may/june 2006 issue 282 free now in our 32nd year & report www.jazz-blues.com

At Last...After 40 Years......

25

AMERICAN PUBLIC TELEVISION

JAZZ ON THE TUBE story inside! Published by Martin Wahl Communications

Editor & Founder Bill Wahl Layout & Design Bill Wahl New Series on Public Television Operations Jim Martin Pilar Martin At long last - after four decades - react and respond to each other. I will Contributors we have a jazz series back on TV. And admit that having the opportunity to jam Michael Braxton, Mark Cole, it includes a bit of blues too. Legends on the closing theme with so many great Chris Hovan, Nancy Ann Lee, of Jazz with began to players and singers was beyond my Peanuts, Mark Smith, Duane air on Public Television stations last wildest dreams.” Verh and Ron Weinstock. month. The much anticipated series, Each show in this ground-breaking produced by LRSmedia, is the first series is theme-based and includes con- Check out our new, updated web weekly network television jazz show versation with and performances by page. Now you can search for CD in 40 years. Each themed episode – some of today’s most important jazz and Reviews by artists, Titles, Record such as The Golden Horns, The Pi- jazz related musicians, including: Tony Labels or JBR Writers. 15 years of ano Masters and American Songbook Bennett, , , Dave reviews are up and we’ll be going all – features intimate conversations and Brubeck, , , the way back to 1974. original performances by some of the Phil Woods, , Jim Hall, world’s leading musicians. George Duke, Marcus Miller, Lee Address all Correspondence to.... Grammy Award-winning com- Ritenour, , Roy Hargrove, Jazz & Blues Report poser/pianist Ramsey Lewis hosts the Chris Botti, Ivan Lins, Eddie Palmieri, the 19885 Detroit Road # 320 series, which is produced in multi-cam- late Ray Barretto, Dave Valentin, Keb’ Rocky River, Ohio 44116 era HDTV and Dolby Surround 5.1 au- Mo’, Robert Cray, Jane Monheit, John Main Office ...... 216.651.0626 dio. In association with ’s Pizzarelli, , , Editor's Desk ... 440.331.1930 WTTW11, America’s most-watched Chris Potter, Joey DeFrancesco, Dr. [email protected] public television station, this series will Lonnie Smith, and many more. Web ...... www.jazz-blues.com air across the public television net- Guest artists who have taped ap- Copyright © 2006 Martin-Wahl Communications Inc. work. pearances on have No portion of this publication may be The primary sponsor for this se- been uniformly effusive in their praise reproduced without written permission ries is E TRADE FINANCIAL, with for the new series and highly enthusi- from the publisher. All rights Reserved. additional funding support from astic about the return of jazz to national Marantz and the National Endowment television. Jazz Report was founded in Buffalo New York in March of 1974 and began in Cleve- for the Arts. The 13-week season de- , who joins the late Ray land in April of 1978. We are subsidized buted nationally to coincide with Na- Barretto and Chick Corea in the episode solely through advertisement and ask that tional Jazz Appreciation Month. As part entitled, NEA Jazz Masters 2006, said, you support our advertisers. of that month-long celebration, and “I hope that the show will help every-

prior to the first weekly episode, both body realize that this is American mu- a W division of artin-Wahl PBS stations, WETA in Washington, sic. It was created here. It belongs here. c o m m u n i c a t i o n s D.C and WTTW11 in Chicago, aired I travel all over the world and every coun- all shows continually on Sunday, April try shows me what they do. This is what 2. we’ve created. The British show us the- “This is America’s art form,” ater, the Italians show us music and art, "Buffalonious" Ramsey Lewis, co-chairman of the French painting and cooking and the LRSmedia and the Executive Pro- German’s have all this science. So when Original mascot from ducer of the series said. “Jazz contin- all is said and done, 50 years from now, the ues to provide inspiration to musicians we’ll be bowing to and Buffalo Jazz Report around the globe and to influence art- .” days – mid '70s ists in a wide range of fields. I believe , an NEA Jazz Mas- Created by as you watch the shows, you will no- ter, who joins Billy Taylor for The Piano Christine Engla Eber tice not only the memorable individual Masters episode, said: “This is a long performances, but also the energy and overdue series that combines new and Watch for new t-shirts bearing his image–coming soon! excitement created when great artists established artists sharing what they PAGE TWO May/June 2006 • Issue 282 have most in common – a love for this We strongly advise that you check your and their own lives and times on stage music – and discussing some of the local listings. For our web readers in and in the studio. Although approach- great musicians and people who have all other U.S. cities, you can check the ing jazz from two opposite directions, influenced their art. I’m honored to be complete schedule for all areas online these two master vocalists, Al Jarreau included.” at its website at and Kurt Elling, came up with a duet Al Jarreau, who appears in The www.legendsofjazz.net/television/ on “Take Five” that will become a clas- Jazz Singers episode with Kurt Elling, schedule. sic. Check it out! (#102, 4/08/06) said: “This is a great series because it Legends of Jazz Episode Titles The Great Guitars allows the artists behind the music to & Descriptions - Season One W/ Pat Metheny & Jim Hall tell their stories – what influenced them, Keep in mind that some of these Pat Metheny has been one of the who influenced them, and what they shows have already run. Some cities most unique forces in for are doing today. It brings the history of started a week or two late, so it is pos- more than 20 years. His music – with this art form to life. I can’t wait to see sible that they may be out of the order its blend of jazz, rock, folk and elec- the other episodes.” kept by those that started April 1. At tronic elements – is highly original and As a part of the 360º media pro- the end of each description you will see enormously popular, allowing him to gramming platform for the Legends of the approximate date the episode is sell out arena venues. He appears in Jazz brand, this national TV series is scheduled to run. AGAIN....check your this episode with Jim Hall, NEA Jazz accompanied by the successful Leg- local listings. Master and a musician of understated ends of Jazz with Ramsey Lewis We have decided to put in the full elegance who is considered one of the weekly radio show, which airs in more descriptions of all shows - even the greatest living jazz guitarists. Although than 60 markets, a multi-city Legends ones which already ran - in case some Pat Metheny, the wonderful contempo- of Jazz tour across America and the stations rerun them at a later date, or if rary guitarist, says that he has always launch of the media rich web site, per chance they are released at some looked up to Jim Hall, you will witness www.legendsofjazz.net. time in the future as DVDs. All are this as simply a musical love affair be- LRSmedia is launching its original HDTV, Dolby Surround Sound tween two great artists. (#103, 4/15/06) branded music programming with a full The Golden Horns - w/ Clark Terry, Contemporary Jazz complement of recorded products, in- Roy Hargrove & Chris Botti W/ George Duke, Lee Ritenour cluding DVDs, CDs, digital and wire- The importance of the trumpet in & Marcus Miller less products. Encoded from HD mas- jazz cannot be overstated, and the leg- Lee Ritenour, Marcus Miller and ters and presented in 5.1 Surround ends who have made their mark, from George Duke have played together in Sound, the first national product re- to , from the past, but in this episode they per- lease, Showcase, released in April, is Clifford Brown to Dizzy Gillespie and form with energy, creativity and as a 2-disc CD/DVD collection of 13 , will all be the topic of the though they had been playing together unique performances from the series, day when three of the finest trumpet for years. Master guitarist and contem- including Al Jarreau and Kurt Elling on players in jazz join Ramsey Lewis on porary jazz legend Lee Ritenour, “Take Five,” Chris Botti’s “My Funny stage. What a wonderful cross section keyboardist George Duke and the phe- Valentine,” and a David Sanborn and of trumpet sounds from the legendary nomenal bassist/producer Marcus Phil Woods duet on “Senor Blues,” Clark Terry, who seems to make the Miller perform together and share the among others. trumpet actually talk when he plays, to musical progressions that led to the The series is airing in cities coast the high energy innovations of hard- creation of the various sub-genres that to coast. For the benefit of those who bopping Roy Hargrove, to the roman- we call “contemporary jazz.” The trail read our pulp edition, many of you can tic and intimate ballad playing of Chris ranges from the soul/R&B/funk in- find it on one or more of these stations: Botti. This show will leave you feeling flected jazz beginning in the late 1950s Cleveland/Akron - TV - WVIZ 25 that you know much more about the into the ‘60s with artists such as Horace TV & HDTV - Sundays at 9:30 p.m. & trumpet than when you arrived. (#101, Silver, and Ramsey WEAO 45 & 49 - Saturdays at 11:30 4/01/06) Lewis; the creation of Rock Fusion in p.m.; Radio - WNWV-THE WAVE The Jazz Singers the late 60s and into the 1970s by art- 107.3 Sundays at 10 p.m. w/ Al Jarreau & Kurt Elling ists like Miles Davis, Weather Report Buffalo - HDTV (only - at least for Al Jarreau is the only vocalist in the and Chick Corea; the melding of pop now) - WNED - Repeated throughout history of the GRAMMYs to win awards and jazz in the 1980s with artists such the week at 6 p.m. and 3 a.m.; Radio - in three different categories (Jazz, Pop as Spyro Gyra, the Yellowjackets, and WWWS Solid Gold Soul 1400 AM Sun- and R&B). He’s been compared to Lee himself, and on into the Smooth days 8-10 p.m. such legends as Billy Eckstine and Jazz era that characterizes contempo- Columbus - TV - WOSU Sundays Johnny Mathis, and has been thrilling rary jazz today. (#104, 4/22/06) at 9:30 p.m.; Radio - WJZA Smooth audiences since his 1975 debut, the The Altos Jazz 103.5 and WJZK top-selling “We Got By.” Multiple w/ David Sanborn & Phil Woods 104.3 Sundays at 5 p.m. GRAMMY nominee Kurt Elling is one Charlie Parker, Johnny Hodges Detroit - TV & HDTV - WTVS Sun- of the great modern proponents of the and Benny Carter are just a few of the days at 2 p.m.; Radio - WVMV Smooth “vocalese” tradition of marrying origi- altoists that have influenced this Jazz V98.7 Sundays at 9 p.m. nal lyrics to classic jazz solos. Al and episode’s guests David Sanborn and To the best of our knowledge and Kurt perform and talk with Ramsey Phil Woods. The hard-driving Sanborn research, this information is correct. Lewis about the great male vocalists is, of course, one of the best known May/June 2006 • Issue 282 PAGE THREE and most identifiable voices on the con- Lins and Oscar Castro-Neves through temporary jazz scene for the past 20 w/ Eddie Palmieri & Dave Valentin their music show us why the music of years, while Woods has established This episode looks at the evolution Brazil offers something highly stimulat- himself over many decades as one of and current state of Latin Jazz. Key- ing for the heart, body and soul. (#111, the legends on the instrument. Although board legend Eddie Palmieri and flute 6/10/06) from opposite sides of the musical virtuoso Dave Valentin perform and talk The Killer B’s - w/ Joey fence, Phil Woods and David Sanborn, with Ramsey Lewis about the genesis DeFrancesco & Dr. Lonnie Smith separately and together, have created of Latin Jazz, from the early days of In this episode we celebrate the something very wonderful on this show. Xavier Cugat and the rumba, to the Afro- world renowned Hammond B3 organ’s (#105 4/29/06) Cuban stylings of Dizzy Gillespie and role in jazz, and take a look back at the The Piano Masters Charlie Parker (picked up from Latin legends who helped take the B3 out of w/ Dave Brubeck & Dr. Billy Taylor jazz giants Chano Pozo and Machito), the church and auditorium and into the Art Tatum, Teddy Wilson, Oscar to the great Latin Jazz artists of the smoky clubs, roadhouses and record- Peterson, Bud Powell, and 1950s and early ‘60s, including Chico ing studios where it gained its fame. are just some of the pi- O’Farrell, Perez Prado, Tito Puente, Joey DeFrancesco (a former B3 ano legends talked about by two living Mongo Santamaria, Ray Barretto, Willie prodigy who made his debut recording legends themselves – Dave Brubeck Bobo and more. During this show, not at the tender age of 18) talks about his and Dr. Billy Taylor. The reputations of only were people tapping their toes as relationship with the B3, and with the these two great legends are widely usual, but it was all we could do to keep instrument’s most famous proponent, known and respected. Here they show them in their seats while Eddie Palmieri the late great Jimmy Smith. Dr. Lonnie us why. These two 85-year-old mas- and Dave Valentin spun their high-en- Smith, a giant of the B3 since the ters put on an incredible show in both ergy magic. (#109, 5/27/06) 1960s, discusses those legendary solo and duet numbers, and offer fas- The Tenors - w/ Benny Golson, days, while both artists talk about the cinating reminiscences. (#106, 5/06/ Chris Potter & Marcus Strickland part they have played in the current 06) Almost more than any other instru- global renaissance the “Killer B” is en- Roots of Jazz: The Blues ment, the tenor seems to be able to joying. Joey and Lonnie perform indi- w/ Robert Cray & Keb’ Mo’ encompass all the infinite shades of vidually and together in this high-en- In the beginning, jazz and blues jazz. Veteran sax man Benny Golson ergy episode. There are not many in- started out on the same track before (who has performed with Lionel Hamp- stances where two great organ play- diverging into two separate genres, and ton, Dizzy Gillespie and Art Blakey); and ers come together on the same stage. in the early 20th century, the two forms Chris Potter, the fiery young horn player Joey DeFrancesco and Dr. Lonnie borrowed liberally from each other as who has performed with everyone from Smith literally burn the studio down with they took their first formative steps. In the Mingus to Steely Dan; as their high energy performances. (#112, this episode, GRAMMY winners Rob- well as rising young star Marcus 6/17/06) ert Cray and Keb’ Mo’, talk about what Strickland play individually and together NEA Jazz Masters 2006 jazz has taken from the blues, and how and talk about their lives in music and w/ Tony Bennett, Chick Corea the two uniquely American forms of influences such as Coleman Hawkins, & Ray Barretto music have intertwined over the years. Lester Young, , Coltrane The title of this show says it all. Robert Cray and Keb’ Mo’ in their own and . The legendary Benny These three legendary gentlemen — highly distinctive styles remind us that Golson’s tenor performance Tony Bennett, Chick Corea and Ray the blues can be entertaining as well as demonstrates that he is quite at home Barretto – have earned their stripes and innovative. (#107, 5/13/06) playing with the young lions. Chris Pot- are still at the top of their game. This The American Songbook ter, the ever dependable innovator, and show features incredible performances w/ Jane Monheit & John Pizzarelli the surprisingly fresh Marcus Strickland and fascinating, intimate conversation From the 1930s to the 1950s, gave us performances to remind us that with three winners of the prestigious American songwriters created an un- jazz continues to be in good hands. National Endowment of the Arts Jazz equaled body of work we call The Ameri- (#110, 6/03/06) Masters award from 2006. Join us as can Songbook. Many of these tunes we honor Tony Bennett, one of the have become our “standards” and they w/ Oscar Castro-Neves world’s preeminent male vocalists, and are linked forever to the jazz and pop & Ivan Lins a giant figure in both jazz and pop; Chick singers who gave them life. Guitarist/ The early days and the current Corea, the composer, arranger, vocalist John Pizzarelli and top jazz groove of jazz from Brazil are explored keyboardist, pianist and bandleader, singer Jane Monheit talk with Ramsey in this exciting half-hour. Guests include who is best known as one of the great Lewis about what jazz has taken from the legendary Oscar Castro-Neves, a innovators who literally changed the (and given to) the great American popu- contemporary of Tom Jobim, Luis Bonfa shape of modern jazz by helping create lar song composers, from Irving Berlin and Joao Gilberto, who was on the the movement of the 1970s; to Gershwin and beyond. John Pizzarelli scene as a major player when the Bossa and Ray Barretto, the most widely re- and Jane Monheit sing both separately Nova was being created, and GRAMMY corded conguero (conga player) in jazz. and in duet to demonstrate why they are winner Ivan Lins, the keyboardist/com- This episode is in memory of Ray so well loved as are the songs they per- poser whose songs have been recorded Barretto (1929-2006). (#113, 6/24/06) form … and why this great music con- by artists ranging from to Once more...be sure to check your tinues. (#108, 5/20/06) and many more. Ivan local listings for updated information. PAGE FOUR May/June 2006 • Issue 282 At the Rock Hall... “’s American Journey 1956-1966” Opens at Rock and Roll Hall of Fame and Museum CLEVELAND – Few figures in the history of American popular music have reached the status of Bob Dylan. As the man who showed the world that popular music could be classified as art, Dylan has created a distinctly American body of work to match the legacies of Walt Whitman, Louis Armstrong, and his early musical hero, Woody Guthrie. The Rock and Roll Hall of Fame and Museum will unveil Bob Dylan’s Ameri- Kirk Whalum will be appearing with the Alto saxophonist Maceo Parker, once a Rendezvous All Stars Thursday, June 22 at bandleader and major instrumental voice can Journey 1956-1966. The exhibit will Cleveland’s Palace Theatre for an evening with James Brown, brings some major funk be on the top two floors of the Museum of Contemporary Jazz. The other All Stars to House of Blues Cleveland on Saturday, from May 20 – September 4. The exhibit are guitarist Jonathan Butler, pianist Brian June 3. It’s a mix of R&B, soul, funk-jazz opening coincides with Dylan’s Birthday. Simpson and bassist Wayman Tisdale. and gospel. Expect one hell of a party. Also Bob Dylan turns 65 on May 24. They are signed to Dave Koz’s Rendezvous coming to H.O.B. on Sunday, July 2 is gui- Dylan’s lyrics and songs unearth and Entertainment record label. tarist Robin Trower. Rick Ray opens. revitalize the American folk and blues tra- blues festival or two. With generally mod- dition, serving as a key link in the chain est ticket prices to see a couple of dozen that extends from Southern work songs, top notch acts, fresh air, cold beer, BBQ blues and Anglo American ballads to the and lots of like minded friends (or soon to many contemporary singer-songwriters be friends) what’s not to like? Here’s a for whom Dylan is a main influence. But few festival within easy striking distance Dylan’s story is not simply that of a musi- from the mid-west: Eureka Springs cal evolution. As a public figure and artis- Blues Festival- June 1-3, Eureka tic innovator, he has taken and chronicled Springs, AR. - 888-855-7823 or a journey emblematic of modern By Mark Smith www.eurekaspringsbluesfestival.com; America’s own development. New Release blues.... Eric Bibb Jackson Blues Festival- June 1-3, Jack- The exhibit features more than 150 and Leon Bibb-Praising Peace- A Trib- son, MI. - 517-796-9368 or artifacts, including Dylan’s 1949 Martin 00- ute to Paul Robeson; Jay McShann- www.slippeddiscproductions.com; Chi- 19 guitar, typed and handwritten lyrics, Hootie Blues; Jeff Healey & The Jazz cago Blues Festival- June 8-11, Chi- rare concert posters and handbills, signed Wizards- It’s Tight Like That; Michael cago, IL. - 312-744-3370 or albums, and dozens of photographs. At Coleman and the Delmark All-Stars- www.cityofchicago.org. ; Blues on the the center of the exhibit are four films ex- Blues Brunch at the Mart; Jimmy “Duck” Fox Festival, June 16-17, Aurora, IL. - ploring different facets of Dylan’s career, Holmes- Back to Bentonia; James 630-844-4731 or www.aurora-il.org/ with rare performance footage and inter- “Blood” Ulmer- Birthright; Sweet Betty- specialevents/downtownalive.asp ; views with Dylan and other artists. In ad- Live & Let Live; Shah- Lis- Alpena Blues Festival. June 23-25, dition, three viewing stations allow visitors ten At Me Good; Mel Brown and the Alpena, MI. - 989-356-6674 or to watch excerpts from the Dylan films Homewreckers- Blues- A Beautiful www.alpenablues.com ; Kansas City Don’t Look Back and Eat the Document, Thing; Charlie Musselwhite- Delta Hard- Kansas Street Blues Festival. June 23- as well as an interview with Dylan him- ware; Smokin’ Joe Kubek and Bnois 25, Kansas City, KS. - 913-371-0024 or self. Throughout the exhibit space are King- My Heart’s in Texas; Willie “Big www.kckstreetbluesfest.com; seven listening stations that enable visi- Eyes” Smith- Way Back; Popa Chubby- Kalamazoo Blues Festival. July 6-8, tors to hear Dylan’s musical evolution and Stealing the Devil’s Guitar; Eugene Kalamazoo, MI. Details available at innovations during this 10-year period. “Hideaway” Bridges- Coming Home; www.kvba.org; Toledo Rock, Rhythm & The exhibit, curated by Experience Trudy Lynn- I’m Still Here; The Calvin blues Festival. July 29, Toledo, OH. Call Music Project, marks the first time the Owens Show- I Ain’t Gonna Be Yo’ Dog 419-249-5018 or log on line to Rock Hall has had an exhibit dedicated No Mo; Johnny & The Mo-Tones- Two www.citifest.org. to Dylan’s career. Hits For the Kitty; Marla BB- Destiny This is just a minor sampling of the The Museum is open seven days a Meets Devil at the Crossroads; The Hol- treats available to you this summer. The week from 10 a.m. to 5:30 p.m. On lywood Blue Flames- Road to Rio; cool thing is that there are one or more Wednesdays the Museum is open until 9 Lynwood Slim (with special guests Kid festivals in virtually every region of the p.m. Museum admission is $20.00 for Ramos and Kirk Fletcher)-Self county every single weekend all summer adults, $14.00 for seniors (60+), $11 for Titled....More Festival Blues.... Summer long. children (9-12) and children under 8 and wouldn’t be complete without taking in a That’s it for now. See ya! Museum members are free. May/June 2006 • Issue 282 PAGE FIVE Copeland, Marcia Ball, Corey Harris, and fine versions of, such as ’s many others. Yep...you guessed it...35 in “S.K.J,” the favor- all. ite written by Sam Jones “Unit 7,” and Carl While the strict chronological order of Perkins’ “Groove Yard.” His band, David the songs was done for the historical na- Kinkoski/piano, John Patitucci/bass, Scott ture of this set, it is good for many rea- Allan Robinson/drums and Daniel sons, including the fact that improvements Sadownick/percussion, are all in good We only bring you in recording technology are experienced form throughout. There are highlights ev- the Cream of the Crop! gradually, rather than bouncing back and erywhere - check out Martino’s lightning ALLIGATOR RECORDS forth like a yo-yo, which can make for an fast runs on “S.K.J.” for just one. unpleasant listening experience. Some This is a fitting tribute to Wes indeed. 35X35 other labels release retrospectives with that But more than that, it is another tasty treat ALLIGATOR 2-CD SET flawed format – perhaps produced by from the hands of Pat Martino. It sure would It is always nice to see another Alli- someone without a clue. Also included is be nice to see this guy performing live gator anniversary sampler arrive. All I need a 44-page booklet with personal notes on somewhere...will have to mark that to do is note the number of years they are the tracks from Alligator president & thought on the “To Do List.” Bill Wahl celebrating, then subtract three to figure founder Bruce Iglauer and other good stuff. how long this publication has been around. An independent label celebrating 35 This time around the Gator staff has years is quite a feat. When I think of how MARY FLOWER decided to focus on the earliest record- many hurdles we’ve jumped to keep this Bywater Dance ings from as many of their artists, past mag going for 32, I can just imagine alli- YELLOW DOG RECORDS and present, that they could fit on two CDs. gators jumping all kinds of hurdles in the One of the truly wonderful fingerstyle Obviously they have had so many in 35 swamps when thinking of this guitarists and a lovely vocalist, Mary years they could not fit them all, but there Chicago label’s journey. We wish them a Flower went into a studio in the Bywater sure is a good amount and a lot of music very happy birthday. It is nice to have area of last May shortly af- to digest. some friends our own age! Bill Wahl ter JazzFest and wandered into the studio This set is a chronological history of with various local musicians who joined the label, so to speak. It opens with the PAT MARTINO her for her latest recording, Bywater first track from the label’s very first album, Dance. Hound Dog Taylor and the HouseRockers, Remember It is bitter irony that this disc came released in 1971 and concludes with Ma- A Tribute to out shortly after Katrina devastated much vis Staples’ spine tingling “A Dying Man’s BLUE NOTE of the Crescent City, but this is a terrific Plea” from her late 2004 Have A Little Going way back to his years with Pres- recording in which the guest musicians Faith. tige, Cobblestone and Muse – the release sound like they had played with Mary for In between you’ll travel through the of a new Pat Martino album was always a some time, not simply in the studio. various blues and roots music styles the sure treat. After his brain aneurism brought One thing refreshing about Mary is label has featured as you hear from such the news that he forgot how to play guitar, that she mines songs off the beaten path, artists as , Luther Allison, the jazz world feared his music would no so no Robert Johnson covers thankfully. Fenton Robinson, , Koko Tay- longer be created. Incredibly, he relearned Instead we hear her render a marvelous lor, Son Seals, Albert Collins, Roy how to play – mostly from his own records Blues My Naughty Sweetie Gives to Me, Buchanan, Johnny Winter, Gatemouth – in the very same style he was famous with some rolling piano from Amasa Miller Brown, Lil’ Ed & the Blues Imperials, Katie for, and returned to the scene in the ’90s and a hot solo from Tim Laughlin. Webster, Elvin Bishop, Professor Longhair, with releases on Muse and Evidence be- Miller switches to accordion on Crow Jane, William Clarke, Charlie Musselwhite, Dave fore signing to Blue Note. Remember is which is derived from the William Walker Hole, Carey Bell, C.J. Chenier, Saffire-the the fifth Pat Martino album on Blue Note recording and her wonderful strutting gui- Uppity Blues Women, Shemekia Records. tar matches Walker’s original. Martino was influenced by the great On Raise the Devil, after an introduc- Wes Montgomery, and it is said that he Blues Guitar Blowout tion with some sublime slide playing from also listened to Wes’ recordings while re- Flower, Jon Cleary adds some wonderful learning after the amnesia. While you can backing piano. Cleary is also present on Cleveland Fats certainly hear a bit of Wes in Pat’s style, Flowers’ rendition of George Washington and he does not try to emulate Montgomery Thomas’ New Orleans Hop Scotch, one The Ledgendary in any way in this 10-song homage. of the first recordings to sport a boogie Louisiana Red Martino’s trademark rapid fire, angular bass pattern. Kirk Joseph adds sousa- staccato style – and his sound (heavy on (Rare Cleveland Performance) phone for the bass here and a horn sec- bass and low on treble) – are in control tion including Tim Laughlin and Charlie Sunday June 4th 8pm throughout. He picked tracks recorded by Miller add atmosphere. Clearly takes a nice Parkview Nite Club Wes, mostly from his Riverside years. Longhair-flavored piano break, and Flower 1261 W 58th • Cleveland OH Some of the Montgomery-penned classics has a typically cleanly executed solo. here are “Four On Six,” “Full House,” She is a marvelous blueswoman and 216-961-1341 “” and “West Coast Blues.” I do recommend this unreservedly. Then there are others that Wes recorded Ron Weinstock PAGE SIX May/June 2006 • Issue 282 EXQUISITE NEW RELEASES FROM BLUE NOTE!

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

Solo, Gonzalo Rublacaba Time Lines, Andrew Hill Indigo 4, Gianluca Petrella 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. 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, Hank Mobley

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

May/June 2006 • Issue 282 PAGE SEVEN TAYLOR EIGSTI propriate elements for reaching peak success. He’s an imagina- Lucky To Be Me tive improviser, displays passion and vitality at the keys, shows technical expertise and a pleasing light touch, and he writes CONCORD pretty tunes. He’s certainly one of the most exciting new pia- Blessed with abundant talent, 21-year-old pianist Taylor nists I’ve heard in my 17 years of reviewing. Nancy Ann Lee Eigsti makes his Concord debut with two groups, one featuring bassist Christian McBride and drummer Lewis Nash and the other (his working group) with bassist James Genus and drummer WILLIE “BIG EYES” SMITH Billy Kilson. Guests on various tracks include Julian Lage (gui- Way Back tar), Greg Adams or Brian Swartz (trumpet), Eric Marienthal HIGHTONE (sax), Ben Wendel (tenor), Adam Schroeder (bari), and Garrett Sessions like these get more rare with each passing Smith (trombone), year. Vets with top-flight roots resemble hen’s Launched with a fresh take on Coltrane’s “Giant Steps,” the teeth these days and Mr. Smith’s new offering provides an ap- expansive 12-tune set includes four Eigsti originals and a mix- pealing snapshot of what the old-school fellas can still bring to ture of jazz standards and pop. The rising star has a definitive the party. Drummer in both the latter-day line-up knack for creatively re-inventing warhorse standards such as and the Legendary Blues Band that followed it, Smith conjures a “Love For Sale,” “Darn That Dream,” and “Freedom Jazz Dance,” previous incarnation as a harmonica player on the maority of and his originals are ear-appealing, expressive tunes. these tracks and gives a most respectable account of himself. With his working trio, Eigsti previously recorded Resonance, Fellow “Legends” pianist and guitarist Bob a 2003 release on Bop City Records. He began playing piano Margolin are also on board and harp-god James Cotton guests when he was very young and at age eight, opened for his friend on two numbers. The strength of Way Back lies in its overall and mentor, jazz pianist David Benoit. He shared the stage with atmosphere rather than “standout” tracks but few discs of re- Diane Schuur and opened for Diana Krall and Al Jarreau when cent vintage are likely to speak to the classic Windy City sound he was 12 years old. Throughout high school, he worked with so well. Duane Verh name jazz artists as well as making his mark in Classical music, performing with Frederica von Stade and Sylvia McNair, as well TRIO as with numerous symphony orchestras. Dave Brubeck remarked At the Prelude after Eigsti sat in with him, “Taylor is the most amazing talent PRESTIGE/CONCORD I’ve come across. Remember him.” This two-disc set features William “Red” Garland’s swing- \Mature beyond his years, Eigsti seems to have all the ap- ing, straight-ahead trio with bassist Jimmy Rowser and drum- mer Charles “Specs” Wright, in three live-recorded sets per- formed on October 2, 1959 at a Harlem nightspot, The Pre- lude. The material was first released piecemeal on four Prestige albums in the 1960s and 1980s. This new 23-tune set contains all the music released in 2003 on a three-disc Japanese set, plus new notes by Joe Goldberg. Inspired by Ahmad Jamal, Bud Powell and, some say, Walter Bishop, Dallas-born Garland (1923-1984) started out playing clarinet, then saxophone and diverted from music to become a boxer. Near the end of his military career, he began learning how to play piano and within a decade relocated to the East Coast where he worked with Charlie Parker, Lester Young, Coleman Hawkins and others before gaining wider no- tice with the Miles Davis Quintet from 1955-58. After leading his own groups, Garland retired to Dallas in 1965 following his mother’s death. He reappeared in concert in the 1970s before retiring for good at the end of that decade. By the time of this recording, Garland was leading his own trio and regularly recording for Prestige as leader. Although he may seem to have been a somewhat overlooked jazz pianist, his expertise is evident as he demonstrates his intimate, un- derstated translations, his light perky touch, left-hand block chording and single-note right-hand lines. Garland’s spar- kling trio with his two Philadelphia friends tidily reworks gems such as “There Will Never Be Another You,” “A Foggy Day,” “We Kiss In A Shadow,” two versions of “Lil’ Darlin’,” three versions of “One O’Clock Jump,” “Bye Bye Blackbird,” “Satin Doll,” “Cherokee,” and more. Garland trio’s toe-tapping material is a total treat that may lead you to investigate his other recordings. Nancy Ann Lee

PAGE EIGHT May/June 2006 • Issue 282 “the troubles” over there, that isn’t much Guitar Groove-A-Rama of a jump. And just when you think Duke’s lulled you into a groove, he opens it up STONY PLAIN full throttle via “Cookin’” and the then re- And now for all the folks who have verses polarity again with “Dark Eyes,” complained about Duke Robillard’s last based on a Russian folk song with Al Basile couple releases, it is time to stop. Quiet. adding some cornet into the tune. Hush. Shut up already. Your howls of “not Guitar Groove-A-Rama delivers on its enough guitar” did not fall on deaf ears, What U Missed title, so stop complaining already and go especially Duke’s. His latest disc is a 14- If you didn’t check our website buy one. Peanuts track tour de force of every conceivable since the March/April pulp issue: blues style known to mankind on each six 1. Our April issue - web only - string instrument the Rhode Island resi- CASSANDRA WILSON with info on the historic Gary Bur- dent owns. If it was radio, it would be all Thunderbird ton-Pat Metheny concert tour - Duke, all the time. BLUE NOTE playing closeby in Buffalo and To break it down a little further, the Singer Cassandra Wilson has been Detroit, plus many CD and Book center piece here is the 16-minute title cut blending jazz with folk and rock for sev- Reviews where Robillard pays homage to the styles eral years now. That mix has brought some 2. Duayne Verh’s interview of Muddy Waters, Guitar Slim, Johnny rave reviews from the mainstream press, with former NRBQ guitarist and “Guitar” Watson, B.B. King, and also some jeers from the jazz purist master songwriter Big Al Anderson and many others all in one slick setting brigade. While hoards and hoards of sing- Stop By Now & Then with Bruce Bears using the Hammond or- ers have been putting out cookie-cutter- gan as a background canvas for Duke to like CDs with versions of songs from the jazz-blues.com paint on. Stax Records gets a nod during Great American Songbook, Wilson, with the heavy “Do The Memphis Grind” as “No her very low and smokey voice, has cre- just might meet an untimely death. Some- Way Out” is the left handed version of ated very unique and musically stimulat- one needs to go well beyond the old stan- Elmore James’ “One Way Out,” done ing discs with originals and songs from dards to keep things fresh and attract new Robillard-style. other arenas that demand a response...one and/or younger ears. Hey...didn’t Miles do Most unusual cut might be Duke tak- way or another. She has also paved the something like that? ing a stab at Bob Dylan’s country blues way for the likes of Norah Jones and Lizz That said, Cassandra has hired noted tune “Down Along The Cove” from the Wright (and others), both of whom have producer T-Bone Burnett to bring things latter’s John Wesley Harding release, al- brought their own unique blends of music into a new gear. Now you can add hip hop though a softer version of the Gaelic stan- genres into the Universe. Let’s face it – rhythms into the mix for some songs, and dard “Danny Boy” turns jazzy at one point. without singers like these three, and in- a much bigger dose of the blues for oth- Irish blues? Let’s face it, if you’ve followed strumental players in similar realms, jazz ers. So how many genres is she mixing May FRI 5 ...... ROB C & THE HIPNOTIKS SAT 6...... COLIN DUSSAULT’S BLUES PROJECT FRI 12 .....WYNG-IT (ROCK) SAT 13.....THE DEACONS (EVANGELISTS OF SOUL) FRI 19 .....CITY HEAT (CLASSIC ROCK) It’s More Than Just a Club SAT 20.....WALLACE COLEMAN Serving Fine Food & Great Music, with no cover daily till closing FRI 26 .....REAL LIFE FEATURING BECKY BOYD MAY JUNE 7 & 21 CRUISIN (5-9PM) 4 & 18 CRUISIN (5-9PM) SAT 27.....TRAVIS HADDIX BAND SUNDAYS 28 FORTE MONDAYS E D D I E & T H E E D S E L S

TUESDAYS MAY JUNE June 2THE GEEZECATS 6THE GEEZECATS 9BRENT HOPPER & BRITTANY REILLY 13 BRENT HOPPER & BRITTANY FRI 2 ...... FRANKIE STARR BAND 16 TBA REILLY SAT 3...... COLIN DUSSAULT 23 TBA 20 TBA & THE BLUES PROJECT 30 ERNIE KRIVDA & 27 ERNIE KRIVDA & THE FAT TUESDAY BIG BAND THE FAT TUESDAY BIG BAND FRI 9 ...... THE CHOSEN FEW SAT 10.....THE SWAMP BOOGIE BAND WEDNESDAYS MAY JUNE 3BLUESTONES 7LAWLESS FRI 16 .....BRUCE KATZ BAND (B3 FROM BOSTON) 10 KENTUCKY THUNDER 14 KENTUCKY THUNDER SAT 17.....THE SAM GETZ BAND 17 LAWLESS 21 J.P. & THE CHATFIELD BOYS FRI 23 .....ARMSTRONG BEARCAT BAND 24 KRAKER BROTHERS 28 KRAKER BROTHERS 31 J.P. & THE CHATFIELD BOYS SAT 24.....THE TRAVIS HADDIX BAND FRI 30 .....THE RHYTHM SYNDICATE THURSDAYS THE SAVANNAH JAM WITH BAD BOYS OF BLUES 30676 Detroit Road Westlake (440) 892-2266 www.TheSavannah.com

May/June 2006 • Issue 282 PAGE NINE now? Haven’t really counted...but it works, cisco bay area had three notable names Comet.” Haydon and Pizzarelli interactions and that’s all that matters. In fact, it works in Tower Of Power, the Sons of Champlin and improvisations on American extremely well. and Cold Blood. All now just footnotes in Songbook standards such as “Old Folks,” With her originals such as “Go To the 1960’s volume, they had various times “It’s A Wonderful World,” “Look For The Mexico,” “It Would Be So Easy,” “Poet” to shine and then faded into the back- Silver Lining,” and other tunes make this and “Tarot” mixed with covers like a re- ground. one of the recent best guitar albums. working of Blind Lemon Jefferson’s “Easy Leaning towards the Stax/Volt sound Haydon is not as well known as he Rider Blues” (here titled just “Easy Rider”), (first group hit in 1969 was a remake of should be. He’s been a professional musi- Willie Dixon’s “I Want To Be Loved” and Sam & Dave’s “You Got Me Hummin’”), cian and educator for more than 25 years the traditional fur trader and cowboy song it’s good to see the Cold Blood name pop and is Professor of Music at Southern Illi- “Red River Valley” (done delta style as a up as Lydia Pense was one of the bay’s nois University—Edwardsville. Pizzarelli, vocal/guitar duet) – things flow along quite most notable female belters besides Janis son of jazz-guitar legend Bucky Pizzarelli nicely, and she never comes close to hit- Joplin at the time. began his solo career in 1982 and has ting a rut. She also does Jakob Dylan’s Transfusion is a mixed bag of styles accrued numerous recordings as leader. (Mr. Bob’s son) pensive ballad “Closer To and boy is it good to hear Pense open her This is one of those pleasant, anti- You” – one of the songs given the hip hop mouth the minute “Face The Music” kicks frantic albums that will make you want to treatment. into high gear with help from Rob kick off your shoes, settle back in your Instrumentally, the set is quite guitar Zuckerman’s sax solo. Guitarist Steve easy chair and absorb the swinging mu- heavy – nothing wrong with that. Wilson Dunne contributes a second ton of funk sic. Nancy Ann Lee plays some acoustic, and she also has via “Coming Back” and “Wait For You,” guitarists Colin Linden and Marc Ribot on again thanks to Zuckerman, pumps high ERNIE HAWKINS board, plus Keb Mo on the Dixon track octane. Rags & Bones only. Noted rock studio drummer Jim If anything the material gets too ten- SAY MO’ MUSIC Keltner is heard on much of the disc, prob- tative in spots as, let’s face it, if you’re The masterful fingerpicking guitarist, ably one of T-Bone’s ideas. going to bring in Lenny Williams from Ernie Hawkins’ new CD is delightful. The Thunderbird is a very enjoyable lis- Tower of Power to do a duet with Pense, talented disciple of the legendary Rev, tening experience from Cassandra Wilson. it’s best not to pick a slow tune like “It Gary Davis opens with a superb rendition Highly recommended for anyone with di- Could Be Me, It Must Be You,” to give them. (played on a twelve-string guitar) of Davis’ verse musical tastes. It will be interesting That’s way too much vocal fire power to Make Believe Stunt, a tune Davis derived to see the reviews on this one! Bill Wahl be muted like that. from a lick of ’s Maple Leaf The duet highlight instead turns out Rag. LYDIA PENSE to be the remake of an earlier FM hit the There are enjoyable covers here in- & COLD BLOOD band had, “Down To The Bone,” with cluding Mississippi John Hurt’s Avalon Pense teaming up with Michelle Shocked Blues, country music pioneer, Jimmie TRANSFUSION for a great take on the tune. Weaving Rodgers’ TB Blues, Henry Thomas’ Texas DIG MUSIC different styles across the board, another Easy Street, and Mance Lipscomb’s G Rag, At times it is really amazing the num- highlight is Rich Armstrong’s trumpet giv- with Hawkins delivering relaxed, easy go- ber of band names that get lost in the ar- ing “Down To My Last Heartache” some ing vocals to go with his deft fretwork. Most chives of rock and roll. nice jazz touches as the entire disc is rich interesting are guitar adaptations of three There were an explosion of horn in brass. classics of twenties jazz, Louis Armstrong’s bands after Chicago and Blood, Sweat & It might not beat down any new doors, Potato Head Blues and Cornet Chop Suey, Tears’ popularity took off, just like any but Transfusion will be a nice surprise for along with Singin’ the Blues, which is other trend in those days. The San Fran- fans of ’s earlier work. Peanuts adapted from the legendary Frankie Trumbauer/Bix Beiderbecke recording LIVE BLUES ON RICK HAYDON & and a George Gershwin piano roll. One problem with adapting these THE HIGH SEAS JOHN PIZZARELLI songs to a solo approach is that the beauty Just Friends of the originals often comes from the group MEL BAY RECORDS interplay, especially notable on Potato Two seven-string guitar masters, Rick Head Blues. The rendition of Cornet Chop Haydon and John Pizzarelli serve up a Suey comes off more successfully, but melodious 11-tune set with Martin there is no faulting Hawkins’ marvelous Pizzarelli on bass and Tony Tedesco on playing. guests with a won- drums. derful vocal on Rev. Davis’ I Am the Light There are plenty of lively gems to en- of This World, and the album closes with gage the listener. The tasty set kicks off Hawkins handling an African tune with an uptempo swinger “Chasin’ the Massanga. Read The Review Blues,” one of Rick’s favorite tunes from a Its a delight listening to the music hear 1957 / LP. Included and how wonderfully the guitar sounds www.jazz-blues.com among the selections are two other Al here. For further information check click the ‘Notable’ button Cohn tunes, the pulsing “Two Funky www.erniehawkins.com or better mail or- People” and the percolating “Halley’s der stores. Ron Weinstock PAGE TEN May/June 2006 • Issue 282 DEREK TRUCKS BAND Mike Mattison is a suitably soulful frontman sessions of the “horizontal bop”, “Feel Like Songlines and Trucks’ standout slide sound, a sub- I Do,” soulful ballads, “All Alone” and “See lime mix of liquidity and bite, headlines Me Through,” classic R &B, “Let Me Know,” COLUMBIA/LEGACY one of this year’s very best offerings to Latin tinged reflections on the redemptive Usually by March or April a contender date. Worth the money! Duane Verh power of the sun, “Sunny Daze,” a Black for best album of the year shows itself and Crowes style rocker, “Uncle John” and even we’ve not been denied in ’06. Guitarist jazz tinged Reggae, “It Won’t Be Long.” Trucks is possessed of one of the sweet- ERIC LINDELL With Lindell’s rhythmic guitar chops est, richest tones in slide guitar history and Change in the Weather augmented throughout by punchy horn has placed it, as well as his conventional ALLIGATOR riffs and cuts sounding one moment like style, in the service of one of the freshest Guitarist Eric Lindell hails from north- a long lost Delaney and Bonnie tune and fusions of roots music ever laid down. ern California but has made New Orleans the next like War or Stevie Wonder, there’s Furthermore, Trucks has surrounded him- his home since 1999. One listen to his little here that fits very neatly into the blues. self with a most distinctive group sound, debut on Alligator reveals that he has as- That’s not all bad. As tours through musi- sharing the front line with flute and key- similated the rich potpourri of musical cal styles go, this one is top notch. boards, that draws in jaded ears and is styles that can be heard on any given night Mark Smith welcomed by established fans. in the crescent city. This isn’t the Cajun or And both those fans and newbies Zydeco recycled for the tourists on Bour- should be duly impressed with Trucks & bon Street. HERBIE HANCOCK Co’s. continued inventive cross-breeding Instead, it’s the polyrhythmic funk, The Essential Herbie Hancock of jazz, blues, soul and Eastern forms. jazz, blues and soul laid out by adventur- COLUMBIA/LEGACY Whether referencing Rahsaan Roland Kirk ous artists like Anders Osborne or Joe Pianist Herbie Hancock, certainly one (“Volunteered Slavery”) or Nina Simone Krown, cutting edge bands like Galactic of the “household names” in jazz, is well (“I Wish I Knew How It Would Feel To or Papa Grows Funk or even long running represented in this recent two-CD set from Free”); taking on vintage Memphis r&b or institutions like the Neville Brothers. When Columbia Legacy. navigating trance-like modal scapes, this it comes from New Orleans there’s not just His early years with Blue Note are line-up consistently cooks up strong and a simple groove to drive a song, there’s covered on 3 of the first 4 tracks - all engaging grooves. Keyboardist/flautist several grooves all working at the same Hancock classics, “Watermelon Man,” Kofi Burbridge inserts his woodwind spar- time. The 14 self penned cuts feature in- “” and “Maiden Voyage.” ingly and strategically, much like the late clude funky guitar work outs, “Casanova,” A version of “‘Round Midnight” from a ’64 Traffic reedman Chris Wood did, vocalist upbeat pop about the need for repeated Sonny Rollins RCA recording is also in

May/June 2006 • Issue 282 PAGE ELEVEN there, as they try, for the moment, to stay out the few commercial tracks with vo- be put off by the horn laden material: virtu- in chronological order. Then there is one cals and the like, the vast majority of the ally every track features a sizzling guitar tune with Miles’ quintet, “Circle” followed music here is first rate stuff with many of break that perfectly complements the ma- by a later Hancock Blue Note cut from his most important songs. Thus, the set terial. The jam found as a hidden track at ’68 – “The Sorcerer.” serves very well as a Hancock retrospec- the end of the disc is particularly tasty. A Hancock then moved to Warner Bros. tive. Bill Wahl must have for any fan of the glorious inter- and we get one track from Fat Albert Ro- section between jazz & blues. tunda, but none from or Cross- JW JONES BLUES BAND Mark Smith ings. The Mwandishi band, however, is Kissing in 29 Days PAUL SAMUELS represented on “Hidden Shadows” from NORTHERN BLUES their Sextant album, now on Columbia. On this, his fourth disc, Canadian Speak The remaining songs on Disc One are bluesman JW Jones surrounds his band DOC CITY MUSIC “” from al- with a wailing horn section that adds a per- For his debut CD, drummer Paul bum and “Joanna’s Theme” from the fect compliment to his West Coast Style Samuel tags saxophonist Greg Osby, or- movie soundtrack. guitar and nimble vocals. With a sound that ganist Dan Wall and, on two tracks, per- Disc Two opens with “Butterfly” from evokes memories of Roomful of Blues circa cussionist Jamey Haddad for an edgy the Headhunters band’s Thrust album, “Hot Little Mama” Jones plays blues de- eight-tune session. followed by two tracks from 1980’s Mr. void of any rock references. Instead, lis- Raised in Cleveland Heights, Ohio, Hands, featuring a band that included Jaco teners are treated to the big band era blues Samuels, the son of a Cleveland Orches- Pasorius. In between there is a trio version more closely associated with Kansas City tra violinist, began his professional career of “Milestones” with Ron Carter and Tony and the West Coast. Thankfully, this isn’t at age 14 playing around the Cleveland Williams recorded in 1977. How’d it get in just a run through oft covered jump blues area. He recorded in the mid-1980s with that spot? and swing covers. Jones penned 11 out of Osby and has since recorded, performed Then we get one song from his com- the 14 cuts with uniformly engaging results. and toured internationally with a variety mercial period from ’78 before a wonder- The title cut gets things off to a wail- of musicians. ful track from a Sony-Japan V.S.O.P stu- ing start that will have you checking the This is a New York-sounding debut dio album (with Hubbard, Shorter, Carter liner notes to make sure you haven’t that relies on the gifts of Wall and Osby as and Williams) titled “Finger Painting.” stumbled across a long lost classic. Speak- much as Samuels’ illustrious timekeeping. Closing out the proceedings are two more ing of classics, Tenor Sax man David Included are tunes by Thelonious Monk, cuts from his commercial funk albums “Fathead” Newman guests on three cuts , Wayne Shorter, Ornette from ’80 and ’83, “St. Louis Blues” with that simply smoke including Ray Charles’ Coleman. The musicians innovatively Stevie Wonder from the CD Gershwin’s “Hallelujah I Love Her So.” Jimmy Reed stretch out to the inner edge on most tunes World on Verve (2000), and a solo piano also gets a nod on “Got Me Chasin’” which but, if you’re looking for warmth or swing, version of Hancock’s original “Manhattan” features low key harmonica and a loping only their take on Monk’s “Ruby, My Dear” from his 2005 Verve disc The New Stan- beat that serves as a nice counterpoint to comes close. dard. the harder swing groove of much of the rest What makes this album enjoyable are Though many could probably do with- of the material. Blues guitar fans need not the interactions between Samuels and Wall, especially on Shorter’s “ESP.” Nancy Ann Lee ANGEL RISSOFF Where Have You Been? ANGEL MUSIC If you have a jones for fifties Rock & Roll, Doo-wop, beach music (think the Drifters or Coasters) and R & B this is the release for you. With a voice that combines the soul of Al Green and the punch of James Brown, Angel nimbly works his way through Huey Piano Smith’s classic, Where You At?, Don Covay’s It’s Better to Have and Don’t Need and a number of origi- nals. Fronting an assortment of guitarists, horn players and keyboardists Angel will make you think you fell asleep and trav- eled back through time to the not so long ago era where these styles dominated the air waves. I dare any fan of early rock to sit still through the horn drenched Oh Rockin’ Daddy. Pretty fun stuff. Try CDBaby.com for this. Mark Smith PAGE TWELVE May/June 2006 • Issue 282 DEBBIE GIFFORD KENNY NEAL So Many Songs About Love A Tribute to Slim Harpo & Raful Neal SELF-PRODUCED TRUE LIGHT ENTERTAINMENT Cleveland-based vocalist Debbie Gifford sings 12 love songs One of the most versatile as well as skilled blues artists backed by pianist Linda Presgrave (piano), Harvie S (bass), working today, Kenny Neal has just issued this new disc that Allison Miller (drums), Bob Fraser (guitar) and, on four tracks, goes to the roots of his music, A Tribute to Slim Harpo & drummer Ricky Exton. Raful Neal . Originally this was a Slim Harpo tribute that he Gifford has a seductive voice, is an imaginative improviser and his father, the late Raful Neal, recruited James Johnson and puts a lot of feeling into each tune. She knows how to pick and Rudolph Richard from Slim Harpo’s original band to par- the right tunes and musicians for the task. Highlights abound. A ticipate in. Ten Slim Harpo songs were recorded when Kenny powerful storyteller, she’s selected an array of favorites. She went on tour, and in the interim Raful was diagnosed with nicely remakes standards and lesser-known songs such as Van bone cancer, so Kenny was among those looking after his Morrison’s Moondance,” the blues-edged Mabel Wayne tune, dad who passed away September 1, 2004. Going back to the “Sway,” the ballad duet of Victor Young’s “When I Fall In Love” tapes, he listened to them and decided to release what was and the Gershwin classic, “I’ve Got A Crush On You,” all splen- initially a tribute to Slim Harpo as a tribute also to his dad. didly accompanied by Clevelander Fraser (whose playing en- He shares the vocals with his father, with the exception of hances the success of this project). Gifford makes the gorgeous What a Dream on which James Johnson sings while the band Harold Arlen ballad “Somewhere Over the Rainbow” into a pas- captures the understated, laconic grooves that made Harpo’s sion-filled gem, aided by Harvie’s arco-bass melody head. originals so classic. Raful opens the set with a nice vocal and This promising debut album should further Debbie Gifford’s some harp on Rainin’ in My Heart, while Kenny and Raful singing career. Nancy Ann Lee swap harp riffs on Swamp Boogie. Raful comes across very appealingly on King Bee Scratch JOVINO SANTOS NETO My Back and Got Love If You Want It. The two share the vo- cals on Late Last Nite with Kenny taking the vocal prior to the RODA CARIOCA (RIO CIRCLE) harp break, which is followed by Raful singing and closing ADVENTURE MUSIC the song with his nicely played harp, and Te-Ni-Ne-Ni-Nu where Brazilian composer-pianist Jovino Santos Neto makes his Raful takes the lead with Kenny joining in on the chorus. label debut leading a lively trio set on piano, melodica, flutes, Its nice to hear this played in such a nice relaxed manner, and accordion, with musicians from his hometown Rio de lacking the frenzy or overstatement that mars some rock in- Janeiro—Rogerio Botter Maio (bass) and Marcio Bahia (drums). The album is enhanced with brief guest appearances from Fabio Pascoal (percussion), Gabriel Grossi (harmonica), Hermeto Pascoa (melodica), Joyce (vocals), and Marcos Amorim (acous- tic guitar). Playing mostly originals by the leader, the tight-knit core trio keeps the music authentic, and it’s their shimmering perfor- mances without the guests that are most enjoyable. The 11- tune set launches with three of Neto’s appealing compositions, of which the most intriguing (though brief at 4:13) is the bubbly “Marfim (Ivory).” Equally enjoyable, his perky “Coco Na Roda (Coco In the Circle)” conveys a carnival/party mood and his minimalist samba “Homeopatia (Homeopathy)” has healing powers. Though he’s lived in the US for years, Neto’s tunes are steeped in the Brazilian tradition. It’s a treat to hear such en- chanting original tunes and this trio blends Brazilian music with jazz without sacrificing the integrity of either. Nancy Ann Lee PALACE THEATRE Web Exclusives Check our website monthly for special stories, announcements JUNE 22 and some web-only issues in between our pulp issues. 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May/June 2006 • Issue 282 PAGE THIRTEEN terpretations of this material. Kenny Neal and his late dad Valentin covering Pedro Flores’ “Obsession.” Some of the tracks have put together a small gem of a disc, and if playing time is – those noted as with with “the section” – use the same rhythm a little short, there are no frills or filler here. Highly recom- section, consisting of Willie Pickens/piano, /bass and mended. Ron Weinstock Leon Joyce Jr./drums. Others have members of the artists own bands on hand. The enclosed color booklet devotes a page to each track Jazz & Blues on DVD with color pictures, personnel listings and a paragraph on the artist(s). This is not only a sampler of the TV series, but also of CHICAGO BLUES REUNION the three other CD/DVD sets coming out soon. Each apparently Buried Alive In The Blues contains music and video from four of the programs on each of OUT OF THE BOX DVD/CD the CDs, and also on the DVDs, which offer Dolby Digital 5.1 Simultaneously, while Dylan was electrifying folk music Surround Sound. It is a bit unclear as to how much will be in- and The Dead and the Airplane were trippin‚ out San Francisco cluded from each program, but we should know more when way, a pack of young white musicians from around Chicago they are released beginning in June and continuing through were unknowingly starting a revolution of their own. Braving the August. rough and ready ghetto bars of the city’s South and West Sides, As for this sampler set, the only programs not represented they came to learn the blues from masters still in their prime. are “The Great Guitars” with Pat Metheny & Jim Hall and “The As solid as the set played by keyboardist Barry Goldberg, Killer Bs” with Joey DeFrancesco & Dr. Lonnie Smith. lead guitarist Harvey Mandel, harmonica ace Corky Siegel and Very exquisite stuff on both audio and video formats. The vocalists Nick Gravenites, Tracy Nelson and Sam Lay is on the video on this was shot in HD and recorded in Dolby 5.1. We look CD half of this package (and solid it is), the DVD interviews with forward to the forthcoming sets. Bill Wahl these same folks plus B.B. King and Buddy Guy are even a greater draw. Globe Trotting The reminiscing is mixed with vintage footage of these cats plus the likes of Muddy Waters, Mike Bloomfield, Paul Butterfield ARSEN SHOMAKHOV & and others working hard onstage and cutting up offstage. The film captures this very special time in the history of modern Troublemaker blues in a rich, warm and informative manner. AZOD/BLUES.RU The white blues bands that proliferated in the ’70s and be- When Non-Americans take on American roots music, what yond owe much to this crew who showed that it could be done they miss in nuance they frequently make up for in enthusiasm for real. Few releases rate the tag of “must have” like this one. (think of those Europeans that take up traditional New Orleans Duane Verh jazz). So, when guitarist/vocalist Shomakov shoots “TOM-stone” Editor’s Note...Buffalo readers of the Raven era will enjoy seeing and bullets during a run-through of Willie Dixon’s “I’m Ready”, his hearing drummer Gary Mallaber on the Chicago Blues Reunion set. passion for the blues inclines one to cut the Russian some slack. Actually Shomakov and his tight, spunky rhythm section need very little handicapping at all on this set. Aside from a few LEGENDS OF JAZZ W/ RAMSEY LEWIS covers, the disc showcases Shomakov’s penchant for fresh origi- Showcase nal takes on the blues form. If his lyrics aren’t of “blow-you- LRS MEDIA DVD/CD SET away” caliber, they are at least unobstructive to his energized This brand new set, mentioned in our cover story, contains instrumental work. This would be a neat little outfit to catch in a CD and a DVD with some highlights of the Legends of Jazz some intimate venue and perhaps they can figure out how to series on American Public Television. It will serve well to give land some Stateside gigs sometime. More info is available at: fans an overview of the diverse programs featured. arsenic.blues.ru. Duane Verh Opening with Al Jarreau and Kurt Elling together singing Paul Desmond’s classic “Take Five,” it continues with trumpeter MICKE BJORKLOF & BLUE STRIP Chris Botti, well known in the smooth jazz vein, on a stirring Three Times Seven Is ... acoustic quartet version of “My Funny Valentine.” Some of the BLUELIGHT (FINLAND) other highlights are alto saxophonists Phil Woods and David Speaking to the same point made in the Aresen Shomakhov Sanborn plus section with an outstanding take on on Horace review elsewhere in this issue, this eclectic five-piece from Fin- Silver’s “Senor Blues,” Chick Corea solo piano on his own land wields enthusiasm as a key ingredient. Blue Strip delivers a “Armando’s Rhumba,” Robert Cray & Keb’ Mo’ with band for blues-pop hybrid which at times flirts with acoustic country the blues segment, Benny Golson plus the section playing his sounds, other times puts a sophisticated spin on what’s called own “Killer Joe,” Clark Terry with the section on his original “swing” these days and uses blues elements in a decidedly non- “Mumbles,” dual pianos with Billy Taylor & Dave Brubeck play- native way. ing “Take The A Train” accompanied by bass and drums, an- Contributing in a big way to this “foreign” take are the lyrics. other vocal duet with Jane Monheit & John Pizzarelli, backed by The bayou heroine of “Lowland Girl” sounds like the faraway Pizzarelli’s guitar, plus piano/bass/drums and a second guitar, fantasy she no doubt is for a Finn. The kinky lady cop of “Miss and Ramsey Lewis with a solo piano version of Coltrane’s “Dear Bluecap” has a definite Euro air about her. The music is stylisti- Lord.” cally varied, centered on guitarist Ville Leppanen who comes off Also seen and heard are are Lee Ritenour with Marcus Miller as the heavyweight of the band. Purists may chafe but Blue Strip & George Duke on Miller’s “The Panther,” Brazilian vocalist/pia- could grow on others. You can check it out at www.bluestrip.net. nist Ivan Lins with his original “The Island,” and flautist Dave Duane Verh PAGE FOURTEEN May/June 2006 • Issue 282 May/June 2006 • Issue 282 PAGE FIFTEEN PAGE SIXTEEN May/June 2006 • Issue 282 BABE STOVALL PETER APFELBAUM Good Rocking’ Tonight, along with unused or alternates of such cel- The Old Ace & THE NEW YORK ebrated tracks as Mighty Mighty ARCOLA RECORDS HIEROGLYPHICS Man, Deep Sea Diver, Miss Fanny Born in Tylertown, Mississippi in Brown, Special Lesson No. 1 and 1907, Jewell ‘Babe’ Stovall learned It Is Written ‘Long About Midnight. He was music from his brothers and other mu- ACT RECORDS backed by some terrific jump blues sicians near home, and included Bandleader, composer, musician bands. songs from the church as well as Peter Apfelbaum (b. 1960) first Copiously annotated (although string band traditions. gained notice in the USA during the one wished Ace would include Around 1930, the legendary 1990s with his 15-member Hiero- discographical details) and with very Tommy Johnson came around glyphics Ensemble, then based in the good sound, this terrific disc will be Tylertown where he got the basis of San Francisco Bay area. Drawing of great interest to those who are fans Big Road Blues. Eventually he moved upon various musical genres, his of jump blues and this great blues to New Orleans where he sang on the works appealed to the multi-cultural pioneer. Ron Weinstock streets and, based on Marc Ryan’s jazz crowd. At age 19, he moved to urging, was booked in Boston and New York City, where some name jazz Cambridge in 1965 where he and musicians joined his band, which re- Ryan stayed with David Evans in corded for the Antilles label. Al- One More For The Road Evans’ Harvard dorm room. though he worked with smaller VERVE Evans contributed the liner notes groups after the Hieroglyphics En- harmonica virtuoso to this album, and notes that his rep- semble was dropped by the label, he Toots Thielemans has another mar- ertoire is that of a songster. continued to keep the band going. velous new CD, which is set for re- Included are some familiar blues His newest release with this New lease May 9 on Verve Records. and gospel numbers including Candy York ensemble was recorded at Loho This time around Toots has de- Man†and†Baby Let Me Follow You Studios during September 22-24, cided to pay a most honorable trib- Down, The Ship is At the Landing, 2004 and features nine of his eclec- ute to Harold Arlen, as he presents and Will the Circle Be Unbroken. tic original compositions. twelve tunes from the Arlen There are renditions of Sonny Boy Twenty-five musicians perform songbook – all presented in the typi- Williamson’s Good Morning Little with Apfelbaum in ensembles rang- cal exquisite Thielemans fashion. School Girl, Jim Jackson’s Kansas ing from 10 to 15 musicians. Tunes Produced by Ruud Jacobs with lush City Blues and Leroy Carr’s How Long are tinged with blues, Afro-Cuban orchestral by Jurre How Long Blues. rhythms, funk or other musical Haanstra, this set recorded in Included are some interviews genres. Apfelbaum himself plays pi- Hilversum, Holland and , where he talks about family and play- ano, tenor sax, flute or percussion, features several guest art- ing in new Orleans and a medley of but it’s Apfelbaum’s compositions, ists – mostly female singers – most Tommy Johnson’s Big Road Blues his engaging melodies, great horn- of which are not really that well with Careless Love, in which section work, punchy rhythms and known, but who all do a magnificent Johnson’s influence can be heard and talented instrumental soloists that job in their respective spots during felt. make this disc such a thrilling listen- the proceedings. And, they come Bob West produced these record- ing experience. Nancy Ann Lee from a variety of different countries, ings in New Orleans in 1968 and as well as musical genres. Stovall strongly played his National ROY BROWN The set kicks off with another guitar and sang with verve although Good Rocking Brown Ver ve artist, Lizz Wright – whose re- he was a bit hoarse for a latter ses- ACE RECORDS (UK) cent CD is still one of my favorites – sion issued here. Stovall was not ex- The late Roy Brown was one of singing “Come Rain Or Come Shine.” actly overecorded. Larry Borenstein the legends of who Another Georgia-born singer, recorded him in 1961, which was is- left an impressive body of blues that Madeleine Peroux, follows with “Be- sued on Flyright on vinyl, and I do not foreshadowed modern soul and urban tween The Devil And The Deep Blue believe it has become available on blues with his high-end blues crying Sea,” after which Norwegian singer CD. He also recorded for Prestige and shouting style. Silje Nergaard offers her styling to Bluesville if I remember correctly. English Ace Records has inaugu- “Last Night When We Were Young.” These are frankly as good of record- rated the initial release in its The King The only male singer on hand is ings as I heard him play, and the ac- & Deluxe Acetates Series with Good Jamie Culllum, hailed as a British companying booklet has Evans’ notes Rocking’ Brown, which provides at Boy Wonder, who settles down here and some great pictures, including least one version of every surviving for a ballad on “One For My Baby one of him playing with the guitar over acetate that Brown recorded for De- (and one more for the road).” The his head. luxe No. 1 1947. 17 of the perfor- other guests are Dutch singer Trijntje This is a most enjoyable set of mances are previously unissued and Oosterhuis, LA- born Beth Hart, who downhome acoustic blues, the likes include unused tracks and alternate was described by one critic as a mix of which you do not hear anymore. takes. In fact the CD opens with an of and Patsy Cline, Ron Weinstock alternate take to Browns celebrated Dutch ballad diva Laura Fygi, Ger-

May/June 2006 • Issue 282 PAGE SEVENTEEN man trumpeter Till Bronner and fancy or original as they are gener- pride Young took in having been a American pop/soul singer Oleta ally blues traditionalists. Dusty Brown ‘Blue Devil,” which was common with Adams. There are definitely several does a solid take at ’s I the many celebrated and less-known featured on this disc I’d like to hear Got to Go along with his own num- individuals who were members of this some more from after hearing their ber, while Larry Cox handles Walter’s band at different times, including contributions. Obviously Toots Mean Old World, although playing in Buster Smith, Jimmy Rushing, Eddie picked them all for a good reason. the style of Sonny Boy Williamson II. Durham and Oral ‘Hot Lips’ Page. Two of the songs, “Ill Wind” and Harmonica Khan had recently re- Reviewing prior histories of the bonus track “Over The Rainbow” fea- turned to the blues scene when he territory bands, including those fo- ture Thielemans in quartet or octet recorded Jimmy Reed’s Baby What cusing on Kansas City, and making instrumental outings...sans guest. All You Want Me to Do and Junior use of archives of interviews in addi- the backing musicians throughout, Parker’s Next Time You See Me tion to interviewing surviving Blue except for pianist Kenny Werner, are backed solely by his harp and bones Devils, as well as going through European names that will probably playing, whooping and hollering on newspaper files and other sources, not ring a bell, but they all do a fine these very enjoyable performances. Daniels provides many details of the job indeed. Toots, now in his eight- Unfortunately he passed away shortly Blue Devils history including their ies, is in top form – pretty much as thereafter. links to various social organizations always. Little Addison updates Look on in Oklahoma City. One purpose of Grab a bottle of the best wine you Yonder’s Wall with a pleading vocal this volume is to stress this linkage can find, and settle yourself down for and some chromatic harp while Omar of a band that often is wrongly linked some music that, in a nutshell, is sim- Coleman takes a more modern blues to Kansas City. The Blue Devils was ply downright gorgeous. If that theme on Jody’s Got You Gal and a commonwealth band, which meant sounds at all intriguing, grab a copy Gone as well as doing a nice take on that they shared equally in the band of this one. You may find yourself Little Walter’s Everything’s Gonna Be proceeds. Managers were band mem- wanting to check out more from Alright with a strong, soulful vocal bers, and they were skilled and mu- some of these singers as well. and some real fine playing, and Larry sically educated, sometimes teach- Bill Wahl Cox handles Jimmy Reed’s Going to ing new members some of these les- New York. This is a very nicely put sons. together CD that displays some real In addition to going through the VARIOUS ARTISTS enjoyable blues artists that may not various lineups, and the ups and Chicago Blues be major names, but certainly bring downs of the group, separate chap- Harmonica Project plenty of heart to their recordings. ters are devoted to examining pivotal SEVERN RECORDS Ron Weinstock members Henry “Buster” Smith who Severn has issued this collection would later mentor Charlie Parker; of lesser known blues harp players Mr. Five By Five, James A. Rushing from Chicago called the Chicago who made so many great recordings Blues Harmonica Project with the in- with Bennie Moten and Count Basie; tent of showing that down home clas- books Eddie Durham, trombonist, pioneer sic style Chicago blues harp can still electric guitarist and arranger who be heard today. Of the six harp play- One O’Clock Jump: played a great part in the early Count ers, Dusty Brown, Omar Coleman, The Unforgettable History of Basie Band and later worked with an Russ Green, Larry Cox, Harmonica the Oklahoma Blue Devils All Women Jazz Big band; and Oran Khan #1 and Little Addison†– only “Hot Lips” Page, the fiery trumpeter Brown and Cox had been recorded BY DOUGLAS HENRY DANIELS and great soloist who later would previously. Brown in fact recorded a BEACON PRESS make a terrific body of recordings as classic He Don’t Love You for the Par- Legendary is an oft-used word, a leader straddling the world of swing rot label 50 years ago which he re- but appropriate when discussing the jazz and jump blues. The legacy of prised here, while Cox with Phil Guy Blue Devils, a territory band that the band, after its demise, continued on an LP. The six mostly show tradi- toured for a decade before disband- in the groups of Bennie Moten, and tional blues roots, including the in- ing. They made one solitary record- after Moten’s death, Count Basie – fluences of Little Walter, Big Walter ing, and members of the Blue Devils and such classics of the Basie reper- and the two Sonny Boy Williamsons, became core members of Benny toire as One O’Clock Jump, were of although Russ Green was influenced Moten’s Big Band, and later Count the product of the Blue Devils in the by the innovative modern blues harp Basie, and also exerted their influ- Basie band at the time, particularly wiz Sugar Blue. ence in other ways. Durham and Buster Smith. The backing band of guitarists Douglas Henry Daniels, author of A final chapter looks at the Rick Kreher & Little Frank, pianist the Lester Young bio, Lester Leaps legacy of the members in their later Mark Brumbach, bassist Pat In, has put together the story of this years. This is a very valuable addi- McKeever and drummer Twist Turner celebrated band in One O’Clock tion to the jazz literature that serves provide the solid backing that allows Jump (Beacon Press). In the course to counterbalance some myths some the performers to shine without draw- of drafting his book on Young, of us hold with respect to this era. ing attention to themselves. Nothing Daniels became aware of how much Ron Weinstock PAGE EIGHTEEN May/June 2006 • Issue 282