september/october 2006 issue 286 free jazz now in our 32nd year &blues report www.jazz-blues.com

GUITAR SHORTY INTERVIEWED PLAYING HOUSE OF BLUES ARMED WITH NEW ALLIGATOR CD

INSIDE: 2006 Gift Guide: Pt.1 GUITAR SHORTY INTERVIEWED

Published by Martin Wahl By Dave Sunde Communications geles on a rare off day from the road. Editor & Founder Bill Wahl “I would come home from school and sneak in to my uncle Willie’s bedroom Layout & Design Bill Wahl and try my best to imitate him playing the guitar. I couldn’t hardly get my Operations Jim Martin arms over the guitar, so I would fall Pilar Martin down on the floor and throw tantrums Contributors because I couldn’t do what I wanted. Michael Braxton, Mark Cole, Grandma finally had enough of all that Dewey Forward, Steve Homick, and one morning she told my Uncle Chris Hovan, Nancy Ann Lee, Willie point blank, I want you to teach Peanuts, Mark Smith, Dave this boy how to ‘really’ play the guitar Sunde, Duane Verh and Ron before I kill him,” said Shorty Weinstock. Photos of Guitar Shorty Fast forward through years of late courtesy of Alligator Records night static filled AM broadcasts crackling the southbound airwaves out of Cincinnati that helped further de- Check out our costantly updated website. Now you can search for CD velop David’s appreciative musical ear. Reviews by artists, Titles, Record T. Bone Walker, B.B. King and Gospel Labels, keyword or JBR Writers. 15 innovator Sister Rosetta Tharpe were years of reviews are up and we’ll be the late night companions who spent going all the way back to 1974. late evenings influencing Shorty’s fu- ture singing and playing style. David Address all Correspondence to.... There are few times in life that credits his grandmother for influencing Jazz & Blues Report you have the opportunity to speak his desire to sing in the church choir. “I 19885 Detroit Road # 320 Rocky River, Ohio 44116 with someone who has forgotten had such a high pitched voice at the more about the blues and music in time, but I really loved singing in the Main Office ...... 216.651.0626 general than most people choir and I really enjoyed those times,” Editor's Desk ... 440.331.1930 will remember in a lifetime. I recently said David. [email protected] had the opportunity to not only lis- David’s uncle soon realized Web ...... www.jazz-blues.com ten to, but to learn from a true certi- that he needed a real guitar Copyright © 2006 Martin-Wahl Communications Inc. fied blues ”Road Scholar,” who nar- teacher. His grandma was instrumen- No portion of this publication may be rated for me an exciting musical jour- tal having David meet his guitar reproduced without written permission ney spanning five generations and teacher “WASH.” from the publisher. All rights Reserved. whose career continues not only to “He was left handed, played the Jazz Report was founded in Buffalo New thrive, but flourish to this day. guitar right handed, and at first York in March of 1974 and began in Cleve- Born in Houston, Texas in 1939, I thought he was a midget, but later land in April of 1978. We are subsidized David Kearney (Guitar Shorty) I learned he was actually a dwarf. We solely through advertisement and ask that struggled through the breakup of his would meet twice a week for you support our advertisers. parents’ marriage at a very young lessons and I picked up things so fast age. At the age of six David went to and found myself getting bored eas- live with relatives in Florida. It was ily. I would skip ahead and complete 2- during this time that he found refuge 3 lessons ahead of time,” David said. "Buffalonious" in the sounds of the guitar. ”I was so It’s during this chapter of the story amazed by the sound of my where David said WASH told him Original mascot from Uncle Willie’s guitar, we would just “Someday he would be paying to see the sit on the porch after dinner, I would me play the guitar.” David stated that Buffalo Jazz Report sit on my uncle’s lap and I would put “I just shrugged it off and couldn’t com- days – mid '70s my hand in his and press down on prehend it.” After much practice, David Created by the strings and we would just became good enough to start travel- Christine Engla Eber play and imitate the sounds we ing to Tampa to play gigs with Walter Watch for new t-shirts bearing his image–coming soon! would hear all around us,” said David Johnson’s band on a regular speaking from his home in Los An- basis. ”Walter would sit me on a stool PAGE TWO September/October 2006 • Issue 286 in front of a music stand and he would have me turn my Otis Rush, Sam Cooke volume all the way down and go through the motions like and others. It was dur- I was playing. He would tell me what key I was in and tell ing this time that me to follow along with the band and act like I was play- Shorty’s guitar ing with the rhythm section. He told me eventually he teacher’s words came would allow me to turn up the volume and that is how I true. “One Night as I got started playing in a band,” David relates. was playing on stage It’s during this time where the nickname “Guitar with Ray Charles, I Shorty” comes into being. “There was a promoter in Florida looked down in front named Dewey Richardson. I was playing weekends with and there WASH, my Walter Johnson when at the end of the show, Richardson guitar teacher, holding announced that there is going to be a very exciting new two tickets and pointing guitar player named Guitar Shorty at next week’s show. I to his heart, reminding was very curious and excited, but at the same time I be- me of the almost pro- came very nervous. Now everyone else in the band was phetic words he had in on the joke except me. I spent the entire next week said years earlier,” said practicing to be sure that I was ready when I got to play Shorty. with this new guitarist. When it was time for the gig, I was Over the ensuing peeking thru the curtain and trying to get a glimpse of this years, Shorty has con- mysterious guitar player. I sat backstage with the rest of tinued to deliver a the band while the promoter was introducing him to the steady stream of rockin’ albums showcasing that full, crowd. The announcer says Ladies and ‘Gentleman, deep resonant voice, intricate razor sharp guitar playing please welcome Guitar Shorty.’ I start looking around and the time tested desire to serve up enough low at the rest of the band and they were all looking back at down blues to permanently cement his reputation as a me laughing. I then realized the joke and it hit me that I solid, “one of a kind” live performer. am supposed to be the exciting new guitar player. I froze The story takes a interesting turn - forward and several of the band members had to pick me up and to Vancouver, 1962. In the midst of nonstop playing and carry me out on the stage. Once I thawed out, I started to recording, Shorty meets and falls in love with a girl named play and the crowd went nuts.” Marsha, who just so happens to be the sister of one James The time spent playing with Walter’s band opened Marshall Hendrix, better known in music circles as Jimi doors for other gigs playing with Ray Charles, Guitar Slim, Hendrix. After meeting Hendrix at a family reunion,

September/October 2006 • Issue 286 PAGE THREE Shorty finds out that not only is Jimi familiar with Shorty’s music, but Hendrix tells Shorty how much he has influenced his style and how he had patterned his play- ing style after him. “Jimi told me he would go AWOL from the military just to see me play. He said I was one of the most amazing guitar players he had ever seen,” said Shorty And that is not the end of the story, either...... Just when you think the story can’t get By Mark Smith any better, Shorty’s current projects with Alligator Records have delivered a one-two punch that blues music lovers will still be reeling from years down the road. New Release Blues..... WOW, with a release schedule With the first release of WATCH YOUR BACK (Alliga- this hot you won’t soon be missing the warmth of summer: G. tor 2004), Shorty delivered the goods to an audience des- Love- Lemonade; Maria Muldaur-Heart of Mine: Love Songs perate to hear music packing power and passion. It was of Bob Dylan; Anthony Gomes- Music Is the Medicine; Kelly classic Shorty - strong vocals, witty lyrics and enough in Joe Phelps- Tunesmith Retrofit; Jeremy Spencer- Precious your face screaming guitar to satisfy even the most jaded Little; Albert Cummings- Working Man; Chris Whitley- Dis- listener. On his new release for Alligator, WE THE PEOPLE, location Blues; Delbert McClinton- Live From Austin, TX; Rory produced by Wyzard and Brian Brinkerhoff, Shorty doesn’t Block- The Lady and Mr. Johnson; Bill Perry- Don’t Know just rest on his past laurels and pick up where he left off...on Nothing About Love; Fiona Boyes- Lucky 13; Otis Rush- the contrary, he decided to kick the ballistic buffet into over- Troubles, Troubles; Professor Longhair-Rock ‘n Roll Gumbo; drive, playing with a zeal and passion that is very hard to The Nighthawks- Blue Moon in Your Eye; Johnny Winter- imitate, and all but unmatched in today’s music scene. His Rockin Bluesman; Studebaker John & The Hawks- Self- lyrical insight adds color and dimension to the black and Made Man; Johnny Adams- The Great Johnny Adams R & white reality of everyday life... “We The People” and the Bl Album; Don Nix- I Don’t Want No Trouble; Rory Gallagher- track “Cost Of Livin” is a social commentary right out of Live at Montreux; Georgie Fame & The Blue Flames- Yeh today’s headlines. Without a doubt, Shorty has recorded Yeh; Clarence “Gatemouth” Brown- Down South in the his benchmark “THIS IS HOW TO ROCK” album that artists Bayou Country; Guitar Shorty- We the People; Robben Ford- following his footsteps will be referring back to for years to City Life; Sherman Robertson & BluesMove- Guitar Man come. Live; Lil Dave Thompson- Got To Get Over You; Johnny When asked what major differences he noticed on WE Lee Schell- Schell Game; Trudy Lynn-I’m Still Here; The Kelly THE PEOPLE compared to the previous release, Shorty Richey Band- Speechless; Andy Fairweather Low- Sweet said “I had my producer’s wife, who is a voice teacher, Soulful Music; Memphis Slim- Memphis Slim; Buddy Guy- share some vocal tips with me. She noticed while I Everyday We Have the Blues; Bill Lupkin- Where I Come was singing I would throw my head back when I hit the From; Jeff Lang- Prepare Me Well; Tab Benoit- Best of the high notes, and as a result, my voice would get hoarse Bayou Blues; Barrelhouse Chuck and the All Star Blues and I could hardly talk at the end of the night. She taught Band Featuring Kim Wilson- Got My Eyes on You; Chris me that I needed to keep my head down on the high notes, Smither- Leave the Light On; Furry Lewis- Fourth & Beale; and since I have been doing that it has been an amazing Canned Heat- Instrumentals 1967-1996; Billie Holiday- God difference,” said Shorty. The album WE THE PEOPLE has Bless the Child: The very Best of Billie Holiday; Mitch a raucous sound to it, like it was recorded live in the stu- Kashmar- Wake Up & Worry; Sue Foley- Live in Europe (DVD dio. Check out the cut “Sonic Boom” to see what I mean. only release); Watermelon Slim- Big Shoes to Fill; The Rob- Shorty said it best, “That is what I was going for. I want ert Cray Band- Live from Across the Pond; Snooks Eaglin that real live sound...dark and loud like a thundercloud.” and His New Orleans Friends- The Sonet Blues Story; Vari- The one and only disappointment I had with the al- ous Artists- Battle of Hastings Street: Raw Detroit Blues & R bum is the lack of clear disclaimer gracing the cover. It is & B From Joe’s Record Shop 1953-1954; Ruth Brown- Brown only fitting that Alligator run a label on future copies stat- Is Beautiful; Billie Holiday & Lester Young- The Complete ing the clear truthful facts: PLAYING THIS CD AT LOUD Recordings; Fabulous Thunderbirds- Live From London VOLUME LEVELS MAY RESULT IN A LACK OF ABILITY (DVD only release); Kilborn Alley Blues Band- Put it in the TO KEEP YOUR VEHICLE WITHIN THE LEGAL SPEED Alley; Dave Gross- Take the Gamble; Memo Gonzalez & LIMITS - PLEASE DRIVE AND LISTEN TO THIS ALBUM Bluescasters- Live in the UK; Katherine Davis & The Chi- AT YOUR OWN RISK...... cago Boogie Ensemble- Rock this House- Live!; Eddie Guitar Shorty’s Latest Release WE THE PEOPLE is Burns- 2nd Degree Burns; The Calvin Owens Show- I Ain’t available now on Alligator Records. Cleveland area read- Goona Be Yo’ Dog No Mo’: Blues Orchestra Volume 2; Phil ers can see Guitar Shorty live in concert September 21 Guy- He’s My Blues Brother; Barbara Carr- Down Low opening for Johnny Winter at the House Of Blues. Brother; Mark Hummel- Ain’t Easy No More; William Lee Ellis- God’s Tattoos; Eddie Kirkland- Democrat Blues; Bo Issues, Special Issues, Back Issues and Ramsey- Stranger Blues; Porterhouse Bob and Down to the Bone- Shoutin’ at the Grave.... More awards blues..... Thousands of CD & DVD Reviews Well, the Grammy’s Æ and the Blues Music (formerly W.C. www.jazz-blues.com Handy) Awards are now a matter of history. So what’s left in the blues award world? Well how about magazine awards? PAGE FOUR September/October 2006 • Issue 286 Living Blues has just published its list of winners as voted upon by its critics and readers. As is often the case the critics and readers found little common ground. Here’s a few of the more notable awards: Blues Artist of the Year- Male: Little Milton (critics), B.B. King (readers); Blues Artist of the Year- Female: Irma Thomas (critics), Shemekia Copeland (readers); Best Blues Album- Contemporary; Eddie Burns- 2nd Degree Burns (critics), Buddy Guy- Bring ‘Em In (readers); Most outstand- We only bring you ing musician-guitar: Magic Slim (critics), Buddy Guy (read- the Cream of the Crop! ers); Most outstanding musician- harmonica- Big George Brock (critics), Sam Myers (readers); Most outstanding mu- JOE LOVANO sician- keyboards: Floyd Dixon (critics), Pinetop Perkins (readers); Best live performer- Bobby Rush (critics), Chick Streams of Expression Willis (readers); Most outstanding blues singer: Etta James BLUE NOTE (critics), Soloman Burke (readers). Congratulations to all the Saxophonist Joe Lovano leads a large ensemble (ex- winners!! That’s it for this month. See ya! panded from his Nonet) for two suites that encapsulate 1950s Cool and 1960s avant-garde. The Birth of the Cool Suite, a three-part suite conducted At the Rock Hall... by Gunther Schuller (who also plays French horn), flirts CLEVELAND – On September 20, the Rock and Roll Hall with Fifties Cool and showcases tightly arranged horns. It of Fame and Museum will present a screening of Gandulf begins with the languid “Prelude/Moon Dreams.” Part 2 in- Hennig’s remarkable film, Fallen Angel: Gram Parsons. The cludes two interludes continuing on a similar theme but film examines Gram Parsons and his musical legacy. Parsons’ picks up the tempo, and Part 3, “Boplicity/Postlude,” swings sister, Diane, will appear with filmmaker Gandulf Hennig to lightly and spotlights fine soloists. screen the film and field questions about both the project and The more adventurous five-part Streams of Expression Parsons. Suite demonstrates the collective spontaneity and ideas that Hennig’s film, described by The Observer as “A must-see can flow within an ensemble. The suite was written for for anyone who cares about music,” features appearances by Lovano’s ensemble and commissioned by the 2001 Keith Richards, Emmylou Harris, Dwight Yoakum, Bernie Monterey Jazz Festival to honor Miles Davis’ 75th birth- Leadon and others. Fallen Angel, which is available on DVD day, but due to 9/11, the ensemble was unable to perform from Rhino, engages with the mythology surrounding its sub- ject and, finally, helps its audience to see just why Gram Par- sons has cast such a long shadow. At only 26 years of age, Gram Parsons died on Septem- ber 19, 1973. Celebrated as a pioneer in the area of country rock, Parsons preferred to call his genre “Cosmic American Music.” After forming a series of early bands, including the International Submarine Band, Parsons joined the Byrds and gave focus to their celebrated recording Sweetheart of the Rodeo. After leaving the Byrds, Parsons would go on to form a deep kinship with Keith Richards of the Rolling Stones, form the Flying Burrito Brothers with Chris Hillman of the Byrds, and make two solo recordings featuring a young Emmylou Harris and members of Elvis Presley’s band, including inductee James Burton. The presentation will take place at 7p.m. in the Rock and Roll Hall of Fame and Museum’s Fourth Floor Theater. The screening is free to the public with reservations. Guests can call 216.515.8426 for to reserve tickets. The Rock and Roll Hall of Fame and Museum is the non- profit organization that exists to educate visitors, fans and schol- ars from around the world about the history and continuing significance of rock and roll music. It carries out this mission both through its operation of a world-class museum that col- lects, preserves, exhibits and interprets this art form and through its library and archives as well as its educational pro- grams. The Museum is open seven days a week from 10:00 a.m. to 5:30 p.m. On Wednesdays the Museum is open until 9:00 p.m. Museum admission is $20 for adults, $14 for seniors (60+), $11 for children (9-12) and children under 8 and Mu- seum members are free. September/October 2006 • Issue 286 PAGE FIVE at Monterey. ticular track or two for airplay- there are three gold albums) and who continues to Not part of the suites, three other plenty of candidates. musically explore and grow. This is a varied pieces – “Blue Sketches,” “Buck- If justice prevails We The People splendid recording with music so capti- eyes,” and “Big Ben” – admirably show- should make a star of Shorty. Pick this vating you’ll want to listen again and case Lovano and friends. disc up and try to decide if it’s the guitar again to pick up all the nuances. At his expressive best, Lovano licks, the tunes or the vocals that are the Nancy Ann Lee sizzles on the front line, supported by ultimate attraction. Worth the money!! colleagues Tim Hagans and Barry Ries Duane Verh (trumpet), Larry Farrell (trombone), Guitar Shorty is appearing live at House WILLIAM CLARKE Charles Russo (clarinet, bass clarinet), of Blues Cleveland on Thursday, Septem- The Early Years Vol.1 Steve Slagel (soprano & alto sax, flute), ber 21 on a bill with Johnny Winter. The Early Years Vol. 2 Michael Parloff (flute), George Garzone WATCHDOG RECORDS (tenor sax), Ralph Lalama (tenor sax, AL DI MEOLA It’s been way too long since William clarinet), Gary Smulyan (bari sax, bass Consequence of Chaos Clarke passed away. While his Alligator clarinet), James Weidman and John TELARC recordings are central to his recorded Hicks (piano), Dennis Irwin (bass) and Al Di Meola’s fifth Telarc album be- legacy, his widow, Jeannette Clarke- Lewis Nash (drums). On some parts, gins a “new and refreshing period” for Lodovici continues to supplement that Lovano uses a specially designed him, as he returns to playing solid-body body of music with previously unissued double soprano saxophone, an electric guitar, backed by his marvelous recordings. Two volumes of Clarke’s Aulochrome which sounds like two so- core team (keyboardist Mario Parmisano, Early Years have been issued on Watch- prano saxes playing simultaneously. It drummer Ernie Adams, percussionist dog Records, and will certainly be of con- was designed specifically for him by Gumbi Ortiz) and special guests: pianist siderable interest to fans of Clarke, mod- famed instrument maker Francois Chick Corea, drummer Steve Gadd, pia- ern blues harp and the West Coast mix Louis. nist-keyboardist Barry Miles, bassist John of jump and Chicago blues. Lovano shows the full range of his Patitucci and others. Clarke certainly sang with as much skills on this CD and encourages stel- After performing around the world, authority and conviction as he played lar contributions from his talented mu- Di Meola retains the flavor of his special the harmonica with his big fat tone (on sicians. Full of color and harmony, there musical blend—a stunning mixture of regular harp as well as on chromatic har- are plenty of surprises in store for the jazz, World, funk and rock—with pretty monica), showing the influence of his listener on this enticing addition to melodies, uncomplicated textures, an mentor, the late George ‘Harmonica’ Lovano’s discography. Nancy Ann Lee array of colors and beats, appealing har- Smith. Smith is heard on both of the two monies and an uplifting, modern sound. volumes with playing on a terrific un- Written 12 years ago but recorded on both titled slow blues on Volume 2, while GUITAR SHORTY electric and acoustic guitars for this al- Clarke’s harp is heard behind Smith’s We The People bum, his ballad “Azucar” (performed with vocal on Teenage Girl on Volume 1. Oth- ALLIGATOR Gadd, Miles, Patitucci and Ortiz) cries for ers who make guest appearances here As testimony to the adage that “age lyrics. Likewise, his ballad “Cry For You,” include Smokey Wilson on Fine Little ain’t nothin’ but a number,” Guitar performed as a duo with Corea, has a Mama on Volume 1 and Johnny Dyer Shorty’s new disc sounds even stronger tuneful romantic bent. Yet, there’s plenty on Volume 2. A bonus on Volume 1 is than his very respectable 2004 outing of power in core group tunes such as the the presence of Hollywood Fats on six Watch Your Back.. This Sunshine State funk-Latinate numbers “San Marco,” tracks including Clarke’s easy rocking sexagenarian plays with an energy and “Tao,” “Red Moon,” and “Tempest.” instrumental in the vein of Off the Wall, attitude that sounds several decades his Di Meola was born in Jersey City, Hittin’ Heavy, the slow midnight after junior, triangulating blues, rock and r&b New Jersey on July 22, 1954. He began hours feel of a feature for his chromatic into the most infectious of hybrids. It’s a playing guitar at age eight and by his playing, Blues Afterwhile, as well as the mix that years ago inspired his young teens was fortifying his technique with imaginative rearrangement of Sonny brother-in-law - some kid named jazz, bossa nova and a little classical. Boy Williamson II’s Keep It To Yourself, Hendrix- and hasn’t lost its power in the While at Boston’s Berklee School of Mu- set to the Help Me/Green Onions melody. new century sic, he got a call from Chick Corea invit- Volume 2 sports his interpretation of From the title number (with acerbic ing him to New York for a Return to For- Louis Jordan’s Early in the Morning, and lyrics so a propos for the imminent elec- ever band rehearsal before a Carnegie his strong singing on The Feeling’s Gone, tion season) on Shorty piles on track Hall performance. That was his big break. and Bloody Tears on My Pillow. I would after ear-grabbing track, building a mo- After three landmark fusion albums, RTF argue that none of his contemporaries mentum, instrumentally and lyrically, disbanded in 1976 and Di Meola began were as strong as Clarke both a singer that barely lets up anywhere during the his solo career. He made his Telarc debut and harp player, not to mention that he set. What songs he didn’t contribute on with 1998’s The Infinite Desire, followed was a fabulous songwriter. are replete with irony (“I Got Your Num- by Winter Nights (1999), The Grande These latest two posthumous discs ber”) or double-entendre (“Fine Passion (2000), Flesh On Flesh (2002). are more than welcome additions to the Cadillac”) tailor-made for his blues- Every tune on this CD is a gem. And available recordings by Clarke as they savvy vocals. The only problem Triple- that’s what you’d expect from an award- contain a number of superb perfor- A or satellite radio programmers may winning jazz-fusion pioneer who’s sold mances. The only quibble is the CD have with this set is settling on a par- more than six million records (including packaging could be printed a bit more PAGE SIX September/October 2006 • Issue 286 THE RUDY VAN GELDER EDITIONS From 1953 to 1967, Alfred Lion produced a body of work that ranks as the most innovative series of recordings in modern jazz. Almost all of these masterpieces were documented by the extraordinary Rudy Van Gelder; a self-taught engineer who more than set a new standard. Devoid of caution or timidity, he captured the full power and rich sound of jazz ensembles with dazzling clarity. His contribution to the focused approach that Blue Note took at every stage of any album was immeasurable. Decades later, Rudy agreed to take a second look at the original recordings, bringing them into the digital domain with the same skill and focus. More RVG Editions have just been released. If you think you’ve heard these gems before, listen again.

Royal Flush, Donald Byrd Trompeta Toccata, Kenny Dorham The Congregation, Johnny Griffin

Another Workout, Hank Mobley The Cooker, Lee Morgan It Might as Well be Spring, Ike Quebec Plus...Six More RVG Titles Will Be Released September 12

Off to the Races, Donald Byrd Here to Stay, Freddie Hubbard Happenings, Bobby Hutcherson

Demon’s Dance, Jackie McLean City Lights, Lee Morgan Doin’ the Thing at the Village Gate, Horace Silver Available In Stores & Online • www.bluenote.com

September/October 2006 • Issue 286 PAGE SEVEN sharply, but the music is wonderful. This FIONA BOYES & THE dream”), and others. Veteran Walton is is available from bluebeatmusic.com as widely known for his collaborations with well as amazon.com and other mail or- FORTUNE TELLERS Ron Carter and Billy Higgins and is at der specialists. Ron Weinstock Lucky 13 his best transforming tunes in a three- YELLOW DOG some. STEFON HARRIS An Australian Bonnie Raitt? An Walton’s light, melodious stylings outback Memphis Minnie? By the time underpinned with astute accompaniment African Tarantella: this review is over, Fiona Boyes could from his team, lend sparkle, vitality and Dances With Duke possibly have more tags on her than the ingenuity to the selections. “Lush Life” BLUE NOTE clearance rack at a Goodwill store, thanks becomes a swinging gem spiked with a Vibraphonist Stefon Harris and his to Lucky 13, her first American label re- quote or two. It’s hard to imagine that exceptional chamber jazz ensemble built lease after toiling Down Under for at least anyone could refresh the warhorse “Time around his acoustic quartet (pianist a decade. After Time,” but under Walton’s lead it’s Xavier Davis, bassist Derrick Hodge, And, much like the fabled Cleveland given a swinging new tempo. Williams drummer Terreon Gully) and featuring weather, if you don’t like what you are plays melody head and plucks solos on Greg Tardy (clarinet), Steve Turre (trom- getting, wait three minutes or so because a lively interpretation of the Sam Jones bone), Anne Drummond (flute), Junah it is going to change. Boyes leaps from composition, “Seven Minds.” Originally Chung (viola), and Louise Dubin (cello) style to style, starting with Mark “Kaz” written for a bass choir and containing deliver two re-orchestrated Duke Kazanoff’s harp pushing “Chicken Wants unison passages from Williams and Ellington suites and a work by Harris. Corn” out of the starting gate before Stan Walton, it’s a captivating piece in As reworked by Harris, Ellington’s Smith’s clarinet and Marcia Ball’s piano Walton’s regular repertoire. The finale, New Orleans Suite, is a melodic tour- takes “Celebrate The Curves” in a honky Freddie Hubbard’s “Little Sunflower,” is de-force, providing for some soulful ren- tonk direction. “Stranger In Your Eyes” a pulsating nearly 10-minute spree, full derings in the three movements: is a mix of jazz and blues as “High Cot- of quotes (one from “I Love Paris”), style “Thanks for the Beautiful Land on the ton” is an all out revival of sorts. “Pigmeat shifts and imaginative improvs. Delta,” “Portrait of Wellman Braud,” and Lover” visits New Orleans as Boyes then This trio excels. Farnsworth hasn’t “Bourbon Street Jingling Jollies.” Col- channels the spirit of Jackie Wilson dur- been with Walton as long as long-time orful and melodically engaging, the ing “Hold Me.” Basically you name the colleague Williams (who anticipates pieces allow space for Harris’ intelligent form of music, any form, and it is on Walton’s every move), but the improvisations as well as spotlighted Lucky 13. drummer’s flexible and astute enough to moments from other musicians. “Steady Rollin’” Bob Margolin is know how to intuitively build excitement The movements of Queen’s Suite Boyes’ secret weapon, though, working into each tune. This “keeper” recording contain graceful passages without sac- his slide magic throughout and giving a captures 72-year-old Walton in transcen- rificing soul. The bluesy “Sunset and the heartfelt duet with her on “Red Hot dent form, performing this studio ses- Mocking Bird” and the pensive ballad Kisses.” She even takes a crack at south- sion with the same flowing dynamism “The Single Petal of a Rose” again allow ern mountain jazz aka rockabilly via as in his live performances. for inspired solos from Harris and solid “Rockabilly On The Radio.” Nancy Ann Lee orchestral accompaniment from his co- Lucky 13? Not at all. There’s no horts. chance of fate here, just the talent of Fiona The final masterpiece, The Gar- Boyes turned loose on the American lis- THE ROBERT CRAY BAND dener Meditations, is Harris’ commis- tening public. Peanuts Live From Across The Pond sioned work from The Wharton Center NOZZLE RECORDS 2-CD SET at Michigan State University and con- Prior to the release of Robert Cray’s tains three parts, “Memoirs of a Frozen CEDAR WALTON breakout recording, Strong Persuader, I Summer,” “African Tarantella,” and One Flight Down happened to listen and record off the ra- “Dancing Enigma.” This lovely work HIGHNOTE dio a live broadcast of the 1982 Long draws from personal experiences and Recorded in April 2006, this nine- Beach Blues Festival among whose high- speaks to Harris’ “transition into the tune studio session by pianist Cedar lights was a young Robert Cray. One world of jazz.” Walton adds agreeably to his voluminous could hear a definite Albert Collins influ- Harris’ outstanding sixth Blue Note discography. Performing with bassist ence even if Cray’s guitar playing didn’t album places him at the vanguard of the David Williams, drummer Joe quite have Collins’ fretful sound. Yet current jazz scene. Still in his early 30s, Farnsworth and guest Vincent Herring Cray’s serpentine guitar playing had its Harris shows musical maturity beyond (alto sax), Walton demonstrates why he own charms. his years. It’s no wonder that he’s been remains one of jazz’s greatest treasures. Over two decades later, Cray remains consistently recognized in critics polls The first two tracks, “One Flight one of the few blues acts to break through and with Grammy nominations for his Down” and “The Rubber Man,” are lyri- and reach a pop audience in that period. broad-based talents. cal, upbeat Walton originals spotlight- After many studio albums, Cray and his On this outing, he excels. His ar- ing Herring. Although Walton’s a splen- Band have just issued this live 2-CD set rangements and performances sparkle did composer, the most enjoyable tracks from shows at Royal Albert Hall where with passion, elegance and creativity, here are the trio versions of standards he was opening for Eric Clapton. making for a totally absorbing listen. by Billy Strayhorn (“Lush Life,” He perhaps has left behind the Jesse Nancy Ann Lee “Raincheck”), Duke Ellington (“Day- Fortune number Too Many Cooks, but still

PAGE EIGHT September/October 2006 • Issue 286 performs Phone Booth, and several songs from Strong Per- “To Bop or Not To Be”. Rovatti contributes the most jazz-like suader, including Right Next Door (Because of Me), I Guess I presence to what’s primarily a feast for hard-core fusion fans. Showed Her and Bad Influence; along with other numbers that Duane Verh he has added over the intervening years such as Poor Johnny, and his anti-Iraq War number Twenty from his recent studio JOHNNY “GUITAR” WATSON recordings. Perhaps because of his success, Cray has been Best Of The Funk Years criticized by some for the clean sound. Some would accuse his SHOUT FACTORY music of being antiseptic, although the performances here belie Having issued the excellent two CD compilation of Johnny that claim as Cray invests quite a bit of passion into his perfor- ‘Guitar’ Watson, as well as all of his DJM recordings and his mances. Cray’s clean, urbane delivery of songs and his guitar last CD, Shout Factory has continued their releases with a playing should be viewed as more of style than relating to the special value CD of the original Gangster of Love, Johnny substance of his performances. This music comes off much “Guitar” Watson, more successfully than the heavy metal sound of some blues Best of the Funk Years. This is taken exclusively from rockers and is a good summing up of what he has meant mu- his DJM recordings, Ain’t It a Bitch, A Real Mother For Ya, I sically for over two decades. Need It, Superman Lover, What the Hell Is This, and I Want to A very nice release that will please his fans...and even some Ta-Ta You Baby. who have shied away from his more recent work. Obviously anyone compiling this volume could have done Ron Weinstock it slightly differently, but this does have the most well-known tracks from this time of his career and is a representative JOHN MCLAUGHLIN slice of his influential recordings from this Watson era. Industrial Zen Ron Weinstock VERVE Darting, dancing thematic lines and solos of equally high JEFF HEALEY & THE JAZZ WIZARDS velocity are, not surprisingly, the order of the day on the fu- IT’S TIGHT LIKE THAT sion guitar pioneer’s latest set. STONY PLAIN With dense and busy rhythmic and textural business un- Widely known as the guitar phenom with the peculiar “lap” derneath, McLaughlin has not slowed down in his mature playing style, the Canadian blues-rocker leads a second life as years. Personnel varies track by track but the basic mix of a traditional jazz trumpeter. It’s an incarnation well known to acrobatic bass guitar, hyperactive drums and various syn- patrons of Healey’s popular Toronto music club (where the food thetics behind the leader and saxists Bill Evans and Ada Rovatti ain’t bad either). It’s Tight Like That is as hot a session of any remains fairly uniform in sound and energy. genre one might run across these days. Packed with early jazz Guests appear on some of the most interesting cuts. (Rela- hotties including “Basin Street Blues” and “Shiek of Araby”, tively) young guitar-slinger Eric Johnson joins in on “New Healy and his pals turn out jams that are true to the form and Blues Old Bruise” and tabla master Zakir Hussein adds fire to bust-out fun as well. Reedman Christopher Plock and violinist September FRI 1 ...... KRAKER BROTHERS SAT 2...... ROB ‘C’ AND THE HYPNOTIK FRI 8 ...... TUMBLIN’ DICE SAT 9...... COLIN DUSSAULT & THE BLUES PROJECT FRI 15 .....CITY HEAT It’s More Than Just a Club SAT 16.....WALLACE COLEMAN Serving Fine Food & Great Music, with no cover daily till closing FRI 22 .....BIG DADDY & THE VOODOO MEN MONDAYS E D D I E & T H E E D S E L S SAT 23.....SWAMP BOOGIE BAND FRI 29 .....KINGBEES TUESDAYS SEPTEMBER OCTOBER 5THE GEEZECATS 3THE GEEZECATS AT OLIN USSAULT S 30.....C D 12 BRENT HOPPER 10 BRENT HOPPER & THE BLUES PROJECT & BRITTANY REILLY ACOUSTIC ROOTS MUSIC & BRITTANY REILLY ACOUSTIC ROOTS MUSIC 26 ERNIE KRIVDA 17 KING BAUMGARDT’S BLUES BAND FEATURING APRIL KING FROM GERMANY & THE FAT TUESDAY BIG BAND October 31 ERNIE KRIVDA & THE FAT TUESDAY BIG BAND FRI 6 ...... MIKE LENZ BAND SAT 7...... K.G. BLUES WEDNESDAYS SEPTEMBER OCTOBER 6 J. P. & THE CHATFIELD BOYS 4 J.P. & THE CHATFIELD BOYS FRI 13 .....ARMSTRONG BEARCAT BAND 13 KENTUCKY THUNDER 11 KENTUCKY THUNDER SAT 14.....THE TONY KOUSSA JR. BAND 20 NORTH OF TEXAS 18 LAWLESS FRI 20 .....THE CHOSEN FEW 27 ROGER “HURRICANE” WILSON 25 NORTH OF TEXAS SAT 21.....THE TRAVIS HADDIX BAND THURSDAYS THE SAVANNAH JAM WITH BAD BOYS OF BLUES FRI 27 .....AFTERTHOUGHT SPECIAL EVENT: CHICKS WITH PICKS & STIX SUNDAY OCTOBER 8 SAT 28.....KRISTINE JACKSON FEATURING SOME OF NORTHEAST OHIO’S BEST FEMALE PERFORMERS: SWAMP BOOGIE BAND, BECKY BOYD, FORTE, TRACY MARIE, & BASICALLY BLUE ALEXIS ANTES, ROBIN STONE 30676 Detroit Road Westlake (440) 892-2266 www.TheSavannah.com

September/October 2006 • Issue 286 PAGE NINE Drew Jurecka are standouts in a lineup graced by the pres- released. Barber’s a unique talent whose imagination seems ence of British “trad” pioneer, trombonist Chris Barber. unlimited. She’s an intelligent musician whose ideas are al- For those whose only exposure to early jazz might be ways cutting edge, yet accessible and ear-pleasing. As with the end credits of a Woody Allen film, It’s Tight Like That might her previous albums, Barber has written tunes containing pleas- be the ideal entry path. It’s solid, entertaining fare in any case. ing melodies, storytelling lyrics and a lot of surprises. Duane Verh Nancy Ann Lee MITCH WOODS VARIOUS ARTISTS BIG EASY BOOGIE Eisenhower Blues CLUB BB DVD/CD EMPIRE MUSICWERKS As the anniversary of Katrina passes, it’s still rough to en- While J.B. Lenoir waxed a blues protesting the hard times vision New Orleans as a place of merriment but Bay Area jump during the administration of President Eisenhower during the boogie pianist/vocalist Woods helps ease the lingering pain 1950s, most of the recordings compiled on with this intimate tribute to the masters that birthed the Cres- Eisenhower Blues lack such a topical center but simply cent City’s distinctive r&b sound. It’s a sound that spawned are strong blues recordings with most having a down home stacks of hits for hometown artists such as Fats Domino and flavor. Long-time collectors will have some or many of these Ernie K. Doe and was exported to the West Coast as a number performances, but these remastered sides sound really strong. of Big Easy fellas became session stalwarts for Specialty Others will discover a number of little-known artists that have Records and other imprints. much to say. This two-disc set highlights Woods’ session and stage work There are a couple of gems from Lenoir, including the title with members of Fats Domino’s band and supervised by track and the lively medium tempo boogie, Fine Girls. The CD Domino’s working partner Dave Bartholomew. Woods’ origi- opens with John Brim’s topical Tough Time, with Jimmy Reed nals are cast in the classic New Orleans mold and made more on harmonica. Others heard here of note include Jody Will- authentic thanks to the support of legends including drummer iams (as Little Papa Joe) doing a peppy Lookin’ For My Baby; Earl Palmer and tenor man Herb Hardesty. DVD interviews in- Harp player and vocalist Dusty Brown (recently heard on clude both of these gents plus recording pioneer Cosimo Severn’s Chicago harp anthology) on his fine downhome Yes, Matassa. Any fan of this sound or anyone looking to get to She’s Gone; more downhome harp and vocals from Little know it would be well served with this set. Duane Verh Sammy Davis (who is still active and is occasionally on Imus’ radio show) doing 1958 Blues based on the Rollin’ & Tumblin’ PATRICIA BARBER riff; and Joe Hill Louis’ Jealous Man (as Johnnie Louis) which sports a wild guitar break. MYTHOLOGIES There is Sunnyland Slim’s Goin Back to Memphis, another BLUE NOTE With the 2003 Guggenheim Fellowship award singer-pia- Rollin & Tumblin’ variant; Willie Egan’s wild Fat Domino-in- nist-composer Patricia Barber received, she created one of the spired rocker Wow Wow Wow; a couple from Baby Boy War- most ambitious works of her career for her fifth Blue Note re- ren with Calvin Frazier on guitar and Washboard Willie (I be- cording, her tenth overall. lieve on washboard), including Mattie Mae, adapted from a John Mythologies is a song-cycle based on Greek mythology, Lee ‘Sonny Boy’ Williamson recording; an early Albert King using parts of Ovid’s epic poem, Metamorphoses, as a founda- recording (showing a bit of Elmore James influence), (Be on tion for the 11 tunes on this disc featuring Chicago-based Your) Merry Way; and Little Willie Foster’s tough Fallin’ Rain Barber’s regular quartet and guests. While the subject matter Blues.” may seem stuffy, Barber’s varied compositions, her soft mid- There are other equally fine songs by others on this collec- range vocals, meaningful lyrics and piano accompaniment tion with annotation from Bill Dahl making for a treasure trove engage the listener as she sings about the sculptor who fell in for the blues fan. Ron Weinstock love with a statue he made (Pygmalion), the god with artificial wings who flew to close to the sun and fell into the sea (Icarus), HOT CLUB OF DETROIT the daughter of Zeus and Demeter abducted by Hades to reign Hot Club of Detroit with him over the underworld (Persephone), and the vain youth MACK AVENUE doomed by the goddess Nemesis to fall in love with his own Formed in 2003, The Hot Club of Detroit makes their re- reflection, waste away and drown in Echo’s pond (Narcissus). cording debut with this 13-tune collection in the style of Django Barber, guitarist Neal Alger, bassist Michael Arnopol, and Reinhardt and company in 1930s Paris. drummer Eric Montzka are supported on this project by spe- Led by guitarist Evan Perri, these talented musicians keep cial guests (including background vocals from Choral Thun- the gypsy spirit vibrantly alive, performing Reinhardt favorites der) on some tracks. Alger shines in the spotlight, especially such as “Belleville,” “Stompin’ at Decca,” “Anouman,” and his raging electric guitar solos on the jazz-rock tunes, “Opheus/ tunes by other composers, including Fats Waller’s “Honeysuckle Sonnet” and “Whiteworld/Oedipus.” Saxophonist Jim Gailloreto Rose” and two by Perri (“Swing One” and a variation on “The deserves mention for nicely enhancing three tracks, most no- Godfather” theme). Performing with Perri are accordion player tably for his heartwarming solo on the lovely ballad, “Narcis- Julien Labro, bassist Shannon Wade, clarinetist Dave Bennett sus.” and rhythm guitarists Paul Brady and Colton Weatherston. While I’ve been hooked on Barber’s creativity since her bare- all of the cats can play, Labro stands out, especially on Perri’s footed live performance at the Chicago Jazz Festival more than brisk number, “Swing One.” a decade ago and I’ve enjoyed every recording project she’s The son of a jazz guitarist, Perri started out playing bass PAGE TEN September/October 2006 • Issue 286 while growing up in Grosse Pointe, Michigan. He began play- ing rock guitar when he was 18 and was introduced to DID YOU MISS DUKE ROBILLARD Reinhardt’s gypsy jazz while attending college. When he re- AT THE SAVANNAH? turned to Detroit, Perri decided to form his own gypsy jazz group If so, you didn’t have to. It was booked to late for our July- and, while at Wayne State studying music, taught a few of the August issue, but we covered it in our August Web Special. best guys to play the music. The group went through some Be sure to check our site for updates. It was a great show! personnel changes and won first place in the 2004 Detroit In- www.jazz-blues.com ternational Jazz Festival competition and a 2006 award for Best Traditional Group. They continue to play various clubs harmonica but with a hard twist of a Trout guitar solo that sepa- and festivals as well as holding their own “Djangofest” each rates the track from Harman’s typical hipster jive which tends year. to wear a bit thin over the course of his own discs. “Workin’ New and old fans of this style of music will love this re- Overtime” could have been lifted straight off any number of cording. The HCOD’s polished light and lively performances 70’s blues rock discs with its crunchy riffs and power chords. make for satisfying listening and should grab new generations Mixing things up even more, Trout grabs the acoustic for of fans not aware of the Reinhardt legacy. Nancy Ann Lee “Firehouse Mama” with Eric Sardinas, throws down an over the top West Coast instrumental jumper with Junior Watson on “Slap Happy” and provides a steamy counterpart to Deacon WALTER TROUT AND FRIENDS Jones’ cool B-3 grooves on “After Hours.” Full Circle Those that need their fix of Trout’s blistering guitar work RUF RECORDS will find plenty of it spread over the balance of the tracks. “Who’s For his first studio disc in five years, guitarist/singer Walter Listenin’ In” re-unites Trout with former Bluesbreaker band mate Trout has assembled a number of the high profile blues artists Coco Montoya who joins Trout in a twin lead that sounds like he has played with over the course of his 35 plus year career the two have been sharing the stage together for the last 20 as a blues musician including John Mayall, Jeff Healy, Guitar years rather than having gone their separate ways that long Shorty, Junior Watson, James Harman, Coco Montoya, Ber- ago. On “Wrapped around Your Finger” and “Clouds on the nard Allison, Deacon Jones and Finis Tasby. Horizon” Trout gets sucked into aggressive guitar duels with This assembled talent gives Trout a chance to try on vari- Guitar Shorty and Joe Bonamassa who cut their host no slack ous shades of the blues rather than focusing solely on the and have the favor returned. scorching guitar on which he has built his reputation. “She While bringing in guests on every track often reflects the Takes More Than She Gives” is a slow, grinding blues with a need to pump up a flagging career that isn’t the case here: ringing guitar tone straight from the Santana bag of tricks while Trout is simply sharing his guitar wealth with some well known “A Busy Man” features James Harman’s laid back vocals and friends. Mark Smith

Colin Dussualt’s Blues Project “Recorded Live at the Main Street Cafe” - The 10th compact disc from the hardest working band in northeast Ohio. Available October 2006!

Available online at: www.colindussault.com or at any of the bands’ live shows. To order contact: Colin Dussault c/o Dussault Moving Inc. 13000 Athens Avenue, Cleveland, Ohio 44107. (216) 221-5288

September/October 2006 • Issue 286 PAGE ELEVEN MIKE STERN Who Let The Cats Out Globe Trotting HEADS UP Guitarist Mike Stern first came into the limelight through SUGARCANE COLLINS his work with Miles in the early eighties, and I well remember Way Down The River being very impressed with his performance at a Davis con- SUGARCANECOLLINS.COM cert in Cleveland. He’s had a good number of solo albums Australian vocalist/guitarist Collins’ self-released work since then, showing that he is equally comfortable in a num- is packed to the gills with the sort of energy and enthusi- ber of styles with the different releases. asm for traditional blues that charged the work of Brit re- For his Heads Up debut Stern reassures us of that fact, vivalists such as Duster Bennett. and does it all within one program of 11 well crafted original A powerful and engaging singer, Collins keeps this set pieces – delving into straight-ahead, fusion, funk, Caribbean, of sparsely-backed originals varied and interesting struc- blues, rock and whatever...and it all works. Not unlike I wit- turally. nessed at a recent Duke Robillard performance, Stern shows His romanticism might not sit well with everyone- all us here the many facets of electric guitar in a set so varied won’t be persuaded by fictional tales of Texas prison breaks- that never comes close to bogging down with the “sameness” but his obvious love for the genre comes through on every heard on too many CDs and live performances these days. track and certainly suggests that he’s a strong live per- With musicians such as Dave Weckl, Jim Beard, Roy former. This one is available now at Collins’ website at Hargrove and others in various groupings, Stern and cohorts www.sugarcanecollins.com, where you can sample some of deliver what may just be his best outing to date. Bill Wahl the tracks. A U.S. release is set for November. Duane Verh NICK MOSS AND THE FLIPTOPS Martin’s Cooking Corner Live at Chans BLUE BELLA RECORDS RARE BLEND By now the story is part of blues legend: College kid Bruce Stops Along the Way Iglauer was so taken with the raw power of Hound Dog Taylor and TOUGH STREAM MUSIC the Houserockers that he used a small inheritance to fund the Having spent an inordinate amount of time this year with recording of a disc that served as the launching pad for what is Alton Brown and Bobby Flay this disc comes to me... now the world’s largest independent blues label, Alligator Records. Rare Blend, could be coffee... no, perhaps exotic teas So, why the Alligator Records history to start out this review? from far away lands, or a interesting blend of various and Well, this could be the sound of history repeating itself. Blues fans delicious spices to bring back sweet audio aromas of the past Bob McLaren and Roy Souza have been so taken with Nick Moss ... Eureka! and the Fliptops over the years that they hounded the band into Now, before you laugh, hear me out. In the same sense recording this live disc in their home stomping grounds of Rhode there was a very identifiable progressive rock sound in the Island. Joined by Monster Mike Welch on a number of cuts the mid to late 70s, think of it as... andouille sausage, and chopped band (Moss on guitar and vocals, Gerry Hundt on bass, guitar fresh oregano. There was also a very identifiable fusion sound, and harmonica, Victor Spann on drums and Willie Oshawny on say... blue crab claw meat and roughly chopped garlic. There piano, organ and bass) reveals ample justification for the zeal of was a tone, a timbre to the recordings, the feel of both time their fans. While all too many bands pepper their live sets with and space and genres borrowed from each other blurring the chestnuts pulled from the tourist campfires like “Sweet Home lines between both. The result–musical Gumbo... Rare Blend Chicago” or “Reconsider Baby” Moss and crew mix hot wire ren- seems to do just that...a mix of very identifiable sounds and ditions of lesser known classics from Freddie King, “I love the influences all blended artfully so you can pick each one out Woman,” Jimmy Witherspoon, “Your Red Wagon,” Buster Benton and savor it on its own, or enjoy the mixture as a whole. Here’s by way of Magic Slim, “It’s Good in your Neighborhood,” and Earl the recipe. Hooker, “Wine-O –Baby Boogie,” with Moss’ own material to cre- ate a fantastic set of Chicago blues that will shake the tailfeathers The Stock: of everyone from the beginner to the most hardened of blues fan. 2 cups Tangerine Dream, Pink Floyd, Jan Hammer Skipping the caution that too often creeps into the mix when the 1 cup Weather Report, Brand X tape is rolling live the band plays with an abandon that surely had 1 lbs Bebop Deluxe w/extra dash of Bill Nelson’s tone the crowd at Chan’s on the dance floor flailing about as the boogies 2 cups Tony Williams, Bill Buford and shuffles connected to their hips and feet. 2 tbls. King Crimson, Gentle Giant With the abundance of guitar talent found within the band 2 cups Beck, Keaggy, Santana and Di Meola this could have been little more than a six string delight but the The Roux: band wisely takes advantage of Oshawny’s prowess on keyboards 1 portion Victor Samalot (Electric and Acoustic Guitars) to produce a well balanced collection that will find the air guitar- 1 portion Bobbi Holt (Keyboards / vocals) ists in the crowd fighting for space with the piano aficionados that 1 portion Jeff Scott (Fretted and fretless bass guitars) keep the likes of Mitch Woods and Miss Honey Piazza in business. 1 portion Vince Broncaccio (Drums & Percussion) Produced by music fans for the sheer joy of sharing their secret Place in CD player and cook over medium heat for 60 with fellow blues fans who haven’t had the chance to catch Moss minutes or until all 13 tracks are done. Let stand off the heat and the Fliptops live this is one of the best live discs to hit my until the mixture in the gumbo pot has finished playing. player in some time. Sign me up as a convert. Mark Smith Good eats! Visit www.rareblend.net Jim Martin PAGE TWELVE September/October 2006 • Issue 286 Jazz & Blues Report 2006 Gift Guide • Part 1

For most of the past 30 years, we have featured our annual Holiday Gift Guide on the November-December issue. This year we are changing that. The 2006 Gift Guide begins with this issue and will carry over the next issues through the end of the year. That would include the November-December print issue as well as the October and December web issues available for download at jazz-blues.com. We’ll probably wait until November to call it the Holiday Gift Guide. After all...it is still going to be warm, sunny and nice outside (or, so we hope) for quite some time...so no need to rush things. We will also be featuring a stand alone Gift Guide on our site which will combine the items covered in these columns along with boxed sets, DVDs and other goodies from previous issues, and even earlier years, which we feel would make great gifts. You’ll also note that we go beyond jazz and blues to feature items that would make great gift ideas for your friends or family who might not be jazz or blues fans at all. Keep in mind, these in our regular issues are all newly-reviewed titles, so although they appear in the gift guide, you’ll probably want to pick up some of these for yourself. You’ll see more next month, but it all starts now!

CHICK COREA & GARY BURTON you can really appreciate his picking/strumming technique); a Live at Montreux 1997 gentle take on the Brazilian jazz classic, “Mahna De Carnaval”; a brisk “Joe’s Blues”; a lovely well-constructed ballad reading of EAGLE ROCK ENTERTAINMENT “I’m Glad There Is You,” and more. Appearing together at the Montreux Jazz Festival for the By popular demand, Pass was brought back for a second first time in 1997, pianist Chick Corea and vibraphonist Gary night. He plays an imaginative version of “Summertime” featur- Burton deliver a scintillating seven-tune duo set. Performing ing single note lines, slides, and chords. His take on “Li’l Darlin’” mostly tunes from their new album, Native Sense, released three is delightfully light and cheery. Other tunes include “The Very months after their Montreux collaboration, they prove how com- Thought Of You,” “You Are the Sunshine Of My Life,” “How Long patible they are as musician-improvisers. Has This Been Going On,” and others. There’s not a dull moment on this DVD, partly because of From all angles, the camera work is excellent especially the the excellent camera work and effective use of video techniques, zoom shots that show Pass’ fingering and strumming. Some partly because both piano and vibes are melody instruments, sound glitches on the first night (on only a couple of tunes) are but primarily because these two musicians had begun perform- worked out by technicians before Pass continues and do not ing occasionally together in 1972 with the release of their ECM album, Crystal Silence and would work together on many fu- ture recording projects such as Duet (1978); In Zurich, 1979; The Lyric Suite for Sextet (1982) and other albums. As they weave their way through lively numbers such as “Love Castle,” “Native Sense,” “Rhumbata,” and others, they prove how well they anticipate and pick up on the other’s lines and improvisations and, together, keep each tune moving along at an invigorating pace. Close-up camera angles capture Burton’s four-mallet work and Corea’s fingerings. Thoroughly enjoyable, this DVD documents one of the best live-recorded jazz concerts and it’s as fresh today as it was nearly 10 years ago. The varied fare includes a couple of Latinate pieces, a Monk composition (“Four In One”) as well as Corea’s compositions. Liner notes by Michael Heatley put everything into proper context. This is the only known Corea/ Burton DVD and it’s a treasure! Nancy Ann Lee

NORMAN GRANZ’ JAZZ IN MONTREUX Presents Joe Pass ‘75 EAGLE ROCK ENTERTAINMENT (DVD) Norman Granz signed Joe Pass (b. 1927—d. 1994)zto Pablo records in 1973 and for the next two decades would continue to THE WAY THINGS GO is a fresh take on traditional Blues from the veteran record and nurture the guitar legend to international fame. Bluesman. CLEVELAND FATS once again shows that he is a master singer, guitarist, This new DVD captures two nights of solo performances and songwriter highlighting his talents on nine originals and three covers. This recording and the Montreux Jazz Festival in France by the then 48-year- includes the re-teaming with his former boss and mentor ROBERT LOCKWOOD, JR. old Pass. and special guest BILLY BRANCH on harmonica. Recorded on July 17 and 18, 1975, these are enthralling CD NOW AVAILABLE DIRECT FROM HONEYBEE ENTERTAINMENT performances to absorb, in spite of some minor restoration Only $15 including shipping (outside US add $2). Send check or money order to glitches. Pass plays 16 tunes (about 79 minutes). The first night’s 4786 Dressler RD NW #145, Canton, OH 44718. Or online at www.honeybeeblues.com concert includes the pensive ballad “More Than You Know”; a For booking information please contact BLUE SKUNK MUSIC at (847) 275-8378 swinging uptempo version of “It’s A Wonderful World” (where

September/October 2006 • Issue 286 PAGE THIRTEEN reoccur the second night. an orchestra arranged and conducted by Gil Evans. Two of Joe Pass was such an inventive player. His improvisations Miles’ 80s crossover recordings, the above-mentioned “Time remain as fresh today as they were 31 years ago. This DVD After Time” and the Michael Jackson hit “Human Nature” are invites you to fall in love with the jazz guitarist and his formi- included as well, filling in some of the later years. Some of the dable talents, whether you’ve heard him before or not. earlier songs on the set include “Milestones,” “Stella By Star- Nancy Ann Lee light,” “Round Midnight,” “Bye Bye Blackbird,” “Fran Dance” and “Seven Steps To Heaven.” MILES DAVIS Indeed, this is a very cool and very listenable set of music Cool & Collected from Miles. It is obviously aimed at both the jazz and non-jazz COLUMBIA/LEGACY markets, hence it is understandable why certain periods were This brand new compilation from Columbia/Legacy would omitted altogether – as including them would have defeated be a fantastic introduction for anyone who is only somewhat the purpose. Again, this would make a great, inexpensive gift familiar with the late, great Miles Davis. Those who have per- for someone you might want to introduce to Miles. Bill Wahl haps only heard his name associated with the term “jazz gi- ant,” or have maybe only heard his version of Cyndi Lauper’s KING CURTIS “Time After Time” on a smooth jazz station can get an insight Live At The Fillmore West into who Miles really was, musically speaking, all contained on RHINO/ATCO one tidy CD. Starting off with the classic “So What” from the likewise ARETHA FRANKLIN classic Kind Of Blue album, the listener is taken on a some- Live At The Fillmore West what career-spanning journey, culminating with a brand new RHINO/ATLANTIC remix of “It’s About That Time,” originally from In A Silent Rhino Records has recently released two classic soul al- Way. The remix, though a short 3:40, features new recorded bums from 1971 featuring King Curtis and Aretha Franklin, parts by Carlos Santana, and others. In between there are eleven both recorded live at The Fillmore West in San Francisco. more songs, including several with John Coltrane and Can- The King Curtis CD features the saxophonist with Billy nonball Adderley. There is one, “E.S.P.”, with the Shorter/ Preston on organ and “The Kingpins,” Curtis’ band which in- Hancock/Carter/Williams quintet, and one, “Summertime,” with cluded Cornell Dupree on guitar, Truman Thomas on electric piano, Jerry Jemmott on bass, the super-funky Bernard “Pretty” Purdie on drums and Pancho Morales on congas. Also on hand were The Memphis Horns, led by Wayne Jackson and Andrew Love. Curtis and friends, many of the big names in soul and funk in that era, were in top form for the three nights of con- certs represented in these recordings. The setlist includes Curtis’ own “Soul Serenade” and “Memphis Soul Stew,” along with songs such as “A Whiter Shade Of Pale,” “Signed, Sealed, De- livered, I’m Yours,” “Mr. Bojangles,” Ode To Billie Joe” and “Buddy Miles’ “Changes.” This reissue contains 5 bonus tracks not on the LP or previous CD issue on Koch Records. All are alternate takes of songs from different nights, except the pre- viously unissued version of George Harrison’s “My Sweet Lord,” with Billy Preston on vocals. Sadly, just after the album entered the charts King Curtis was murdered – knifed outside his Man- hattan apartment in August of ’71. This album went on to be- come his best-selling ever, and reached #9 on Billboard’s R&B Chart, later breaking into the top 60 on the Pop Chart. The very same 3 nights in March of 1971 Aretha Franklin performed concerts at the same venue, which were recorded as well. Both on the same nights...what a bill. That, of course, made it very handy to have King Curtis, The Kingpins, Billy Preston and The Memphis Horns back up Aretha as well. Re- corded at the height of her career, hitwise, Aretha delivers an outstanding performance with more energy and all around party atmosphere than heard on her many studio sides. The original LP issue is represented on Disc One of this two CD set, with ten tracks including “Respect,” “Spirit In The Dark,” “Make It With You,” “Bridge Over Troubled Water,” “Don’t Play That Song,” “Dr. Feelgood” and “Love The One You’re With.” The song “Spirit In The Dark” is reprised near the end of the set as Ray Charles, spotted in the audience, is brought up to perform with Aretha. Both versions of that song were edited on the original APPEARING AT WILBERT’S IN DOWNTOWN LP, but are included in their entirety here. The second CD con- CLEVELAND ON SATURDAY, OCTOBER 21 tains 13 additional bonus tracks , which are alternate record- PAGE FOURTEEN September/October 2006 • Issue 286 ings from other nights and the previously Sinatra, Debbie Reynolds, Gene Kelly, Astaire and Janis Paige. The sixth disc unissued cuts “Call Me,” “Mixed Up Girl,” and numerous others. features 25 demos, outtakes and com- “Share Your Love With Me,” “You’re All I Gems such as “I Got Rhythm,” plete versions of songs never released Need To Get By” and “Don’t Play That “Thou Swell,” “Easy To Love,” “They before. Still, even with sound quality Song.” This album would go on to top Can’t Take That Away From Me,” improved on 30 percent of the tracks, the R&B Charts and made the Top 10 in “Dancing In The Dark,” “Fascinating it may not be enough incentive for own- Pop. Rhythm,” “Smoke Gets In Your Eyes,” ers of the 1995 edition to purchase this Both releases were remixed for CD “Taking A Chance On Love,” “Lover new edition. reissue and have good sound for the pe- Come Back To Me,” While it may bother some listeners riod. Both also have a booklet with pho- “The Lady Is A Tramp,” “Just One that CD tunes are not arranged in chro- tos and well-written, newly-penned notes of Those Things,” and other songs on nological order, it apparently makes by David Nathan. Very nice, feelgood stuff this set have also become jazz stan- more sense in the onscreen versions. from the King and Queen. Bill Wahl dards. Enhancing the attractively packaged Among tracks added that were not set is a well-organized, informative, included in the original 1995 set are: four-color, 108-page book containing VARIOUS ARTISTS three Bing Crosby duets (with Frank historical facts about M-G-M studios, That’s Entertainment! The Sinatra, Louis Armstrong, Grace Kelly) the musicals, the original films, and in- Ultimate Anthology of from the 1956 film, High Society; Doris dividual songs and artists. M-G-M Musicals Day singing “Ten Cents A Dance” and An American Songbook treasure TURNER CLASSIC MOVIES/ “Shakin’ the Blues Away”; Elvis Presley for both music and film fans, this CD RHINO MOVIE MUSIC leading the prison band through “Jail- set will have listeners reminiscing about Turner Classic Movies Music and house Rock”; and a performance from all the great Metro-Goldwyn-Mayer Rhino Movie Music revisit the center- Silk Stockings, spotlighting Fred musicals. Nancy Ann Lee piece of their longstanding collabora- tion with this expanded and upgraded version of their 1995 five-disc collec- tion from the golden age of M-G-M stu- dio musicals. This new six-CD set in- cludes songs from the earlier set, plus music never before released. Documenting the three patchwork “That’s Entertainment” musical films (released in 1974, 1976 and 1994), this collection provides nearly eight hours of listening pleasure, 135 tracks col- lected from original M-G-M musicals released between 1929 and 1957. In- cluded are unforgettable soundtracks from more than 75 musicals such as The Wizard of Oz, Meet Me In St. Louis, Singin’ In the Rain, Easter Parade, Kiss Me Kate, Brigadoon, An American In Paris, Show Boat, Gigi and more. Songs are performed by big stars such as Judy Garland, Fred Astaire, Tony Martin, Lena Horne, Bing Crosby, Frank Cleveland Fats The Schwartz Brothers DC and the Continentals For Bookings Contact

HONEYBEE ENTERTAINMENT 4786 Dressler Rd #145 Canton, OH 44718 330-904-0454 [email protected]

September/October 2006 • Issue 286 PAGE FIFTEEN TOMMY EMMANUEL that the camera work is very well done reissue...that being George Jones. The The Mystery (with just enough close-ups of his fin- Essential George Jones on Epic/Legacy gers), as is the sound, which is offered covers his long and storied career be- FAVORED NATIONS CD in Dolby Digital Stereo and DTS Sur- ginning in 1954 and sampling his King, Live At Her Majesty’s Theatre, round. Mercury and United Artists recordings Ballarat Australia Two very fine offerings from before delving into his Long association FAVORED NATIONS DVD Tommy Emmanuel. Bill Wahl with Epic Records. The Epic period be- Fans of finger style guitar will want gins with the last 5 songs on disc one, to check out these two new releases ROY ORBISON 1971-3, and continues on with the first from Australian born Tommy 19 out of the 20 on Disc 2. The final Emmanuel. Playing guitar since four The Essential Roy Orbison song, “Choices,” was recorded in 1999 and performing professionally at six, GEORGE JONES for an Elektra album. Another good Tommy was inspired by Chet Atkins, The Essential George Jones sounding set of recordings, this would who he got a chance to record with on JOHNNY CASH make a great gift for a “true” country the Grammy-nominated album, The music fan. Day The Finger Pickers Took Over The Man In Black DVD If you know someone who is into the World. LEGACY RECORDS late Johnny Cash - Man In Black: Live In His new CD on Favored Nations Except for the recent exceptional Denmark 1971 on Columbia/Legacy is finds him recording solo in the studio Big Al Anderson CD on Legacy, where a good choice. This live DVD catches on a program blending folk, country, he mixed country, jazz and pop – we Cash filmed before a small audience cov- jazz, and pop with ease on twelve songs, don’t cover country music very often. ering such songs as “A Boy Named Sue,” mostly his own compositions. Two of But with the gift-giving season shortly “I Walk The Line” “Folsom Prison Blues,” the three that are not are Billy Joel’s being cleared for takeoff - these three “Me And Bobby McGee” and others be- “And So It Goes” and Merle Travis’ items would all make very good options fore turning the stage over to Carl Perkins “Cannonball Rag,” which he performs for the right person on your list. who does “Blue Suede Shoes” and along with his own “Gameshow Rag.” Although Roy Orbison is not a coun- “Matchbox.” Then the Statler Brothers He does some amazing work try singer, he actually did start there prior come on for two more songs before Cash throughout, often playing two parts at to passing through rockabilly and rock returns with June Carter Cash for another once, and due to his broad scope of & roll before pretty much forging his own three and The Carter Family do one be- music, the proceedings never fall into musical genre with a slew of lost love fore the four remaining songs featuring a rut. One song, “Walls,” features a fe- ballads. The Essential Roy Orbison on Cash, The Carters, and The Statlers with male singer, his fiancée Elizabeth Monument/Legacy briefly covers his Perkins joining in for the finale. Watkins, as they do a duet on a folk/ early years on Sun Records before Legacy Records has long been country/pop oriented piece. Emmanuel heavily focusing on the Orbison most are among the leaders in our annual gift guide sings and plays all the instruments for familiar with. That would be his Monu- with their marvelous reissues in jazz, blues that song on an otherwise all solo ment Records years, a label he began and classic rock. Now after the merger acoustic guitar outing. recording for in 1959. A year later his of Columbia Records with BMG, the la- If you like the CD and want more, career took off with a bang with the first bel has been reissuing much more mate- or if you prefer to watch Tommy at work big lost love ballad titled “Only The rial from the two labels and their subsid- on your home theatre system, check out Lonely,” which hit #2 on the pop chart. iaries’ vast catalogues, which include the just-released DVD recorded live live This set is loaded with Orbison hits after Epic and RCA. More are on the way over at Her Majesty’s Theatre in Ballarat Aus- that, such as “Love Hurts,” “Crying,” the next issues as they are released, so tralia. Tommy presents another diverse “Candy Man,” “Dream Baby,” “Leah,” stay tuned for your shopping ideas. set of music, again performing solo, this “Falling,” Mean Woman Blues,” “Blue Bill Wahl time live before an audience of fellow Bayou,” It’s Over” and “Oh, Pretty Australians. Woman.” We are now only up to 1963, CLASSIC MUSICALS FROM Those who question whether he and soon that song would reach #1. overbubbed any parts on the studio CD Also included on this 2-CD set are THE DREAM FACTORY will have any doubts squelched after another 19 cuts on disc 2 covering his WARNER HOME VIDEO 5 DVD SET watching his performances here. He years on MGM, Virgin, Warner Bros, Making their debut on DVD, this five- does sing on a few cuts, and Elizabeth Mercury and Orbison Records. It is DVD box set contains newly remastered joins him singing four others. Some of loaded with gems, starting off with “You films from Metro-Goldwyn-Mayer’s the 16 songs from the set are heard on Got It” and four more tracks from his golden era of the Hollywood musical. his Favored Nations CDs, including the posthumous Mystery Girl album and Each film runs about 100 minutes or so new one reviewed above. Some com- ends with “Life Fades Away” from the and each disc contains special features mentaries and personal tidbits from Less Than Zero Soundtrack, released in such as interviews about the making of Tommy are seen between some songs, 1987. Ironically, Roy Orbison died of the film, classic cartoons, theatrical trail- which does understandable bother heart failure the next year. A great ers and more. some people who would rather watch sounding, well put together retrospec- It’s Always Fair Weather (1955) fea- the concert by itself and view the ex- tive for an American music legend. tures Gene Kelly, Dan Dailey and Michael tras later. A country music legend is repre- Kidd as three World War II buddies who, But, that being the only flaw, I’ll add sented with a recent Legacy reunited 10 years later, find they strongly PAGE SIXTEEN September/October 2006 • Issue 286 dislike each other. Mix in a little ro- Walker (as Kern). Songs include “A vious as can be gleaned from what he mance, attempts at reconciliation and Fine Romance,” “Yesterdays,” “All the states about Sunnyland Slim, “We an effort to exploit their reunion on tele- Things You Are,” “Long Ago and Far weren’t what you would call blood vision and you have the plot. Highlights Away,” “Why Was I Born,” “Ol’ Man brothers. I don’t claim to have been his include the threesome’s “trash-can lid” River,” and more. Horne triumphs with intimate confidant. Nevertheless, I hon- dance and Gene Kelly’s solo dance on her version of “Can’t Help Loving That estly believe that no one else ever roller skates. But, although the music Man” and Sinatra closes with a render- taught me so much about life than by Andre Previn is great, there are no ing of “Ol’ Man River.” Sunnyland Slim did. To hear that voice memorable songs. These are entertaining films for growl through the octaves, build into a Summer Stock (1950) features viewers inclined to reminisce. Films are liontine roar, and then soar into a leo- Judy Garland as Jane Falbury, a young in color and offer subtitles in English, nine roar, and then soar into high-tenor country gal struggling to run the family French and Spanish. The special fea- declarations of freedom-bound blues farm by herself. Gloria DeHaven stars tures are equally entertaining and in- passion’— or just spend time in the as Jane’s sister who returns home with formative. A minor drawback is the lack presence of this tender-hearted giant of a theatrical troupe that plans to stage a of any liner or jacket notes listing the a man — was to learn life lessons of musical in the barn. Highlights include songs and composers. Suggested re- the most profound and lasting kind.” Garland’s performance of the Harold tail price for the set is about $60; indi- The Second Part, “We Gon’ Pitch a Arlen-Ted Koehler number “Get vidual titles, $19.97. Nancy Ann Lee Boogie Woogie!” is an examination of Happy,” Gene Kelly’s “shuffle-squeak” blues venues past and present. There dance routine using a sheet of newspa- is a chapter on Florence’s Lounge, the per and a loose floorboard, and Phil Sil- neighborhood lounge where Hound Dog vers and Gene Kelly doing a country books Taylor and Magic Slim had held regu- bumpkin dance. lar gigs before they began their years Three Little Words (1950) is one of CHICAGO BLUES: of touring which closed in the early the best in the pack. The story takes 1980s; the celebrated Maxwell Street place in 1919 and is about the Tin Pan PORTRAITS AND STORIES Market whose rich history is recounted Alley songwriting team of Bert Kalmar By David Whiteis along with the gentrification of Chicago, and Harry Ruby. The film features their (UNIVERSITY OF ILLINOIS PRESS 2006) expansion of the Chicago campus of songs but takes some liberties with their David Whiteis’ new book, Chicago Maxwell Street and its destruction of this adventures. Stars Fred Astaire (as Blues: Portraits and Stories, is a col- historical area with a promise of a Kalmar), Red Skelton (as Ruby), Vera- lection of portraits of blues performers restored and improved, but ultimately Ellen, Arlene Dahl, and Debbie and venues that provides a sense of the sanitized, area. Whiteis’ bittersweet ac- Reynolds. Among the most familiar diversity of the Chicago blues scene count of the last day of Maxwell Street songs featured are “Who’s Sorry Now,” with an emphasis on its evolution as a brings the community that the Univer- “Three Little Words,” and “Neverthe- living tradition among the city’s Afri- sity destroyed alive for us. The final less.” can-American community. There are chapter of this part, Clubbing the Cur- Ziegfeld Follies (1946) features chapters devoted to departed masters rent Chicago Scene, provides sketches Fred Astaire, Lucille Ball, Lucille as well as to a number of contempo- of different venues including the Delta Bremer, Fanny Brice, Judy Garland, rary performers representing a diver- Fish Market and its successor, Wallace’s Kathryn Grayson, Lena Horne, Gene sity of approaches to the blues, and in Catfish Corner; the Starlite Lounge and Kelly, Red Skelton, Esther Williams, the process provides an enlightening the late Harmonica Khan who was a star William Powell (as Ziegfeld) and others overview of a still evolving blues scene in this neighborhood juke; and then tak- in a revue format of comedy sketches and tradition. The portraits are derived ing in Denise LaSalle’s show at East of and musical production numbers with from articles that Whiteis wrote for a the Ryan which includes a nice over- no real story line. High points are Lena variety of publications including the view of her career in addition to his per- Horne’s singing of “Love,” the song & Chicago Reader, Juke Blues and Liv- ceptive analysis of her oft salty perfor- dance team of Fred Astaire and Lucille ing Blues, and it would be welcome for mances that, like those of other mod- Bremer doing “Limehouse Blues” on an no other reason than making these ern soul and blues artists, transcend the elaborate Chinatown set, and a hilari- available, but the book is more than dichotomy between sacred and pro- ous comedy sketch (“A Sweepstakes that. fane. Ticket”) starring Fanny Bryce and The first part of Chicago Blues is The Next Part, Torchbearers is in Hume Cronyn. Songs are by Harry devoted to Elder Spirits, and includes Whiteis’ words, ”the heart of the book.” Warren and Arthur Freed; George and chapters on Junior Wells, Sunnyland The portraits of currently active per- Ira Gershwin; Ralph Blane and Hugh Slim and Big Walter Horton. What is formers who carry on the traditions of Martin; and Kay Thompson and Roger surprising is how little has been written the elders. Perhaps these are not all Edens on these three and Whiteis’ chapters are major stylists but each “is representa- Till the Clouds Roll By (1946) tells welcome for recounting the lives of tive of the music that remains preva- about the music and life of composer these pioneers and masters of the post- lent on the contemporary scene, and Jerome Kern and features about 25 war Chicago blues scene. As Whiteis each one’s story exemplifies important stars, including Judy Garland, Lena notes, these three mentored him as he facets of the ‘blues life’ as it is lived by Horne, Van Johnson, Tony Martin, developed a knowledge and love of the contemporary artists… .” Chapters de- Dinah Shore, Frank Sinatra and Robert blues, and his affection for them is ob- voted to Jody Williams, Bonnie Lee, September/October 2006 • Issue 286 PAGE SEVENTEEN Billy Branch, Sharon Lewis and Lurrie Hang On...We Are Not Done Yet! than 23 minutes and gives each player Bell, give us an insight into their personal well-executed moments in the spot- histories, the ups and downs they have light as they freely improvise, shift faced and how they continue to preserve MORE tempos, add surprises and excel on with their art. It is a reminder that blues their instruments. is more than “just notes” or “just a feel- Anderson’s DVD was recorded at ing,” devoid of any broader context. Of CDs & DVDs his old Velvet Lounge, then at 2128 Ω course, one has to be a bit careful in S. Indiana. The club was soon to be objecting that the music’s cultural his- demolished and re-established on tory is obscured and challenging the nearby Cermak Road this year. The success of some teenage white prodi- FRED ANDERSON, DVD contains an interview with gies while veteran blacks stay in obscu- HARRISON BANKHEAD, Anderson—a brief but informative oral rity and then be labeled as an ‘ignorant HAMID DRAKE history that reveals his personal ex- racist,” as Billy Branch, one of the most periences and his musical path. This eloquent teachers of the blues as well Timeless: project is also available as a Delmark as a blues performer of the highest or- Live at the Velvet Lounge CD. Nancy Ann Lee der. Chapters on Bonnie Lee, who first DELMARK DVD OR CD came up under Sunnyland Slim and later Tenor saxophonist Fred Anderson DAVID ‘FATHEAD’ was associated with the late Willie Kent delivers four tunes (about 66 minutes and Sharon Lewis, were revelatory about total) with bassist Harrison Bankhead NEWMAN two women who keep doing what they and drummer Hamid Drake, recorded Cityscape love to do the most, while the chapter before a live audience in July 2005. HIGHNOTE on Lurrie Bell detailed the travails of his Three cameras superbly capture the David ‘Fathead’ Newman has cer- life as well as his triumphs (musical and well-lit stage activities and Steve tainly come a long way from his ini- personal). Wagner’s editing makes the visuals tial appearance on wax, a session by Part IV,”The Soul Side of Town, is flow smoothly. Texas Blues Man, Zuzu Bollin (and devoted to Artie ‘Blues Boy’ White (who As for the musicians, Anderson Newman played on Bullin’s rediscov- notes even down south some of the ven- gets a nice, hearty tone from his tenor ery album decades later). Best known ues he used to play have closed), Cicero as he works his way through his free- for his fat sound while a member of Blake and Little Scotty (the later a so- jazz improvisations. Hunched over Ray Charles’ legendary band in the cial activist as well as singer). The book and blowing streaming phrases and late fifties and early sixties, Newman concludes with a’Coda, as Whiteis ru- short bursts, he plays before a small has had a distinguished career since minates on the current state of the mu- audience in his club that used to be a leaving Charles and continues to per- sic and its future, observing that there neighborhood bar (Tip’s Lounge). form and record showing little dimi- seem to be new obstacles today to the Anderson tended bar there for an old nution in his music. music surviving, but also reminding us family friend who died in 1981. After- His latest HighNote release has that the blues seems to have this ability ward, Anderson took over the bar and him on tenor, alto and flute, leading a to reinvent itself, and its new manifesta- started offering music, but it would be septet which includes his rhythm sec- tions and performers may confound us awhile before his venue would become tion of David Leonhardt on piano, and our expectations of what the blues of one of Chicago’s most notable jazz John Menegon on bass and Yoron should be, “yet again reveal itself to be clubs. Isreal on drums. They are joined by a musical language that, once incubated Anderson is a storyteller whose Howard Johnson on baritone, Benny and nurtured in its cultural milieu, can phrasing style is almost conversa- Powell on trombone and Winston Byrd expand its scope and speak to a univer- tional. His tonalities are crisp and on trumpet and flugelhorn. The notes sal audience.” clear and you hear influences of the observe that the septet format recalls Chicago Blues: Portraits and Sto- AACM (Association for the Advance- the classic Ray Charles band of the ries, is invaluable for its lively, informa- ment of Creative Musicians), a con- fifties that Newman was part of, al- tive portraits of a variety of performers tinuing cadre of black musicians though a comparison that perhaps that help us appreciate aspects of the formed in the early 1960s. The seem- raises false expectations as this band blues life. Furthermore, it raises signifi- ingly shy tenor man doesn’t resort to is more of a straight Hard Bop aggre- cant questions of what the blues is, that aggressive high-pitched hawking and gation that does not have the tight goes beyond the current trend of focus- squealing. Instead, his playing is de- sound of Charles’ legendary band. ing on playing notes and ignoring the liberate and very musical, mostly There is a nice mix of material in- culture and community the blues arose emanating from the mid- and lower- cluding originals as well as standards out of. register, and his ideas are fertile and such as the opening rendition of the As Whiteis reminds us, the music engaging. He and his trio mates are theme from the James Bond movie, is still deeply rooted there and contin- fascinating to watch as they respond Goldfinger, Billy Strayhorn’s lovely A ues to live and evolve, aiding us to ap- to and spur one another. Flower is a Lonesome Thing and It Was preciate the music in a deeper and more Although all of their performances a Very Good Year, that most associ- knowledgeable manner. here are superb, the exciting ancient- ate with Frank Sinatra. Goldfinger is Ron Weinstock to-modern finale (the title tune) is a an attractive but hardly startling fea- End of Pt. 1 - More of the Gift Guide next month! breakout number that lasts for more ture for Newman who sounds stron- PAGE EIGHTEEN September/October 2006 • Issue 286 ger on flute with a bit of Mid-Eastern able performance on Earl King’s Come ers like Lee Allen Zeno on bass, Herman flavor for the lively Pharoah’s Gold, On, but a younger Nulisch simply had Ernest III, Shannon Powell or Raymond with Howard Johnson providing an not developed the authority that Myers Weber on drums, David Torkanowsky arrangement of the 5/4 Claude brought with his singing and harp as on keyboards, Kaz Kazanoff on sax. Johnson theme, while Newman’s evident on A Man Needs His Loving, Oddly the only number from Black Top tenor caresses the Strayhorn classic Moose John Walker’s Ramblin’ Woman that had South Central, his working with the muted horn riffs of the others or Buddy Guy’s reworking of Barrett band of the nineties, was a credible ren- adding atmosphere. Strong’s Money, $100 Bill. Additionally dition of Hey Joe, a tribute to Hendrix Howard Johnson’s original, Here Myers brought his considerable harp which is ok, but there are some other Comes Sonny Man, has Newman on talent to the recordings and live dates. selections that are missing, especially alto on a number that sounds like it Anson himself displays his sizzling play- his rendition of Al Kooper’s (I Love You) could have been written as a theme ing as well as his impeccable taste, More Than You’ll Ever Know, derived for a seventies TV show. Newman re- and is featured on Down at JJ’s. While from Donny Hathaway’s recording. turns to tenor on a romantic It Was a the backing personnel changed over the Hathaway was a major influence on Very Good Year, which suggests that years, they remained a tight, swinging Shorty as a singer, but you would never in his golden years, Newman still re- outfit. There are numerous pleasures to know it from most of which has been mains an authoritative player. Another be heard on all 17 selections, which are written about him that focuses on his flute feature is Newman’s original, compiled from all nine Rockets record- guitar playing and Hendrix connection. Flankin’, dedicated to his wife’s late ings, including selections from the two Given the more rock-oriented produc- mom where he is backed just by his Bullseye Blues albums and the two with tion of his recent recordings, his vocals rhythm trio. Nulisch. One certainly hopes that at also suffer. But if this gem had replaced While the septet here perhaps least a few of the Rockets CDs featur- the tracks from the Evidence album, lacks the tightness and authority that ing Sam Myers including Sins, Rack then the title would be more accurate Ray Charles Band had, this is a strong ‘Em Up, and Tell Me What I Want to as opposed to really being Almost The set of straight-ahead jazz that should Hear, are issued in their entirety. Best of Guitar Shorty. Still this will have please many. Ron Weinstock David Kearney, best known as Gui- to do until Topsy Turvy and Get Wise tar Shorty, was among the three major To Yourself are reissued. The JSP may ANSON FUNDERBURGH rediscoveries that Black top made still be in print. (Robert Ward and Bobby Parker are the Ronnie Earl has established a & THE ROCKETS other two). The Florida born singer- lengthy catalog since leaving Roomful GUITAR SHORTY guitarist was heavily influenced by Gui- of Blues with albums on Bullseye Blues, tar Slim who made some choice record- Telarc and Stony Plain in addition to his RONNIE EARL ings for Cobra Records and the LA fine discs on Black Top. On Heart and The Best Of… based Pull label. For a period he was Soul; The Best of Ronnie Earl we hear BLACK TOP REISSUES married to Jimi Hendrix’ stepsister and Earl expanding his musical palette in- SHOUT FACTORY would swap ideas with the future leg- corporating jazz influences in his play- Shout Factory has been reissuing end. Kearney had recorded a wonder- ing and repertoire over the years lead- product from the catalog of the Black ful My Way or the Highway for the En- ing to his instrumentally recordings of Top label, arguably the label that from glish JSP label before joining Black Top recent years. Vocalists supported by the mid-eighties through its demise in where he recorded three albums, Topsy Earl include, Sugar Ray Norcia, with the nineties, had the strongest catalog Turvy, Get Wise To Yourself, and Roll whom Earl recorded as Ronnie Earl of blues releases in that period. Earlier Over, Baby. After leaving Black Top, Horvath in the late seventies before he releases included the discs of Solomon there were live albums on Collectibles joined Roomful of Blues, handling Gui- Burke and a Hubert Sumlin. Three new followed by Evidence’s I Go Wild and tar Slim’s You Give Me Nothing But the releases are “Best of” collections cen- more recently he signed to Alligator. Blues; Darrell Nulisch on the fittingly tered on three of the label’s artists that Shout Factory’s The Best of Guitar titled Soul Searchin’; Kim Wilson on I do include recordings these perform- Shorty: The Long and Short of It, is Smell Trouble; and Mighty Sam McClain ers made for other labels. taken from the JSP album, the three on the stunning Earl original, A Soul It was ironic that I received, Blast Black top CD and the Evidence. It is That’s Been Abused from Hubert Off — The Best Of Anson Funderburgh not as consistent because Shorty’s lat- Sumlin’s Blues Party. Instrumental fea- & The Rockets the day word that Sam ter albums are more tailored for rock tures include a wonderful interpretation Myers, the great Mississippi vocalist had audiences and lack some of the subtle of Earl Hooker’s Blue Guitar as well as passed away. Its odd that this reissue touches and superior bands used by trading licks with Duke Robillard on does not mention featuring Sam Myers Black Top. Even still, the stunning re- What have I Done Wrong, from a 2005 which appeared on most of the Rock- make of Hard Life, You Better Get Wise Stony Plain recording, before closing ets discs after Myers joined Anson and to Yourself, Swamp Dogg’s I Want to with an instrumental rendition of Drown his varying lineup, especially since the Report a Crime and a duet with Carol In My Own Tears, that features the great band took off as one of the preeminent Fran, I’m So Glad I Met You are all fine David ‘Fathead’ Newman. I am not sure blues bands after Myers became fea- selections. The two cuts from the JSP whether this is really a Best of, but it tured. Not to say that the band was disc, No Educated Woman and Red Hot certainly is a solid career retrospective shabby with the original vocalist Darrell Mama, are almost equal to the Black of Mr. Earl’s music. Nulisch who certainly turns in an ami- Top discs but using such first-rate play- Ron Weinstock September/October 2006 • Issue 286 PAGE NINETEEN September/October 2006 • Issue 286