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September/October 2004 Issue 270 Free

30th Anniversary Year www.-.com

Ninth Annual American Music Masters Shine A Light On Me, the Life and Legacy of November 1-7, 2004

Lead Belly September/October 2004 • Issue 270 Ninth Annual American Music Masters Shine A Light On Me, the Life and Legacy of Lead Belly November 1-7, 2004 Presented by the Rock and Roll Hall of Fame and Museum and Case Published by Martin Wahl Communications ead Belly was inducted into the feur (for ) and occasional per- Editor & Founder Bill Wahl Rock and Roll Hall of Fame former. During the last 15 years of his life, Land Museum in 1988. The he found an appreciative new audience in Layout & Design Bill Wahl Rock Hall will celebrate Lead Belly’s the leftist folk community, befriending the legacy in their Ninth Annual American likes of and . Operations Jim Martin Music Masters, this November. Lead Much like Guthrie, he performed for politi- Pilar Martin Belly was one of the most influential art- cal rallies and labor unions in his later ists of the twentieth century. An emblem years. His keening, high-pitched vocals and Contributors of American , Lead Belly had powerful, percussive playing com- Michael Braxton, Mark Cole, Chris a profound influence on artists such as manded attention, and he became known Hovan, Nancy Ann Lee, David Muddy Waters, Pete Seeger, , as “the King of the Twelve-String Guitar.” McPherson, Peanuts, Mark , and Kurt Lead Belly recorded for a variety of labels, Smith, Duane Verh and Ron Cobain. including Folkways, and performed tire- Weinstock. Huddie Ledbetter, better known to lessly, though still subsisting in relative the world as “Lead Belly,” survived a life poverty, until his death in 1949 of Lou that included brutalizing poverty and long Gehrig’s disease. Check out our new, updated web stretches in prison to become an em- Ironically, sold 2 million page. Now you can search for CD blematic folk singer and . He is copies of their recording of Lead Belly’s Reviews by artists, Titles, Record renowned for his - the best known “Goodnight, Irene” shortly after his death. Labels or JBR Writers. Twelve years of which include “,” “It’s one more case of black music being of reviews are up and we’ll be going “Goodnight, Irene,” “The Midnight Spe- made famous by white people,” Pete all the way back to 1974! cial” and “” - as well as his Seeger, one of the Weavers, said in 1988, Address all Correspondence to.... prowess on the 12-string guitar. In his the year of Lead Belly’s induction into the Jazz & Blues Report sixty-plus years, he essentially lived two Rock and Roll Hall of Fame. “It’s a pure 19885 Detroit Road # 320 distinctly different lives: first, as a field tragedy he didn’t live another six months, Rocky River, 44116 worker, blues singer, rambling man and because all his dreams as a performer would have come true.” Main Office ...... 216.651.0626 prisoner in the rural South; second, as a Editor's Desk ... 440.331.1930 city-dwelling folksinger, performer and recording artist in the urban North. It was, TIMELINE [email protected] however, not until shortly after Lead January 20, 1889 Web ...... www.jazz-blues.com Belly’s death that a broader public came Lead Belly was born in Mooringsport, LA. Copyright © 2004 Martin-Wahl Communications Inc. to know his songs and the mythic outline 1930-34 of his life. Folklorist John Lomax travels the South, No portion of this publication may be Born circa 1885 in rural northwest recording and collecting blues, records reproduced without written permission , Lead Belly rambled across the Lead Belly. from the publisher. All rights Reserved. Deep South from the age of 16. While 1932 Jazz Report was founded in Buffalo New working in the fields, he absorbed a vast The Lomaxes record Lead Belly. York in March of 1974 and began in Cleve- repertoire of songs and styles. He mas- June 15, 1949 tered primordial blues, , reels, land in April of 1978. We are subsidized Lead Belly performs his last concert. cowboy songs, folk ballads and prison December 6, 1949 solely through advertisement and ask that hollers. In 1917, Lead Belly served as Lead Belly dies in New York, NY.

you support our advertisers. ’s “lead boy” - i.e., 1950 a W division of artin-Wahl his guide, companion and protégé - on The Weavers score a double-sided hit with c o m m u n i c a t i o n s the streets of . A man possessed “Tzena, Tzena, Tzena” (#2) b/w Lead with a hot temper and enormous strength, Belly’s “Goodnight Irene” (#1 for 13 weeks). Lead Belly spent his share of time in May 26, 1950 Southern prisons. Convicted on charges The Weavers record Lead Belly’s "Buffalonious" of murder (1917) and attempted murder “Goodnight, Irene,” which becomes a popu- (1930), Lead Belly literally sang his way lar hit for them. Original mascot from to freedom, receiving pardons from the 1988 the governors of and Louisiana. The Lead Belly is inducted into the Rock and Buffalo Jazz Report second of his releases was largely ob- Roll Hall of Fame. tained through the intervention of John days Ð mid '70s and , who first heard Lead SCHEDULE OF EVENTS Belly at Angola State Prison while record- Created by Monday, November 1 Christine Engla Eber ing indigenous Southern for the . Movie Screening of Gordon Park’s “Leadbelly” Cinematheque Watch for new t-shirts bearing his image–coming soon! Lead Belly subsequently moved to New York, where he worked as a chauf- Continued on page 14 PAGE TWO September/October 2004 • Issue 270 Jazz on the Circle 2004-05 season schedule

The tenth season of the award-win- ning Jazz on the Circle concert series will kick off in October. A collaboration between , the Cleveland Museum of Art, the Jazz By Mark Smith Society and Tri-C JazzFest Cleveland, the four-concert season features inter- s September really here al- nationally-acclaimed guest artists. Jazz ready? What happened to all on the Circle concerts are presented in I the BBQ and beer I promised the Concert Hall at Severance Hall and myself this summer? While you’re in Gartner Auditorium at the Cleveland reading this in September, deadlines Museum of Art. required that it be written in August The 2004-05 season begins on Oc- when there was still a chance at a few tober 16 with the Yellowjackets and more runs at the grill so please excuse Kevyn Lettau in Gartner Auditorium at the the brevity this month… Back to Cleveland Museum of Art. The Grammy- School Blues…. Hey kids, here’s a nominated ensemble Yellowjackets is Jazz vocalist Jane Monheit will be appear- few new blues releases to tuck into one of today’s most original quartets, and ing at Night Town on Friday and Satur- your back to school back pack: Kevyn Lettau is an international jazz day, October 8 and 9. Clarence “Gatemouth” Brown- singer who first developed her unique Timeless; Duffy Bishop- Ooh Wee!; style performing with Sergio Mendes. Crossroads Blues Band- Live; New On December 4 Paquito D’Rivera Cleveland Jazz Orchestra Guitar Summit (Gerry Beaudion, J. and New York Voices will present “Bra- begins its 21st season Geils and )- New Gui- zilian Dreams” in Gartner Auditorium at tar Summit; RL Burnside- A Bothered the Cleveland Museum of Art. Cuban- Ed Partyka, a , arranger, Mind; - Have a Little born Paquito D’Rivera brings his unique bandleader and trombonist who has Faith; Junior Brown- Down Home; blend of American vocal quartets and been living and working in Albert Cummings- Ture to Yourself; Brazilian music to Cleveland, with help since 1990, will be the special guest Guy Davis- Legacy; Amos Garret- from the vocal stylings of New York artist when the Cleveland Jazz Orches- The Acoustic ; Ian Moore- Voices. tra kicks off its 21st season Saturday Luminaria; Pinetop Perkins- Ladies On February 13, 2005, legendary night, September 18, at 8 p.m. The Man (featuring Marcia Ball, Ann pianist Ahmad Jamal performs in Sever- concert will be at a new location, the Rabson, , Susan Tedeschi, ance Hall’s Concert Hall. Mr. Jamal is Cuyahoga Community College Eastern Angela Strehli, and Deborah one of the most popular artists in jazz Campus Performing Arts Center at Coleman) ; Bill Perry- Raw Deal; Ray history, with a hit single, Poinciana, on Richmond and Harvard Roads in High- Charles- Genius Loves Company; the the charts for an unprecedented 108 land Hills. Kingsnakes- Live at Copperfields; weeks. Ahmad Jamal performs with Partyka, who studied with former Ivory Joe Hunter- the Kings Sides- bassist James Cammack and drummer Clevelanders Jiggs Whigham and Bill volume 1; Jackie Greene- Sweet Idris Muhammed. Dobbins and played bass Somewhere Bound; Janiva Magness- The tenth season of Jazz on the with ’s big band and Bury Him at the Crossroads; Eric Circle concludes on April 24, 2005, as the Woody Herman Orchestra, will lead Bibb- Friends (with guests Taj Mahal, Tri-C JazzFest Cleveland presents the CJO in a concert of his creative new Charlie Musselwhite, Odetta, Guy Sergio Mendes Brasil 2005 in Severance Davis, Ruthie Foster, Harry Manx and Hall’s Concert Hall. Mendes first put Bra- others); Bruce Katz- A Deeper Blue; zilian music on the Top 10 Hit Parade Cyril Lance- Live From the Outskirts; with Brasil ’66, and always captures the Gary US Bonds- Back In 20; Read musical idiom of Portuguese in his about it blues…. While you’re going work. back to school, here’s something to Series subscriptions for Jazz on the read that’ll give you a deep education Circle 2004-05 are currently on sale. Search The CD & DVD Review Archives about one of the legends of the blues Jazz on the Circle offers a four-concert Over 2,500 up so far ÐÐMoanin’ At Midnight- The Life and subscription with prices of $88 and $136. Times of Howlin’ Wolf, Pantheon Subscription prices offer savings of 8 to Books, 2004...... Watch ‘em blues…. 24 percent over individual ticket prices. Stevie Ray Vaughan and Double For more information or to order sub- www.jazz-blues.com Trouble will be the subject of a new 2 scriptions, call the DVD set recorded Live at Montreux in Subscription Office at 216-231-1111 or 1982 and 1985. Also taking a bow on 1-800-686-1141 or visit DVD are Memphis Slim and Sonny www.clevelandorchestra.com. Boy Williamson who will be appear- Single tickets for all Jazz on the Circle ing on a release entitled Blues Leg- concerts go on sale Tuesday, September ends- Live in . Well, the grill 7, 2004. Tickets will be available in person calls. at the Severance Hall Ticket Office, by That’s it for this month. Catch you phone at 216-231-1111 or 1-800-686-1141, at the tailgate parties!! or online at www.clevelandorchestra.com September/October 2004 • Issue 270 PAGE THREE compositions and . stop playing it. The Partyka concert will be the first Krivda recorded this tribute to Getz in of six concerts in this season’s subscrip- late 1988 at Cleveland’s Severance Hall, tion series - World Class by the Cleve- land Jazz Orchestra. The other Saturday known to Clevelanders and fans of classi- night concerts in the series include: cal music worldwide as the home of the October 16 - Dan McMillion and his Cleveland Orchestra. It was part of the Jazz soaring will team up with the CJO on the Circle Concert Series. to perform a tribute to Maynard Ferguson The first part of the concert consists of - at the Fairmount Temple Auditorium at three extended pieces strongly associated 23737 Fairmount Boulevard, Beachwood. with Getz – Gigi Gryce’s “Stan’s Blues,” An- December 11 - CJO Music Director We only bring you the tonio Carlos Jobim’s “El Grande Amore,” Jack Schantz leads the band performing and Billy Strayhom’s jazz Cream of the Crop! and Jerome Kern’s beautiful ballad “Yes- version of The Nutcracker Suite with danc- terdays.” Krivda along with pianist Andy ers from the Cleveland Contemporary LaVerne, bassist Rufus Reid and drummer Dance Theatre - at the Masonic Audito- Adam Nussbaum, perform these songs in rium, East 36th and Euclid, Cleveland. a manner that would definitely leave Mr. January 29 - Trumpeter Kenny Getz smiling from far away. Wheeler, a longtime resident of England, The rest of the album is the third stream will lead the CJO in performances of his Music for Large Ensembles - at the classic “Focus Suite,” written by Eddie Fairmount Temple Auditorium. Sauter and recorded by in 1962. March 26 - The CJO will perform Krivda changed the order of the move- George Russell’s highly-acclaimed New ments–opening with “Night Rider” and clos- York, New York and Jazz in the Space Age ing with “I’m Late, I’m Late,” instead of the - at the Fairmount Temple Auditorium. May original order which was just the opposite. 14 -The CJO plays Bob Cumo’s big band He points out that it seemed that the record arrangements of the music of Pat Metheny and Lyle Mays - at the Fairmount Temple company opened with “I’m Late, I’m Late” Auditorium. ERNIE KRIVDA for commercial reasons, which I’d have to Tickets for the subscription series agree makes sense knowing the crazy ideas concerts are available from the Cleveland Focus on Stan Getz record labels have been known to come Jazz Orchestra, P.O. Box 810, Willoughby Live at Severance Hall up with. I also very much agree that this OH 44096, (440) 942-9525 and on the CADENCE JAZZ RECORDS order flows much better. web at www.clevelandiazz.org. I have been a fan of tenor saxophonist For the suite Krivda is heard by a group Ernie Krivda’s music since his Inner City of classical musicians with Conductor John JazzFest’s The Song Is You! of the late seventies. It was, in fact, Russo of the Akron Symphony Orchestra. returns for a third season impressive enough to bring him in to the The string orchestra here was assembled Tralfamadore Cafe in Buffalo - a small base- by violinist Terri Pontremolli, who is known Tri-C JazzFest Cleveland’s third ment jazz dive of the highest calibre where to Cleveland’s jazz community as the man- season of The Song Is You! begins Sun- I happened to be booking the national jazz aging director of the Tri-C JazzFest, which day, September 19 at 3 p.m. Hosted by acts at the time. He was fantastic and the Bill Rudman and Joe Hunter, the pro- just celebrated its 25th year. The orches- sold out crowds went nuts, just as they did gram will feature vocalists Helen Welch tra accompanying Krivda includes nine vio- and Greg Violand in “Jerome Kern: Mas- for some of the other visiting artists...most lins (including Pontremolli), five violas, ter of Melody.” The show will take place notably Dexter Gordon, Woody Shaw, three , , harp and percus- in the Cuyahoga Community College Sonny Fortune, Lee Konitz and . sion. As good as the first part of the album Metro Campus Main Stage Theatre, I have also been a longtime fan of the is, the second is even better. Simply gor- th gate 6, near the corner of E. 30 St. and late/great Stan Getz. In fact, I booked him geous, magnificently performed music Woodland Ave. to officially open Peabody’s Downunder in Following is the season schedule for from all involved. And the quality of the the Cleveland Flats in the early eighties - The Song Is You! recording is superb as well. September 19: Jerome Kern: Mas- my new venue for concerts at that time. I can come up with no other conclu- ter of Melody That being said, I have often found that sion than that all fans of Krivda, Getz, the November 7: George and Ira artists I am a fan of are the ones I am the third stream and first class music will all be Gershwin: Teamwork most critical of when a new album is re- more than pleased with this music - start December 12:Irving Berlin: The leased. The fact that an artist I was a fan of to finish. Obviously then...this disc is very Proud Father of 20th-Century Song was doing an album of music associated highly recommended Tri-C Eastern Campus. with another I was a fan of left me in a While I have tried to keep this as short February 2, 2005: Hoagy pickle. What if I were disappointed? What as possible, there was much that was Carmichael: Up a Lazy River then? Perhaps that is why I did not play April 3: Duke Ellington: Giant of needed to be said about this project, and it this CD for almost a full month...because I Jazz had to be done. I know that my editor is May 15: Harold Arlen: Happy with did not want to deal with that possibility. going to have my head on a platter for a the Blues Egads! 683 word CD review, but I’ll cross that Tickets are $15 at the door. Call Well I am relieved to report that the bridge when I come to it. Unfortunately, we 216-987-4400 for more information and worst scenario did not take place. Quite both run at the exact some speed. So wish a season brochure. the contrary...it is just the opposite...I can’t me luck! Bill Wahl PAGE FOUR September/October 2004 • Issue 270 September/October 2004 • Issue 270 PAGE FIVE DUKE ELLINGTON - 3 REISSUES down on a rare LP from CBS . For the swinging rhythms, dense section work, few solos and ace arrangements, this is a spectacular disc and you’ll be tappin’ your toes to the end. in the Background documents a rare trio session in Piano in the Foreground 1961 with Ellington drummer San Woodyard and bassist Aaron COLUMBIA/LEGACY Bell. To the 11 original tracks are seven bonus numbers from Reissue producers Michael Brooks and Michael Cuscuna 1957, which include ’s “Lotus Blossom,” two continue the Ellington series with the above three titles, ex- takes of “All the Things You Are” and four piano improvisa- panded editions to commemorate the 30th anniversary of tions. As Duke demonstrates on Gershwin’s “I Can’t Get Started” Ellington’s death in 1974. These three discs follow the three and the lightly swinging standard “Body And Soul” and other February 2004 releases of Masterpieces by Ellington, Ellington tunes, he exudes elegance in this tidy trio setting. Their version Uptown, and . of “Cong-Go” is a blues-beat treat and there’s even more to Recorded mostly in 1959, Blues In Orbit features the Duke tantalize your ears here. Nancy Ann Lee Ellington Orchestra performing 11 swinging numbers includ- ing “,” “,” the title tune and an ROOSEVELT SYKES additional eight tracks that include some reprises. This disc Boogie expands upon the 1988 CD to include five alternate takes, one DELMARK of which, the title tune, is previously unreleased. Soloists, more Whatever the mood of a tune that Roosevelt Sykes would than sections, are prominently featured. take on, whether “up” or “down”, the dapper blues-and-boogie (1960) includes selections out- master underpinned his powerful vocals with an undeniable of-print in the U.S. for decades and tunes are characterized by congeniality and his highly influential piano work with an exu- Ellington’s piano intros and closes on every number. The CD berance that betrayed a mostly “up” personality. “The covers two swinging Los Angeles studio sessions from 1960 Honeydripper” was a good time bluesman and it shows on and includes favorites such as “Perdido,” “Take the A Train,” this offering culled primarily from sessions from 1950 and - “Rockin’ In Rhythm,” “It Don’t Mean A Thing (If It Ain’t Got 51. Sykes’ splendid lyrical craft is also displayed on tracks That Swing)” and other pieces lesser known but equally en- including the classic “Drivin’ Wheel” and slow tracks such as gaging. Three more tracks from the same sessions were added “West Helena Blues” and “Security Blues”. to the CD reissue. One track, “ Air Shaft,” recorded a A change-up comes periodically in the form of four year later in L.A. and found in the Columbia archive is previ- 1963 tracks on which Sykes accompanies “St. Louis” Jimmy ously unreleased. The three other bonus tunes were tracked Odom’s deadpan delivery on tongue-in-cheek and semi-seri- ous subject matter. Sykes own brand of lyrical cleverness, immortalized in “Dirty Mother For You” appears here on the closer, “Kickin’ Motor Scooter”. Chicago Boogie makes for a IN PERSON! nice intro to an artist that inspired and influenced scores of blues pianists. Duane Verh World Renowned Best-Selling Author & Lecturer PATRICIA BARBER in the field of self-development A Fortnight In France Seen on PBS and Oprah Winfrey APPEARING Recorded live during March and April 2004 at clubs in September 10 & 11 three cities in France, pianist-vocalist Patricia Barber delivers Friday at 6:30 PM • Saturday at 1 PM a stunning set of five originals and unique interpretations of five standards. This is her eighth album and her first CD to be released exclusively on Blue Note. Chicago-based Barber and her team have been traveling DR. WAYNE DYER together a lot since her 2002 CD, Verse, and you can hear at THE JOURNEY improvements. Trust makes for some tight, flexible playing and adventurous improvisations from Barber, guitarist Neal MIND • BODY • SOUL EXPO Alger, bassist Michael Arnapol, and drummer Eric Montzka. SEPTEMBER 10, 11 & 12 Barber’s dark-shaded alto voice is ultra-appealing, espe- Lakeland Community College • Kirtland, Ohio cially on her somber reading of the standard “Laura,” enhanced With over 100 vendors in 23,000+ square feet of space by Alger’s guitar musings. However, she’s even more a pre- with everything to stimulate your Mind, Body & Soul mier pianist capable of taking listeners on fresh, new jour- Lectures • Demonstrations • Workshops neys, which she does on her original -grooved instru- New Age Vendors • Headline Speakers mental, “Crash” and her light, bouncy interpretation of the warhorse favorite, “Witchcraft.” Plus a Yoga-Thon for Charity There isn’t a dull tune in the bunch. Barber and her crew For details & tickets go to www.thejourneymag.com are in top form throughout and it’s easy to understand why or call 440-255-5301 she has been so successful in building her career as a classy interpreter of songs and a of witty and luxuriant originals. Nancy Ann Lee PAGE SIX September/October 2004 • Issue 270 TAD ROBINSON presses herself exceptionally well and Did You Ever Wonder? shows emotion and warmth. She’s at her best on swingers such as “You Say You SEVERN RECORDS Care” and the album launcher, “I’m Tad Robinson is an exceptional Confessin’ That I Love You,” which Lewis blue-eyed blues and soul singer who and Drummond tidily propel with their recorded some years back on Delmark, olol Nights— Nights— combined and individual artistry. The CoCo and I was privileged to write the notes assortment of nine standards, originals azz for one of his discs. David Earl’s Severn J and lesser-known tunes includes gems Hot Jazz label has just issued his latest disc, Did Hot such as Billy Cobham’s “Heather,” ■ You Ever Wonder? Fourplay ’s “Mysterioso,” a fresh Robinson has really grown as a rendering of the time-worn standard Bob James singer and along with the veteran Billy “Alone Together” that’s full of surprises, Price, label-mate Darrell Nullisch and Nathan East and the bluesy, throbbing original, “Tutu’s also Curtis Salgado has emerged as a Promise.” first-rate exponent of blue-eyed soul. This is Williams’ third CD for MaxJazz Larry Carlton There is more than a tinge of Memphis and it’s one of the recent best piano trio in the feel of these songs with Willie Palace Theatre recordings to cross my desk. Henderson contributing the first rate Nancy Ann Lee horn arrangements for these tracks. September 15 Benji Porecki and Kevin McKendree JUNIOR WELLS Wednesday, 7:30 PM handle the keyboards while Alex $30 & $25 Schultz adds some hot guitar as on the Don’t Start Me Talkin’ remake of Jimmy McCracklin’s The The Junior Wells Story Bitter & the Sweet on which Robinson COLUMBIA LEGACY DVD tosses in some harp. The legendary Otis The chief harpster Junior Wells Clay even provides backing vocals on reigned in Chicago for five decades. He the Cornelius Brothers’ hit, Too Late to partnered with for twenty odd Turn Back Now. Other covers include years as well, and he was a mentor and Robert Ward’s marvelous Your Love is teacher to many others. His innovative An Evening with Amazing and the Little Willie John Suf- breathing, his flash and dance, and his ■ fering With the Blues. On both of these complete persona have been imitated to Tony Bennett Robinson puts forth his own distinctive perfection. Palace Theatre interpretation of the song. The high- Junior’s give and take with guitarists lights on a consistently excellent album is superb, whether primary, secondary, or September 24 may be two of the originals by Robinson support. This DVD has some notable Friday, 6:30 PM company in force, as commentators B.B. and lyricist John Bean, Woman Trouble $75, $65 & $35 and Pockets Full of Nothing. King, John Lee Hooker, Carlos Santana, Perhaps its the exceptional lyrics Jimmy Vaughan, Charlie Musselwhite, that standout, but this whole disc should and even comedian are all appeal to fans of modern urban blues on hand. A couple of well-known hits are and soul. Ron Weinstock ‘Hoo Doo Man Blues’, ‘Little By Little’, and ‘Messin’ With The Kid’. This 88 JESSICA WILLIAMS minute documentary contains parts of some of Junior’s best performances. Live at Yoshi’s. Volume One Mark A. Cole ■ A Peter White MAX JAZZ PIANO SERIES Pianist Jessica Williams has such Christmas a nice keyboard touch, light sense of Walking With Giants featuring swing, and sweet imagination, she’s a HYENA treat to hear in this trio setting live-re- There is a temptation to shorthand Rick Braun & corded with illustrious colleagues, the JFJO’s craft by calling it “jazz for Mindi Abair drummer Victor Lewis and bassist Ray multitaskers”. The relatively brief dura- Drummond. tion (by jazz standards) of just about ev- Palace Theatre Engaging at all times, Williams var- ery track here (under five minutes) and December 15 ies her approaches. She plays with the trio’s proclivity for morphing, pack- rhythms and harmonies in intriguing ing most tunes with multiple motifs, can Tuesday, 7:30 PM ways. She mixes an array of single line cast the impression that this is creative $30 & $25 notes, upper register runs, full block music for the time-constricted. The ob- chords, trills, staccato notes, rhythmi- vious skill and ingenious instincts of pia- ■ TICKETS: Box office, 216-241-6000 cally displaced notes, swirling right- nist Brian Haas, drummer Jason Smart or 800-766-6048 and at hand lines, and other techniques. and bassist/cellist could playhousesquare.com Williams has plenty to say, ex- stretch any of these puppies to greater September/October 2004 • Issue 270 PAGE SEVEN Serving Delicious Food length, but these are apparently players mention here, but a short list would be Lunch & Dinner with too much ground to cover to hang Clapton (Cocaine, After Midnight, I’ll out in one spot too long. Make Love To You Anytime), The Band Haas quotes from a jazz vocabulary and Larry Carlton (Crazy Mama), Maria sizable enough to ground the group in Muldaur (Crazy Moon), Santana and classic piano-trio mode. In tandem with (The Sensitive Kind) and Smart’s spatial sense the dialog at times Brian Ferry, Bobby “Blue” Bland and evokes the Paul Bley trio when Annette Freddie King (I Got The Same Old Peacock was that group’s primary com- Blues). SEPTEMBER poser. Mathis is the wild card. When shift- To Tulsa And Back is Cale’s first Friday 10 ing to electronic mode, he becomes the studio album since 1996’s Guitar Man, OTIS TAYLOR group’s “horn” or “lead guitar” depend- and after 8 dry years it had better be With Otis Taylor, it’s best to expect the ing on his attack. Collectively the com- worth the wait. It is. unexpected. While his music, an positions are a cornucopia of jazz refer- Cale returned to his Tulsa roots amalgamation of roots styles in its rawest form, discusses heavyweight issues like ences, intelligently laid out and always where he hired a small studio owned murder, homelessness, tyranny, and engaging, and if any particular one by an old drummer friend and came up injustice, his personal style is lighthearted. doesn’t do it for you, just wait a minute. with with a baker’s dozen new hook- Saturday 11 Walking With Giants rates as one of laden songs, any one of which could be SNAKE OIL MEDICINE SHOW the freshest releases of the year, jazz or dandily covered by other top artists in otherwise. Duane Verh various genres. There are many high Friday 17 points for you to discover here. One is MAGIC SLIM & THE TEARDROPS “Fancy Dancer,” on which it is not hard Magic Slim and the Teardrops are the to detect just what Knopfler picked up epitome of raw-edged . from Cale’s guitar style. His instantly recognizable mix of Saturday 18 CARLOS JONES blues, country and jazz is always a wel- Legendary local reggae artist come treat. But this disc offers me the best Cale meal since 1979’s Five. I Wednesday 22 never leave on a driving trip without at JABALI AFRIKA least one Cale album, and this one is Originating from Kenya, Their original sound is attributed to its own unique going to see a lot of highway miles for mixture & special fusion of African rhythms. sure. Friday 24 Clapton said of Cale in an interview W.C. CLARK that he is “One of the masters of the W.C. continues to dish out gritty blues and J. J. CALE last three decades of music.” Well put. intoxicating soul. Alligator recording artist. Now someone should bring him to town! To Tulsa and Back Thursday 30 Until then, Get this disc. Bill Wahl SANCTUARY RECORDS BUDDHA’S BELLY J. J. Cale. Do you know who he is? OCTOBER Well, you will by the time I am done with DON BYRON Friday 1 you. Ivey-Divey LUCKY PETERSON $12 J. J. hails from Tulsa BLUE NOTE Saturday 9 where he played in clubs in the 50s. In This 12-tune disc by one of the MOOT DAVIES the 60s he wrote a little tune he titled world’s most innovative conceptualists, Friday 15 “After Midnight,” which re- reed man Don Byron, flexes the form with LITTLE ED AND THE BLUES corded in 1970. That was enough to a notable crew featuring pianist Jason IMPERIALS (tentative) jumpstart the solo career of Cale, who Moran, drummer Jack DeJohnette, bass- recorded his incredible debut album Saturday 16 ist Lonnie Plaxico (5 tracks) and trum- WEBB WILDER Naturally in 1971 - which included the peter Ralph Alessi (2 tracks). songs “After Midnight,” “Call Me The Playing inside and out, Byron draws Wednesday 20 Breeze,” “Magnolia,” and “Crazy inspiration from the classic 1946 Lester BILLY BACON Mama.” Since that time, cale has had “Prez” Young/Nat Cole/Buddy Rich bass- Thursday 22 quite the prolific songwriting, perform- less trio session. The crew reinvents The bridge ing and recording career, with some- warhorse standards such as “I Want To Friday 23 where around 20 albums now on CD. Be Happy,” “Somebody Loves Me,” “I HUGH POOL Clapton was not the only one who was Cover the Waterfront,” “I Found A New taken by Cale’s laid back style Baby,” as well as ’ “Freddie CALL FOR ADDITIONAL DATES! and guitar work. He is also a heavy in- the Freeloader,” and “In A Silent Way.” Weekend Shows 9:30; Weekdays 8:30 fluence on Mark Knopfler and, there- Byron’s innovative expressions and fore, Dire Straits. And in the songwriting DeJohnette’s traps versatility make this 216-902-4663 department, songs have been covered an enticing listen for adventurous fans. 812 Huron Rd E.. • Cleveland by a slew of artists far too many to Nancy Ann Lee PAGE EIGHT September/October 2004 • Issue 270 SMOKIN’ JOE KUBEK AND B’NOIS KING SUMMIT Show Me The Money Gathering of Spirits BLIND PIG TELARC The pair of Joe Kubek and B’nois King continue to lay Saxophonists Michael Brecker, Joe Lovano and Dave down some strong blues tracks with their latest Blind Pig Liebman are joined by a distinguished rhythm team, pia- release. Kubek’s muscular and incendiary guitar playing is nist Phil Markowitz, bassist Cecil McBee and drummer Billy complemented by King’s soulful vocals (suggestive of a Hart, on this adventurous six-tune set reminiscent of the cooler Otis Rush) and his own jazzier guitar comping and uninhibited, free playing of the soloing. era. While one gets a sense of a rock feel to this music at With the exception of Coltrane’s “Peace on Earth” and time, possibly a result of Kubek’s tone, they never stray from “India,” the tunes are originals by group members and the blues, perhaps because of the solid and never overstated give them opportunities to play a variety of reed instru- rhythm section. The album is full of solid new slow blues ments, especially on “India,” a 14-minute journey that and shuffles, including the cautionary She Can Smell An- builds from the intro. other Woman, where B’nois warns one that one day he is Liebman wrote the harmonically free “Tricycle” for gonna slip up and she will sense when he has another woman this group and, at 17-plus minutes in length, it show- and “you’ll lose her and your girlfriend and wind up all alone.” cases the rhythm section as well as the three saxophon- My Heart’s in Texas is a rocker as King sings about some ists playing tenors, with Lovano doubling on alto clari- places he’s been, and while he’s seen Big Ben in London, net. his heart’s in Texas as Kubek takes off on a short concise Brecker contributes the title tune, which begins with solo. Burnin’ to the Ground has a funky little groove with a cacophonous squawks and squeaks before the three sax lyric about a love that was too hot and too high and came men meld lines together into a meditative melody theme. crashing down with some hot slide from Kubek, who is quite All long-time friends and inspired by ’s capable of playing sheets of sound with his guitar but knows final phase, the three saxophonists display comfortable when to lay out. In fact this is reflected by the fact that the interactions and improvisations that can come only from longest tracks here extend to slightly more than 4 1/2 min- knowing trust and support. utes. More than saxophone battles or cutting contests, these There is plenty of passion invested here, but they play three musicians work together equitably without overshad- with intelligence and keep their performances focused and owing each other and each gets plenty of time in the spot- concise resulting in this first-rate CD. Ron Weinstock light. Nancy Ann Lee

September/October 2004 • Issue 270 PAGE NINE BARBARA LYNN a wonderful accompaniment. She enlivens Slim Harpo’s I Got Blues and Situation Love If You Want It and Sugar Coated Love (associated with Lazy Lester) with Hash Brown adding the harp on the latter DIALTONE RECORDS number. One of the pleasures of attending the Ponderosa Stomp She adds guitar throughout, but the focus of this record- in this past April was the chance to see the ing is her singing and the soul she brings to these blues, blues legendary Barbara Lynn perform. Its been four decades since ballads and soul serenades. This is simply a stunning release the left-handed guitarist, singer and songwriter had a hit with and its great to have Barbara Lynn in such great form. You’ll Lose a Good Thing, and while she had some other Ron Weinstock hits, none reached that level. Yet she is still well remembered by many from this recording. & THE ITALIAN Most recently she had albums on Bullseye Blues and Antone’s. The Texas Dialtone label is building a strong cata- INSTABILE ORCHESTRA log of authentic and Lynn is the artist on the The Owner of the River Bank label’s latest release, ENJA Blues and Soul Situation. This is perhaps the best al- Avant garde pianist Cecil Taylor abandoned conventional bum of recent years with very strong material and a strong musical notation forty years ago, and, according to CD liner studio band. She opens with a nice funky groove on the sul- notes by Marcello Lorrai, Taylor came to this project in South- try You Make Me So Hot, where her man is making her burn ern Italy with photocopies of an A3 landscape sheet densely and she can’t get enough. Against a hot New Orleans rhumba filled right up to the paper’s edge with symbols, words and groove, Lynn tells her man what it mans to treat a women so graphic shapes, all done in pencil. mean on You Don’t Sleep at Night, with Kaz Kazanoff taking The live-recorded performance with the 18-musician Ital- a nice tenor solo while Nick Connolly lays down a Professor ian Instabile Orchestra was made on September 10, 2000 Longhair tinged piano solo. She warns the man on You Better during the second of two concerts presented on the 10th an- Quit It before he pushes her too far. Moving on a Groove is a niversary of the Orchestra at the Talos Festival in Ruvo di dance number with a groovy sixties feel to it (reminds me of Puglia. Archie Bell & the Drells) while the following cut He Ain’t Gonna The 16-page liner booklet further explains Taylor’s un- Do Right (by Penn and Oldham) may be the top song here as conventional approach and one can only imagine the initial Lynn sings about how the man is using her for his toy, as he reactions of the Italian musicians as they began the many ain’t gonna do Barbara right, but rather do her dirty...all with rehearsals for the concert. Not included in the notes are de- marcations of suites or sections in the 60 minutes of music. Hence, fans of free jazz can sit back unencumbered by listen- ing guidelines and allow to wash over them Taylor’s thrashing injections, the crescendos, diminuendos, and cacophony of the horns, brass and reeds and the subtle use of voices. Nancy Ann Lee JW JONES My Kind of Evil NORTHERN BLUES Canadian JW Jones’ latest Northern Blues release per- haps shows how International the blues has become. Kim Wilson, who helped produce and also guests on several tracks, is among those who mentored the Ottawa-based Jones, who has developed into a solid guitarist with a disc reminiscent of efforts coming from several West Coast artists, although this is a band with a full-horn section and is not led by a har- monica player. Wilson himself takes two typical fine vocals on Willie Mabon’s I Don’t Know and the Smiley Lewis classic, Blue Monday, while Colin James sings on What You Do to Me and You Got Me (Where You Want Me). Jones himself shows he has learned his lessons well with B.B. King, Johnny Guitar Watson, Ike Turner and others being detectable influences as he opens with a rocking original Shake That Mess, with a nice groove and hot guitar. Jones has really developed as a vocal- ist. With James singing Johnny Watson’s What You Do to Me, Jones plays a homage to Watson’s early twisted guitar stylings set against a hot New Orleans rhumba groove. A couple of instrumentals also display Jones’ skill and thoughtful play- ing, and given his growth as a vocalist, choice covers and solid original material and first-rate studio band, J.W. Jones has produced a fine recording. Ron Weinstock PAGE TEN September/October 2004 • Issue 270 LEE KONITZ VARIOUS ARTISTS This is a varied set of music open- ing with Snooks Eaglin performing ten WITH I Blueskvarter ï 1964 Volune 3 ALAN BROADBENT numbers in a vein similar to his early JEFFERSON RECORDS (SWEDEN) More Live-Lee recordings as a ‘street singer’ although Just released by The Scandinavian MILESTONE the opening Yours Truly, a Pee Wee Blues Association on its Jefferson Saxophonist Lee Konitz and pia- Crayton song he had recorded for Im- Records label, this is the third double nist Alan Broadbent followup their perial as a R&B artist. Few could pull off disc volume in the series which makes 2003 duo album, Live-Lee, with more Pinetop’s Boogie Woogie on guitar like available recordings that the Swedish of the same ear-appealing musings. Snooks can, and other songs he provides Broadcasting Company made in Chi- Like the earlier album, this 11-tune his unique skills to include My Babe, Let disc captures performances captured cago, Memphis and New Orleans in Me Go Home Whisky, and Hello Dolly. at the Jazz Bakery in Los Angeles dur- 1964 which were broadcast in autumn Babe Stovall, who also was resident in ing October 2000. 1964. New Orleans, presents some more down The interaction between the two The first two volumes were devoted home blues on his four songs that in- is like overhearing a friendly conver- to recordings from Chicago and included cludes renditions of Candy Man and sation. Without a rhythm section you some by such legendary figures as Gonna Move to Kansas City. The first get pure Konitz, a treasure full of in- Sunnyland Slim, Little Brother Mont- Memphis selections are by ventiveness. Broadbent’s sensitivity to gomery, Johnny Young, Walter Horton, Johnny Moment, whose rendition of Konitz seemingly makes easy work of Willie Mabon, Johnny Young, Washboard Keep Our Business to Yourself is heavily rendering standards such as “You Sam and Paul Butterfield (on what were indebted to Rice ‘Sonny Boy Williamson Stepped Out of A Dream” “I Can’t Get Butterfield’s first recordings). This vol- II’ Miller. He also backs legendary jug Started,” “How Deep Is the Ocean,” ume includes New Orleans recordings band musician Will Shade on a slow I “You Go To My Head,” “Just Friends” by Snooks Eaglin and Babe Stovall and Got the Blues So Bad, Furry Lewis has and more. Their duo rendition of Memphis recordings by Johnny Moment, sounded better than on Baby, I Know “Body and Soul,” a time-worn stan- Will Shade, Furry Lewis, Earl Bell and You Don’t Love Me, which does have dard, breathes new life into the tune. Moose Williams. The second disc con- moments of nice . Theirs is a nicely relaxed pairing tains extra recordings from Mabon, without any audible rancor where one Traditional Mississippi blues are rep- Sunnyland Slim, Walter Horton, and musician musically steps on the resented by one Earl Bell who does a Johnny Young among others before con- other’s toes. competent cover Robert Johnson’s cluding with three 1961 recordings by Konitz and Broadbent seem so Terraplane Blues. The selections Big Joe Williams, and then from Cham- well matched, it seems as though they from Chicago supplement recordings by pion Jack Dupree recorded in perfor- were meant to perform together. these artists that are on the first two vol- mance and conversation in Sweden. Nancy Ann Lee umes in this series. Willie Mabon deliv- September FRI 3 ...... TONY KOUSSA JR. BAND

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September/October 2004 • Issue 270 PAGE ELEVEN ers a strong Somebody’s Got to Pay, information on obtaining them. Its two on bass, with Riley. The seven seam- while piano blues are also represented bad that Olie Helander only did a radio less recordings include some of Monk’s by Sunnyland Slim on Leroy Carr’s documentary of the blues forty years most popular tunes – “Epistrophy,” Prison Bound and Little Brother Mont- ago, because the musical legacy of this “Blue Monk,” “Ruby My Dear,” gomery, who reprises his immortal radio series stands tall compared to the “Rhythm-A-Ning,” “Bemsha Swing,” Vicksburg Blues. Walter Horn, accom- recent over-hyped Martin Scorcese PBS “Hackensack,” and a reprise of panied by Robert Nighthawk on guitar series on the blues. Ron Weinstock “Epistrophy.” The bonus DVD features is heard on three numbers including a Monk, Rouse, Gales and Riley playing nicely delivered Tin Pan Alley. Two early THELONIOUS MONK “Rhythm-A-Ning,” “Nutty” and “Criss recordings by Paul Butterfield with Monk In Paris: Live at the Olympia Cross” at the Marquee Club in London Smokey Smothers on guitar include One on March 14, 1965. ‘Round the World Room Country Shack, while Johnny Everyone is in peak form on both THELONIOUS RECORDS/HYENA Young is backed by Slim Willis on harp CDs, but Rouse kicks up the excitement T.S. Monk, Jr. and his brother-in- and Otis Spann on piano for You Got Bad a few notches with facile expressions law, Dr. Peter Grain, have created Blood, I Think You Need a Shot. The Joe and cool demeanor. To hear Monk play Thelonious Records as the vehicle for Williams performances are typically fine is outstanding but to actually see him issuing the family cache of unreleased before a Swedish broadcast of Dupree and the others in action is the excep- material by Monk, Sr. Hyena producer and Olie Helander in which Dupree re- tional treat of these CD/DVD combina- Joel Dorn will be working with them as calls growing up, his big influence and tion packages. First-rate production they complement Monk’s existing legiti- other matters along with a rendition of and attractive packaging containing in- mate discography, mostly on Prestige, his Drive ‘em Down Special as well as formative liner notes make these two Riverside and Columbia, with new au- Leroy Carr’s Barrelhouse Woman. In recordings true treasures. dio and video recordings. Plans are to addition to being a great pianist, Dupree Nancy Ann Lee also legitimize and release the many was a marvelous conversationalist. As bootleg recordings, as well as record- with the first two volumes, there are co- ings by T.S. Monk, Jr. These two discs TRIPLE TROUBLE pious notes that discuss the artists and are exciting beginning. how the recordings were made. This is TOMMY CASTRO, JIMMY HALL The first installment, Monk In Paris: an invaluable addition to the body of & LLOYD JONES Live at the Olympia, was live-recorded downhome blues of this time. It is an TELARC BLUES Saturday, March 7, 1965 and captures important musical document and con- Unlike all too many super-sessions the legendary pianist with tenor saxo- tains some very strong performances by where the sum is less than the parts, phonist Charlie Rouse, bassist Larry artists who have mostly passed away. this summit meeting between guitarists Gales and drummer Ben Riley in a top- The Swedish Blues Alliance is to be Tommy Castro and Lloyd Jones and notch seven-tune set that kicks of with thanked for the over six hours of vin- harpist/saxophonist/singer Jimmy Hall a driving take on “Rhythm-A-Ning.” All tage blues music that they have made stands tall against any of their individual pure Monk, the 52 minutes of vintage available in this series. You probably can efforts. gems includes readings of his future only obtain these by mail order, and I Backed by the incomparable classics, “I Mean You,” “Well You would suggest contacting either Double Trouble rhythm section (Tommy Needn’t” and “Epistrophy,” as well as BlueBeat Music at Shannon on bass, Chris Layton on distinctive versions of “Body & Soul” www.bluebeatmusic.com or Triangle drums and Reese Wynans on b4) (performed solo), “April In Paris,” and Music at www.triangle-music.com for Castro, Jones and Hall stretch beyond “Bright Mississippi.” Included is an en- standard 12 bar blues and incorporate gaging bonus DVD of Monk perform- heavy doses of blue-eyed soul, R & B ing three tunes (“Lulu’s Back In Town,” and even a chunk of honky tonk. “Blue Monk,” “‘Round Midnight”) in a The result is an inspired look back concert appearance with the same per- at roots music before corporate mar- sonnel on April 15, 1956 in Oslo, Nor- keting and radio play lists required it to way. The CD liner booklet includes fit into specific formats. Scorching har- notes by Nat Hentoff and an interview monica driven blues, Be Careful with a by producer Joel Dorn with T.S. Monk, Fool, fit naturally alongside James remembering his father. Brown penned funk, Good Good Lovin’, Monk ‘Round the World, the second Sam & Dave style soul, Whole Lotta installment in the partnership between Soul, and end of the night ballads, Mid- two labels, is drawn from five different night to Daylight. concerts between 1961–1964 and of- Working equally well are a virtually fers superb performances of Thelonious unrecognizable cover of ’ Monk with his longtime saxophonist, Help and the Jones penned Delbert Don’t Miss Charlie Rouse. Three tracks include McClinton style rocker Sometimes John Stein drummer Ben Riley and bassist Butch which will have toes tapping and fan- at The Cleveland Bop Stop Warren; three other tracks feature nies shaking from coast to coast. Saturday, October 2nd drummer Frankie Dunlop and bassist Top notch stuff from this collection and visit www.johnstein.com John Ore; and one track, Larry Gales of seasoned veterans. Mark Smith PAGE TWELVE September/October 2004 • Issue 270 MARK MURPHY in doubt his vocals have never been a Bop For Miles strong suit. That all changes here. The years have been kind to his HIGHNOTE voice which seems deeper, smoother Captured in a live-recorded concert and much fuller than in the past. He sings performance in Vienna, Austria on May 12387 Cedar Road with conviction and a solid sense of 10, 1990, master jazz vocalist Mark Cleveland Hts. phrasing in a voice eerily reminiscent of Murphy is accompanied by a team of Reservations: 216-795-0550 Sugar Ray Norcia who spent time ace European musicians as he brilliantly fronting as vocalist and remakes 10 standards associated with WED SEPT 8 7 PM $20 harmonica player in the 90’s. Overall, Miles Davis. The 11th track, “Miles,” is GEOFF KEEZER TRIO just the disc you need to crank up your from 1999, and features Murphy with Pianist from the groups of ART next blues dance party. Mark Smith pianist Peter Mihelich. BLAKEY & . Murphy’s voice sweeps, swirls, MaxxJazz recording artist. swoops and yodels as he segues from NANCY WILSON THUR SEPT 9 8 &10 PM $30 tune to tune while pianist Peter Mihelich, R.S.V.P. ALTAN bassist Achim Tang, drummer Vito (Rare Songs, Very Personal) Direct from Ireland. Legendary Celtic group hits Nighttown. Lesczak and saxophonist Allan Praskin MANCHESTER CRAFTSMEN’S GUILD keep up with and enhance his inven- For this project, vocalist Nancy SUN SEPT 12 7 PM $25 tiveness. In characteristic fashion, Wilson selected 12 songs she never re- TERRY BLAINE With Murphy improvises on classics such as corded on 67 recordings during her 50- MARK SHANE & ALLEN VACHE. “All Blues,” “Summertime,” “Autumn year career. An all-star project re- Swingin’ Benny Goodman Songbook. Leaves,” “Bye Bye Blackbird,” “On corded at Manchester Craftsmen’s MON SEPT 13 7 PM $25 Green Dolphin Street,” “My Ship,” Guild during the fall of 2002 and spring “Farmer’s Market,” “Goodbye Pork Pie of 2003, the CD spotlights a slew of Hat,” “Parker’s Mood,” and “Milestones.” /saxophonist swings into guest artists, including Toots Nighttown. W/JOE HUNTER TRIO. This is one helluva memorable per- Thielemans, Phil Woods, an all-star big formance and, if jazz is the sound of sur- band, Kenny Lattimore, Ivan Lins, Gary TUE SEPT 14 7 PM $10 prise (as Whitney Balliet once described Burton, Paquito D’Rivera, Bill Watrous, KASSABA it), then Murphy is the wizard of song. Rufus Reid, George Shearing and Joe CIM grads combine Jazz, Nancy Ann Le Negri. The rhythm section features Classical and World music with multiple instruments. bassist Dwayne Dolphin (with the ex- AL COPLEY ception of the big band track, “Day In, SUN SEPT 19 7 PM $20 Jump On It Day Out” where he’s replaced by Reid), DENA DEROSE ONE MIND RECORDS pianist Llew Matthews and Cleveland- Vocalist and pianist leads trio After a ten year absence from the native Jamey Haddad as drummer. with MATT WILSON-drums domestic record bins former Roomful of After decades of giving to the mu- and MARTIN WIND-bass. Blues piano man Al Copley checks in sic world, Wilson, born in Chillicothe, MON SEPT 20 7 PM $20 here with ten tracks of top notch fun. Ohio on February 10, 1937, is still in MARTA TOPFEROVA Mining the rich catalogs of Smiley Lewis, peak form, although her voice is just a Vocalist sings in Spanish & plays Someday, I Ain’t Gonna Do It, Percy tad thinner in the upper register. One Cuatro. EDMAR CASTANEDA-harp Mayfield, Stranger In My Hometown, of the prettiest tracks, “I Wish I’d Met from Colombia & NEIL OCHOA- Please Send Me Someone to Love, Otis You,” by Richard Rodney Bennett, percussion from Venezuela. Blackwell Great Balls of Fire, Holland/ Johnny Mandel and Franklin SUN SEPT 26 7 PM $20 Dozier/Holland, How Sweet It Is, Roy Underwood, was arranged Jay Ashby GENE LUDWIG Milton Hoy, Hoy, Hoy and even the and features blended background vo- Kingsmen, Louie Louie Copley wraps cals. REUNION TRIO Classic Soul Jazz group from nimble piano runs around a greasy saxo- Her lilting voice is perfect for the 60s reunites.GENE LUDWIG- phone backbone and punchy trumpet melancholy ballad, “Goodbye,” per- Hammond B-3, JERRY BYRD- riffs to create versions of these classics formed with the trio and percussionist Guitar, RANDY GELESPIE-Drums. Jay Ashby, who also arranged the that are instantly recognizable yet dif- TUE-WED OCT 5-6 7 & 9 PM $25 ferent enough to merit the new attention. song. Included are favorites such as In Copley’s able hands, Hoy, Hoy, “Blame It On My Youth” (with George BILLY COBHAM & Culture Mix. MARCOS UHEDA- Hoy sheds the stagnant funk clothes it Shearing), “Little Green Apples” (with Sweden, STEPHAN RADEMACHER- has acquired over the years and sparkles the rhythm section), “I Let A Song Go Germany, PER GADE-Denmark with energy. Someday sounds straight Out of My Heart” (with Woods & the JUNIOR GILL-Barbados/London off a Sinatra disc while Great Balls of Fire big band) and more. FRI-SAT OCT 8-9 8 &10 PM $30 will have Jerry Lee looking over his A very laid-back, ear-pleasing ven- shoulder. About the only misfire is Louie ture, this is Wilson’s second collabo- JANE MONHEIT Vocalist features music from new Louie which never rises above the au- ration with MCG Jazz. Her first was a CD “Taking a Chance on Love.” thentically murky garage sound. While 2001 Christmas album. Copley’s piano skills have never been Nancy Ann Lee 10/14 ...... JAMES MOODY 10/18-21 ...... MORT SAHL September/October 2004 • Issue 270 PAGE THIRTEEN Lead Belly: American Music Masters Series Continued from page 2 Wednesday, November 3 An Evening with Kip Hornell, author of the definitive biogra- phy The Life and Legend of Leadbelly Rock and Roll Hall of Fame and Museum Fourth Floor The- ater Thursday, November 4 Opening of Shine a Light on Me Waterbury A special exhibit at the Rock and Roll Hall of Fame and Museum. Coach House in Lakewood Friday, November 5 , Jr. and Wednesday Nights Beachland Ballroom 6-10 PM Saturday, November 6 American Music Masters Conference, presented by Case Registration begins at 9:00am Individual price and family price tickets available. For Auditorium, Allen Memorial Library, Case Sunday, November 7 An interdisciplinary conference on Lead Belly’s music, life American Music Masters Tribute Concert and legacy Severance Hall, Featuring a live interview with Tiny Robinson (Lead Belly’s Featuring , Los Lobos, Odetta, Dave Alvin, niece); presentations by the Lomax Archives, Smithsonian/Folk- Robert Lockwood, Jr and other very special guests to be an- ways and the Library of Congress Center; lecture by author Elijah nounced Wald and conversations with Oscar Brand and Josh White, Jr. For ticket information call 216.781-7625 or visit Sunday, November 7 www.rockhall.com . Family Show with and Friends Harkness Chapel at Case, 1pm Gaetano Letizia CD Release Party set for September 16 Gaetano Letizia, Jazz Fusion Guitarist will be presenting his CD Release Party onSeptember 16 from 8:30 Ð 11:30 p.m.at the The Bop Stop, 2920 Detroit Avenue in Cleveland. Thirty-five year Cleveland jazz guitar veteran Gaetano (Tom) Letizia will release his third CD (sixth album) on Thursday, Sep- tember 16th at the new Cleveland Bop Stop. Letizia will be joined by Bill Ransom on percussion and drum set as well as Clyde Douglass on electric five string bass. The trio will perform each of Letizia’s eight original compo- sitions from the new CD entitled “All My Brothers”. The mu- sical styles include a fusion of Bebop, Latin, Funk & Blues in a manner significantly different from typical “mechanical” fusion composition and performance. Letizia’s concept is to stretch the boundaries of Bebop with contemporary styles while pre- serving the integrity and quality of the traditional Bebop based improvisations. Letizia’s previous CDs have been favorably reviewed in Downbeat, Guitar Player Magazine, Cadence and numerous jazz . Letizia has studied improvisation with Dan Wall, Pat Martino and composition in the Schillinger System with Bert Henry. Letizia has performed with his trios throughout the including multiple performances in Los Angeles at the NAMM show and in at the Classic American Guitar Show. Further information on Gaetano Letizia and his music can be had through the following website www.gaetanoletizia.us .

2,500 CD & DVD Reviews At Your Fingertips!

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PAGE FOURTEEN September/October 2004 • Issue 270 Winter Downunder

Johnny Winter Sunday, November 14

Robert Lockwood Jr. Friday Oct 22

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September/October 2004 • Issue 270 PAGE FIFTEEN You’re one in a million, 22 million, actually.

You’re one in 22 million if you didn’t vote in the 2000 election. In 2000, 22 million unmarried women did not vote, according to the U.S. Census. Vote this year, and you can decide the election and move our country in a new direction.

As one of 22 million single women, you can vote this year and elect people who understand what it’s like to be on your own, stretching a shrinking paycheck over skyrocketing health care costs. Vote this year, and you can elect people who will fight to protect your job and your paycheck, for affordable health care, great schools and access to college.

Use your right to vote to elect people who will make a difference for you on the issues important in your life. You’re one in 22 million. Vote, and you can set our country on a different course.     22 million women can change the country.

www.wvwv.org September/October 2004 • Issue 270