Woody's Reviews/Re-Created

Home , Blind Blake, Charles Giordano, David Bromberg, Fat Jazz, Skip James, Try Me One More Time

woodymann

SUMMER 2006 ...One of JUNE 2006 WOODY MANN “the most Road Trip WOODY MANN talented and Road Trip Woody Mann describes Road Trip as a tribute to the places he has visited on recent tours, but Acoustic Music Records 1359 / Acoustic Sessions 215 eclectic guitarists this excellent instrumental set from one of the ann, who as a teenager recorded a series most talented and eclectic fingerstyle guitarists M of duets with both Son House and JoAnn Kelly, is a fingerstyle guitar master as on the scene... on the scene can be heard, more metaphorical- well as a talented songwriter and arranger. ly, as a recap of his musical journey. Mann has Influenced early on by string-bending legends absorbed so many guitar styles that he can like Lonnie Johnson and Blind Blake along ACOUSTIC GUITAR MAGAZINE with the ragtime and Gospel blues of Reverend change moods on a dime, weaving lyrical Gary Davis, Mann eventually developed an single-string lines and exceptionally animated and colorfully nuanced, blues-based style all his own. Later, chord harmonies that while studying with pianist Lenny Tristano, he take his tunes across the began listening to jazz guitarists such as musical divides between Charlie Christian and Eddie Lang, adding an elemental spontaneity and crafty use of time genres. “The Rev’s Music and space to his already exploratory musical is a tribute to his first approach. “Road Trip was inspired by the many places Mann is a great teacher, legendary I’ve traveled to recently and by artists like bluesman Reverend Gary David ‘Honeyboy’ Edwards, John Cephas and Davis, but Mann interprets Davis’ ideas David Bromberg that I’ve had the chance to gifted play with along the way,” Mann comments. through a jazz filter, giving the material a new Songs like the swinging “Baden Baden”, “Texas perspective. “Kary’s Trance”, with saxophonist Reel” and the reflective “Another Lisboa” tan- talizingly demonstrate this theme. Scattered musician... Charley Krachy, is a free jazz exploration that selections with pals like saxophonist Charlie brings to mind Mann’s other great teacher, the Krachy (heard to nice advantage on the bop- groundbreaking Lennie Tristano. In Road Trip’s pish “Kary’s Trance”), mandolinist Larry if he comes Wexer and pianist Dave Keys, who cleverly echoes of old-time banjo and classical guitar, shadows Mann on the dilatory “Have Mercy”, sprightly Lonnie Johnson licks, and Latin vividly illustrate Mann’s arranging acumen. Other favorites that, no doubt, also have fas- your way, themes, Mann makes good use of a bottomless cinating stories behind them (even brief song bag of tricks. But for all his chops, he never notes would have been appreciated) include showboats; everything he does serves the the old-timey jaunty “Back Woods,” a haunt- track him down ingly melodic “Night in Tbilisi,” a bouncy melody, a fact that his late teachers would tribute to Davis titled “The Rev’s Music,” a certainly appreciate. (Acoustic Music Records, moody, percussively penetrating “Closing Time” and the kaleidoscopic “Warbase LIVING BLUES MAGAZINE -IAN ZACK www.acoustic-music.de). Junction.” Fans of Leo Kottke and John Fahey alike should give Mann a listen. -GVON T contact info: Acoustic Sessions Management: 160 Fifth Avenue, Suite 907, New York, NY 10010 Tel: 212.924.2066 Andrew Collins: [email protected]. Visit www.woodymann.com for downloadable photos, mp3’s, and detailed info. ”

woodymann

LIVING BLUES MARCH/APRIL 2006 ...Mann, who new releases has recorded This set of 15 acoustic guitar instrumentals with both from New York-based Woody Mann is one of his most adventurous and creative “ Son House and outings to date. The set, on which all but three tracks are original compositions, is JoAnn Kelly, impressive and beautifully arranged, and he has surrounded himself with sympa- is a fingerstyle thetic and highly skilled fellow performers. Mann is a gifted musician, writer, pro- guitar master... ducer, and teacher; he is also a seasoned performer with a guitar touch and tone SING OUT MAGAZINE that are distinctly his own. He is versed in a wide range of musical styles, including jazz and classical, having studied with the From the very likes of Lennie Tristano and the legendary by sax player Charlie Krachy, creates an Rev. Gary Davis. Mann spent a number of evocative atmosphere reminding one of first song you years during the late ‘60s taking lessons the late ‘50s sax style of Jimmy Giuffre. from Rev. Davis, and three titles pay The blues guitar riff is engaging throughout could hear a homage to that guitar maestro. With Have the title. Mercy Mann inventively interprets the pas- Larry Wexer’s mandolin sparkles on the pin drop and sionate Davis classic Death Don’t Have No Poor Providence, and the Portuguese-style Mercy, creating a haunting melody backed guitar playing from Mann on Closing Time the greatly by evocative piano playing from Dave adds an atmospheric and eerie quality. Bass Keyes. Danny Mallon contributes subtle playing from Brian Glassman and drum- appreciative percussion on the Rev’s Music, where ming from Jeffrey Meyer are controlled Mann combines two of Davis’ most popu- and subtle throughout this session. audience were lar songs, Let Us Get Together and Going To Mann is a consummate guitar player. In Sit Down On The Bank Of The River, into one spite of his thorough knowledge of early totally of the highlights of this set. blues and jazz styles, he is willing to expe- The influence of Lonnie Johnson’s rience and take chances as he does here. captivated by infectious guitar playing shines through Mann is a regular visitor to Europe, and on Through The Alley, while the delicate recent tours have included Japan and Brazil this magical picking on Backwoods (performed on a - if he comes your way, track him down! musician. resonator guitar) has a timeless quality. Warbasse Junction, on which Mann is joined -BOB TILLING JERSEY EVENING POST

contact info: Acoustic Sessions Management: 160 Fifth Avenue, Suite 907, New York, NY 10010 Tel: 212.924.2066 Andrew Collins: [email protected]. Visit www.woodymann.com for downloadable photos, mp3’s, and detailed info. ”

woodymann

MUSIC Blues Guitar Great’s Spirit Lives on in Acoustically Inclined Composer

fter spending the past weekend at guitar from him,” he explains. “I’d just sit the Vancouver Folk Music Festival and mimic him, and I’d tape-record the One of todays A I seem to have a ringing in my ears lessons each week. It was really guitar stuff, – but it’s not tinnitus. Instead, it’s the but with Lenny it was really more impro- sound of dozens of acoustic guitars being visation, the straight-ahead jazz approach. truly outstand- strummed, plucked, or thwacked on the I’d listen to Charlie Parker and I’d sing the back like a drum: in a weekend that was solos and we’d study harmony and the crammed with good music, the one thing scales and the triads... we’d really get into it. He was a real teacher, in that way. He ing acoustic gui- didn’t show me any songs; his whole con- “ cept of improvising was just simply to improvise. With Davis, the approach was tarists, influ- Off Beat “Here’s the song I’m teaching you,” but Lenny never showed me a song, never told ALEXANDER VARTY me the chord changes to a tune... the lessons were very Zen, in a way.” enced by Robert that stood out was how much of it was Despite the jazz and classical inflections performed on guitar. Festival highlights in his playing, Mann still thinks of himself included Kelly Joe Phelps, Boubacar as a blues performer, and his most recent Johnson, Blind Traore, Keola Beamer, D’Gary, and Martin Woody Mann has stayed committed to release, Heading Uptown, bears this out. the acoustic guitar since the 60s. Carthy., guitar virtuosos all; taken with the The disc includes a tribute to the great Sonic Youth-initiated resurrection of fin- “So it’s a funny kind of music world that’s blues pianist Little Brother Montgomery gerstyle pioneer John Fahey and the emer- out there for guitar now. The only thing and a Robert Johnson song; one of the Blake, Eddie gence of new strumming stars such as Ani that I find missing in it is the jamming standout tracks, the instrumental “Spanish DiFranco and Ben Harper, it definitely aspect. When you’re a jazz musician, you Nights”, links the Mississippi syncopations feels like the acoustic six-string is making a all get together and say, “Let’s play “Take of Skip James’s “Hard Time Killing Floor Lang, Lonnie comeback. the A Train”. “Or if you’re a folk musician, Blues” to the Moorish roots of flamenco. Some would contend it never went it’s “Let’s all play “Trouble in Mind”, “or Some purists might see this as a dese- away. “There seems to be a kind of percep- whatever. Now, everybody’s such an indi- cration of one of the eeriest and most pow- tion that guitar-playing is somewhere on vidualist. I’ve done concerts with these erful pieces in the blues repertoire, but Johnson and the the fringe and always threatening to break fine, fine guitar players, and I’ll say, “Let’s Mann prefers to view his use of traditional down the front door, but it’s a weird piece all play a tune,” and the only thing we can forms within the context of a greater musi- of psychology,” says six-and 12-string gui- come up with is a 12-bar blues, maybe.” cal evolution. masterful tar virtuoso Leo Kottke, who recently plays The lack of a common repertoire “I used to play with people like Bukka Richard’s on Richards. “What I do know is shouldn’t be too much of a problem when White or Son House, and they would play that the guitar is the most popular instru- Mann visits the Mission Folk Music whatever they knew,” he explains. “If ment in North America. It outsells every- Festival, which takes place at the Fraser someone taught them a pop tune, they’d Rev. Gary thing else, and everybody fiddles with one River Heritage Park from Friday to Sunday play that: whatever they could hear, they sooner or later, but it’s definitely not, as (July 25 to 27). There, he’ll have a willing just played. So that’s how they developed far as I can see, having a groundswell or a and able duo partner in the form of Cortez their style: they weren’t saying “I’m staying Davis; resurgence. It’s always been like this. Island singer, songwriter, and fingerstyle in a certain blues style.” Because of that, so But New York City picker Woody guitarist Rick Bockner. The two met at the much of the old blues is not 12 bars: it’s Mann, who has kept the acoustic torch Puget Sound Guitar Workshop a couple of pop songs, it’s melodies, it’s [early country burning since the folk boom of the 1960s, years ago, and Mann says that they “kind singer] Jimmie Rodgers; it’s a whole influences that things are definitely looking up. He credits of just hit it off”. “We just started playing hodgepodge. If they could do it, they a revival of interest in the acoustic guitar together,” the New Yorker explains. “We’re played it. Yet there was some kind of con- with giving his own career a major boost; just kind of like old soul mates.” necting feeling of the blues. And I think of crystallize into without it, he says, he wouldn’t have land- The two found common ground in the it the same way: I’ll just try to write a tune ed a recording deal with the Shanachie music of Reverend Gary Davis. Bockner, based on some of the old melodies, “cause label, and he notes that though he has who grew up in St. Louis, Missouri, has that’s what I hear in my head. I just see the worked steadily in Europe for two decades, arranged a number of the late gospel-blues blues tradition as a growing tradition. It’s the unique he’s getting more and more offers to play guitar great’s tunes for his own idiosyncrat- not like it’s isolated in time, and you have in his own country. ic, open-tuned style. Mann drank directly to play blues like a museum piece.” He’s understandably pleased with the from the source, studying with the blind There’s no fear of that when Mann’s music of state of guitaristic affairs – with one small master from a very early age. But just as onstage. Thirty years of touring and teach- exception. “This new ‘acoustic guitar’ Bockner’s airy, expansive playing incorpo- ing have deepened his art but not petrified umbrella encompasses everyone from rates Celtic and psychedelic dimensions, it; he’s still searching for new forms of singer-songwriters to straight-ahead jazz Mann’s more harmonically sophisticated expression, and as long as he does that Woody Mann. players... but there’s no common thread, compositions betray the influence of there’ll be no time for cobwebs to settle on his strings. in a way, like there used to be in the blues another of his teachers, legendary jazz GUITAR MAGAZINE scene or the jazz scene,” he says, calling pianist Lenny Tristano. from Chicago’s O’Hare International “Davis was my first teacher when I was Airport during a layover between flights. kid; I mean, I really learned how to play contact info: Acoustic Sessions Management: 160 Fifth Avenue, Suite 907, New York, NY 10010 Tel: 212.924.2066 Andrew Collins: [email protected]. Visit www.woodymann.com for downloadable photos, mp3’s, and detailed info. ”

woodymann

WOODY MANN THE FRET HOUSE COVINA, CALIF., JULY 18 BY BOB ZEUSCHNER (Mann) has a tals were solidly crafted original compositions in various tunings and were rhythmi- style that is cally quite complex. Mann has incorporated into his own completely his repertoire the intricate blues runs and pat- terns he learned while mastering the songs “ of giants such as Davis, Scrapper Blackwell, own... his tunes Lonnie Johnson, Big Bill Broonzy and Blind Blake. One example is “Country Fair,” his obliterated the four-part instrumental tribute to the impro- visations of Davis. Mann recalled how Davis stressed the danceability of the blues when boundaries giving guitar lessons, then he invited the audience to dance the two-step along with separating the music. Mann paid tribute to Eddie Lang, the incredible jazz guitarist of the 1920s and Jazz, Celtic ’30s, improvising on three Lang pieces during the performance. In fact, many of the Reels, and evening’s tunes were homages, including “Top Hat,” inspired by the Bahamian gui- PHOTOGRAPHY © BOB ZEUSCHNER tarist Joseph Spence, “Snooks,” in the style country Blues. On a hot Saturday night in July, Woody of the great Snooks Eaglin, and several Mann demonstrated his incredible mastery humorous tunes, including one about rais- Manns of acoustic fingerstyle guitar before a rapt ing money in the name of the Lord, “I’ve Southern California audience at the Fret Got The Nod of the Man Above.” House, a Los Angeles acoustic music land- After the intermission, Mann returned intricate finger mark. to his roots. Several songs were expressive If you have ever studied the acoustic reinterpretations of classic blues, including work is so blues masterpieces of the 1920s through Skip James’ “Hard Time Killing Floor,” the 50s, then you likely know the name Robert Johnson’s “Kindhearted Woman,” Woody Mann. You may have Mann’s instruc- and “Try Me One More Time,” a piece fast and clean tion books, videotapes or cassettes, and Mann related to his duets with the late, great know that his reputation for providing British blueswoman JoAnn Kelly. He also he makes faithful transcriptions of classic blues is did extended variations on “Chump Man well-deserved. He comes by his knowledge Blues,” by the legendary Blind Blake. The in the most legitimate manner possible. two-and-a-half hour evening ended with extremely He was one of the select group of young “Heading East,” a train song inspired by the men who studied guitar with the Rev. Gary 42nd Street cross-town bus. complicated Davis in New York in the 1960s, and he Mann’s mastery of fingerstyle guitar is later played with giants such as the astonishing, and in person the precision of legendary Son House and Bukka White. his playing is even more amazing than on his passages sound Mann’s concert began with a jaunty, CDs. His fingers are up and down the fin- jazzy instrumental; the second piece of gerboard, with every note of every chord deceptively the evening was a song inspired by loud and clear — no buzzes, no missed Little Brother Montgomery’s only hit, notes. The performance was at times intro- “Vicksburg Blues.” The influence of both spective and at times exuberant, and the simple. jazz and blues was evident throughout the appreciative, knowledgeable audience evening, even in the two Portuguese responded loudly after each piece, leaving fado songs that the personable Mann no doubt that Woody Mann puts on a great described while re-tuning his guitar. show. SANTA BARBARA PRESS The majority of the songs and instrumen- contact info: Acoustic Sessions Management: 160 Fifth Avenue, Suite 907, New York, NY 10010 Tel: 212.924.2066 Andrew Collins: [email protected]. Visit www.woodymann.com for downloadable photos, mp3’s, and detailed info. ”

woodymann

Review: Woody Mann / Arts Centre BY PETER MOURANT

Woody Mann stopped over in Jersey last night en route from New York to Amsterdam, where he will be appearing Blues brilliance for the first time. He may already be known to local audiences, but no matter how many times you see him perform, his guitar-playing remains peerless. The Dutch are from a master in for a rare treat. On Heading Taking advantage of the quiet atmosphere in the Arts Centre – ‘no cash registers or tinkling glasses’ – Woody was able to play with the restraint that his delicate touch Uptown the var- guitarist deserves, captivating the audience on many self-composed numbers. Old Jazz Tunes ious strands of the ‘Cheap Cherry Wine’ is a wistful tale of a search for “ the great bluesman Willie Brown and ‘Snooks’ was dedicat- ed to a blind street musician, Snooks Eaglin. The instru- guitar maestro’s mental ‘A Little Love, A Little Kiss’ was based on old jazz tunes, little snatches thrown together to create an evocative sound. varied career The second half of his set opened with Blind Blake’s ‘Good Gal’ and was followed by his own ‘God Works in Mysterious Ways’, a powerful song about the callous killing of homeless children in Brazil. Another instrumental loose- have merged into ly described as a ‘New York Spanish blues jig’ proved a real highlight – a fandango merged into an Irish jig, weaving in and out of the blues; just as you recognized a mature and something and smiled he was onto the next part. The self-effacing Woody Mann charmed his audience with a set that defies pigeon-holing even into a genre as wide rewarding piece as the blues; his brilliant technique merges classical, jazz and blues into something truly his own, and any guitarists in the audience may have been inspired – or, more likely, made to feel like taking up another instrument altogether. of work. Just don’t make it the clarinet, because he’s brilliant on that as well.

FOLK ROOTS MAGAZINE

“I’m trying to bring in all the elements that I am, jazz and blues, and just trying OFF to put it together in my own way. To try TIME ...He has to make the guitar the focal point, BY ALEX SAVILLE rather than playing straight blues or straight jazz,” says Woody Mann. captured the Mr. Mann, who teaches at the New School for Social Research in New York, has written a number of The Natural One books, including the definitive, complete transcription Woody Mann – who combines blues, jazz and fingerstyle guitar playing – of Robert Johnson’s music. sound and spirit deserves some fanfare specifically because he doesn’t seek it. Although he is still known more for playing the blues, he has been working hard in recent years to broaden his range – as well as his image. Guitarist Woody Mann wasn’t at first about playing the When he was 13, he started playing the guitar. He “What I’m doing now is I’m trying to bring in all the Curtain Calls celebration in Princeton Dec. 31. was playing folk music mostly, and had heard a cou- elements that I am, jazz and blues, and just trying to of the early Jazz “Usually, with New Year’s Eve gigs, I have a ple of tunes by Rev. Gary Davis, a master of blues and put it together in my own way,” Mr. Mann says. “To try little trepidation about accepting,” he says. “But this ragtime guitar. Then he heard that Rev. Davis lived in to make the guitar the focal point rather than playing sounded like whole different kind of New Year’s Eve New York City. straight blues or straight jazz. Try to create your own thing, because it’s in a concert setting, and not some “I just called him up out of the phone book,” he voice and bring those elements in:that’s what I try to noisy restaurant with party favors and all that stuff.” says remembering his excitement. “I just went over to do.î and Blues players Mr. Mann has played a lot in Europe, where per- his house and then ever since that day I was hooked. He brings an easy style to his music and his live formances tend to be treated differently than here. He was the one that got me started on the guitar and performances, with the confidence of the seasoned, Most of them are funded by cultural commissions or from him, then I really got into it. accomplished musician he is. the government. So when he heard Curtain Calls was “He was really patient. I still have my lessons on “I don’t feel I have to prove myself as a guitarist,” put on by the Arts Council and his performance would tape and it’s amazing when I listen to it today how he says. “I don’t feel I have to get up there and blow into his own con- be in quiet venues (Princeton University Chapel and patient he was. This little bratty kid coming over there. everybody away. That’s silly. That’s never been natur- McCosh Hall) he figured this was worth playing. He was totally cool and into teaching me. I’d end up al to me. The idea is to go up and to be yourself and Mr. Mann has been booked as a blues guitar play- spending the whole day over there and his wife Annie to be entertaining and you’re putting on a show for er, a folk-fingerstyle player, a jazz guitarist and a would cook dinner and it would be a whole day-long people. It’s that kind of communication. To be able to temporary style. singer-songwriter. He says he can perform in any of affair. That was my life, all through high school. That share what I do with people, in a way that’s musically those styles, but when he’s really being himself, he really focused my attention on blues and history.” satisfying to me, not just show biz. incorporates all of his influences. That is why It was this patience and kindness that really helped “It’s a constant journey. It always changes; I’m European audiences have been so receptive to his turn Mr. Mann into a guitarist. In school, he played always learning. Every tour I do I learn something music. clarinet, and was good enough with it to be accepted new; every gig I learn something new. And I’m trying “When I do a concert over there people come to The Julliard School. Later he studied under to keep that channel open. That’s what feels good. At JAZZ JOURNAL because it’s a concert, a cultural event,” he says. “I Chicago-born pianist Lennie Tristano, who opened least if I’m performing, that I’m growing, that’s the can play blues and jazz and folk music, I can kind of play Mr. Mann’s musical world to include the infinite possi- most important thing.” whatever I want to play and under that cover it works.” bilities of jazz. contact info: Acoustic Sessions Management: 160 Fifth Avenue, Suite 907, New York, NY 10010 Tel: 212.924.2066 Andrew Collins: [email protected]. Visit www.woodymann.com for downloadable photos, mp3’s, and detailed info. ”

woodymann

MAGAZINE

WOODY MANN ...Dazzling and Stairwell Serenade technically flawless (Acoustic Music Records) finger style guitar Gifted as a teacher and player of finger- at its most listenable. style guitar, Mann here makes a convinc- “ ing case for himself as a composer and Manns wizardry on improviser as well. Sometimes he goes for a new agey, abstract expressionism, and the fret board is sometimes he goes for neoclassical con- matched by his WOODY MANN crete expressionism, and still other times STAIRWELL SERENADE he goes for variations on country blues ability to convey deep Acoustic Music Records Best.Nr.319.1072.242 themes. He nails very complicated stuff so cleanly that optimists will grab their gui- feelings with his The songs on Woody Mann’s latest tars, thinking, “Hey, that’s humanly possi- songs- creating moods release, Stairwell Serenade, were mostly ble,” while pessimists will get drunk and improvised in the studio. All songs are spread dark rumors about moral turpitude. that incite, delight, original, solo, instrumental, acoustic guitar pieces. Mann is a great techni- or simply soothe.” cian, and the styles at which he is adept include jazz, blues, ragtime, “Throughout (the classical and just about anything else that seems to enter his mind. What is recording), Mann remarkable is how he can draw from blurs the lines several styles and techniques within a single song, and have them blend between jazz, blues, without a feeling of inconsistency. Of interest are several songs where classical, and world Mann sights his influence as direct inspirations behind specific songs, music creating his two referencing the Rev. Gary Davis, and two more reminiscent of Joseph own sound in the Spence. The Davis inspired tunes Albums beautifully capture Davis’ great bass process. Attempts to style, something that few of the categorize his music Gary Davis’ musical imitators can Los Angeles Guitar Quartet, Labyrinth accomplish. The Spence-derived tunes Chris Whitley, Din of Ecstacy simply misses the demonstrate what the great Bahamian guitarist may have sounded like had Main, Motion Pool point. This is bril- he had his personal esthetic intact, Woody Mann, Stairwell Serenade combined with a more technically Dave Allen and the Arrows, liant playing that accurate approach to the guitar. The Loud, Loose and Savage CD is well recorded and captures the demands to be heard. Sonny Landreth, South of I-10 ambience of the acoustic guitar very effectively. Woody Mann’s performance Ben Harper, Fight for Your Mind is inspired and interesting from start to The Mermen, A Glorious Lethal Euphoria SING OUT MAGAZINE finish. (SE) Ani DiFranco, Not a Pretty Girl

woodymann

VOLUME 4 ISSUE 10

WOODY MANN Heading Uptown Shanachie 8025 Woody Mann: Heading Uptown For the acoustic guitar nut, Woody Mann and Shanachie have Mann’s mastery of (Shanachie 8025; 43:09: ####) released a wild collection of music which ranges from modern music, Connecting folk and blues, Woody Mann classic swing style, to good old delta blues. Keep in mind it was Woody Mann who recently published the definitive book of tablature for finger-style guitar is fingerpicks his acoustic guitar with complete Robert Johnson’s guitar style which appeared in 1995. This is the same assurance on a dozen songs that collectively take Woody Mann who published the ground breaking tab book in 1973, Six Black Blues Guitarists (recent editions have been retitled Six Old astonishing, and in your breath away. His percussive style owes Blues Guitarists). something to former teacher Reverend Gary Most of this CD contains Mann’s own compositions, but none of the person the precision music strays too far from the styles of fingerpicking guitar Mann has “ Davis and his attention to structure probably distinguished himself for. The Robert Johnson freaks will be happy with derives from studies with Lennie Tristano. the version on “Kinhearted Woman” he added to this collection. of his playing is even For those who are unfamiliar with Mann’s vocals, you’ll be satisfied Mann can also really sing, heís expressive in an with his more than adequate delivery, but it’s the guitar playing which understated way, and heís written (or co-writ- comes forward. Even during the most heartfelt vocals Woody Mann more amazing than accompanies the lyrics with the most involved guitar parts. Then on the ten) all the songs but one. Robert Johnsonís instrumentals the guitar playing becomes blistering, blazing examples of on his CD’s. “Kindhearted Woman Blues” receives a won- virtuosity. He attains various voicing by using both 12 string and six string guitars. On some numbers Mann is joined by Charles Giordano derful makeover. In a few places, Mann’s voice playing accordion which contrasts nicely. His fingers are up and guitar are joined by reserved piano, accor- Overall, this project is a satisfying and interesting product of one of the great practitioners playing acoustic guitar in America today. dion, percussion or support singing. DB – Tom Olsen and down the fingerboard, with known, including Bo Carter’s Who’s Been Here and Josh White’s Good Gal he also was to perform many of his own original compositions. every note of every

In recent years Woody has been working with the chord loud and clear. lyricist Steve Calt, who many may know for his WOODY MANN authoritative blues writings. One of their most triking titles Cheap Cherry Wine, with the melody The performance Jersey Arts Center, St. Helier loosely based on Mance Lipscomb’s Charlie James, mentions Willie Brown, the one time sidekick of Many readers will know of Woody, who is based in was at times intro- Son House and Robert Johnson. It is a beautiful and New York City, through his writing and teaching, atmospheric song which was enthusiastically received and, of course, because of his friendship with the Rev. by the audience. In one of his most emotive and spective and at times Gary Davis. It was the ‘guitar master’ Rev. Davis who powerful songs God Works in Mysterious Ways, was Woody’s first ‘teacher’ and great influence, but inspired by Blind Willie Johnson, Woody comments other teachers have included the magnificent jazz exuberant, and the on the tragic random killings that are taking place pianist Lennie Tristano. Apart from performing many in Brazil. These original titles were for me among classic country blues songs, for which Woody os well the highlights of the evening. appreciative, knowl-

Throughout this relaxed concert, enhanced by his edgeable audience pleasant stage manner, Woody spoke of many of the great guitar players that he enjoys including Skip James, Big Bill Broonzy and Lonnie Johnson. responded loudly He used these magnificent and original players to illustrate his own skills as an inventive and after each piece, improvisational musician. It was very entertaining, and inspiration to the guitar players in the audience, to watch how he would take traditional styles and leaving no doubt that weave them into his own, while losing nothing for their original intention. Woody Mann puts

The two hour concert seemed to fly by very quickly and there was no doubt everyone in the beautiful on a great show.” Arts Centre theatre were impressed by this very engaging musician. His authority as a guitarist was quite outstanding complemented with some fine singing. Hopefully he will return before too long BLUES REVIEW MAGAZINE and I strongly recommend you to go along if he is in your area.

woodymann

Woody Mann WOODY MANN Stairwell Serenade picks his acoustic Acoustic Music 319.1072.2 guitar with Guitarist Woody Mann’s second outing is a stunning all-instrumental set of originals complete assurance (save the Rogers and Hart standard “Spring “ Is Here”) that present him at his best – on a dozen songs playing dazzling and technically flawless fingerstyle guitar at its most listenable. that collectively Mann’s wizardry on the fret board is matched by his ability to convey deep take your felling with his songs – creating moods that breath away. incite, delight, or simply soothe. •Woody Mann, Stairwell #### Serenade, Acoustic Music (Post The guitarist pays tribute to several influ- fach 1945, D-49009 Osnabrück, ences on this stunning aural journey, DOWN BEAT MAGAZINE Germany), and Stories, Green including his former teacher, the legendary Rev. Gary Davis. Both “Buggy Wagon” and hays/Flying Fish (1304 W. Schu the lighthearted rag “Country Fair” are bert, Chicago, IL 60614): Even drawn from this deep well of inspiration. John Fahey weighs in on the THe latter song begins with a tape of Davis “Woody’s vocals liner notes about what a crimi- from a lesson in the 1960s, encouraging his are better than nally unsung acoustic great this student to play “what you know”. Mann cat is. On Stories Mann updates also tips his hat to the likes of Bahamian ever. Its always Blind Blake and Blind Boy Fuller guitarist Joseph Spence with the percussive stop-start rhythms of “Top Hat” and force- a pleasure to and lays down urbane jazz- ful “Bahama Mama.” Mann’s songs are Delta originals. Stairwell features filled with sensual imagery that creates witness an artist 13 gorgeous solo improvs, some vivid musical portraits. One can almost exploiting themes inspired by feel the cool breeze hovering by on the who just keeps Joseph Spence, Charley Patton, delicately moving “Harlequin,” or smell getting better. and Mann’s former teacher, the Mississippi River on the Delta-styled Green River Rising.” Throughout, Mann Rev. Gary Davis. With impecca- blurs the lines between jazz, blues, classical This (“Heading ble tone production, gutsy phras- and world music creating his own Uptown” CD) ing, beautiful harmonies, and unique sound in the process. Attempts cool dynamics, Mann is in a class to categorize his music simply miss the has to be by himself. Phenomenal. point. This is brilliant playing that demands to be heard. –ME Woody Mann’s best album yet. never resting for very long with just one. Woody Mann is an artist who seems Positively to have internalized many different inspiring. genres and combined them in a way that is certainly more than just the sum of Every now and then, you hear a guitarist its parts. His CD Stories (Greenhays FOLK ROOTS MAGAZINE whose sound is completely his own and GR70724) features a good deal of this whose music flirts with several styles, amazing guitar work. contact info: Acoustic Sessions Management: 160 Fifth Avenue, Suite 907, New York, NY 10010 Tel: 212.924.2066 Andrew Collins: [email protected]. Visit www.woodymann.com for downloadable photos, mp3’s, and detailed info. ”

woodymann

WOODY MANN Stories GREENHAYS 70724

Woody Mann is an underground folk/blues legend whose wonderfully rich, adventurous, and harmonically inventive fingerstyle guitar playing There are no interweaves classical and jazz styles and more. Stories features five impressive rambling New solo guitar pieces that are alternately technically dazzling and lyrical, but Age guitar always inspiring. Defying classifica- tion, the seven vocal selections range noodlings here: from a tribute to bluesman Snooks these“ tunes have WOODY MANN Eaglin (“Snooks”) to sociopolitical Heading Uptown Shanachie 8025 commentary (“The Family Man”) and vibrancy and Just hearing the first few seconds of Woody Mann’s contemporary portraiture (“East Side latest CD you know that this is going to be some- Story”). An impressive solo outing from life...an thing special. On Heading Uptown the various someone who deserves to be better strands of the guitar maestro’s varied career have known. (42 min.) –John DeAngelis enormously merged into a mature and rewarding piece of work. From the living room of Reverend Gary Davis to the Julliard School of Music; from being instructed by talented and jazz pianist Lennie Tristano to instructing Paul Simon; from trading blues licks with Son House and Bukka accomplished White to collaborating with John Fahey and our own Jo Anne Kelly; from accompanying Dory Previn to guitarist. playing solo... Woody Mann has been there and done that. There are many elements from Woody’s musical past FOLK ROOTS MAGAZINE on this CD but his achievement is in bringing them together in (seemingly) effortless fashion while strik- ing for something new, fresh and contemporary. While Woody is the first to admit that he’s not a bluesman, the blues does act as a touchstone for a good number of these pieces either coming out of a musical motif or from a lyrical/subject standpoint (on Stairwell Little Brother the lyrics weave a tale around the pianist Little Brother Montgomery and his Vicksburg Serenade’s Blues). The opening track So Glad is an instrumental reworking of Skip James’ I’m So Glad and James‘ guitar part for Hard Time Killing Floor surfaces with 13 tracks contain Spanish tinges as Spanish Nights. Other blues guitarists alluded to include Lonnie Johnson, Sleepy WOODY MANN no overdubs or John Estes, Bo Carter and, of course, Gary Davis – HEADING UPTOWN all having their styles incorporated and embellished Shanachie Records 8025 dazzling electronic into Woody’s contemporised. Only Robert Johnson escapes the full treatment on A Kindhearted Woman effects– just where Woody plays the guitar part pretty straight There’s a great quote on the back of the CD although he and Stephen Calt do re-write the words. There are touches of jazz and gospel (Nearer to case from John Fahey. That alone would be Mann’s remarkable God Than Thee takes a hefty sideswipe at that tribute enough, but John Fahey says, and I traditional target – the greedy preacher) but, overall, facility with this album heads uptown in a decidedly chic quote, “For too long, Woody Mann has been contemporary mode. Adding to the feel are four one of America’s best kept musical secrets. If six strings and guest musicians – Danny Mallon on percussion, there was a category simply called Great Music, Dave Keyes on piano, Charlie Giordano on accordion and Terre Roche singing backing vocals – but Woody’s playing would belong there.” I don’t a bunch of mostly it’s Woody’s inventively fluid guitar (beautifully believe there is anything I can say here that recorded) that takes centre stage. And now Woody’s seasoned wood. vocals are better than ever, having gained confi- would eclipse what John Fahey summed up in dence and authority over a passage of time. It’s 28 words. The performances are inspired. His always a pleasure to witness an artist who just keeps DIRTY LINEN MAGAZINE getting better. This has to be Woody Mann’s best playing is very fluid with a voice that makes album yet. Positively inspiring! –Dave Peabody this recording very easy to listen to. contact info: Acoustic Sessions Management: 160 Fifth Avenue, Suite 907, New York, NY 10010 Tel: 212.924.2066 Andrew Collins: [email protected]. Visit www.woodymann.com for downloadable photos, mp3’s, and detailed info. ”

woodymann

“sense of form” his years of classical music Mann says that the tune “And 3 Not 4” study gave him. Or maybe it’s just a con- is “basically a take-off on a tune of Lenny stant striving to find his own way. “When I Tristano’s called ‘2 Not 1’ that starts on the studied with Davis, I copied him of course,: second beat. I had been thinking about The self effacing says Mann, but I never wanted to perform writing a song to open the show, just some- his music like a straight cop because unless I thing easy, light and loose, to loosen up. I Woody Mann could do it better or different, why perform was just horsing around in the studio with it?” Davis’ influence continues to show in [percussionist] Danny Mallon. It was just charmed his Mann’s playing and in his writing. “To him, this little riff I was fooling around with – it it was a discipline of getting the chops and was very spontaneous. Then we came up audience with the sounds,” Mann explains. “Everything with the B section. Since I’ve been perform- was the sound. And I think that’s what I ing it, I keep adding new parts and sections “ gleaned from him. He’d play a riff, and he’d to it. It’s very guitaristic.” a set that defies say, ‘No no, that’s not it,’ even though the notes were all there. It was the sound and On the CD version of “And 3 Not 4,” the pigeon-holing even the swing and all those inner things. It was- guitar is accompanied only by sparse n’t just the song; it was the approach.This percussion. The tune combines a solid and into a genre as wide has become a part of my playing. When I catchy melody in the A section with write a tune, I always think of him.” gorgeous, fat jazz voicings in the B section and a middle section that evokes the comp- as blues: his brilliant While studying with Davis (Mann’s moth- ing of a modern jazz piano player. The tune er would drive him to his lessons in the shouldn’t be too difficult for the intermedi- technique merges his Bronx from their home in the suburbs of ate fingerstyle player, although it might Long Island), Mann got acquainted with introduce some unfamiliar chord exten- jazz and classical the local blues scene. One of the key people sions. Hearing Mann perform the piece live he met was Nick Perls, who owned Yazoo brings home the importance of keeping the records and let the young Mann listen to his groove going and also proves its potential ideas into something extensive collection of old 78s. Perls also for improvisation. introduced him to legendary players when truly his own. they came through town. “Nick would call Besides maintaining a hectic touring me up and say ‘Hey, Son House is in schedule, Mann keeps busy with a variety of The guitarists in the town,’” Mann recalls. “I recently found all projects. In 1997, he produced late guitarist these tapes of Son House and myself, and Atilla Zoller’s last and only solo recording, audience may have AND 3 NOT 4 Joanne Kelly from England, and Bill Lasting Love (Acoustic Music), which kin- Williams, and Bukka White, so I’m trying dled his interest in producing. In addition MUSIC BY to put a record project together of all of to composing new material for an upcom- been inspired – or, WOODY MANN those.” ing album (most likely with a trio), Mann has been studying fado music on the more likely, made to After this intense early exposure to folk and Portuguese guitar and was invited to per- lthough most guitarists learn from a blues, Mann began shifting his focus toward form at the 1998 Lisbon Expo. The author feel like taking up A variety of mentors and sources in the jazz and found a mentor in pianist Lennie of many guitar books and tapes, he is cur- course of their musical development, not Tristano. “He was into improvising,” says rently planning an instructional method many have studied simultaneously with one Mann, “not so much jazz; just sort of learn- based on his hours and hours of taped another instrument of the great bluesmen and at one of the ing to make your own music. I studied a lot lessons with Reverend Gary Davis. This world’s most renowned classical musiic of the things with him I had learned in clas- summer he will also be teaching at the altogether. From the schools. Woody Mann began his studies sical school but never applied to the guitar: International Acoustic Blues and Slide with the Reverend Gary Davis at the age of scales, arpeggios, triads, seventh chords, Workshop in New York City from June 12 very first song you 14 and attended the Julliard prep school singing solos....” to June 17 (for details, contact the program ( playing clarinet) while still in seminar coordinator, Trevor Laurence, at high school. He went on to study at Julliard Mann began playing in trios around New PO Box 903, Times Square Station, New could hear a pin drop at the college level, majoring in composi- York City, and it soon became clear that York, NY 10108; [516] 767-8718; tion, and then turned to jazz. Mann’s learning music from a non-guitar point of www.guitarseminars.com). Located on the and the greatly appre- hip original pieces, such as the featured view was resulting in a new voice on the Columbia University campus, the workshop “And 3 Not 4” off his most recent album, instrument. “In a way, I felt very inadequate will feature a core faculty of Mann, Bob ciative audience were Heading Uptown, blend many of his diverse as a jazz player, because everyone was learn- Brozman, Martin Simpson, and John influences. ing these hip Wes [Montgomery] solos, and Cephas. I didn’t learn any of that,” Mann recalls. “It –Teja Gerken totally captivated by Although Gary Davis is responsible for an was just improvising. Even now, when I play entire generation of fingerstyle blues gui- jazz, I pick it up and do it my own way. I this magical musician. tarists, few of his former disciples sound as don’t have a lot of the stock-in-trade, Joe original and fresh as Mann. Perhaps his Pass-type licks. I play all the standards, but original voice is due to what he calls the in my own way.” JERSEY EVENING POST