MIKE STERN Bright, N.J. After 22 years of self-imposed Originally slated for release in 1977, this 27 Mike Stern Live: The Paris Concert semi-exile, Farlow was tracked down by would have been the American debut On the racks • September 29, 2006 GOLDMINE #683 www.goldminemag.com In-Askustik (INAK 6456 DVD) filmmaker Lorenzo DeStefano. Instead of disc from Magic Slim And His Teardrops. finding a man who had completely Unfortunately, the music business being Electric guitarist Mike Stern manages turned his back on music, DeStefano was what it is, the slated deal fell through and somehow to be criticized by some as an surprised to find that practice and per- the master tapes from these sessions were overplaying closet metalhead and by oth- formance were still an integral part of put into a vault, never to be heard. Of ers as a writer of too-sugary pop-jazz Farlow’s life. Talmage Farlow, a 59- these half dozen tracks, the highlight is confections. In the last few years, minute film, tells a story that seems to the instrumental Slim-penned “Soul though, he’s been doing some good work run contrary to the expectations of the Blues,” where his sizzling guitar sings that avoids either of those extremes. music press and ardent fans: For some and gets you groovin’. Stern’s new DVD of a live 2004 Paris musicians, it’s all about the music; fame Next up is Joe Carter, an underground show probably won’t convert anyone just gets in the way of the enjoyment of Windy City musician who passed away who’s not already devoted to the guitarist, playing. MVD has now released the 1981 in 2001, before his true legacy was but it’s a very good set and an excellent short film, long held in high regard by known. Carter opens his set with the demonstration of the leader as a mature, jazz historians, in DVD format. Elmore James classic “I’m Worried.” finished player. The band of drummer Talmage Farlow spends much of the James’ trademark slide is evident in Dennis Chambers, tenor saxophone play- film observing the guitarist in quiet Carter’s style, and overall this perform- er Bob Francheschini and electric bass moments around his Sea Bright home. ance echoes the vintage postwar blues of MIKE STERN star Richard Bona are just right for Stern: The film is prefaced by comments from the likes of James and Muddy Waters. Who Let The Cats Out? They can groove effortlessly in a rock/jazz a young George Benson, remarking that Carter is joined on these sessions by Heads Up (HUCD 3115) vein, but they’re also nimble and alert to Farlow’s rather large hands allowed him Sunnyland Slim and his killer piano the nuances of Stern’s compositions. to form chords and realize techniques work. Listening to these lost licks takes Look at the cover of guitarist Mike There is a slickness to the overall band that were much more difficult for other you to a smoky club on Chicago’s West Stern’s latest album, Who Let The Cats sound — increased by the digital sheen of guitarists. Viewers are able to see the side. Thankfully, Delmark unearthed Out?, and if you don’t know Stern, you the recording — but the players pull a master at work, using his thumb to these lost souls and remixed the original might take him as another blues-rock axe- grittiness out of Stern’s compositions that barre chords and deftly applying the sessions so a new generation of blues afi- slinger. After all, that’s a Fender Telecaster hasn’t always been evident on his studio lightest touches to lightning runs. cionados can hear these timeless ses- he’s posing with. And you’d be right, sorta. recordings. Bona is hardly an under-play- Whether seen trading licks and advice sions. For it sure ain’t right that these Stern has carved out a career most er himself, but somehow his busy bass with visiting admirer Lenny Breau or recordings were left buried for so long. musicians would envy, playing with a here is a joyous, goosing counterpart to rehearsing and performing with the — David McPherson host of jazz and fusion giants including Stern’s nimble lines. equally amazing pianist Tommy Billy Cobham, Miles Davis, Jaco Of course, Stern plays some remark- Flanagan and the incredible Red KANSAS CITY FRANK MELROSE/ Pastorius, and Michael Brecker. Unlike able, singing solos. This is a must-have Mitchell on bass, Farlow’s gifted ear and PETE DAILY/BOYCE BROWN his peer Pat Metheny, Stern has always for Stern’s fans and is cautiously recom- unique style are evident. The film cli- Bluesiana kept an element of rock and blues in his mended for those not altogether con- maxes with an August 1980 perform- Delmark (DE 245) playing, and he’s just as apt to wow an vinced of the guitarist’s greatness. ance by the trio at New York’s Public audience with a purple haze as he is with — Paul Olson Theatre, Farlow looking every bit as Recorded in Chicago in 1940, a mood that’s indigo. confident and satisfied as he does when Bluesiana brings a legend (who died too Who Let The Cats Out? finds Stern and earlier painting a name on a boat back in young at 33) to a new generation of jazz his many musical friends (such as vocal- Sea Bright. lovers. Barrelhouse pianist Kansas City ist Richard Bona, tenor saxist Bob Following the film’s initial release, Frank Melrose was an animated charac- Franceschini, drummers Dave Weckl and Farlow reconnected with fans who’d ter on the Chicago jazz scene during the Kim Thompson, and bassist Anthony been wondering where he’d been, and he prohibition era. He was influenced by the Jackson) bopping, blowing and generally launched into recording and touring great Jelly Roll Morton, and legend has it having a blast across 11 tracks of chang- once more. But again, he chose to slip that many of Melrose’s early records were ing mood and dynamics. back to the quiet life before passing away mistaken for Morton’s. “KT,” named for drummer Thompson, in 1998 at the age of 77. Talmage Farlow With Melrose leading a boisterous builds in intensity as Thompson and serves as both a documentary of the gui- band that included talented players such bassist Me’Shell Ndegéocello lay down a tarist and as a study in the motivations of as Pete Daily on cornet and Boyce Brown wicked beat before Stern fires a solo into those who pick up an instrument. The on sax, his talented and rapid tickling of the cosmos. The meditative “We’re With viewer can’t help but wonder how many the ivories finds this septet of first-rate You” is a touching piece, dually dedicat- incredible performers there are in the players keeping pace. If you close your ed to Stern’s friend Brecker, who is bat- world that will remain unknown simply eyes listening to “Sugarfoot Strut,” you tling myelodysplastic syndrome (MDS), because they choose, for peace of mind, can picture an old saloon packed on a and his current bandmate Franceschini, not to reveal themselves. Saturday night with men swinging their whose wife died from heart failure earlier — Mark Polzin ladies ’round the tables. This is vintage in 2006. Gregoire Maret’s harmonica dance music, the soundtrack for young playing on the song is sublime. Several TALMAGE FARLOW MAGIC SLIM & THE TEARDROPS/ lovers letting loose 66 years ago. tunes on Cats feature the incredible Talmage Farlow — A Film By Lorenzo JOE CARTER WITH SUNNYLAND SLIM A little ragtime, a little swing and a lot vocals of Bona, whose wordless singing DeStefano That Ain’t Right of hot jazz, these sizzling sessions will across “Language” creates a vocabulary Music Video Distributors (DJ-895) Delmark (DE 786) appeal to lovers of a forgotten jazz form. all its own. The closing track, “Blue Tackling a variety of show tunes by the Runway,” begins with a slinky, minor-key By the early 1950s, the phenomenal With That Ain’t Right, Delmark dusts likes of George Gershwin (“I Got groove on the back of Jackson’s bass and jazz guitarist Tal Farlow held the atten- off some old blues classics that never saw Rhythm,” “Lady Be Good”) and Richard progresses through some lovely, singing tion of music fans worldwide. The the light of day 29 years ago and brings Rogers and Lorenz Hart (“You Took sax from Franceschini. The song first Greensboro, N.C., native had already them to a new audience — helping to Advantage Of Me”), Bluesiana is a barrel simmers, then builds to a rolling boil as worked with Buddy DeFranco, Artie ensure this pair of Chicago bluesmen will full of fun that will surely get you up and Stern unleashes a scalding solo followed Shaw, and Red Norvo and was starting to not be forgotten. doing a boogie and stompin’ along to by Franceschini’s own fury. garner the acclaim of an artist standing at First up is Morris Holt — aka Magic these 18 jazz hits of a bygone era. The question isn’t “Who let the cats the precipice of unlimited fame. In 1958, Slim — and his Teardrops, who have — David McPherson out?” but “who’s been keeping them Farlow stepped quietly out of the lime- been bowling over blues audiences for caged?” light to devote his time to painting signs more than three decades. This is deep- — Todd Whitesel and fishing in the oceanside town of Sea down Chicago blues at its finest.