE SAVANNAH JAM WITH BAD BOYS OF BLUES 30676 Detroit Road Westlake (440) 892-2266 www.TheSavannah.com July/August 2006 • Issue 284 PAGE NINE Orange Washington’s two tracks are NICK MOSS the most down home with his Hey War- den! reflecting his real life experiences & THE FLIP TOPS as Thierry adds some crackling Texas Live At Chan’s guitar with echoes of Hopkins and BLUE BELLA Frankie Lee Sims as Washington’s own Every once in awhile, a dose of Chi- harp supports Washington asking the cago blues doesn’t kill you, but it seems warden to let him back in. Lazy Lester to always help one’s circulation. Nick handles a couple of Chicago blues clas- Moss’ first live effort just might be the sics, That’s All Right and Honest I Do, in spoonful you need this month. his amiable style while Bobby Rush re- Urged on by some east coast fans, works (and credits himself) Willie Moss decided to record this eleven cut Mabon’s Poison Ivy and Little Walter’s JANITA effort at Chan’s in Rhode Island, a long- Temperature (called Hot Tempter here) Seasons of Life time blues stop for those out touring. in straightforward performances while LIGHTYEAR Mixing Moss’ originals with some hand Sammy Myers does a brisk instrumen- It is time for Sade to move over a bit picked cover tunes, Live At Chan’s fea- tal Brain Dean and Otis Spann’s It Must and make room for another singer on the tures members of his band, most nota- Have Been the Devil. smooth jazz airwaves. Janita, who has a bly keyboardist Willie Oshawny, who Lesser known will be Mel Davis, a silky voice that also matches her natural tickles the 88’s during the opening in- fine singer with a rocking shuffle I Love beauty, was voted the most sensuous strumental “Eggroll Stroll” and pumps My Baby with a bit more urbane vocal woman in her home country of Finland, the B-3 via “The End.” and solid playing suggesting Junior Wells where she has had several hits and gar- “Check My Pulse” is pure Chicago and Joe Jonas whose Sonny Boy styled nered many awards, including some boogie while the group stretches out as harp and vigorous singing are exempli- Grammys. far as they can with ’s “I fied by Blues From Beaumont Texas. Janita moved to New York City sev- Love The Woman” passing the ten Nothing but some fine harmonica blues eral years back working clubs, and has minute mark without being tedious. on this really nice compilation with gui- just released her first American CD, and Come of think of it, most cuts here go tarist Little Joe Jonas fronting Jonas for if things actually operated the way they long, which, in this case, isn’t a bad Take Off Your Shoes. Ron Weinstock should, she will be seeing some smooth thing. Case in point would be the harp jazz hits coming her way stateside. She work of Gerry Hundt, which gets a good co-wrote all but one of the songs and has work-out, thanks to “One-Eyed Jacks.” STANLEY CLARKE assembled an excellent band which in- Moss leaves a lot of spotlight for himself cludes drummer Antonio Sanchez, who on guitar but also has Boston guitarist School Days is a member of the Pat Metheny Group, “Monster” Mike Welch to guest on three Revisited and who I just had the pleasure of seeing tunes during the performance. in concert with the Gary Burton/Pat So, in conclusion, let’s run through By Brian Gilmore Metheny Reunion Quartet. a laundry list of reasons to buy Live At Though she has been compared to Chan’s: Hot blues music, no cover Sade and Norah Jones, I don’t really see charge, no two drink minimum for wa- either one. She actually mixes contem- tered down drinks, no obnoxious service porary soul/R&B, smooth jazz, Latin and from the bar staff, no bad food, no fights jazz in various different blends on the breaking out during the show, no red light eleven songs here, coming up with a cameras to give you a ticket on the way sweet, balanced set which also has some home, no DUI check points and, best of songs that could cross over to R&B or all in my mind, no second hand smoke straight jazz. There are many standouts, to deal with. Peanuts such as the two latin flavored songs open- ing the disc, her very lush, outstanding AVISHAI COHEN version of Depeche Mode’s 1990 hit “En- Continuo Check out Brian Gilmore’s revisit joy The Silence” (the one she didn’t write, RAZDAZ RECORDS Peanuts to Stanley Clarke’s song “School but deserves to be a hit for her too) and Composer-bassist Avishai Cohen Days” - from the mid-’70s album the very jazz oriented “I Only Want You,” has been described as a “jazz visionary of the same name. It has been a which is one of a number of songs that of global proportions” and on this out- full 30 years already, and Brian include strings. Imagine that, an album ing combining jazz with classical and spoke with Stanley and David with a real drummer and real strings! Middle Eastern music, he earns that ac- Sancious recently for the retro- This music keeps growing on you colade with help from pianist Sam Barsh spective piece. Coming in our Au- more and more with each listening. And and drummer Mark Guiliana. gust Special...only at jazz- to make the experience even better, it is This trio is a tight, imaginative unit blues.com very well produced and recorded. that has been performing together for Sound interesting? Check her out for about three years and that familiarity www.jazz-blues.com yourself and play some clips from the CD shows up in their intuitive collaborations by going to www.janita.com. Bill Wahl as well as in solos, especially those from PAGE TEN July/August 2006 • Issue 284 Barsh who has obvious classical training. Guiliana, a free style online at amazon or CDbaby, or at a live show if you make drummer, can lay back or dynamically build drama into a one. Their website, www.mingofishtrap.com, is under con- tune, as he does on “Emotional Storm.” For its sheer energy, struction at this writing, but should be done sometime soon. “Smash” may be the best tune on the album and prominently Bill Wahl features oud player Amos Hoffman, who also plays on three See Mingo Fishtrap live on their return visit to the Savannah other tunes. on Friday, August 11. Continuo is a shortening of the term “basso continuo,” which in baroque music means an accompaniment (bass line and harmonies) typically played on a keyboard instrument AND HIS AFRICAN RHYTHMS TRIO almost always assisted by a bass melody instrument. Cohen Zep Tepi wrote and arranged all but one of the 10 tunes and, with such pretty melodies, there’s not a dull one in the bunch. His com- RANDOM CHOICE Pianist Randy Weston combines jazz, blues, and music positions feel similar to music from the ECM label, but with from the Caribbean, all tracing back to the mother source, warmer harmonies, Middle Eastern tinges and more power Africa. Thelonious Monk is one of Weston’s influences and underneath. Rarely does Cohen’s trio swing. For the most you’ll hear Monkish chops creep occasionally into his style. part, their achieved sound is somewhere between Third Stream He’s joined on this 10-tune session by bassist Alex Blake and and New Age. percussionist Neil Clarke. Regardless of where they fit in the jazz realm, it’s the in- Weston launches the set with “,” a throbbing, spired, energetic playing from each musician that engages spiritually rich tune that, along with “The Healer,” is one of and holds your attention. Nancy Ann Lee my favorites for the sparsely built, percussive African themes. Weston’s grandiose 11-plus minute tune “African Sunrise,” MINGO FISHTRAP commissioned by the Jazz Institute of Chicago, honors the Yesterday collaboration between Dizzy Gillespie and Machito with its mix Manor Productions of jazz and Latin rhythms. A few months ago I trekked over to The Savannah in Weston goes solo for the potent “Route of the Nile” and Westlake, Ohio to hear a band called Mingo Fishtrap. I’d heard on his engaging homage to Monk, “Ballad for T.” Weston’s about them from someone whose recommendation meant father gave him his first piano lessons and the lively trio ren- something and I must admit...it was a thoroughly enjoyable dition of “Portrait of Frank Edward Weston” pays tribute to night. his late father. Included on the disc are two Weston classics This eight piece band from Austin, Texas included a tight four-piece horn section that was powerful and in your face song after song. At first I thought Tower of Power meets Room- ful of Blues. As the night went on, I heard some heavy doses of James Brown funk and some New Orleans spice, and then a bit of early Blood, Sweat & Tears. Quite gumbo to be sure. They had the dance floor packed all night long. The part of the band consists of Roger Bevins, Jr. on guitar & vocals, his father Roger, Sr. on bass, Aeron Riordon on keyboards and chip Vayenas on drums. The horn section is Greg Wilson/baritone & alto saxes, flute and bass clarinet, Dan Bechdolt/tenor & alto sax and clari- net, Steve Butts/trumpet & flugelhorn and Mark Gonzales/ trombone. Believe me, even live they sounded much larger than four pieces. Their set was made up of originals and a number of very cleverly arranged covers. One that still comes to mind today (I don’t like to take notes) was Bill Withers’ 1972 hit “Use Me” (you know..”until you use me up”). Their latest CD has a lot of the presence of their live show, with the horns right up front and all. It contains 14 originals...no covers here...but Blevins, Jr, who wrote most of them, pro- vides some tasty material for him to sing and the band to work with. Some of the things I immediately noticed both live and on the disc is the tightness, funkiness and power of the bass and drums. Also, the qualities of the horn section men- tioned above with the bottom end supplied by the baritone sax. Very nice stuff. While this kind of band is best experienced live (that is, the ones like this that can pull it off) if you can’t be there this CD is the next best thing. But they tour the country, so don’t miss them if they come to a venue near you. You can get this July/August 2006 • Issue 284 PAGE ELEVEN written in the 1950s: “Berkshire Blues” saxophone, flute and piano at age 9. At- Cleveland Fats and “High Fly.” Only one tune (“Love, tracted to jazz and pop music, she eventu- The Mystery Of”) is not a Weston origi- ally graduated in June 2003 from the Mas- The Schwartz Brothers nal. ters program at the Conservatory of DC and the If you’ve caught pianist Randy Amsterdam, where she’s been on the fac- Weston in a live trio performance, you’ll ulty since September 2005. She’s won Continentals likely agree that he’s at his best in a trio many awards and has performed interna- setting because it suits his sparse style tionally. She released her debut album, First For Bookings Contact and percussion-punctuated African Avenue, in 2003. themes. This album holds appeal not A talent who deserves tracking, HONEYBEE ENTERTAINMENT only for fans of Weston, but for those who Postma shows plenty of promise and seems 4786 Dressler Rd #145 love Monk, African music and jazz pi- comfortable in the company of more ex- Canton, OH 44718 ano. It’s one of those sessions that you’ll perienced American players such as 330-904-0454 want to hear over and over to absorb all Carrington and Hall. Nancy Ann Lee [email protected] the nuances. Nancy Ann Lee GEORGE THOROGOOD TAIL DRAGGER The Hard Stuff My Head is Bald, Live at Vern’s EAGLE Friendly Lounge, Chicago True to this disc’s title, George DELMARK CD/DVD SET Thorogood is much like a shot or two of James Y. Jones, the Chicago blues whiskey. What he delivers is reliable and singer took his stage name, Tail Drag- right to the point. This East Coast mas- ger, from a Howlin Wolf song. This was ter of high-octane boogie-rock keeps to fitting insofar as Wolf was a mentor and the point for the majority of heavy influence on him as reflected in What U Missed The Hard Stuff. The occasional bal- his singing, stage act and his music, lad attempt aside, Thorogood and his which employs some of the grooves and very solid band crank out no-frills rockin’ If you didn’t check our website melodies associated with some of Wolf’s fare. Slide-meister Thorogood and gui- classic recordings, even tossing in a yo- since the March/April pulp issue: tar partner Jim Suhler are in fine form 1. Our April issue - web only - del-like Howl on several tracks. On hs on a set that includes the Hound Dog with info on the historic Gary Bur- new CD and DVD on Delmark, he cer- Taylor gem “Gimme Back My Wig”. ton-Pat Metheny concert tour - play- tainly benefits from a terrific band that Three of this publication’s favorite ing closeby in Buffalo and Detroit, has Billy Branch on harmonica, Lurrie towns- Cleveland, Detroit and Chicago- plus many CD and Book Reviews Bell on Guitar, Kevin Shanahan on gui- 2. Duayne Verh’s interview with are celebrated in that order on “Any tar, Bob Stroger on bass, Kenny Smith former NRBQ guitarist and master Town USA”. Duane Verh on drums and Willie Young on tenor sax. songwriter Big Al Anderson Jimmy Dawkins replaces Shanahan on 3. Our June issue - web only TINEKE POSTMA My Head is Bald. with a preview of the Cleveland Fats/ For the Rhythm Tail Dragger contributed all the Louisiana Red show at the Parkview 215/MUNICH RECORDS songs except Jimmy Dawkins’ So Ezee. Nightclub, Eric Clapton’s Fall U.S. Alto saxophonist Tineke Postma stud- One song, Cold Out Doors, is a DVD Tour, the Rock Hall’s Heil Sound ex- ied at the Manhattan School of Music and bonus track not on the CD. While one hibit, the 2005 International was the first Dutch female musician to win would be hard-pressed to call the Tail Songwriting Competition winners, the Sisters in Jazz Competition at the Inter- Dragger a major artist, he certainly en- Guitar Player Magazine’s launching national Association of Jazz Educators con- tertains with a program that evokes the of its Internet-based TV station for vention in the USA. She’s backed on this Wolf. His vocals are slightly slurred and guitar players, and 12 pages of CD, 11-tune outing by drummer Terri Lyne don’t have Wolf’s crispness, nor is he as DVD and book reviews. Carrington, bassist Darryl Hall or Jeroen forceful as Wolf was, but still is a very 4. The web version of this is- Vierdag, pianist Rob van Bavel, and guitar- enjoyable singer with the band rocking sue with extra CD reviews and book ist Edoardo Righini. behind him. Billy Branch is typically reviews that would not fit in the pulp Postma’s playing shows technical outstanding while Lurrie Bell’s stinging version. prowess and she’s mastered the language lines and riffs evoke Hubert Sumlin’s 5. Be sure to check the upcom- of jazz. Most of the tunes have a jazz-fusion ing August special edition with an playing with Wolf. The rhythm duo of feel. Exceptions include her gorgeous ren- in-depth look at Stanley Clarke’s Stroger and Smith provide a solid foun- dering of the Gordon Jenkins ballad “School Days” by Brian Gilmore as dation for everybody else. Songs like 30 years have passed. “Goodbye” with piano accompaniment, her Tend to Your Business, My Woman is tidy interpretation (with Hall, Carrington) of Gone, and the title track, are typical of Stop By Now & Then Alex North’s “Love Theme,” and the catchy, the solid evocation of Wolf’s music swinging version of the postbop her title tune present throughout and it’s entertaining jazz-blues.com (with Righini, Vierdag, Carrington), which to watch the DVD to see Tail Dragger closes the set. singing for the women, working the Born in 1978, Postma began playing crowd and egging his musicians on. I was PAGE TWELVE July/August 2006 • Issue 284 also impressed by the camera work and production on the through classics such as ’s “Nothing but the Blues” DVD which really gives a sense of that evening at Vern’s and the Billie Holiday staple, “Me, Myself and I” which he deliv- Friendly Lounge. ers with an old-timey vaudeville flair. Also included is the oft This is certainly welcome as an entertaining release that covered “Well Alright, O.K. You Win” which is given new life by should appeal to fans of classic Chicago blues. Ron Weinstock Slim’s energetic delivery. Slim’s own material stands up well to the lofty standard of these covers especially on the disc closer, ERNIE KRIVDA “You Never Cried for Me” which puts you firmly into a smoky downstairs club with a deep case of the blues and only Kirk & THE FAT TUESDAY BIG BAND Fletcher’s guitar and Slim’s haunting flute work to save you from Body & Soul the bottom. ONE SOUL RECORDS While this disc won’t have you throwing back the rug for a For their third recording, Cleveland-based saxophonist/ party it will make that next scotch go down real easy. leader Ernie Krivda directs his lively 17-musician band through Mark Smith 13 tunes. Reminiscent of the jazz big bands of the 1930s and 1940s., their fare is full of expression and vitality. Krivda features more ballads on this CD and it’s to his credit because the tenor HEADS UP saxophonist has always been exceptionally expressive when pioneers Spyro Gyra and this publication have playing ballads. Warmly emotional, his solo on “Where Or ties going way back to the mid seventies when we both had When” is a prime example. Other ballads include the title tune, our beginnings in Buffalo, NY. We began in 1974 as I actually “Never Let Me Go,” “The Midnight Sun,” and the tunes with printed the early issues myself at my father’s printing com- the “girl singer” Erin Kufel. Despite her pleasant voice, sound pany. A case of beer was enough to get some friends over to production is of poor quality on the ballads “Come Back To collate the pages and we were off and running. Around the Me” “Never Let Me Go,” and “I Didn’t Know About You.” (My same time, Spyro was playing local bars and was building preference would have been to mike her to appropriately bring quite a following. One that comes to mind was the No Name, her voice forward so she didn’t sound as if she were in the where there was, if my memory serves me right, something distance of a cavernous auditorium.) like a 25¢ cover charge. was still living there The swinging “Big Bad Band,” an Ernie Wilkins compo- after finishing college and he formed the band with keyboard sition, is a blues-tinged delight reminiscent of the Basie sound, with pianist Joe Hunter spotlighted. The band also excels on Jimmy Mundy’s arrangement of “Caravan,” on a catchy ver- sion of “Broadway” arranged by Don Turoso, on a Fletcher stanley clarke Henderson arrangement of the Mary Lou Williams original “Roll ‘Em,” and on more good stuff. This CD documents 13 years of hard work on Krivda’s part. The band has matured and attracted the best area mu- sicians. Charts are bright and colorful, soloists sublime, and Krivda performs at his expressive best without hogging the limelight. Nancy Ann Lee LYNWOOD SLIM LAST CALL DELTA GROOVE After stints on the Atomic Theory, Coldwind and Pacific Blues labels, harmonica ace Lynwood Slim has joined Delta Groove which has become home to a who’s who of the West Coast blues scene. For this effort Slim has rounded up label mates on guitar and Richard Innes on drums (both george duke of the Hollywood Blue Flames) as well as long time guitar foil and a host of other guests to swing and strut his way through 12 cuts that range from the late night jazzy blues of Pete Johnson and Big Joe Turner, “Wee Baby Blues” to the Clifton Chenier classic, “All Night Long” which substitutes Ramos’ ur- Ohio Theatre gent guitar work for Chenier’s accordion. Between those bookends, Slim covers a lot of musical ground august 19 including the harmonica fueled shuffle, “Across the Sea,” the doo-wop reworking of Bo Diddley’s “I’m Sorry, ”the peppy gui- tar and sax driven “I’m Tired,” the fast paced piano work out, “You’re a Pain,” (featuring Carl Sonny Leland) and the mildly raucous “Say It.” For the most part Slim leaves his harmonica in Saturday, 8 PM • $45 & $35 his pocket and focuses on his sleek, soulful vocals. With a voice TICKETS: Ticket Office, 216.241.6000 or playhousesquare.org that recalls Sugar Ray Norcia, Slim cuts a commanding swath July/August 2006 • Issue 284 PAGE THIRTEEN player . It was not long be- LIL’ ED from Wehrmann and Hicks. “Hobo Junc- fore an amazing young pianist named tion” is a clever piece jotted down while came on board. They & THE BLUES IMPERIALS driving to a gig. With its pulsing bass, recorded a self-produced album which Rattleshake horns sounding like train whistles, and included a song titled “” ALLIGATOR Bolton’s , it’s a swinging de- and sold thousands of copies on their When Lil Ed Williams & the Blues light. All of his originals are engaging and own. Then known as Buffalo Jazz Re- Imperials come to town, one can expect listener-friendly. He also does justice to port, we were the first publication to re- an evening of some houserocking blues standards: Lee Morgan’s “Sidewinder,” view that album, which was reissued by and boogie. This is also true of their re- ’s “Red Clay,” and Amherst Records (and later MCA I be- cordings, as Lil ‘Ed with his declamatory Bobby Hebb’s “Sunny.” lieve) a few years later. “Morning Dance” vocals and driving slide guitar with the Turoso grew up in Cleveland and of course became a massive hit and still hard rocking Blues Imperials may not performed while still in his teens with the gets loads of airplay. be masters of subtlety, but they can play Ray Eberle band, The Jumping ahead three decades, the blues music to lift your spirits and Orchestra, and Bob Crosby and the Bob- Wrapped In A Dream is their 25th al- get your feet tapping. cats. A few years later, he toured with bum. They certainly didn’t last 30 years Their latest Alligator disc, the Glenn Miller Orchestra. Turoso ob- by being stagnant, and this brand new Rattleshake, is no exception. Opening tained his undergrad degree in Music one is one of the more creative contem- with Holland & Dozier’s “Leaving Here,” Education from Kent State University porary jazz releases I have heard. Open- Lil’ Ed mixes some hard rocking num- and earned a Masters in performance ing with the funky “Spyro Time” they bers with a few slow blues where he sings from the University of Akron. He cur- travel through a lot of musical territory, his heart out. There are also strong cov- rently runs the Jazz Studies program for including different world rhythms - check ers of Elmore James’ “You Know You’re Jackson Local Schools and performs as out “Impressions of Madrid” for one. Wrong,” and”“That’s the Truth”, from his a regular member of the Cleveland Jazz “Wrapped In A Dream” is pretty much uncle J.B. Hutto, and amusing originals Orchestra, Ernie Krivda’s Fat Tuesday in a straight jazz vein and is a medium- like “Icicles in My Meatloaf,” where this Big Band and other groups beside his tempo showcase for Beckenstein on so- fine lady takes him home but there were own. prano with nice backing from Schuman some strange things on his plate. This is an exceptionally impressive (the only other original member still on Perhaps the Billy Joe Shaver num- debut and outstanding showcase for board) on acoustic piano. There are 12 ber “Tramp on Your Street” does not Turoso and his colleagues. Turoso is a songs in all, with the closer being the come off totally successful, but overall fine musician deserving of widest rec- gospel/soul flavored “Woogitybop.” this is another typically fine recording ognition. This disc is available online at , whose marimba work by Lil Ed & the Blues Imperials and eas- cdbaby.com or email Turoso at was a big part of “Morning Dance,” has ily recommended. Ron Weinstock [email protected] for more informa- often appeared on Spyro albums over tion. Nancy Ann Lee the thirty years and is heard on four cuts DON TUROSO here. MEL BROWN It’s great to hear them still sounding The Don Turoso Septet fresh after all these years. Very nice stuff. SELF-PRODUCED AND THE HOMEWRECKERS Bill Wahl Saxophonist Don Turoso makes his BLUES- A BEAUTIFUL THING self-produced recording debut with this ELECTRO-FI See Spyro Gyra in concert at Cain Park on Sunday, July 30. nine-tune CD featuring top players from Kicking things off with the loping gal- the Cleveland Jazz Orchestra and other lop of “Take Your Time” which extols the area bands: trumpeter David Banks, virtues of slow love making, Mel Brown LIVE BLUES ON trombonist Garney Hicks, pianist- mixes up a rich stew of blues styles. On keyboardist Rock Wehrmann, guitarist the low key instrumental title track, Brown THE HIGH SEAS Brad Bolton, bassist Kip Reed, and channels B.B. King’s sweet, lyrical guitar drummer Mark Gonder. chops while the jazz stylings of George Toroso’s playing throughout is com- Benson make an appearance on “Sun- municative, imaginative and rich-toned. down.” Elsewhere, Brown breaks out the Six of the nine tunes are originals, testi- funk on Stevie Wonder’s reggae tinged fying to his skills as an innovative com- “Master Blaster” and on his own “Ruby poser-arranger as well as a fluid and Mae.” “I Wanna See My Baby” is another expressive performer. Turoso wrote the funky number highlighted by Brown’s melody of “Children’s Song” for two of abandonment of his normally silky smooth his children to play when they were tak- vocals in favor of a gritty growl that falls ing piano lessons. Fleshed out for horns somewhere between Omar Dykes and and a rhythm section, it’s a perky num- Wolfman Jack. ber with an appealing Latin-tinged Brown puts his gunslinger bravado Read The Review sound. Turoso again addresses his love aside long enough for the tender piano www.jazz-blues.com of with “D’Samba.” “Chang- driven ballad, “Make Love To Your Mind” click the ‘Notable’ button ing Places” is devoted to the bebop style, and the bitter “baby done me wrong blues featuring unison horns and brisk solos of “I Wouldn’t Treat a Dog.” “Snap” and PAGE FOURTEEN July/August 2006 • Issue 284 “Karansa’s Boogie” are the type of instrumental tracks that typi- cally either start a blues set at the club or signal that it’s time for a B.B. King in Concert August 20 break. Taken individually, the tracks are expertly played and work well. Taken as a whole, the low-key feel of the majority of the tracks leaves you waiting for something that will take the disc from a simmer to a boil. Mark Smith YELLOWJACKETS Twenty Five HEADS UP/TELARC CD/DVD Twenty-five years is a serious piece of time in anyone’s entire life let alone for surviving as a group entity in the fickle world of the music business. But that’s just what’s happened with this most popular jazz-fusion act. Founding members Russell Ferrante (keyboards) and Jimmy Haslip (bass) have hung on for a quarter-century with the group guitarist Robben Ford brought together, the cel- ebration of which is preserved on this thoroughly enjoyable double-disc set. Recorded live in Paris last year, the CD functions as an eight-song “Greatest Hits Live” set and the DVD concert foot- age (wisely) provides a second cross-section of the band’s history with mostly different tune selections. Drummer Marcus Baylor and saxophonist/EWI player Bob Mintzer have been onboard since the new century and the ‘90s respectively and See B.B. King in concert at Cain Park Sunday, August 20 at 8 the instrumentation lends a “traditional” jazz group dimen- p.m., The concert is part of B.B.’s 80th Birthday Celebration! sion to what is essentially a fusion band, particularly when Ferrante mans the grand piano. Fans should love both discs and the uninitiated might want to start their catalog exploration with this piece. Duane Verh WILLY DEVILLE Live In The Lowlands EAGLE VISION DVD Mink DeVille was probably the most roots-bound of any band that emerged from the 70’s NYC New Wave scene. Bandleader Willy grounded his outfit’s music in the Apple’s urban/doo-wop/Latino aesthetics and the end result was steamy, gritty fare that was a first cousin to Springsteen and Lou Reed. DeVille’s later solo efforts embraced blues, Creole and Cajun strains and all facets of his music get coverage this 2005 concert in Amsterdam. Blues fans not familiar with DeVille should be impressed with his John Hammond/Tom Waits-like vocal attack on blues- inspired pieces (“Muddy Waters Rose Out Of The Mississippi Mud” and r&b gems (“Bacon Fat,” “Cry To Me”). Mink’s fans should get off on “Cadillac Moon” and “Savoir Faire.” The band fits all DeVille’s influences flavored with accordion, acoustic guitar and Latin percussion. With all participants sit- ting, the editing keeps things just active enough visually, but this excellent show is allowed to speak for itself. Duane Verh MORE IN THE ONLINE EDITION... of this issue with extra pages, containing more reviews, and our latest batch of book reviews. We run out of pages with the pulp version since we can only add 8 at a time! www.jazz-blues.com

July/August 2006 • Issue 284 PAGE FIFTEEN PAGE SIXTEEN July/August 2006 • Issue 284 THE REVEREND Mayfield to bluesy torch songs and backed by two versions of the Woody ballads, and the closing Vacation Herman Big Band recorded on De- BILLY C. WIRTZ From the Blues, which Eddie Boyd re- cember 24 and 26 the previous year SERMON FROM BETHLEHEM corded in the fifties (with Robert in New York. BLIND PIG CD Lockwood Jr., I believe on guitar on Byrd wrote and plays Spanish Part preacher, part carnival the original). Andrews reminds me of guitar on four appealing tunes, barker, part big time wrestling an- the late Jimmy Witherspoon and Joe “Bamba Samba (Bossa Nova),” nouncer and full time boogie woogie Williams with the authority he brings “Original #2,” “Love Song Ballad,” piano player, the Reverend Billy C. to the blues as well as how he ca- and “Prelude A La Cha Cha.” Some Wirtz is essentially the male counter- resses the other lyrics equally as well. of Byrd’s tunes have a retro Fifties part of Saffire, the Uppity Blues The wonderful backing band in- sound, but that doesn’t detract from Women, with a heavy dose of nov- cludes the marvelous tenor saxo- their boldness or beauty. The remain- elty tunes sharing space with straight phonist Person, who always ing four tunes, written and arranged forward blues. shines backing up great singers like by Ralph Burns, entitled “Summer This live release features the Mr. Andrews with his tone and lyrical Sequence,” are numbered Parts 1 good Reverend working his way playing. The rest of the terrific band through 4 and work together as an through a stand up routine of obser- consists of pianist Phil Wright, gui- engaging suite. vations about freaks, geeks, wrestling tarist Terry Evans, bassist Richard While Byrd is featured, it’s obvi- grandmothers and other assorted Simon and drummer Frank Wilson. ous that the brassy Woody Herman oddballs. Double entendres are in For those whose leaning are on the band and its fine soloists are the also short supply as the Reverend gives it blues side and fans of Duke the focus. Sound quality is impec- up straight and dirty on tracks like Robillard’s music, I would certainly cable and it’s fascinating to hear Byrd Female Problems and What I Used to recommend this as it’s in a similar fronting such a terrific big band. Do All Night. While the novelty as- vein to Duke’s recent swing oriented Nancy Ann Lee pects of the tracks wear a bit thin over efforts. time redemption comes in the form This is highly recommended. of the rollicking piano work. Ron Weinstock While you may not join his con- books gregation you’ll enjoy at least a part WILLIAM LEE ELLIS of the Reverend’s sermon. Conqueroo PORTRAIT OF JOHNNY: Mark Smith YELLOW DOG RECORDS THE LIFE OF JOHN Ellis plays his , steel gui- HERNDON MERCER ERNIE ANDREWS tar and lap guitar. His vocal charac- ter continues to change, too. Larry BY GENE LEES How About Me Nager contributes on the mandolins, 2006 HAL LEONARD BOOKS HIGHNOTE dobro, washboard, and the bass: Rick Gene Lees, author, lyricist and Vocalist Ernie Andrews has had Steff on the mellotron, and vocalists songwriter, and writer/publisher of the quite a career dating back to the Cen- Reba Russell and Susan Marshall do award-winning Jazzletter, first met tral Avenue scene in of their part, also.. And the Masquerad- Johnny Mercer near the end of his ca- the forties (he first recorded in 1947 ers; Harold 'Sundance' Thomas, Rob- reer on February 8, 1966 and main- when 17 with Red Callendar’s band). ert 'Tex' Wrightail, and David 'Cow- tained a friendship with him until Musically he has aged like fine wine boy' Sanders give a country feel to Mercer’s death in 1976. Over the as indicated by his new album for the the effort. years, Lees interviewed Mercer sev- HighNote label. The thank you list is stacked with eral times for magazine articles and a Viewed as a tribute to singers and notable characters like Jorma Canadian broadcast program. the songs from the forties and fifties, Kaukonen, Jim Dickerson, Sandy After Mercer’s death, his widow he brings his talents to eleven choice Carroll, Jim Gaines, Alvin Ginger presented Lees with Mandel’s songs, of which only a couple, The Youngblood Hart, and Ana Popovich. unfinished memoir and asked Lees to More I See You and Percy Mayfield’s Notable cuts, such as the leadoff edit and organize it. A copy of the ed- River’s Invitation, may be familiar to ballad “She Conquered the ited manuscript was left to Mandel’s most. While influenced by the great Conqueroo,” “Black Sea Blues” and daughter, Amanda Mercer Neder, who Billy Eckstine, another formidable in- “Rose Hill” make use the steel and asked Lees to write this biography in fluence was the great singer and en- lap. Good job Ellis! Mark A. 1997. Lees uses portions of Mandel’s tertainer Billy Daniels. Nonetheless Cole insightful writings as well as resources four of the songs here are from the from the Johnny Mercer Papers Billy Eckstine book including the CHARLIE BYRD housed at the Georgia State Univer- wonderful Leonard Feather number, sity Library, interviews, and other She’s Got the Blues For Sale, that Bamba-Samba Bossa Nova sources. Frequently, Lees interjects opens this disc. EMPIRE MUSICWERKS his own trenchant observations— This is a marvelous program that Originally released on the sometimes to a fault. Some readers goes from the sophisticated uptown Everest Stereo label in 1959, this CD may find the author to be far too in- blues of Leonard Feather and Percy reissue features guitarist Charlie Byrd trusive, opinionated and judgmental. July/August 2006 • Issue 284 PAGE SEVENTEEN John Herndon Mercer was born Through interviews with musi- over booking after Sullivan was mur- November 18, 1909, of Scottish, Irish, cians, club owners, patrons and local dered in 1966. English, and middle European heri- photographers and through the inclu- • The final section of the book de- tage in the Deep South of Savannah, sion of more than 200 previously un- tails how urban renewal destroyed Georgia. Mercer wrote some of the published photographs, they bring most of the Fillmore community. best-known lyrics in the American forth an overview of the socio-cultural As mentioned this book has over Songbook repertoire, won four Acad- history of the area that is richly illus- 200 previously unpublished illustra- emy Awards for his songs and helped trated. As they write, “This book is tions which range from street shots to to found Capital Records. Many of meant to be a slice of life, not a pictures of patrons and performers. Mercer’s songs have become stan- completist’s history, nor analysis of The cover has John Handy, Pony dards. Among those cited in the in- events. Such locally noteworthy pho- Poindexter and John Coltrane (it is dex are classics such as “Autumn tographers as Jerry Stoll, Ricardo also on page 61), while others pic- Leaves,” “Blues In the Night,” “Come Alvarado, Steve Jackson, Jr. and tured here include tenor saxophonist Rain or Come Shine,” “Days of Wine David Johnson (who was Ansel Paul Gonsalves, Louis Jordan outside and Roses,” “I’m Old-Fashioned,” “I Adams’ first African- American stu- the Manor Plaza Hotel where a blown Remember You,” “Moon River,” “My dent) are among those whose works up photo of his is in the window; Shining Hour,” “Skylark,” “That Old are included here. Among the indi- Eartha Kitt with neighborhood chil- Black Magic,” and countless others viduals interviewed are bassist Vernon dren; Sugar Pie DeSanto; Duke which are entrenched in jazz reper- Alley, singer Sugar Pie DeSanto, Ellington and friends relaxing at the toire. former mayor Willie Brown, commu- Manor Plaza Hotel; Ruth Brown at the Lees digs into the complicated re- nity activist Steve Nakajo, saxophon- Booker T Washington Cocktail lationships of Mercer’s life. A popular ist John Handy, club owner Wesley Lounge; T-Bone Walker with Wesley radio personality with a happy-go- Johnson Jr., record company founder Johnson Sr.... at the Texas Playhouse; lucky attitude, Mercer was in reality Jim Moore, John and Francis Lynne Earl Grant; Lionel Hampton; Billy desperately unhappy. Lees brings to Coppola, saxophonist Bobbie Webb, Holiday with her beloved dog and the fore details of Mercer’s loveless musician, producer, radio host Johnny Wesley Johnson Sr. at the Club Fla- marriage (worsened by a turbulent Otis and others. mingo; And Little Richard at the long-lasting affair with Judy Garland), The book has four sections: Fillmore with Jimi Hendrix on guitar. his nasty bouts of alcoholism, and his • A general introduction. The young white photographer that song-writing successes and failures. • A historical section on the caught this priceless shot from Octo- Lees describes Mercer’s efforts to es- neighborhood that tracks its change ber 1964, John Goddard remembers tablish himself in Tin Pan Alley; his from a predominantly Japanese com- being up front taking lots of photos. Hollywood glory years; and his deso- munity into an African-American one “It was only years later that I found lation as his style of music gave way during the incarceration in internment out that the guitar player, who kept to rock and roll. Dedicated fans and camps of Japanese-Americans and getting in the way, was Jimi Hendrix. anyone interested in the lasting effects the emergence of the Fillmore district I remember him because he played of Mercer’s songs should find this 384- as a vibrant cultural center. with his teeth and behind his neck, but page book (with 32 photos) an en- • A discussion of the various to me that night, he was just this gui- lightening read. Nancy Ann Lee nightclubs in the Fillmore, area in- tar player who kept getting in the way cluding such long-closed rooms as of me taking pictures of Little Rich- HARLEM OF THE WEST: Jack’s Tavern, the Club Alabam, the ard.” It should be noted that Goddard New York Swing Club, The Texas Play- used a Brownie for many of his pho- THE SAN FRANCISCO house/ Club Flamingo, The Long Bar, tos and Hendrix is in the forefront of FILLMORE JAZZ ERA The Ellis Theatre, Bob City and oth- the picture, although a bit blurred and BY ELIZABETH PEPIN ers – including of course the Fillmore Little Richard looks outrageous with & LEWIS WATTS Auditorium which dates back to 1912 curly blond hair. And there is plenty 2005 CHRONICLE BOOKS as the Majestic Hall & Academy of of interest in the pictures of yester- Many of us have heard of the Dancing, which in 1928 became the year. Even those of the patrons, show- Fillmore Auditorium in San Francisco Majestic Ballroom and in 1936 the ing people who dressed up to go out and associate it with hippies and mod- Ambassador Dance Hall. It was a on the town, in contrast to us today ern rock because of the pioneering roller skating rink between 1939-1952 who often dress down. shows that Bill Graham booked there. although Charles Jordan Hines began Harlem of the West is a marvel- Prior to this, it was the home of a vi- holding dances there in 1949 and ous overview that delivers what the brant jazz and blues scene from the Charles Sullivan took over booking authors promise. Perhaps the only forties until urban destruction (aka ur- bands in 1954, renaming it the thing missing are suggested record- ban renewal) destroyed much of it. Fillmore Auditorium, and in Decem- ings, but there is a bibliography, and Chronicle Books has issued this mar- ber 10, 1965 allowed Bill Graham to a list of various websites, including velous volume by two San Francisco use Sullivan’s dance hall permit to several for some of the musicians who photographers, instructors and histo- book a benefit for the San Francisco are still active. A most highly recom- rians. Ms. Pepin in fact was a former Mine Troupe, leading Sullivan to al- mended book that will hopefully lead day manager of the Fillmore under Bill low Graham to book shows when he to a fuller study of this scene. Graham. had no shows booked. Graham took Ron Weinstock PAGE EIGHTEEN July/August 2006 • Issue 284