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Home , Blind Faith, Chris Blackwell, Hole in My Shoe, Jim Capaldi, Jim Gordon (musician), Paper Sun

By John Milward

... HE WORD TRAFFIC IS FREQUENTLY FOLLOWED BY JAM. FOR shedding with Winwood were guitarist , the British rock band Traffic, the musical jam ses­ drummer and the horn-blowing Chris Woovd. sion began in the spring of 1967 at a country cot­ The resulting , Mr. Fantasy, fit right into a year that tage in Berkshire, England. As the quartet wrote saw the release of Sgt. Pepper and the rise of San Francisco and rehearsed, member ’s soulful psychedelic bands Jefferson Airplane and . voice and wailing organ could be heard on the ra­ And the song “Dear Mr. Fantasy” was a monster jam of key­ dio via “Gimme Some Lovin’ ” and “I’m a Man,” monster hits boards and that could go on pretty much forever. from his previous band, the Group. Now wood- In 1994, two decades after the original band broke up, Winwood and Capaldi re-formed Traf- Above: Jim Capaldi, fic and toured with the king of the jam Dave Mason, Chris bands, the Grateful Dead, who played Wood and Steve “Dear Mr. Fantasy” when Traffic did Winwood (from le ft) not. In 2002, Winwood attended the annual gathering of jam bands, the Bonnaroo Music Festival, and sat in with Widespread Panic and the String Cheese Inci­ dent, making his “” slightly more typical than that of his buddies, the Dead. His journey was that of a gifted singer and musician. By expanding rock’s instrumental palette, Traffic broke new ground in popular music. Wood’s flute and sax added novel textures while Capaldi embroidered his drumbeats with Expanding rock's flavorful percussion. Winwood’i keyboards were fuel for Mason’s , and they were both turning into marvelous palette. Traffic . But in the end, Traffic was stalled by its inability to keep Winwood and Mason in the same band. Traffic’s lega­ broke new ground cy rests largely on four terrific : Mr. Fantasy (1967), Traf­ f i c ( ig 68), M ust Die (197 o) and The Low Spark of High Heeled Bops (if 71). The first two feature the original quar­ , England (on May ^ 1948), he was playing tet, and the others are essentially great Winwood albums; all drums, guitar and . Winwood played his first public four have influenced generations of musicians. gig at the age of eight, and in 1963, he and his elder brother, Not long after Stephen Lawrence Winwood was born in Muff, joined guitarist Spencer Davis and drummer Pete albums, both produced by Jimmy Above: Wood (le ft) I Winwood was the Miller, who would subsequently and Winwood. Right: produce , sound Traffic as a trio: quite different from each other. A Capaldi, Winwood I famous face in a rather lavish production, Mr. Fanta- and Wood (from le ft). sy featured dense instmmentation I group of equals blended into a psychedelic weave. By contrast, Traffic, released in November 1968, seemed clean and snappy - clearly the work of musicians maturing as both writers and York in the Rhythm and Quartet. Within a year, players. Highlights included Winwood and Capaldi’s had changed its name to the Spencer Davis “Pearly Queen” and “Forty Thousand Headmen,” Mason’s Group and hooked up with an enterprising manager, joyfully communal “” and his greatest , who would later sign Traffic to his hit, “Feeliri Alright?” , Island. With his powerful voice and key­ Traffic should have been an exciting new start for the board work, Winwood was an instant star, hailed as a quartet; instead, it was a last gasp. The group broke up just teenage . In 1965, he recorded with guitarist two months after its release. Winwood was soon playing in Powerhouse, an ad hoc group that contri­ with Eric Clapton, and after they were joined by Clapton’s buted three tracks to the influential Elektra compilation drummer from Cream, Ginger Faker, they became Blind What’s Shakin’. It wouldn’t be the last Winwood Faith, ’s first so-called supergroup. Pop history and Clapton shared a stage. is littered with dubious career moves, but is there a sixties- Things moved fast in the swinging sixties, when two rock fan alive who wouldn’t trade ’s one LP for albums a year and a single every three months was busi­ more albums by Cream and the original Traffic? Still, ness as usual. In Traffic, Winwood was the famous face in Blind Faith’s self-titled debut featured one of Winwood’s a group formed as a band of equals, and there were strains best compositions, the wonderfully wistful “Can’t Find My from the start. Winwood mostly collaborated on songs W ay Home.” with Capaldi (bom August 24,1944), who typically wrote It speaks to Traffic’s high regard that Winwood and the lyrics. They got an occasional assist from Wood (bom Mason were employed on numerous important recording June 24,1944); Mason (bom May 10,1944) wrote by him­ sessions. Both men appeared on ’s Electric self. Traffic’s debut album was preceded by two singles: Ladyland, and Winwood was featured on ’s star­ Winwood and Capaldi’s trippy, sitar-tipped “,” laden debut, With a Little Help From My Friends, w hich which reached the U.K. Top Five, and Mason’s somewhat included the perhaps definitive version of Mason’s “Feelin’ more conventional “,” which was an even Alright?” Winwood was a natural on keyboards for Lon­ bigger hit. But Winwood felt Mason’s song didn’t represent don sessions featuring such American blues legends as the sound he wanted for the group, and by the time Mr. Fan­ and Howlin’ Wolf, while Mason played on tasy was released, in December 1967 (under its original the Rolling Stones’ and ’s title, Heaven Is in Your Mind), Traffic was a trio. A ll Things Must Pass. It’s just too bad that Winwood and A few months later, after Traffic had made an unherald­ Mason failed to build on the vibrant sound of Traffic’s ed U.S. tour and was due to record a second album, Mason unsurpassed second album. was wooed back into the group. The first two Tra ffic Fresh out of Blind Faith, Winwood planned to launch a

Wood, Roger solo career in T9 70, but when he 11 Hawkins, David invited Capaldi and Wood to help John Barleycorn" Hood, Rebop Kwaku him in the recording studio, the pro­ Baah, Capaldi and ject quickly became Traffic’s third Winwood (from le ft) studio album, John Barleycorn Must showed Traffic's Die. Winwood’s beautifully sung ver­ sion of the traditional folk tune “John Barleycorn” show­ acoustic side cased the acoustic side of Traffic. On the instrumental “Glad,” keyboards riffed alongside a saxophone, suggesting a funky style of rock. John Barleycorn M ust Die quickly the High Life lived up to its title, selling more than three became a staple of the era’s progressive-rock radio and million copies and giving him a Number One single, earned Traffic its first gold album. Rik Grech, who’d played “.” Winwood topped the chart again in bass with Winwood in Blind Faith, was recruited to fill out T988 with the title song of another multiplatinum the group’s live sound. the first of many changes album, Roll With It. in the Traffic lineup. Mason’s post-Traffic career began with 1970’s highly By the time Traffic recorded 1971’s Low Spark of High regarded Atone and took an unlikely detour for a Heeled Boys, the band also included drummer collaboration with Mama Cass Elliot of the and percussionist Reebop Mamas and the Papas; he scored his biggest Kwaku Baah. The album, which eventually solo hit in 1977 with a Number Twelve song, went platinum, reached Number Seven on “.” Mason remains active as the U.S. charts, and the twelve-minute title I a solo artist, and in r 994, he joined Fleetwood track, with its memorable keyboard hook j Mac for one album (Time). Capaldi has and squawking saxophone, cooled out many released sixteen albums over thè past thirty a party. Traffic released a pair of live albums I years and has had his greatest success in {1971’s and 1973’s l Europe. Wood died of fiver failure in r 983. Traffic - On the Road) and two more studio Winwood celebrated his fortieth year in efforts (1973’s Shoot Out at the Fantasy Factory the music business in 2003 with the release and 1974’s ) before the I of About Time, a self-produced collection group officially called it quits. J for his own label that revealed a far differ­ As the voice of Traffic, Winwood was ent Winwood than the polished hitmaker in the best position to pursue a solo career, but he did of the . Winwood, who’d fallen from the commer­ not hit his commercial stride until i 98t’s , cial highlife, was once more behind his Hammond B-3 on which he played all the instruments and sang lyrics organ, leading a small group through songs cut five in by others, including W ill Jennings, who became a fre- the studio. The improvised sounds harked back to that quent songwriting partner. In r 985, Winwood’s Back in cottage in the country, where long ago and far away, four hippies jammed deep into the British night. “Dear Mr. Left: "A last look at Traffic": Winwood as depicted on the Fantasy,” they sang, “play us a tune, something to make May 6,1969, cover of',' pictured above us all happy.” Mission accomplished. p