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Home , 2006 in jazz, Airegin, Alto Madness, Basie Big Band, Cameron Brown (musician), Carter Jefferson

march/april 2006 issue 280 free now in our 32nd year

& report www.jazz-blues.com

Jason Moran and The Bandwagon

Randy Weston Yellowjackets PLUS...Regina Carter, Bela Fleck & the Flecktones, Manhattan Transfer, , Rebirth ...Jazz Meets Hip-Hop, Jazz Brunch & more... Get The Scoop...INSIDE! Published by Martin Wahl Communications

Editor & Founder Bill Wahl

Layout & Design Bill Wahl

Operations Jim Martin Pilar Martin Contributors Michael Braxton, Mark Cole, JazzFest Time is Here Chris Hovan, Nancy Ann Lee, Festival is Expanding to Year-Round Live Jazz Peanuts, Mark Smith, Duane Verh and Ron Weinstock. For close to three decades now, mance by the Manhattan Transfer Jazz & Blues Report has featured will be held at the Ohio Theatre on Check out our new, updated web the Tri-C JazzFest in our issue at page. Now you can search for CD Saturday, April 22. Tri-C JazzFest Reviews by artists, Titles, Record this time every year. Once again, we Cleveland officially kicks off on Labels or JBR Writers. Twelve years are happy to announce yet another Wednesday April 26 at 5 p.m. with a of reviews are up and we’ll be going edition of this premier jazz festival, New Orleans-style “” pa- all the way back to 1974! and their expansion to year-round rade, complete with fans, admirers jazz. and festival revelers. Leading the Tri- Now in its 27th year, Tri-C Address all Correspondence to.... C JazzFest Second Line is the Re- Jazz & Blues Report JazzFest Cleveland has been a dy- birth Brass Band, who will end the 19885 Road # 320 namic force in cultivating the next procession at the House of Blues for Rocky River, Ohio 44116 generation of jazz music lovers a swinging party with The Tri-C Jazz Main Office ...... 216.651.0626 through its extensive offerings of All-Stars as special guests. Editor's Desk ... 440.331.1930 performances and wide range of [email protected] educational programs. Tri-C Web ...... www.jazz-blues.com JazzFest Cleveland is known inter- Copyright © 2006 Martin-Wahl Communications Inc. nationally for presenting world-class jazz performers — from the young No portion of this publication may be reproduced without written permission lions to legends of jazz. from the publisher. All rights Reserved. This year’s festival has ex- panded to a full year of jazz – not Jazz Report was founded in Buffalo New just two weeks in April. The first an- York in March of 1974 and began in Cleve- nual Jazz Picante Weekend was land in April of 1978. We are subsidized solely through advertisement and ask that held in November 2005. This full you support our advertisers. weekend of sizzling latin jazz fea-

tured NEA Jazz Master Paquito a W division of artin-Wahl D’Rivera, ’s Latin Leg- c o m m u n i c a t i o n s ends with Alfredo De La Fe and Yomo Toro, dance parties, salsa dance lesson and more. Two excit- ing weekends of entertainment are NEA Jazz Master Randy "Buffalonious" planned for April highlighting our Weston’s African Rhythms and the more traditional and well-known jazz Gnawa Master Musicians of Original mascot from performers. Also new this year, hit the Metro Campus Auditorium on the Jazz Fest will host the first annual Thursday, April 27 at 7:30 p.m. Buffalo Jazz Report Summer JazzFest Weekend July Weston, influenced by days – mid '70s 21-22. and , has developed Created by JazzFest continues its star- a unique rhythmic style of jazz. A Christine Engla Eber studded line up of performances in style that’s a perfect compliment to April. To whet the appetites of jazz the music of the Gnawa Master Mu- Watch for new t-shirts bearing his image–coming soon! lovers, an 8 p.m. pre-festival perfor- sicians of Morocco with their power- PAGE TWO March/April 2006 • Issue 280 ful mixture of religious Arabic songs and African rhythms, trance music tinged with mysticism.

DIANE SCHUUR REGINA CARTER all wrapped into one exciting perfor- mance. Special guest performer Regina & THE BANDWAGON New for the Tri-C JazzFest is Carter provides a fresh, aggressive approach to the violin and a JazzFest shifts into high gear on “Aesop Bops” with David Gonzalez multicultural perspective as she ex- Friday, April 28 with a 6:30 perfor- at 10:30 a.m. on Saturday, April 29 plores musical combinations and con- mance by the multi award winning at the Ohio Theatre at Playhouse texts that are both familiar and unex- Jason Moran and the Bandwagon Square Center. This extraordinary pected. at the Museum of Contemporary Art. performance is “jazz for kids” and Also on April 29, Jazz Meets Hip- Truly a young lion, Moran’s some- is geared towards families attend- Hop, Part 4, featuring Bill Ransom times edgy renditions bring the di- ing the festival with children. and the Cincinnati-based hip-hop verse elements of jazz into a new Another first for Tri-C JazzFest band Iswhat?!, takes the festival to age. According to Rolling Stone, is the “Debut Series” at 3 p.m. on another level starting at 10 p.m. at the Moran is “the most provocative Saturday, April 29 that features Eric Beachland Ballroom. This creative thinker in current jazz.” Person & Meta-, and Neal Smith. This unique series gives performance fuses old school jazz, jazz lovers a preview of great per- socially enlightened rhythms and beat formers who are soon-to- be jazz box mastery for a performance that is headliners and is presented free of “downright stunning.” charge at the East Cleveland Pub- Sunday, April 30 rounds out the lic Library. festival with a Sunday Brunch with T.K. Blue, and Sayuri Goto at 11 a.m. at the Ritz-Carlton’s Silver Grille. The April festival con- cludes with a 3 p.m. performance by the Mulgrew Miller Trio at the East Cleveland Public Library. For tickets and information about Tri-C JazzFest Cleveland, call 216- 987-4400 or you can visit online at www.tricpresents.com. As America’s premier educational jazz festival, Tri-C JazzFest Cleveland has many free educational offerings that include adjudication/performance workshops, clinics and seminars, the annual jazz education field trips. A THE YELLOWJACKETS host of free concerts include: BELA FLECK & THE FLECKTONES Later in the evening on April 28 April 28 – Randy Weston Lecture/ Grammy Award-winning Diane Wildly popular Béla Fleck and Performance at Showtime at High Schuur will perform with the Carib- The Flecktones bring “blu-bop,” the Noon bean Jazz Project, led by vibraphon- mixture of jazz and bluegrass to the April 29 – Downbeat Magazine In- ist and marimba player Davis State Theatre Saturday, April 29 at vitational Concerts Downbeat Maga- Samuels. Also appearing with Shuur 7:30 p.m. The eight-time Grammy zine Blindfold Test as special guest are The Award winning Fleck has been nomi- April 30 – Mulgrew Miller Trio Yellowjackets, acclaimed by Bill- nated in more categories than any- Performance board Magazine as “...an elastic out- one in Grammy history as evidenced For information on free JazzFest ing of music that is straight-ahead by his creative energies in blue- Education programs, contact Alice and fusion, composed and impro- grass, jazz, pop, rock, world beat Backus, Education Director, at 216- vised, imaginative and adventurous,” and classical music. 987-3206 or [email protected]. March/April 2006 • Issue 280 PAGE THREE At the Rock Hall... Stepping Stones The following exhibits have been added at the Rock & Roll Hall of COLUMBIA/LEGACY Fame and Museum. Back in my early days of concert promotion I had the extreme pleasure Rick Nelson: From Idol to Icon of booking the Woody Shaw- – now open – In remembrance of We only bring you Quintet into the old Tralfamadore Cafe, Rick Nelson’s untimely death 20 a wonderful small basement dive in Buf- years ago on New Year’s Eve, the the Cream of the Crop! falo NY. It was around 1976-77 and Museum is paying tribute to this trumpeter Shaw, who had some fine al- early pop icon with an exhibition of bums on the Contemporary and Muse never before seen artifacts. The ex- hibit is on the Museum’s Main Ex- in his own name, had a stellar lineup of hibit Hall and includes costumes, in- Rene McLean/saxes, Ronnie Matthews/ struments and handwritten lyrics. , /bass and the great Louis Hayes/drums. It is to this day George Harrison and the Con- some of the hottest, most memorable cert for Bangladesh – now open – music I have heard - and we got to hear The Concert for Bangladesh was the it for four nights straight. About a year first major benefit concert of its kind later, Shaw and that same band, minus and paved the way for Live Aid, Farm McLean, would back at Aid, Live 8 and the other rock aid the Village Vanguard in NY for the live events that came later. The Concert for Bangladesh brought together an recording of his double LP Homecom- extraordinary group of major artists SAFFIRE – THE UPPITY ing for Columbia. I was lucky collaborating for a common humani- enough to be invited by Maxine Gregg tarian cause. Organized by George BLUES WOMEN (Woody’s manager and future wife) to Harrison, the event sold out Madison Deluxe Edition the Vanguard for that recording. Square Garden in , ALLIGATOR Soon after, Woody himself was generated millions of dollars for This -based bevy of blues- signed to Columbia. This association UNICEF and raised awareness for belting, (worldly) wise-crackin’, (ex- would result in four excellent studio al- the organization around the world. tremely) middle-aged mamas have now bums and this live recording - also done The concert also resulted in a been rightfully enshrined in their label’s at the Village Vanguard - on two nights Grammy-winning triple-album box excellent showcase series. Well on their in August of ’78. By now the band had set and feature film. way to coronation as grand dames of changed from the Tralf shows - changed Sam Cooke: A Change is modern-day blues, Ms’s Adegbalola, completely in fact, except for Woody, of Gonna Come – now open – In cel- Rabson, Lane (and Lewis) updated the course. But the calibre of musicians was ebration of American Music Masters classic blues diva persona to her con- just as good. On hand for these Vanguard honoree, Sam Cooke, this exhibit temporary feminist conclusion with shows were /saxes, features items from Cooke’s career, style, extreme wit and (oh yeah) a raft Onaje Allen Gumbs/piano, Clint Hous- some of which are on display for the of vocal and instrumental skills. ton/bass and /drums. Play- first time anywhere, including com- True to the series, Saffire’s program ing a set of seven songs, all composed mendations and music industry here is more a cross-section of their by Shaw or members of the band (ex- awards, wardrobe items and other catalog than an anthology. It makes for cept for McCoy Tyner’s “Blues for Ball”), personal belongings, in addition to a tasty program in its own right blend- the quintet is on fire right out of the gate contracts, photographs, advertise- ing the group’s searingly funny man/ on Shaw’s “Stepping Stone.” One of ments, concert programs and woman invective: “(No Need) Piscine’ Woody’s fine waltz compositions follows, records. Highlights from the collec- On A Skunk”, “Bitch With a Bad Atti- “In A Capricorn Way,” with the leader tion include the tuxedo Cooke wore tude” with top-notch acoustic works of taking off on a scorching trumpet solo in the early 1950s while a member perennial gems including “T’aint just after the very lyrical head, followed of the Soul Stirrers, his William Mor- Nobody’s Business” and “Is You Is Or Is by the more rhythmically complex Vic- ris Agency contract from 1960, one You Ain’t My Baby”? In addition, the la- tor Lewis vehicle “Seventh Avenue.” The of his signature red sports coats and bel gets points for avoiding the “previ- next three songs, Gumbs’ “All Things the ukulele he used to compose ously unreleased” ploy. Like the rest of Being Equal Are Not,” Houston’s “Es- music while on the road. the series, Saffire’s volume is great for cape Velocity” and the Tyner tune men- Unless otherwise noted, all tick- newbies, and fans of long standing might tioned above are CD bonus tracks which ets can be purchased at the Museum want all these tracks in just one setting. were not on the original LP version. The box office or by calling Ticketmaster Duane Verh show closes with Woody’s “Theme For at 216.241.5555 See Saffire in concert Sat., March 25 at Maxine,” another lyrical waltz written for For more information on con- 8 p.m. at Tri-C Eastern Campus Perform- Gregg. It is short, but sweet - running at certs and special events call ing Arts Center, 4250 Richmond Road at about a minute, acting as his break tune. 216.515.8444 or visit online at I-271. For more information, call 216-987- After Woody’s final Columbia album, www.rockhall.com 4400 or visit www.tricpresents.com. United, his association with Columbia PAGE FOUR March/April 2006 • Issue 280 March/April 2006 • Issue 280 PAGE FIVE ended, but he went on to record many there is a nice solo break. Other come and dance with him, playfully de- more , returning to Joe Fields’ highpoints include the humorous dig at livered. What is Love? is another ballad as well as several other his Mother-in-Law, who finds nothing by Watson who delivers it so well. Voo- labels. Tragically he fell in front of a New good about Johnny, the ballad In the doo What You Do is a love song to his York City subway train in 1989 and died World, which shows how romantic (yet woman sung so sexily about what his in the hospital of his injuries. True, he still bluesy Johnny was and perhaps why woman does to him. The extra tracks was legally blind, but no one really singers like Etta james were influenced are Watson’s soulful interpretation of knows what happened that night, and by him) and the rendition of I Don’t Want Percy Mayfield’s classic blues, Please everyone who knew him said it definitely to Be President, co-written with Percy Send Me Someone to Love, and Chill Me was not suicide. He was indeed a great Mayfield who recorded it earlier, with his Out, are the two previously unissued trumpet player, and left us with some complaints that he would not care so selections on the disc. Ron Weinstock likewise great music. We are fortunate much about Congress knowing who he to still have more released - such as this was visiting but what would he tell his CITY RHYTHM ORCHESTRA first-time-on-CD reissue, and the recent wife. Two previously unissued tracks, Live-Volumes 1-4 discs on HighNote Watsonian Institute and The Funk I Know W/ JOEY DEFRANCESCO (Joe Fields’ label today.) are added to the original seven tracks. Vibrant Tones Other than the Gumbs ballad, this Love Jones is another new Watson LIMEHOUSE RECORDS stuff pretty much burns throughout. The reissue and opens with a nice piece of Hammond B3 expert, Joey band was hot and tight, and the solos funk, Booty Ooty, celebrating some fine DeFrancesco performs with the City were fantastic. This is modal lady’s shaking of her body to the music. Rhythm Orchestra on this attractive 2- at its best. I had previously acquired all The title track is an other soulful ballad, disc set containing a CD and DVD of of Shaw’s Columbia Studio recordings while Going Up In Smoke is a funky separate performances. DeFrancesco’s on the now out-of-print Mosaic box set groove about big money wasters, and artistry is well-known and respected and released in the early ’90s. This gem com- Close Encounters sports a latin-tinged he meshes well with the bold, bluesy pletes the CBS collection. Strongly groove as Watson sings about a close bravado of this band. recommended...for you...for anyone who encounter of the wrong kind and being The 2001 studio-recorded CD fea- likes the real stuff. Bill Wahl a fool losing his cool. Asanta Sana is a tures twelve tunes and the DVD repeats fascinating African flavored number some of them in a 2003 live-recorded, JOHNNY ‘GUITAR’ WATSON done before such world beat perfor- outdoor concert captured along the mances were common and again indi- Delaware River in Camden, NJ. The 18- What the Hell Is This? cating how ahead of his time Watson musician unit (with DeFrancesco) em- Love Jones was. Telephone Bill is an amusing rap bodies the passion and sound of a mod- Johnny “Guitar” Watson And based on his phone bill getting too high ern as they deliver rousing ar- The Family Clone when he called a new lady against a funk rangements of favorites such as “Senor SHOUT! FACTORY groove. Lone Ranger is an update of a Blues,” “Billie’s Bounce,” “Moanin’,” After the excellent retrospective of track he first did for Fantasy about cruis- “One Mint Julep” and more, all arranged Johnny ‘Guitar’ Watson’s later record- ing the world with a stranger, and no one and transcribed by Joe Matt. One of the ings, The Funk Anthology, Shout Fac- wanting to be a lonely one. Jet Plane best CD tracks is a blasting version of tory has started to issue his seven DJM (“There is a Jet Plane bound ’s “Blues in Hoss’ Flat.” In addition albums as well as his last album. heaven,”) is a reworking of the gospel to spotlighting more soloists, the 11-tune Among those that have been issued number “This Train.” Children of the DVD features DeFrancesco crooning on is What the Hell Is This? The title track Universe has an autobiographical lyric “Pennies From Heaven” and closes with of this 1979 release has a topical lyric about growing up in and seeking the throbbing full-band masterpiece, akin to Ain’t it a Bitch and A Real Mother to become an entertainer. Funky Blues “Peter Gunn.” For Ya. The lyric is delivered in a sung- and an Untitled Mix are previously unis- Founded in Philadelphia, the City spoken manner that anticipates rap and sued selections, with the blues being a Rhythm Orchestra has been performing nice slow instrumental that sports some for nearly 20 years. The band works at nice guitar and judicious use of a guitar , jazz festivals and in concert Cleveland Fats vocal decoder (hope I indentified this venues and has released several previ- The Schwartz Brothers correctly), although it ends somewhat ous CDs over the years, including a 1997 abruptly. live-recorded concert performance DC and the The final reissue is Johnny “Guitar” documented on Swinging Blue. Continentals Watson And The Family Clone, on which Led by Nick Vallerio and Pete Spina, Watson actually plays all of the instru- this is a superb band commendably For Bookings Contact ments except drums except for one driven by traps man Mike Nigro. The track. The title is a tribute to Sly and the CRO works as a tight team, features fine HONEYBEE ENTERTAINMENT Family Stone. Forget the Jones has him soloists, and offers dazzling section work 4786 Dressler Rd #145 philosophizing about not worrying about and satisfying big band sounds. The DVD Canton, OH 44718 what the Jones are doing, while Come is a welcome touch; seeing this band in 330-904-0454 and Dance With Me is a nice funk num- action adds to the enjoyment of their [email protected] ber with Watson using the guitar vocal music. DeFrancesco’s esteemed artistry decoder again as he asks the lady to is icing on the cake. Nancy Ann Lee PAGE SIX March/April 2006 • Issue 280 EXQUISITE NEW RELEASES FROM BLUE NOTE! Coming March 21 Coming April 4 Coming April 4

Best of Lou Rawls, Lou Rawls Remember, Pat Martino Thunderbird,

Solo, Gonzalo Rublacaba Time Lines, Andrew Hill Indigo 4, Gianluca Petrella THE 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. Six more RVG Editions have just been released. If you think you’ve heard these gems before, listen again.

Gettin’ Around, Dexter Gordon Smokestack, Andrew Hill Workout,

The Gigolo, Horace-Scope, Quintet Joyride, Plus...Six More RVG Titles Just Released February 21 Mosaic, • A Swingin’ Affair, Dexter Gordon • Dippin’, Hank Mobley • Tom Cat, Lee Morgan • Silver’s Serenade, Horace Silver • Softly As A Summer Breeze,

March/April 2006 • Issue 280 PAGE SEVEN WATERMELON SLIM ELLIS HOOKS Watermelon Slim & the Workers Godson of Soul NORTHERN BLUES EVIDENCE MUSIC Since he wrote most of the songs on this eponymously Ellis Hooks has certainly developed a buzz with his soul- titled CD, I assume William Homans is Slim’s real name. I inflected music. The Alabama native has busked in the streets had heard of Slim since Chris Wick contacted me to promote overseas and New York and caught the attention of writer, musi- his nomination for a W.C. Handy Award (Now known as the cian and producer , who has helped put together Hook’s Blues Music Awards). latest Evidence CD With his newest release, I finally have a chance to listen Anchored by a studio band featuring producer Tiven’s gui- to him and I am more than impressed. First of all there is an tar, keyboards and harp, the 14 originals (Hooks & Tiven col- authority to his singing as well as his sharp harp and slide laborations with Marty Brown, and Charlie guitar playing. His singing suggests Sam Myers to my ears, Feldman each assisting on one of the 14 tracks). Cropper, Bobby not to suggest he imitates Myers, but his voice is similar. He Womack and Memphis Horn brass player are is more than capable of bringing his own voice to blues stan- among those guesting on this. Hooks strength is his raspy sing- dards like Baby Please Don’t Go or Fred McDowell’s ing lending the blues and funk-driven grooves some authentic- Frisco Line. Devil’s Cadillac, a collaboration with drummer ity whether singing about going to Vegas and being a High Roller, Michael Newberry, has evocative lyrics about the crossroads the bluesy feel of Black Nights, Blue Moon, or the uptempo groove to go with the trebly slide guitar heard here as the Workers of Litta Bitta Lovin, which goes a long, long way. There is noth- provide a light, Latin-groove. The Workers also include gui- ing fancy here, but rather a mix of blues and soul with a touch of tarist Ian lamb and drummer Cliff Belcher with Dennis Boryki rock thrown in. guesting on piano. Check Writing Woman is a terrific rocker The backing perhaps does lend a sameness to some of the with some rollicking piano and some fleet Tornado Alley gui- music here and it may best be sampled listening to several tracks, tar from Lamb and driving harp from Slim. Possum Hand is a rather than straight through. Otherwise this is recommended to nice instrumental that displays more of Slim’s fine harp play- those who like bluesy soul or soulful blues. Ron Weinstock ing. Listening to this disc, I can understand why Northern Blues’ Fred Litwin was excited after hearing him perform. ANDREW HILL Watermelon Slim brings a lot of things to this set as a Time Lines songwriter and a performer and has put together some ter- BLUE NOTE rific tracks. This gets a high recommendation. Pianist/composer Andrew Hill recorded a slew of very Ron Weinstock memorable albums for Blue Note during the sixties, including such classics as Point of Departure and Judgement. One of his earliest recordings for the label, Smoke Stack, was just Jeru reissued in the Rudy Van Gelder series (RVG) of reissues on COLUMBIA/LEGACY February 7. Hill’s music often found its way onto my radio recorded for the Jazzline label, this reissue fea- show in the ‘70s, especially the aforementioned Point of De- turing baritone saxophonist Gerry Mulligan in a 1962-recorded parture, which included Joe Henderson and . This studio session with pianist , bassist Ben new release from Hill reminds me of that album, perhaps mostly Tucker, drummer Dave Bailey and percussionist Alec Dorsey, because the instrumentation is very close to the same. Now marked the first time Mulligan recorded with piano and with- 68, Hill has assembled a prodigious quintet which includes out other soloists. Charles Tolliver/trumpet, Greg Tardy/tenor sax, clarinet and Performing seven tunes by (the bossa nova bass clarinet, John Herbert/bass and Eric McPherson/drums. “Capricious,” the languid “Inside Impromptu”), Cole Porter The music, eight Hill originals, are all rather moody pieces (“Get Out of Town”), and Mulligan’s original, “Blue Boy,” the somewhat approaching the lines, but never really group swings heartily and with smooth finesse. “Here I’ll Stay,” “out” or what you could term as avant garde. These are more a melodious, lesser-known gem by Alan Jay Lerner and Kurt like euphonic tapestries, and, unlike the Departure album, Weill, gives Mulligan vent for some warm, enveloping expres- most are done at slower tempos. But, much like the Depar- sions. The set closes with “Lonely Town,” a gorgeous number ture album, the horns are marvelous, often delivering quite from the musical comedy On The Town; it launches as a sul- melodic ensemble passages. The bass clarinet is definitely a try ballad and steps up tempo to mid-swing. Flanagan’s lyri- nice touch, and how can it not bring Dolphy to mind. It’s won- cal style adds nicely to Mulligan’s cheerful, understated im- derful to hear Tolliver again, a longtime favorite...especially provisations and Bailey, Tucker and Dorsey maintain tidy time- from the Music Inc. days. Hill himself is in great form through- keeping. out, and closes the set with a fine solo piano version of the Tucker and Bailey are the only survivors of this unique tune that the quintet opened it all with – “Malachi.” It has recording, made at New York’s Nola Penthouse Studio on June been a while since I’ve listened to a lot of music quite like 30, 1962 and released on LP later that year. Michael Cuscuna this. It is definitely fun to revisit the arena. produced this reissue and plenty of effort appears to have This CD marks the third Blue Note era for Hill. If this is the been taken with the artwork. Historic photos from the original starting point, we should be in for some real treats to come. session enhance the attractive liner booklet and tray. Liner This is not for the uninitiated, those looking for some swinging notes by Joe Goldberg (1964) and Bailey (2005) add value bop or new renditions of old standards. But then, Hill’s music to the CD. The marvelous music and the nicely packaged never was. That said, the seasoned jazz listeners can stand up disc are destined to please Mulligan fans. Nancy Ann Lee and take note now. Andrew Hill is back. Bill Wahl PAGE EIGHT March/April 2006 • Issue 280 AL ANDERSON Sellers on vocals) will get major expo- After Hours sure. A Web Exclusive Tempos and moods vary, but COLUMBIA/LEGACY Anderson maintains a fairly laid-back Even before his celebrated stint as attitude throughout After Hours. Long- guitarist for the most-eclectic NRBQ, Al time fans be aware- he intends to take Anderson was a masterful songsmith his forthcoming records in a new direc- who took on a number of styles. Back tion (see our interview on the web). Big in his mid-60’s Wildweeds days, he Al has been away far too long. Here’s drew upon the British Invasion, folk- hoping this is just the first of a whole rock and large helpings of slew of new stuff. Duane Verh in plying his trade. On this, his first solo outing in a decade, “Big Al” shows he Read Duane’s interview with Big Al Ander- can still pull a song from most any- son online...see info to the right. where. The Anderson songwriting magic blends well with various collaborators Time Was – Time Is and styles on After Hours. Whatever O MUSIC Big Al Anderson genres he works with or mixes, the big If you don’t expect that you’ll be lis- Duane Verh interviewed Big Al man’s songs always stand taller than tening to an authentic Latin , Anderson, longtime member of their ingredients. While country may be then you might find this 10-tune, bop- NRBQ, a brilliant songwriter & mas- the most pervasive influence on the based studio session by percussionist ter of many genres about his new Co- disc, the big man unsurprisingly brings Ray Barretto exciting. His selections “are lumbia/Legacy CD “After Hours.” Big in sounds that reflect his eclectic na- reflections and extension of the music Al also speaks about just about ev- ture. Jazz fans, in particular, should take (he) experienced in (his) youth.” erything but the kitchen sink. On our to the grown-up straightforward ballads Barretto has assembled a team of website that open (“Love Make A Fool of Me”) fine musicians: Joe Magnarelli (trum- only...to be and close (“Two Survivors”) the set. pet, flugelhorn), (alto posted March Ditto for the big-band workup of “Do sax), Robert Rodriguez (piano), Sean 7 - the release Nothin’ Day,” co-written with Delbert Conly (bass), Vince Charles (drums) and date for the McClinton and featuring guest vocalist Bobby Sanabria (percussion on four new CD. Sharon Vaughn. And if radio knows tracks). Other than the totally refreshed what it’s doing, the tracks “Trip Around “Motherless Child,” these are lesser CHECK IT OUT! The Sun” and “What’s A Thousand known tunes inspired by a Cuban lullaby www.jazz-blues.com Miles” (featuring his pen partner Tia (“Drume Negrita”), a French ballad March FRI 3 ...... ALAN GREENE BAND FEATURING MR. STRESS SAT 4...... 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March/April 2006 • Issue 280 PAGE NINE (“Syracuse”) and a song written for While this may be marketed as tures fine solos from Karolina Barretto’s son (“A Caper For Chris”). blues, it vigorously avoids any of the Strassmayer (flute), Chihiro Yamanaka Additional compositions are by group boogies, shuffles or other concessions (piano) and Norika Ueda (bass). Clari- members. to the post-war marriage between blues netist Anat Cohen shows fluid chops on What makes this album work are the and rock. Instead, the sound is closer to the perky “Moonlight,” a quickened take splendid solos by all, especially Walden traditional folk by way of Appalachia on “What A Little Moonlight Can Do.” whose fluid musings make his instru- with a side of 60’s era Greenwich Vil- Maricle’s traps work and Lisa Parrot’s ment sing and Rodriguez whose roman- lage thrown in for good measure. While baritone sax solo make a swinging “Trail ticism at the keys adds considerable covers by Duane Allman, Little Martha, Mix” (based on “On the Trail”) an agree- warmth to the fare. Nancy Ann Lee and , No Expectations, able listen A lovely Med- We are sad to announce that since this re- seamlessly enter the mix, the tunes are ley (4 tunes) is the album’s centerpiece, view was written Ray Barretto, 2006 NEA mostly self-penned and touch on sounds and its kicking full-band reading of Jazz Master and Grammy-winning Latin jazz as diverse as the playful Leon Redbone “Route 66” is a dazzler. percussionist, died Friday, February 17 at style jug tune Nap Time for Sam, and the Newsom’s arrangements make the Hackensack University Medical Center, with mournful field chant lament of Grinning old seem new and the band and its fine his wife and two sons by his bedside. He in Your Face. A quiet, yet forceful, lis- soloists bring emotion and splendid was 76. ten. MarkSmith musicianship to each piece. Throughout, section work is crisp and tight, rhythms DOUG COX & SAM HURRIE SHERRIE MARICLE & THE are right on, and soloists are superb. This Hungry Ghosts is the fifth CD from New York City-based NORTHERN BLUES DIVA JAZZ ORCHESTRA DIVA and it’s a first-rate recording. While acoustic music lacks the A Tommy Newsom Tribute Nancy Ann Lee sheer visceral impact of its electrified DIVA JAZZ/LIGHTYEAR cousin, that doesn’t mean that it can’t DIVA, an all-female big band, has HARRY MANX be just as compelling. This disc is a case been wowing audiences everywhere in point. Instead of setting sonic hooks since its 1990 founding by Stanley Kay, Mantras For Madmen this music uses intricate, hushed guitars a former manager and relief drummer DOG MY CAT RECORDS About nine years ago to the month, to pull you into its web. Once there, for the Buddy Rich Band. you’re trapped in the spell that Cox and Their enthusiasm and expertise is I was commissioned to write a review for a now defunct magazine in town, re- Hurrie weave with the deft interplay be- palpable throughout this disc of 10 tunes tween their guitars, mandolins and arranged by Tommy Newsom. Included garding a new release by Kula Shaker, a British group that crossed the music of dobros. With impeccable production, the are Newsom’s originals, “Three Shades various instruments come clearly of Blue,” and “Titter Pipes,” as well as Indian with rock. Lo and behold, along come Mantras For Madmen, Harry through the mix so that you can’t help tunes by Duke Ellington, Irving Berlin, but listen as they wrap around each other and others. DIVA’s version of Manx’s sixth release, and it winds up in my assignment box. The irony is that while moving the groove forward. “Pensativa,” a Clare Fischer piece, fea- Manx is taking the music of Indian and Another other side breeding it with the blues. But, not in of Cleveland art.... the purest sense of the concept, mind you. Mantras For Madmen gives a whole new meaning to the term “eclectic,” be- cause it is all of the above with a lot of folk weaved through its audio tapestry. Manx invented an instrument dubbed the Mohan Veena, which is a cross between the sitar and guitar and puts it to good use here, both on the web heavier Indian instrumentals like “Afghani Raga” and “Talkin’ Turban” and the hybrids with vocals included, “San exclusives Diego-Tijuana,” a J.J. Cale number, and “Your Sweet Name,” to cite two ex- amples.

Intra www.i-n-t-r-a.com His duet with Emily Braden on “It Rick Ray Band www.rickray.net Rare Blend www.rareblend.net Takes A Tear” is a highlight, while my Razor Wire Shrine www.pmm-music.net favorite has to be the resurrection of a No Brass www.nobrassmusic.com see the Drumplay www.drumplay.com lost tune by the Band, “It Makes No Dif- Venn Diagram www.venndiagram.net Syzygy www.syzygymusic.com back cover ference,” with Harry giving it a soulful Tony Pulizzi www.justtony.biz workout on banjo. Steve Marriner throws Heritage Drive www.hdrive.biz Blue Jazz www.blue-jazz.com for the details! some solid harp work into the bluesier For inquires... [email protected] efforts, most notably “Where Fools Die”

PAGE TEN March/April 2006 • Issue 280 and John Reischman does the same on year-old improviser, Pino, are superbly Records catalog. Recorded two years mandolin via “Never The Twain.” executed with support from a sterling before his death, King rips through Somewhere the spirit of the late rhythm team. Women Across the River, which he re- George Harrison is smiling over this and, One of nine musical siblings, Stewart corded with Leon Russell; blues chest- if the visual of John Hammond Jr. in a was born in in 1960 and raised nuts like Key to the Highway, Earl King’s turban doesn’t scare you, then Mantras on a farm. He began playing alto at age Let the Good Times Roll, Ain’t Nobody’s For Madmen might be right up your al- 10 and, after his family moved to Califor- Business, which he cut for Atlantic’s ley in terms of taste. Peanuts nia, Stewart won awards for his playing Cotillion subsidiary, Sweet Home Chi- while in high school, gigged with local big cago and Dust My Broom before ending CHRIS STEWART bands, and played other reed instru- this set with Hide Away Medley. This Phoenix: A Tribute to ments. Stewart has created a 21-volume disc also includes an interview with him transcription library of Cannonball’s so- and two acoustic performances, perhaps los out of which this project arose. his only acoustic recordings. King prob- SELF-PRODUCED The selected material, smart ar- ably had the most immediate impact on Alto/soprano saxophonist Chris rangements, talented musicians and pas- rock guitar ( among others “Doc” Stewart is not only a talented mu- sionate solos make this recording a highly was heavily influenced by King’s mus- sician-leader, he’s a prominent emer- enjoyable listen. Nancy Ann Lee cular playing), and he was also a first gency room physician for the Mayo Clinic rate singer who brought plenty of soul Hospital. On this disc, he heads a solid FREDDIE KING to his music. This is so nice to have group featuring Lucas Pino (tenor sax), available again. Ron Weinstock Dan Delaney (piano, Fender Rhodes), Live at the Electric Ballroom, 1974 Chris Finet (bass), and Dom Moio SHOUT! FACTORY (drums). Its been three decades since the AMY BANKS Tunes by the Adderley brothers in- great Freddie King passed away, and the When the Sun Comes Out clude ’s “Work Song” and late blues guitarist’s reputation has per- SELF-PUBLISHED “Jive Samba,” and “Julian Adderley’s haps been lessened with the passing of On her debut jazz release, vocalist “Sack O’ Woe,” “Hamba Nami,” and time, which is unfortunate because few Amy Banks sings 10 tunes, backed by “Domination.” Remaining tunes are by of the guitarists today play with his mix Steve Rudolf or Allen Farnham on pi- Josef Zawinul, , Randy of passion and imagination. Shout Fac- ano, Steve Varner (bass), and Rich De Weston. Stewart arranged all the tunes tory has just issued this CD part of the Rosa (Drums), with guests, Tim Warfield and solos by him and the astonishing 18- label’s reconstruction of the Black Top (saxophone), and Tony Miceli (vibra- Jason Moran... Exclusively on “One of jazz’s great new artists...jazz in the truest sense: chewy, improvisa- tional, percussive, acoustic...Same Mother is a reconsideration of the blues that doesn’t depend on chichéd dynamics and song structure.” –The New York Times

“Those who say jazz has lost its soul...should hear Jason Moran play the blues... the pianist is the brightest light on jazz’s future.” –Tracks Magazine Hear Jason Moran & The Bandwagon In Concert at Tri-C JazzFest Friday, April 28 Cleveland Museum of Contemporary Art Same Mother, 2005

Soundtrack, 1999 , 2000 Black Street, 2001 , 2002 The Bandwagon, 2003 www.bluenote.com

March/April 2006 • Issue 280 PAGE ELEVEN phone). ing her rich vocals, expressive delivery JIMMY THACKERY Born in Charleston, IL, Banks comes and ability to write alluring tunes. THE ESSENTIAL from a musical family, was earliest in- With her silky, mid-range voice and spired by Nancy Wilson, and around the tidy phrasing, Banks shows considerable JIMMY THACKERY late 1980s began singing with groups in promise as a jazz stylist. Nancy Ann Lee BLIND PIG the Twin Cities area before moving to Let’s get this out of the way right up Atlanta to perform. She eventually com- CLEVELAND FATS front. I’m a long time Jimmy Thackery fan having followed him since a three year pleted studies she’d begun at the Univer- Blues Time sity of Minnesota, earning a Bachelor’s stint in Virginia where his band, The HONEYBEE BLUES Nighthawks, ruled the late 1970s with degree in theater and vocal performance. Psst! There’s a new Fats CD, and it’s Banks held myriad singing posts in vari- their hard hitting mix of rocking blues. kickin’. Since then I’ve followed his career ous places before landing a stint with the Cleveland Fats, alias Mark Hahn, is American Music Theater in Lancaster, PA through stints with the horn drenched one of the town’s and the country’s best Assassins, the lean, three piece Drivers in 2002. She’s made several other record- guitarists. A student of the great Robert ings but this is her first jazz release. and pairings with the likes of David Raitt Lockwood, Hahn can pick, slide, and and Tab Benoit. As a consequence, there Banks has an ear-pleasing voice and artfully place his notes. “Just A Feeling,” remains faithful to the melodies and lyr- is nothing here that hasn’t found its way by Little Walter, is a supreme example. into countless spins on my disc player. ics on Hoagy Carmichael classics such The last tune, “Other Side Of Midnight,” as “I Get Along Without You Very Well” Having said that, this is still a power- is a crowd pleaser at whatever the bar! ful listen by virtue of the fact that Blind and “Skylark,” on the standard “How High His enormous playlists make sure the Moon,” and on lesser-known gems. Pig has grabbed the hottest tracks off the the audience is satified. An old salty dog eight discs cut by Thackery and the Driv- Banks delivers a sultry remake of “Lover of the blues! Mark A. Cole Man,” with sensitive accompaniment ers during their tenure with the label. While the band continues to rip things up from Varner, Micelli and DeRosa. Per- QUADRO NUEVO formed with Rudolf, Varner and DeRosa, on the Telarc label its work on Blind Pig her swinging original, “Ruined For the Luna Rosa resulted in its most memorable tracks Rest,” is one of the best tracks showcas- JUSTIN TIME which are amply represented here. The On their first recording available in car related tunes, Mercury Blues, Detroit North America, Quadro Nuevo delivers Iron and Drive to Survive find an easy Serving 17 tangos, boleros, French or Cuban home next to the rocky relationship style Delicious waltzes, and other international musical tunes such as Cool Guitar, It’s My Own Food forms which seem to draw from earlier Fault, Empty Arms Motel and Dancing on Lunch & Dinner times. Broken Glass. While the entire disc is a Mulo Francel (saxophones, clarinet), party in progress, Wild Night Out from BLUES HIGHLIGHTS Robert Wolf (guitars), D. D. Lowka the live disc of the same name does it (basses, udu drum) and original accor- about as well as any blues disc out there. FRIDAY, MARCH 10 dionist Heinz-Ludger Jeromin (who has Take this baby for a spin for some stellar TEN YEARS AFTER since been replaced) first came together guitar, gutsy vocals and well crafted and ERIC JERARDI for a 1996 film score project and are tunes. Essential indeed. Mark Smith THURSDAY, MARCH 16 joined here by guest musician, William RONNIE BAKER BROOKS Galison (). All are imaginative, WEDNESDAY, MARCH 29 skilled and confident players. CANDYE KANE TAB BENOIT Performing mostly original music, the White Trash Woman group makes each tune into a treasure. SATURDAY, APRIL 1 RUF RECORDS “Nature Boy” is reinvented as a tango. DELTA MOON If blues is, as some describe it, The quartet performs a lovely ballad by “grown-up music, then Candye Kane’s THURSDAY, APRIL 6 American double-bass player, Charlie VITAL INFORMATION emergence as a blues diva is not far re- Haden, who wrote “Our Spanish Love moved from her earlier career in the SATURDAY, APRIL 15 Song” for his wife while traveling through adult entertainment business. But while JOHNNY CIAO Spain. The slow bolero, “Für Pauline,” her background may make her seem like & THE COLIN JONES BAND was written by Francel upon the birth of a novelty, when you hear her pounding FRIDAY, APRIL 28 his daughter; it beautifully expresses the the ivories, belting out a remake of LITTLE CHARLIE AND THE miracle of birth. “Impressions d’un Reve,” Bullmoose Jackson’s Big Fat Mamas Are NIGHTCATS and HARPER is an attractive three-part suite (tango, Back in Style or listen to her caress the Valse lento, Valse vivace). SATURDAY, APRIL 29 country-ish ballad What Happened to This is a pleasant album of impro- CHRIS CAIN That Girl, one realizes her talent leads vised World music. Melodies and arrange- one to quickly forget the novelty of her www.wilbertsmusic.com ments are haunting and lovely, and each background. Weekend Shows 9:30; Weekdays 8:30 tune tells a story or has special meaning Her latest album was recorded in to band members or their friends. Such Austin, Texas and is on the German Ruf 216-902-4663 personalization adds intimacy and height- 812 Huron Rd E.. • Cleveland label. Produced by Mark ‘Kaz’ Kazanoff, ened appeal. Nancy Ann Lee who also leads the horn section, she is PAGE TWELVE March/April 2006 • Issue 280 joined by a stellar studio band that includes drummer LOU PRIDE Damien Llanes, bassist Preston Hubbard, guitarist Jeff Ross Keep On Believing (with appearances by Johnny Moeller and David Grissom), SEVERN RECORDS harp wiz Gary Primich, with keyboards by Riley Osbourn. Mostly comprised of Pride’s originals, his performances Collectively, they bring together a smorgasbord of blues on this new disc benefit from a strong studio band that in- moods and settings, and Candye Kane comes across cludes the fabulous Texas guitarist Jon Moeller, Benjie equally compelling belting out the title track (“It is an honor Porecki on keyboards, Steve Gomes on bass and Robb to be called a trashy broad in the traditions of legends such Stupka on drums. Backing vocalists on the disc include as Divine and Dixie Rose Lee), and Estrogen Bomb Lady Mary and Margie Clarke, two of the D.C. area’s finest on†which she is the strong woman who offers no apologies female singers, along with Eddie Jones, the leader of the and takes no prisoners when she gets crossed. She reworks old school group The young Bucks, with a full horn section the Lovin’ Spoonful’s What a Day For a Daydream into a punching out their riffs using Willie Henderson’s arrange- blues while lending a country feel to What Happened to the ments. Girl, and sings about being Misunderstood with the band After the strong groove of Midnight Call, Pride handles providing a traditional jazz backing, including some nice his one cover on this disc, Bob Marley’s Waiting in Vain, clarinet. complemented by his vocal which does not overuse his Leiber and Stoller’s I Wanna Do More evokes Little falsetto towards the end. A quote notes a touch of Bobby Walter’s hit, My Babe, with its groove and some fine harp Bland in his approach, but to these ears Al Green and Otis by Primich. The following track, the original It Must Be Love, Clay are more apt touchstones for his singing. The relent- is a rocking shuffle with a fine fifties T-Bone mixed with less groove on I Can’t Hold It suggests the classic Hi Rhythm B.B. guitar solo and strong jumping horns with a clean, section with a strong, concise guitar solo from Moeller. The soulful vocal. In contrast Queen of the Wrecking Ball, has topical plea of Love Will Make It Alright, with its hope to her singing of a woman who breaks hearts with some nice change this world of hate and strife, is followed by a terrific guitar evoking the gulf coast swamp blues sound. Other soul ballad with a great vocal and lyric, I Want to Hold Your songs include a boogie woogie about sexual self-gratifica- tion, and Mistress Carmen, about a Grand Domme who is proud of her sensuality set to a New Orleans groove (Please Mistress Carmen, we just want to watch you dance), and a lovely love ballad, I Could Fall For You. With truly memorable songs and strong backing, Candye Kane convincingly delivers this varied program with humor and passion. Candye Kane may be a White Trash Woman but this recording is most certainly high class. Ron Weinstock MIKE MARSHALL Brazil Duets ADVENTURE MUSIC A 27-year career veteran, Mike Marshall (mandolin, guitar) is joined by an array of top improvisers as they perform, in duet settings, 17 choros—the high-spirited in- strumental style from Brazil. Originally released in 1996, this CD has been totally re-mastered and repackaged with three bonus tunes. Marshall’s rapid picking amazes. Featured with him on the lively and engaging duets are luminaries such as Andy Narell (piano), Edgar Meyer (bass), Bela Fleck (banjo), Jovino Santos Neto (piano, Melodica, M-1 syn- thesizer) and others. Although each track intrigues and satisfies the listener, judging from their strings-piano in- teractions on “Um A Zero,” “Luis Americano Na P.R.E. 3,” “Descendo A Serra,” and “Um Chorinho Em Aldeia,” Narell and Marshall seem to enjoy a solid musical rela- tionship that sounds warmest and most appealing. The haunting love song, “De Coracao A Coracao,” which Marshall performs on guitar with violinist Kalia Flexer is a spine-tingling beauty and “Gostosinho,” featuring the gui- tar/electric bass duo with Michael Manning, is a joyful en- Appearing In Concert at counter. TRI-C Eastern Campus The pleasant fare on this disc showcases emotional Performing Arts Center Brazilian melodies as well as the talents of each collabo- Saturday, March 25 rator. Nancy Ann Lee March/April 2006 • Issue 280 PAGE THIRTEEN Hand, and the medium tempoed la- head, said to be the heartbeat of Irish ment Another Broken Heart. Different Genres music) and piano. Brother Jim plays The remainder of this disc keeps keyboards and guitars. All three of them up this high level with some exquisite IRISH MUSIC sing as well. The natural sibling empa- playing and Pride’s strong singing for thy has been evident in their music over a terrific, soulful session. Another re- THE CHIEFTAINS the years, as it is on this collection of 12 ally fine release from David Earl’s la- The Essential Chieftains songs, mostly traditional arranged by the bel. Ron Weinstock Corrs, and some more modern Irish fare. RCA/LEGACY Very nice, very bright music from the + THE CORRS family from Dundalk Ireland. Home Enjoy your St. Patrick’s Day, and be RHINO sure to stay out of harm’s way. The best Celebration Well, it is time for St. Patrick’s Day way I’ve found to do that is to stay home. HIGHNOTE again. Rather than venture out on ama- Bill Wahl This release documents vocalist teur night, you might want to relax at Sheila Jordan’s 76th birthday celebra- home with some brews and Irish music Jazz and Blues tion at the Triad, a second-story caba- performed by authentic Irishmen, and ret on Manhattan’s (New York) Upper women. West Side, where she sang all night with The Chieftains, who formed in 1963, only bass accompaniment. Jordan first are certainly one of the best known (if s performed in the early 1950s with only DVD not THE best known) Irish band, with a WITH a bassist () and has con- slew of recordings released in the U.S. tinued to develop her note-bending style on Columbia, RCA Victor and Sanachie. THE TOMMY FLANAGAN in this sparse setting. The Essential Chieftains was just re- TRIO ‘77 Jordan and Brown capably navigate leased on RCA Victor/Legacy and of- ’ Jazz In Montreux the 16 tunes (and brief commentary) fers up a grand total of 35 Chieftains EAGLE ROCK ENTERTAINMENT DVD recorded on November 17 and 18, 2004. songs from their long and storied career. Known for her recognizable supple They visit standards such as “Mood In- I don’t see where any of the Sanachie voice and , Ella Fitzgerald digo,” “Birk’s Works,” three medleys songs are included, but you certainly get (1917—1996) excels on this DVD of 10- (blues, Astaire/Rogers, Fats Meets Bird) a generous helping of the Columbia and tunes performed with pianist Tommy and other gems. RCA recordings. Many are traditional Flanagan, bassist Keeter Betts and Jordan is a master of scatting, Irish recordings, some with Irish trad drummer Bobby Durham. bluesy feeling and emotional courage. guests, while many others pair them with Recorded in live performance at the Her youthful voice seems to have lost stars from other genres. Some of those 1977 in Switzer- little with age. She splendidly shows off guests include , Ry Cooder, land, Fitzgerald sings gems such as “Too her skills here, accompanied with per- Bela Fleck, Emmylou Harris, Marianne Close For Comfort,” “My Man, “Come fection and panache by bassist Cameron Faithful, Jackson Browne, Allison Kraus, Rain or Come Shine,” “I Let A Song Go Brown. Nancy Ann Lee Ricky Skaggs, Linda Ronstadt and Irish Out of My Heart” and more. Among the pop stars Sinead O’Connor and The best tracks are her rousing treatment of Corrs. Talk about diverse. There is even the Duke Ellington tune “I Ain’t Got a track with classical flautist James Nothin’ But the Blues” and her uptempo Galway. Indeed, this should be all the reinvention of “Day By Day.” Scatting Chieftains most folks should really need, with passion in about a four-octave and it all comes in a nice compact pack- range, she totally remakes the standards age. Some very unique and interesting “One Note Samba” and “Billie’s listening. Bounce.” After a standing ovation from The Corrs is one of those musical the audience, Fitzgerald returns to the families who went beyond their living room in the house they all grew up in to achieve great success on a worldwide web scale. Home, just released on Rhino Records, is their first album of traditional exclusives Irish music. For the past 15 years the three gorgeous women and their brother have been thrilling audiences with their fresh blend of pop songs – many of which see the are originals – with traditional celtic in- struments. Andrea, the lead vocalist, back cover also plays tin whistle. Sharon plays vio- Read The Review for the lowdown! lin. Caroline plays drums, bodhran (an www.jazz-blues.com ancient framedrum traditionally made click the ‘Notable’ button with a wooden body and a goat-skin PAGE FOURTEEN March/April 2006 • Issue 280 stage for an encore, singing and injecting quotes into “You Are the Sunshine of My Life.” Prestige Profiles Series Reviews Fitzgerald is allowed to stretch out more with the trio than with a big band and she offers a splendid mixed set of swing- Read reviews of the 10 jazz & blues CDs in the first ers, blues and ballads. Flanagan is known for his melodious- ness and sensitive accompaniment behind singers and this edition of the new Prestige Profiles Series in the trio is first-rate. online version of this issue only. And some more The DVD delivers a keepsake performance of the one too. Want to know more? Turn the page & look at and only Ella and holds appeal to satisfy viewers again and the back cover! again. To see these legends in performance is a real treat. And excellent camera work adds to the intimacy of their classy performance. Nancy Ann Lee REVEREND BILLY C WIRTZ Sermon From Bethlehem BONNIE RAITT BLIND PIG DVD The world of Reverend Billy is a funny, funky Southern- Live At Montreux 1977 fried nightmare. Tattooed babes with teased hair, pot-bellied EAGLE VISION DVD truckers, televangelists and regional TV wrestling brought to For those who have only caught Ms.Raitt’s act on disc life in his hilarious songs and monologues; backed by his lately, this very solid set from the Montreux Jazz Festival will rockin’ boogie-blues piano. make for a great reminder that, in addition to her great sing- Sermon places the Good Reverend in his element, gross- ing, what a hot guitarist she can be. About midway through ing out and cracking up a packed night club house. Long- the show, Muddy Waters’ harmonica man Jerry Portnoy shows standing fans know the drill and will love it and newcomers up to join Raitt’s five-piece outfit for a two-song guest stint. should get a kick. A most pleasant surprise on the disc is the Raitt responds with some hot, savvy Muddy-style counter- additional bio/interview feature. Rev. Billy explains his musi- point. Portnoy exits but the star continues with some vintage cal beginnings and reveals his considerable savvy and range slide work that would cause Muddy to smile, had he not been as a blues lover, player and fellow traveler of some blues leg- sampling the champagne backstage. ends. Duane Verh The set is stocked with Raitt favorites including “Love Me Like A Man” and “Sugar Mama” This is video so kudus should extend to the director’s excellent on-stage shot selec- tion that, literally and figuratively, places the star in most ap- pealing light. Duane Verh BIG BAND ‘77 Norman Granz’ Jazz in Montreux Eagle Rock Entertainment DVD William “Count” Basie (1904—1984) was one of the great- est bandleaders in the history of jazz. His legendary band is captured on this color DVD in a July 15, 1977 performance (about 55 minutes) at the Montreux Jazz Festival. Basie leads from the piano and many of the band’s fine musicians are spotlighted, including trombonist , rhythm guitarist , trumpeter Waymon Reed and tenor saxophon- ist , and drummer . Among the 12 tunes (arranged by Basie, Nestico, Hefti and others) are Basie classics “Li’l Darlin’,” “Jumpin’ At the Woodside,” “One O’Clock Jump,” as well as treats such as “The Heat’s On,” “Splanky,” “A Night In ,” “Things Ain’t What They Used To Be,” “I Needs to Be Bee’d With,” and “Fantail.” Best solos come from Forrest on his ballad, “Bag of Dreams” and Grey on “The More I See You.” The concert tape has been restored and remastered and sound is perfect. Some minor technical flaws prevent you from navigating through DVD menus with your remote. And, it would have been helpful to have the names of the soloists listed on the screen as they were performing, or by adding credits at the end, or in the DVD liner notes by Nat Henthoff, because Basie doesn’t always announce the soloists. This Basie Orchestra performance also appears on the CD, “Montreux ’77,” with one added APPEARING AT WILBERT’S, DOWNTOWN tune. At a cost of $11.98, the DVD is a great bargain and a CLEVELAND FRIDAY, APRIL 28 viewing delight of lasting value. Nancy Ann Lee March/April 2006 • Issue 280 PAGE FIFTEEN PRESTIGE PROFILES

PRESTIGE and , plus many others, fin and the many recordings he did including Latin percussionist Ray with organists, particularly Shirley PROFILES SERIES Barretto, who just passed away Feb- Scott who is heard on 8 of the 12 sides PRESTIGE/ ruary 17 at the age of 76. Burrell is compiled here. Two tracks have or- , an avid jazz fan one of those consummate masters ganist Don Patterson while one is a and record store owner who was, at who is perfectly at home in any type piano group with Horace Parlan, and the time, barely out of his teens of setting. It shows here, whether the final is a big band session. The founded in 1949. backed by a piano/bass/drums trio, a blues serves as the foundation of The label quickly became one of the sextet including Hawkins and Davis’ music whether on the mid- premier jazz monikers, and recorded Flanagan with Barretto on , a tempo “Intermission Riff,” Davis’ many artists who are jazz and blues quintet with ‘Trane or an original “The Chef,” or the lively legends today. Ten of those artists are with McDuff and drummer Jo Dukes. “Robbin’s Nest.” He brought the same represented the first installment of the Some extremely tasteful music is wait- soulfulness to ballads including “Wil- Prestige Profiles Series, which kicked ing to be digested here, and it will low Weep For Me” and “Body and off October 25, 2005. These are col- probably make you run out and buy Soul.” Eric Dolphy is part of the Oliver lections that were previously issued as some of the Burrell discs represented. Nelson led big band on Nelson’s The Best of.... They are repackaged Bill Wahl “Trane Whistle,”a bright brash bluesy to reflects Concord Music’s acquisi- number with Lockjaw wailing against tion of , which had : Saxophonist John the riffing big band. Some very soul- previously acquired the Prestige cata- Coltrane (1926—1967) gained wider ful and fingertapping grooves on this log. Each presents a generous sam- notice in ’ quintet from disc. Ron Weinstock pling (averaging 68 minutes) of the 1955—57, when he began to demon- artist’s recordings for the label, along strate his penchant for mining har- Miles Davis: Of all the artists rep- with detailed annotation by prominent monic resources. This compilation resented in this series, I’d have to music writers and retro covers. Each captures mostly dates between guess that Miles was second only to also comes packaged with a second 1957—58, after Coltrane’s “spiritual as the most prolific re- CD - a sampler disc - with an average awakening,” and features him with cording artist for Prestige Records. of 48 minutes of music from many Red Garland, Tad Dameron, Donald Picking ten tracks must have been a Prestige artists, including Coltrane, Byrd, , , chore, but the ones chosen give you Miles, Rollins, , George and others. Eastern a good overview of his work. Re- Benson, Jack McDuff, Thelonious influences begin to occasionally creep corded from 1953-56 you’ll hear Miles Monk, Tal Farlow, Pat Martino and into his improvisations. While all 11 in several different settings, including many others. As far as I can tell, no tracks have merit, standouts are the four cuts with the famous quintet with two of these bonus samplers are alike, swinging sextet take on “The Way You Coltrane, Garland, and nor are any tracks repeated. You can Look Tonight,” the joyful quintet ver- . Also included are view the main disc and bonus disc sion of “Come Rain or Come Shine,” two with , Horace Silver, tracks on the back if you buy in a an adventurous sextet reading of and , both store, and I would presume they’d “Dakar” (featuring Cecil Payne & Pep- being Rollins compositions, “Doxy” both be listed online as well - I know per Adams on bari sax) and a brisk, and “Airegin.” In fact, “The Theme” Amazon does. The best part of the bopping version of “Lover Come Back is actually the only Miles composition story is that the list price is only 11.98. to Me,” featuring trumpeter Donald in the entire set. Some of the others With ten CDs to cover, it would Byrd on the front line with Coltrane on hand are J.J. Johnson, Lucky Th- take up way too much space to get and pyrotechnics from drummer ompson, John Lewis and . into them in-depth. So the three of us Arthur Taylor. Coltrane, then about The mute is on...the mute is off...the covering them will give you a capsule age 30, shows seasoning and matu- tempos vary...whatever the case, this view of each. rity on these mainstream tracks. is all classic Miles Davis. Bill Wahl Nancy Ann Lee : Master guitarist Eric Dolphy: Dolphy was quite a Kenny Burrell is represented with eight Eddie “Lockjaw” Davis: As Bret unique voice when these recordings tracks from his extensive Prestige out- Primark notes, Davis had an immedi- were made in 1960-61, and he re- put. These cuts were recorded be- ately identifiable sound that suggested mains so today. Equally proficient on tween 1956 and 1963 find Burrell in the big warm tone of alto sax, flute and bass clarinet, his the company of such heavyweights as without the exaggerated vibrato Prestige output was his best work, John Coltrane, Tommy Flanagan, Webster’s later recordings displayed. along with the recordings he made , , Hank A formidable, bluesy player he is best with John Coltrane on Impulse. On the Mobley, Jack McDuff, Idrees Sulieman known for his dates with Johnny Grif- ten tracks included here he is joined PAGE SIXTEEN March/April 2006 • Issue 280 in different groupings by the likes of To Be Loved,” Hawkins’ original and relaxed when compared to the , , Jaki “Soul Blues,” and, featuring his rec- Prestige Profiles of Coleman Byard, , Mal Waldron, ognizable, breathy tone, the lightly Hawkins, Red Garland, and John , Ed Blackwell, Richard swinging “Make Someone Happy.” Coltrane. Nonetheless, it’s exemplary Davis and others. “On Green Dolphin From start to finish, Hawkins’ deep- of McLean’s recognizable sound. Street” and “Glad To Be Unhappy” rich tonalities and impeccable phras- Nancy Ann Lee are the two lone standards. The re- ing make for laid-back, satisfying lis- maining eight are originals by tening. Nancy Ann Lee Sonny Rollins: Rollins led ten Dolphy, with one from Little and two sessions for Prestige between De- from Waldron. Some of what you’ll Lightnin Hopkins: One of the last cember 1951 and 1956 in which he hear are “Far Cry,” “Serene,” “Miss ‘country’ bluesman to have substan- established himself as a major talent. Ann,” Fire Waltz,” “Out There” and tial commercial impact, Sam There is a variety of groups backing “Booker’s Waltz.” Great stuff, sound- ‘Lightnin’ Hopkins was in the midst him here including a number of ses- ing fresh some 25 years after it was of beginning to record for the folk sions with Max Roach anchoring the recorded. Bill Wahl market when he recorded a dozen al- drums including “I Feel a Song Com- bums for Prestige and its affiliate ing On” which has line-up of the Red Garland: Recorded in 1957 Bluesville label. A folk poet, Hopkins Clifford Brown-Max Roach group. and 1961, the six tunes on this CD could spin a song from current events Thelonious Monk is at the piano chair feature two quintets led by pianist like “Happy Day For John Glenn” as for “I Feel a Song Coming On,” while Red Garland (1923—1984) with well as place his distinctive touch two tracks are with the early Modern tenor saxophonists John Coltrane or adapting songs from others like Big Jazz Quartet (Art Blakey on drums). and trumpeter Donald Joe Williams (“Baby Please Don’t Included is the collaboration with Byrd, and others. The album kicks Go” is titled here as “Back to New Coltrane, “,” while ar- off with a hard-swinging version of Orleans”) and Arthur Crudup (“Mean guably highpoints are from his Saxo- ’s “Billie’s Bounce,” Old Frisco”). Some of Hopkins’ blues phone Colossus album, “St. Thomas” and includes tunes by Garner, Duke have become blues standards includ- and “Moritat,” his rendition of “Mack Ellington, Fletcher Henderson, Tadd ing “Mojo Hand” and “Katie Mae.” the Knife.” After these recordings, Dameron as well as a delightfully Several tracks are self-accompanied, Rollins disappeared until discovered fresh-sounding, 8:18-minute version while other tracks have bassist playing on the Bridge. Fifty of the warhorse classic, “On Green Leonard Gaskin and drummer Belton years later, these recordings still Dolphin Street,” on which drummer Evans. for one track and sound fresh and vibrant. maintains tidy tempos. Billy Bisor each guest on harmonica Ron Weinstock Tunes range around 6 to 9 minutes. while barrelhouse pianist Buster Horn solos are top-notch and rhythm Pickens is part of a tight Houston sections sizzle. An alumnus of the for “Pneumonia Miles Davis quintet, Garland influ- Blues.” A solid collection of first-rate enced the next generation of pianists blues by one of the real legends of MEMPHIS SLIM with his right-hand fancywork and the blues. Ron Weinstock & left-hand block chording. This is PROFESSOR LONGHAIR straight-ahead jazz at its best des- Jackie McLean: Known for help- tined to keep your feet a-tappin’. ing to forge the hard-bop style, alto CLIFTON CHENIER Nancy Ann Lee saxophonist Jackie McLean (b. MAISON DE BLUES 1932) ranks among the most influ- BARCLAY MASTERS Coleman Hawkins: Known for his ential jazz musicians. Featured in this There is a myth that there was matchless sound, compilation extracted from 1956—57 very little new blues of note recorded Coleman Hawkins (1904—1969) was dates, McLean performs with mostly in the 1970s. The fact is labels like one of the primary forces in the de- small combos on eight tracks. In- Alligator, Delmark and Blind Pig pro- velopment of jazz. This disc compiles cluded are his originals “Strange duced fine albums, and labels like 11 standards with an array of top Blues,” “Alto Madness,” and “Lights Stax and Jewel produced strong sidemen (Tommy Flanagan, Kenny Out,” as well as tunes by Mal modern urban blues. Also, there were Burrell, Pepper Adams, Eddie “Lock- Waldron, the Gershwin brothers, Bob a number of recordings released in jaw” Davis, Major Holley, Ron Carter Haggart, and others. An agreeable , usually by touring American and others) and features then legend- mix of ballads and boppers, this disc musicians, on labels like Isabel and ary Hawkins in his fifties. Capturing captures McLean demonstrating his Black & Blue. Three reissues from Hawkins fronting groups from quar- pierce, penetrating tone and biting Barclay’s Maison de Blues series tets to nonets, the disc contains lush style. Also featured on the front lines caught my attention, and replace my ballads such as “Greensleeves,” mid- are trumpeters , Donald worn vinyl LPs. tempo tracks such as “Since I Fell For Byrd, and and rhythm Memphis Slim & Buddy Guy, You,” and tidy swingers such as “I’ll sections that include such luminar- Southside Reunion, was recorded Get By As Long As I Have You.” Other ies as pianist Mal Waldron, drummer when Buddy Guy and Junior Wells tunes are “,” Arthur Taylor and bassist Paul Cham- were touring Europe in September “Smoke Gets In Your Eyes,” “I Want bers. This disc seems more bluesy 1970. This 35 year old session March/April 2006 • Issue 280 PAGE SEVENTEEN brought together the expatriate Slim wheat’ Duval was part of the band. shops, industry summits and auto- with the Buddy Guy-Junior Wells Band The Frenchin’ in the title refers to the graph parties. for what was a terrific session mixing fact that Chenier sings a number of “Blues is not a museum piece,” Slim’s rolling barrelhouse piano, ur- blues and classics says Roger Naber, owner of The Leg- bane singing and the tough sound Guy in Creole French. There are several endary Rhythm and Blues Cruise and and Wells put together with one of the nods to Louis Jordan, Caledonia, recipient of The Blues Foundation’s great blues bands of all time. Guy and Choo-Choo Ch’Boogie, and Laissez 2005 Keeping the Blues Alive Award. Wells had Phil Guy on rhythm guitar, Les Bon Tons Roulet (a retitled Let “Our mission is to promote the live per- Ernest Johnson on bass, A.C. reed the Good Times Roll) along with ver- formance of Blues music because it is and Jim Conley on sax and Roosevelt sions of Shake Rattle and Roll and literally part of America’s history and ‘Snake’ Shaw on drums. When Slim Going Down Slow mixed with a waltz. must not be forgotten. The overwhelm- kicks off a duet with Buddy on the Chenier was in peak form for this 1976 opening When Buddy Comes to Town, session, singing ebulliently and soul- ing support for our cruise is great evi- the music takes off on a cooking fully, putting as much soul in his pi- dence that the musicians not only, en- shuffle that I doubt Buddy could come ano accordion as Jimmy Smith on the joy performing for and with their peers, close to matching today with his far organ and the Red Hot Louisiana Band but also for their fans in a close up in- less approach, and how many mod- rocking as hard as any band ever did. teractive environment! “ ern rhythm sections could handle the Like the other two releases, this is As the world’s only fully chartered shuffle groove or settle in so able be- spectacular stuff. Ron Weinstock blues cruise, The Legendary Rhythm hind Slim on Leroy Carr’s classic, and Blues Cruise has experienced ex- How Long Blues? Guy also handles ponential market demand. When The the vocal on You’re the One while First Annual Legendary Legendary Rhythm and Blues Cruise Wells ably supports on harp through- Rhythm and Blues launched its first Caribbean cruise in out. An alternate take of You’re the January 2000, the fan base numbered One, and Jamming at the Castle are Cruise on West Coast only a few hundred. In 2005, nearly two bonus tracks and come across as wor- thousand purchased their tickets far in • Taj Mahal and Hurricane Blues thy companions for a really magnifi- advance and hollered for more. composer, Hawkeye Herman, cent reissue. “Roger Naber has always had a among stars on cruise Professor Longhair was at the be- knack for knowing what Blues fans ginning of his re-emergence as a per- The Legendary Rhythm and Blues want,” says West Coast Blues legend former when he recorded the 1974 re- Cruise has announced the launch of its Hawkeye Herman who just released lease Rock’n’Roll Gumbo, which was first West Coast cruise out of San Di- Katrina, Oh Katrina* (Hurricane Blues). reissued on George Winston’s Danc- ego, Calif. October 3-7 after mid-year ing Cat label in 1985 with horns added “With the predictably wonderful sell-out success for the recent January to the reworking of Mardi Gras in New weather on the West Coast, this new 2006 cruise out of Fort Lauderdale, Fla. Orleans. The Maison de Blues reissue West Coast cruise is bound to be the Artists on ship will include Taj is musically the same as the Dancing kind of ‘jammin’ Blues vacation fans will Cat and had Fess pared with Mahal, , Irma Thomas, Kim love.” Gatemouth Brown on guitar and fiddle Wilson Tommy Castro, Curtis Salgado, The West Coast cruise offers afford- for Jambalaya, with a rhythm section Janiva Magness with Kid Ramos, Larry able options starting at $725 for the four of Julius Farmer on bass, Sheba McCray, James Harman with Mark night, five day experience. The cruise Kimbrough, who recently (October Hummel’s harmonica blowout, is quite well booked as of this time, but 2005) passed away, and Alfred Deborah Coleman, Doug MacLeod, there are mid-price cabins still available. ‘Uganda Roberts on congas. The mu- Zac Harmon, Daniel “Slick” Ballinger, The 2007 January cruise out of Fort sic is marvelous as the empathy be- Hawkeye Herman, among others. Lauderdale is also prebooking now. tween brown and Fess is obvious “This incredibly successful music “Individuals from different races, throughout whether on remaking Hey cruise is preserving and capturing his- ethnicities, countries and backgrounds Now Baby and Tipitina or bringing a tory as it passes before our eyes,” says leave their day-to-day routine to join fa- fresh take to Junco Partner, Ray Bill Rich, bass player for Taj Mahal. ”We mous Blues musicians on board and Charles’ Mess Around, Stag-o-lee, and have loved touring on the annual Car- on wonderful excursions in exotic ports Mean Ol’ World. After the mix of funk ibbean cruise and are thrilled to be in- of call,” says Naber. “The Legendary and blues grooves, the album closes cluded on the first ever West Coast Rhythm and Blues Cruise is a four-year with just Fess at the piano taking care cruise.” of business on (They Call Me) Dr. Pro- tradition that has spilled over the rail- Unlike other music-themed cruises fessor Longhair. This is perhaps my ings into a new second-annual cruise.” offered today, where the music is sec- favorite Longhair album, and interest- ondary to the ship’s day to day sleepy ingly Rhino took seven songs from this For info and booking, go to when they did their two-CD Professor routines, The Legendary Rhythm and www.bluescruise.com. You can read Longhair anthology. Blues Cruise for both the Caribbean the lenghty review of the 2005 Blues The third reissue is Clifton and West Coast literally hands cruis- Cruise on our site at www.jazz- Chenier’s Frenchin’ the Boogie, re- ers a backstage pass with dozens of blues.com - click the “Notable” button corded at a time when Stanley ‘Buck- concerts, pro-am jams, artist work- to find it. PAGE SIXTEEN March/April 2006 • Issue 280