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february 2006 issue 279 free now in our 32nd year www.jazz-.com &blues report

Love,Love,Love,February 2006 • IssueJanis!Janis!Janis! 279 Love,Love,Love, Janis!Janis!Janis! Published by Martin Wahl Hanna Theatre, Communications Playhouse Square Editor & Founder Bill Wahl Cleveland Layout & Design Bill Wahl Operations Jim Martin Reviewed by Bill Wahl Pilar Martin Contributors anis Joplin is one of the you to see. It is just the letters, and Michael Braxton, Mark Cole, few artists whose some interviews she did...there is no Chris Hovan, Nancy Ann Lee, I have owned in LP, 8- other spoken word added. I will not tell Peanuts, Mark Smith, Duane Track, Cassette and CD you anything more about what is in Verh and Ron Weinstock. J formats. That would be her 1968 these letters, or the interviews. I know debut with Big Brother & The Hold- that a lot of play and movie reviewers Check out our new, updated web ing Company on Cheap Thrills, to like to spill all the beans for you be- page. Now you can search for CD her solo debut I Got Dem Ol’ fore you go. Luckily, I am not a play or Reviews by artists, Titles, Record Again Mama, movie reviewer, so I will not spoil it for Labels or JBR Writers. Twelve years of reviews are up and we’ll be going through to her final , 1971’s you. Indeed, it would be a disservice all the way back to 1974! Pearl. Although she in life, as to do so. she is today, a rock/blues legend, her The role of Janis for the perfor- short career only spawned those mance on January 11 was played by Address all Correspondence to.... Jazz & Blues Report three major albums, all on Colum- Helen Coxe and Mary Bridget Davies. 19885 Detroit Road # 320 bia Records, plus an earlier Big That’s right...two Janises. Coxe played Rocky River, Ohio 44116 Brother album on Mainstream “Janis the person,” and had the main Main Office ...... 216.651.0626 Records. Obviously, I was a big fan speaking role – reading the letters to Editor's Desk ... 440.331.1930 of Joplin back in the days, so upon her parents, nearly all of which ended [email protected] hearing of the play Love, Janis at with “Love, Janis.” Davies portrayed Web ...... www.jazz-blues.com the Hanna Theatre my interest was “Janis the ,” obviously the Copyright © 2006 Martin-Wahl Communications Inc. definitely piqued. more challenging of the two roles as No portion of this publication may be This play was written in by she had to sing all the songs. Not sur- reproduced without written permission Randal Myler inspired by a book with prisingly, I was more than a bit leary from the publisher. All rights Reserved. the same name by Laura Joplin, about how well that role would be Jazz Report was founded in Buffalo New Janis’ sister. It is based on letters played. Singing many of Joplin’s tunes York in March of 1974 and began in Cleve- Janis wrote to her parents after she is tough enough for most singers. But land in April of 1978. We are subsidized left Port Arthur, Texas in 1966 to pur- to sing so many of them in a play ac- solely through advertisement and ask that sue musical pastures in San Fran- tually portraying Joplin is a monstrous

you support our advertisers. cisco and soon traveled with Big feat. Well, Davies nailed it right from a W division of Brother & The Holding Company. the start and just never let up. While artin-Wahl c o m m u n i c a t i o n s She continued sending the letters she won me over right away, the real home right up until she was found test was going to be the 8th song dead in her apartment just five years in...”Ball and Chain.” She nailed that On The later. one as well. OK – sold! The rest would The letters say a lot about Joplin be a piece of cake. Davies has guts, Cover as a person, and mirror her different heart, soul and a powerful delivery to Mary Bridget moods. Some are actually quite spare. Davies as Janis funny, some show her loneliness, While many of those reading this Joplin in a scene some her awe with regard to her new who live in the Cleveland area may not from “Love, found fame and actually having be familiar with Mary Bridget Davies, Janis” at the some money. The best part is that they certainly should check her Hannah Theatre, these letters are real. You will get a out...whether at this play or with her Cleveland true glimpse into what made her tick own band. She, along with the musi- rather than what a playwright wants cians in the Love, Janis band are from PAGE TWO February 2006 • Issue 279 Cleveland or other parts of the area. songs are Ben Nieves/lead guitar, were not quite where they belonged, The Mary Bridget Davies Group, for- Mark McGuire/rhythm guitar, Herb chronologically speaking. I believe merly known as Blues On Purpose, Pruitt/bass and Bill Ransom/drums. one or two had horns that should not has played many N.E. Ohio clubs and Nieves and McGuire are actually have. But the fact is, that I didn’t even has recently been doing the blues members of the Mary Bridget Davies notice it until I put this review together, festival circuit. Her role as Janis , while Pruitt and Ransom are and the songs flowed very well. So it singer is currently played on alternate players I’ve been familiar with for is, in the end, a moot point. Some nights by Lauren Dragon, who I be- many years. For the Kozmic Blues things I noticed that did add to authen- lieve is from Cincinnati, where Love, Band songs Kristine Jackson/trumpet, ticity were that all the mics and gui- Janis played before Cleveland. By Ken LeeGrand/tenor sax and Ed Rid- tars had cords, and they used moni- the time you read this, Dragon will ley/keyboards are added. Ridley stays tors on the floor rather than earpieces. have been replaced by Katrina on for the songs. The Janis costumes and hair pieces, Chester, who played the role in the Though Joplin got a lot of flack at the jewelry and the like were very authen- Off Broadway production of the play time for adding horns to her music with tic looking, and the slides of Janis in New York and is supposed to be the Kozmic Blues Band, they sure photos and psychedelic patterns on fantastic herself. She will then be in sound just fine today! Ransom, Pruitt, the screen behind the stage added a alternate performances with Davies. LeeGrand and Ridley played in the nice touch. Love, Janis has just been extended earlier 1999 performances of Love, The only player I have not men- for a second or thir time, and will con- Janis at Cleveland Playhouse, before tioned is Paul Floriano, who did the tinue at least until February 26. If you it went to New York. You’ll love Nieves part of the male interviewer. He was want, you can find out who is playing rock ‘n’ roll movements about the not actually on stage, or if he was – I the role on which performances at stage on some of the songs, such as sure did not see him. www.playhousesquare.com. jumping on top of a speaker and lay- As for the volume, earplugs were The songs you will hear are: ing on his back on the floor. available if anyone wanted them, but From the Big Brother & The Hold- I thought Helen Coxe did very well I found them completely unnecessary. ing Company era, which produced in the Janis the person role in both Sure, it was rather loud, and I would the 1967 album Big Brother & The the letters and the interviews. Davies have been disappointed if it were not. Holding Company and 1968’s also answered some of the It is a part of the true Janis experi- Cheap Thrills – “,” interviewer’s questions, sometimes ence. “Down On Me,” “Bye, Bye Baby,” they would both blurt out an answer Kudos go out to , the “Turtle Blues,” “Women Is Losers,” “I at once. There is no question that the Music Director for Love, Janis. An- Need A Man To Love,” Gershwin’s spoken parts interspersed with the drew was the guitarist and a founding “Summertime” and Big Mama music numbers made the whole ex- member of Big Brother & The Hold- Thornton’s marvelous “Ball And perience the great success that it was. ing Company, and joined Janis’ Chain,” in my view the show’s The audience that night was ecstatic Kozmic Blues Band (and played on standout performance (my date for and were brought to their feet on sev- the Kozmic album) after she left Big the evening concurred, so it must be eral occasions after some of the Brother. He also wrote some of the unanimous). songs. And then there was the stand- Big Brother songs, such as “Call On After the intermission came the ing ovation with shouts and screams Me,” and co-wrote “I Need A Man To Kozmic Blues Band era which pro- at the end, before and after the en- Love” with Janis. I’d say he knows duced the 1969 album I Got Dem Ol’ core. more than a thing or two about Janis Kozmic Blues Again Mama and the The only minor faults I could find Joplin. Full Tilt Boogie Band, with which she were that a few of the instruments did The intimate atmosphere of the released the Pearl album in 1971– a not exist in 1969. But, That is some- Halle Theatre, where the audience is record she would not live to finish (an thing only a musician or collector seated in chairs, four each at a table, instrumental had to be added to add would pick up on. While it may bother certainly added to the overall experi- more time to the LP). Those songs some nitpickers out there (let’s face it ence. Don’t miss out on this experi- are “Mercedes Benz,” “A Woman Left –- how many people are going to no- ence yourself...check it out while you Lonely,” “Work Me Lord,” “Try (Just A tice something as anal as that), it does still have time. If you need any info I Little Bit Harder),” “To Love Some- not bother me for a good reason. have not covered in 1600 words, go body,” “Me And Bobby McGee,” “Little When you try to make a musician use to www.playhousesquare.com - wait Girl Blue,” “Move Over,” and the en- an instrument he or she is not famil- for Janis to pop up and click on her. core “Get It While You Can.” iar with for the sake of authenticity, Tickets are on sale at the Playhouse The band fits this production like the could suffer. In short, you’d be sac- Square Ticket Office; at a glove. One can bet that they keep rificing the music for props. After all - www.PlayhouseSquare.com (same getting better and better each night, this is Janis...it is about the music. The clicking instructions) or at 216-241- so seeing it at the end of the run is other one, again which very few will 6000. Have a great time! actually a plus. The for the notice, is that some of the Kozmic Check out the review of Janis’ Big Brother & The Holding Company Blues songs and the Pearl songs boxed set Box of Pearls in this issue. February 2006 • Issue 279 PAGE THREE Jazz meets Dance Garth Fagan Dance performs Ohio Premiere of new masterwork “Life: Dark/Light”

“Fagan and Jazz: a pairing made in heaven” at the Ohio Theatre, Cleve- land on February 25

CLEVELAND – Garth Fagan Dance brings its acclaimed, jazz-in- fused work to the Ohio Theatre at Playhouse Square for one night only on Saturday, February 25, 2006 at 8:00 p.m. Co-presented by DANCECleveland and Cuyahoga Community College, this Ohio pre- miere of Fagan’s most recent work Life:Dark/Light is lauded to “achieve a prominent place in the ever-grow- A scene from Garth Fagan’s Life:Dark/Light - coming to the Ohio Theatre at ing canon of Fagan masterpieces” Playhouse Square in downtown Cleveland on Saturday, February 25 (Rochester Democrat and Chronicle- 11/2005.) can scholars, artists, professionals In collaboration with Young Audi- Set to the music of jazz violinist and public figures to receive the 1996 ences of Greater Cleveland, members ’s 2001 release title Fulbright 50th Anniversary Distin- of Garth Fagan Dance will participate Vietnam:The Aftermath, the work grew guished Fellow. He is also the recipi- in a Residency for students of the from Bang’s own experiences of fear, ent of a Guggenheim Fellowship, the Cleveland Municipal School District loss and life rejuvenated during his prestigious three-year Choreography the week prior to the February 25th service in the Vietnam War. Arranged Fellowship from the National Endow- performance. Garth Fagan Dance will into a three movement format taken ment for the Arts and honorary doc- be featured in a Lecture Demonstra- from the title Life:Dark/Light, it has torates from the Julliard School, the tion performance for the Showtime at been likened to a choreographic con- University of Rochester, Nazareth High Noon Series on Friday, Febru- certo with the dancers as elements of College of Rochester, and Hobart and ary 24 from noon to 1 p.m. at the Ohio the work. Garth Fagan Dance will also William Smith Colleges. In recognition Theatre. For reservations call 216- perform Prelude with music by of his contribution to modern dance, 987-4940. Professional dance stu- Abdullah Ibrahim(Dollar Brand) and Fagan received the Dance Magazine dents may attend a Master Class, Max Roach, Sonata and the After- Award for “significant contributions to date, location and time to be deter- noon, music by Johannes Brahms, dance during a distinguished career” mined, call 440-914-0744 or e-mail Touring Jubilee 1924 (Professional) and the New York Dance and Perfor- [email protected]. At the music by Preservation Hall Jazz Band mance “Bessie” Award for Sustained Saturday, February 25 performance, and Translation/Transition to music by Achievement. there will be a 7 p.m. pre-performance the Jazz Jamaica All Stars. For tickets call 800-766-6048, Lecture and a post-performance Q Now in its 35th season, Garth 216-241-6000 or visit online at and A session. Both are open to ticket Fagan Dance, is known for founder www.tickets.com. Prices are $20, $30, purchasers. and Tony Award winning choreogra- $40 and $47. Groups of 10 or more Celebrating its 50th Anniversary pher of Disney’s The Lion King - Garth receive discounted tickets by calling Season, DANCECleveland is one of Fagan. Jamaican born Fagan con- 440-914-0744. For more information the nation’s oldest, and northeast tinually hones his imaginative, origi- visit www.dancecleveland.org or Ohio’s only, organization dedicated nal movement style drawing from www.tricpresents.com. For subscrip- solely to presenting national and in- modern dance, Afro-Caribbean influ- tions to DANCECleveland’s 50th An- ternational modern dance companies ences and ballet. The “Fagan Tech- niversary Season, call 440-914-0744. and is known as a premiere presenter nique” tests a dancer’s virtuosity. Season tickets for the Cuyahoga of modern dance in Northern Ohio and Currently a Distinguished Professor of Community College 2005-06 Perfor- beyond. the State University of New York, mance Series are available at 216- Cuyahoga Community College Fagan was one of only twelve Ameri- 987-4400. (Tri-C) division of Performing Arts pre- PAGE FOUR February 2006 • Issue 279 sents significant contemporary artistic programming of the until 9 p.m. Museum admission is $20 for adults, $14 for highest quality for our diverse multicultural regional audi- seniors (60+), $11 for children (9-12) and children under ences. These arts and cultural experiences are designed 8 and Museum members are free. to stimulate, enlighten, educate and mutually enrich both the artists and our community. Black History Month at Rock Hall Major Funders: Ohio Arts Council, National Endow- CLEVELAND – In celebration of Black History Month, ment for the Arts, Heartland Arts Fund, National Dance the Hall of Fame and Museum has planned a Project of The New England Foundation for the Arts, The month-long tribute to music. Co-curated by Warren George Gund Foundation, The Cleveland Foundation, The Zanes, Rock and Roll Hall of Fame and Museum vice presi- George W. Codrington Foundation, The John P. Murphy dent of education, and Thomas Sayers Ellis, Professor of Foundation, and Kulas Foundation. Poetry at Case Western Reserve University, the month prom- ises to be pure groove! Eric Burdon at Rock Hall Feb. 13 Funk music, like Soul and R&B, is an African-American music of self-determination. Funk music appeared on the 1994 Inductee to perform and discuss career, in- scene in the Sixties, fueled by the rise of the Civil Rights Move- cluding historical significant of the British Invasion ment, the growth of African-American consciousness and the growing influence of record labels such as Detroit’s CLEVELAND – The Rock and Roll Hall of Fame and and Stax/Volt in Memphis. Museum and Xerox Global Services present a Hall of Characterized by syncopated rhythms, powerful horn Fame Series with Eric Burdon on Monday, February 13 at sections, bright rhythm guitars and thick bass lines, Funk music 7 p.m. in the Museum’s 4th Floor Theater. became the definitive black music of the Seventies. Also like Tickets are $10 and are on sale through Ticketmaster Soul and R&B, Funk music often contains progressive lyrics or at the Museum box office. and messages of freedom and protest on top of high-energy, As the lead singer of the Animals, Eric Burdon was electrified dance music. James Brown, Parliament-Funkadelic, one of the driving forces of the British Invasion. His unique the Ohio Players, Chic, Earth, Wind and Fire and the Com- voice and the powerful blues-rock repertoire of the Ani- modores made Funk the ultimate party music in the Seven- mals sealed the band’s place in modern music history with hits such “House of the Rising Sun,” “Don’t Let Me Be Misunderstood” and “Don’t Bring Me Down.” The Animals original line-up changed after 1966 and Burdon kept the group going with various players perform- ing under the billing Eric Burdon and the Animals. Burdon used the Animals to explore far more psychedelic territory and move the groups music beyond the R&B realm. After the Animals, Burdon achieved new successes as a solo artist, when he hooked up with a group of L.A.0based musicians who eventually joined to form War. War achieved notable success with hits such as “Spill the Wine” and “Lowrider.” Burdon was inducted into the Rock and Roll Hall of Fame as a member of the Animals in 1994. In 2004 Burdon released his first solo studio album in many years called My Secret Life. In early 2005, Burdon ventured to new frontiers with a boogie-woogie project featuring Pete York on drums and Christoph Steinbach on as The Blues Knights. The trio did a very successful mini-tour through Greece. In late 2005 Burdon went back to the studio with nearly the same pool of musicians again with producer Tony Braunagel. The album is being released in January 2006. The Rock and Roll Hall of Fame and Museum exists to educate its visitors, fans and scholars from around the world about the history and significance of rock and roll music. The Museum carries out this mission through its efforts to collect, preserve, exhibit and interpret this art form. The Museum is open seven days a week from 10 a.m. to 5:30 p.m. On Wednesdays the Museum is open

February 2006 • Issue 279 PAGE FIVE ties and Eighties, not just for their bizarre conceptual humor, but also their sheer excess: huge ensembles of musicians and dancers, all jamming on the same groove as long as they possibly could, tearing the house down. Black History Month Funk programming: Wednesday, February 8, 7 p.m., Rock and Roll Hall of Fame and Museum - Clyde Stubblefield and John “Jab’o” Starks, both legendary drummers and veterans of the James Brown Band, will talk about their histories and the grooves they innovated. Stubblefield and Starks are the most sampled drum tracks in the world. A not-to-miss inside look at Funk’s beginnings and its legacy. This event is free with a reserva- tion. Call 216.515.8426 to RSVP. Wednesday, February 15, 7 p.m., Rock and Roll Hall of Fame and Museum - A special Black History Month edition of From Songwriters to Soundmen: The People Behind the Hits featuring Nile Rodgers of Chic. A member of ’s Apollo Theater house band, producer of Mick Jagger, , Madonna, INXS, and many more and co-leader of Chic, Rodgers remains one of the most important musical figures of the last several decades. He will discuss his unparalleled career and his role as R&B’s ambassador to rock. This event is free with a reservation. Call 216.515.8426 to RSVP. David Sanborn & Chris Botti Thursday, February 16, 7 p.m., Rock and Roll Hall of at Palace Theatre Fame and Museum - Whiting Award honoree, poet and Case CLEVELAND - Jazz veteran David Sanborn and hot Professor Thomas Sayers Ellis explores the funk aesthetic as young trumpeter Chris Botti have teamed their consider- it emerged in DC Go-Go and as it continues to inform his able talents on a successful concert tour that will include a poetry. Segments of the film The Pocket will be shown as part stop at Playhouse Square Center’s Palace Theatre in down- of the performance. This event is free with a reservation. Call town Cleveland on Wednesday, February 22 at 7:30 p.m. 216.515.8426 to RSVP. The driving force for saxman David Sanborn’s multiple Friday, February 17, 9 p.m., Rock and Roll Hall of Fame Grammy-winning career has been his reluctance to rest on and Museum — DC Go-Go comes to Cleveland! The Godfa- the laurels of any one musical style. It is sophistication, ther of Go-Go, Chuck Brown, will perform. A hero of Go-Go, phrasing and ultimate musicianship which enables him to Brown is a legend in R&B circles. Opening the show will be effortlessly slide from jazz to R&B, then onto funk and blues, Familiar Faces, a DC Go-Go band comprised of members of and it has served him well, as one of the pre-eminent in- Rare Essence and other prominent Go-Go bands. Tickets strumentalists for the past three decades. Sanborn has are $5 and go on sale January 20 through Ticketmaster truly helped define the saxophone’s contemporary sound. (www.ticketmaster.com / 216.241.5555) or at the Museum box His CD, Closer, was released in 2005, the most recent of office. an amazing 22 solo albums. Wednesday, February 22, 7 p.m., Rock and Roll Hall of Although alto sax is the 60-year-old Sanborn’s instru- Fame and Museum - Hall of Fame series with inductee Bootsy ment of choice, he also plays the acoustic piano. Now a Collins. Collins was inducted into the Rock and Hall of Fame New Yorker (by way of St. Louis and Tampa), David earned in 1997 as a member of Parliament-Funkadelic. He was also the reputation for being both an improvising jazz instrumen- a sideman with James Brown and the leader of Bootsy’s Rub- talist and a busy R&B/pop/rock session player. ber Band. Bootsy Collins has lived at the heart of the Funk David was only 23 years old when he was stricken with story and he will explore his career from the inside with Tho- polio. As part of his rehabilitative therapy, he was intro- mas Sayers Ellis, Associate Professor of English at Case duced to the saxophone. It was an introduction with con- Western Reserve University. This event is SOLD OUT. sequences quite beyond the imagination of his parents, doctors or anyone else. With polio behind him, Sanborn Friday, February 24, 9 p.m., Rock and Roll Hall of Fame went on to become a teenage sideman, playing sax on the and Museum — The Funk Finale! The Ohio Players take fertile jazz and R&B club circuit in St. Louis. After studying Cleveland hostage for a special appearance at the Rock and music at Northwestern University and the University of Iowa, Roll Hall of Fame. Tickets are $10 through Ticketmaster he joined Paul Butterfield as part of the Butterfield Blues (www.ticketmaster.com / 216.241.5555) or at the Museum box Band in 1967 (with whom he played at ). office. Jazz heavyweights featured Sanborn on their albums For more information on concerts and special events call in the ’70s, and that decade found him spending two years 216.515.8444 or visit www.rockhall.com with Stevie Wonder’s band before backing David Bowie, PAGE SIX February 2006 • Issue 279 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.

Let Me Tell You ‘Bout It, Leo Parker Down With It, That’s Where It’s At,

Reach Out, Turning Point, Lonnie Smith The Sounds of , Jimmy Smith Other Recent RVG Edition Releases Fuego, • Symphony for Improvisers, • Music from ‘The Connection’, Freddie Redd • The Big Beat, & • Sunday Morning, Inventions & Dimensions, • Oblique, • Time for Tyner, McCoy Tyner • , Blue Mitchell • Judgement, Andrew Hill • At the Organ, Vol. 3, Jimmy Smith ARTIST SELECTS SERIES: A SELECTION OF THEIR PERSONAL FAVORITE BLUE NOTE RECORDINGS, SELECTED & SEQUENCED BY THE ARTIST

Freddie Hubbard Gerald Wilson Lou Donaldsom PLUS.... A Major Find on Blue Note... These newly-discovered sonically- Never Before Released! pristine concert tapes from Carnegie Hall in November 1957, found in the Voice of America archives at the Library Quartet with of Congress in Washington DC earlier this year, capture 51-minutes of remarkable music from two legends Live at Carnegie Hall at the height of their powers.

February 2006 • Issue 279 PAGE SEVEN the Rolling Stones, , James Brown, Donny ows to the spotlight of center stage. Hathaway, Carly Simon and other major non-jazz stars. Tickets for David Sanborn and Chris Botti’s Palace The- In 1975, Sanborn recorded his own debut album, Tak- atre concert are $30, $25 and $15, on sale at the Play- ing Off. His initial Grammy win in 1982 for Voyeur, be- house Square Ticket Office; PlayhouseSquare.com or at came the first of many. David went on to score films, host 216-241-6000. his own weekly nationally-syndicated radio show, as well as the after-hours critically acclaimed TV series “Night ’s Midnight Minyan Music.” Since his 1995 solo debut album, First Wish, Chris brews soulful Jewish music Botti has emerged as one of the most popular and promis- ing new arrivals on the contemporary jazz scene. Four CLEVELAND – The Jewish Community Center (JCC) years after that debut album, Botti was chosen by Sting to of Cleveland is pleased to present the dynamic meeting of spend two years on the road as his featured soloist. Not down home jazz and with Jewish music only did the tour showcase his talents to a new audience, it in Paul Shapiro’s Midnight Minyan on Saturday, March 4 created a lasting bond with Sting, who has since sung on at 8 p.m. in Stonehill Auditorium at the Mandel JCC (26001 Botti’s albums To Love Again and When I Fall In Love. South Woodland Road in Beachwood). An impressive scrapbook of critical raves of both his As part of the JCC’s Educational Surround Events Se- studio and stage work with the likes of Paul Simon (on his ries, Paul Shapiro will lead a free workshop on Friday, March 15-month 1990 world tour), John Barry, Joni Mitchell, Marc 3, 2006 from 4 to 5 pm, which explores the musical ele- Cohn and Natalie Merchant have awarded Botti creden- ments that create Jewish sonorities. What Makes Music tials as a musician’s musician. Sound Jewish? will take place at the Hillel Center at Case After five acclaimed solo albums, the Oregon-bred com- Western Reserve University (11291 Euclid Avenue). poser/performer has finally stepped from the sidemen shad- Advance tickets are $20 for the general public, $18 for JCC members, $19 for seniors, and may be purchased by calling 800-766-6048 or going online to www.tickets.com. Tickets may also be purchased at any Tops Market in North- east Ohio. Tickets at the door are $20; only full-priced tick- ets are available the night of the performance. All tickets are general admission seating. Group rates ($16 per ticket) are available for 10 or more by calling 216-593-6258. New York-based saxophonist/flautist/composer Paul Shapiro (www.PaulShapiroMusic.com) has been active in New York’s creative music scene for over two decades. He is best known for his recording and performance work with an astonishingly diverse array of musicians and pro- ducers: Queen Latifah, Ofra Haza, Marc Anthony, Frankie Knuckles, Ben Folds Five, , Naughty by Nature, , Khaled, Brian McKnight, Majek Fashek, Towa Tei, Marshall Crenshaw, N’Dea Davenport, Mariah Carey, Satoshi Tomile, and ’s Cowboy Bebop. Throughout the eighties he led his own avant-funk band, Foreign Legion, which was featured on Emergency Records’ compilation “This is the Funk.” In the early nineties Shapiro started to record for many of the new producers of dance music and hip-hop. His full-length soprano sax improv can be heard on NuYorican Soul’s anthemic “The Nervous Track.” In 1994 Shapiro became a founding member of , an international group of instru- mentalists, spoken word artists and rappers who recorded for RCA and Shanachie Records. Shapiro wrote the score for Cheryl Dunye’s critically acclaimed film The Watermelon Woman in 1998. Other composition credits include The Sun Gets Blue, a musical by William Electric Black, and Presque Isle, a play by Joyce Carol Oates. In 2004 Shapiro APPEARING FRI., FEB. 17 was commissioned by the Museum of Jewish Heritage to at Wilberts in Downtown Cleveland compose a new score that would accompany the 1925 si- lent boxing classic “His People,” which was filmed on the Next to Jacobs Field lower eastside of New York. PAGE EIGHT February 2006 • Issue 279 The fifth CD contains two outtakes from QUINTET the Cheap Thrills studio sessions and Silver’s Blue three live tracks from the Kozmic Blues EPIC/LEGACY Band recorded in Amsterdam and San Made at a time in jazz history when Francisco in ’69. These cuts are said to the more blues-oriented, less frenetic be available only in this set. was flourishing—on the East Where this box differs from the 1993 Coast USA particularly—the music on Janis set is that the complete albums this CD captures pianist Horace Silver were not represented in that version. (b. 1928) on what is considered one of That was a bit of a bummer for anyone his finest albums. Two recording dates We only bring you hoping at the time to replace their Joplin in 1956 yielded the seven tunes on this the Cream of the Crop! vinyl with all her CDs in one sweep. In- the Cream of the Crop! CD, finalizing Silver’s contractual obli- stead, two important songs from Cheap gation with Columbia under a contract Thrills were replaced with much weaker signed around 1955 by Art Blakey, versions - “Summertime” with an alter- which gave each of Blakey’s sidemen a nate take, and “Ball & Chain” with a live separate contract. version. Group members who recorded with Not only does Box of Pearls con- Silver during that summer were Donald tain all Janis’ albums in their original Byrd (trumpet), Joe Gordon (trumpet on glory, the sound quality has been greatly 2 tracks), Hank Mobley (tenor saxo- improved - not just from the original CD phone), (bass), Art Tay- versions (which probably didn’t sound lor (drums) and Kenny Clarke (drums as good as the LPs), but from the 1993 on 2 tracks). box. These are the cleanest sounding Touted as a master at composing Joplin recordings money can buy as we tuneful melodies, Silver contributed three break open 2006. of the seven tunes (the title number, “To Also enclosed in this longbox is a Beat or Not to Beat,” and “Shoutin’ 36 page booklet with each album repre- Out”). The remaining tunes are interpre- sented with its own section, all the re- tations of swinging standards such as the cording and track information and rare Gershwins’ “How Long Has This Been photos. An essay is also included for Going On?,” Frank Loesser’s “I’ll Know,” each album, the first written by Sam Mobley’s “Hank’s Tune,” and the Buddy Andrew (Big Brother and Kozmic Blues Bernier-Jerry Brainin classic, “The Night guitarist) and Jud Cost; and the other Has A Thousand Eyes.” three by John Byrne Cooke (Joplin’s Adding to the enjoyment of this CD road manager from ’67-’70). Very inter- reissue produced by Michael Cuscuna, esting reading. The psychedelic artwork the 16-page liner booklet contains his- on the box appears top be patterned af- toric photos, original notes by Leonard ter Janis’ Porsche, which was on display Feather and “A Reminiscence” by Sil- for some time at the Rock & Roll Hall of ver. It’s an ear-pleasing representation Box of Pearls Fame and Museum. of where Silver and his sidemen were in COLUMBIA/LEGACY BOXED SET If you prefer to buy single CDs, each 1956 and should continue to give last- Having just seen the play Love, of the Expanded Edition reissues of her ing pleasure to listeners. Janis, I was all primed for this 5-disc four albums are also available, each with Nancy Ann Lee set, which brings together all four of the same bonus tracks as are included Janis Joplin’s albums in one box, along on the four main CDs in the box. In either with a bonus CD of rare, previously unis- case, each album has been digitally mas- sued tracks. While I believe it was first tered from the original source tapes for Cleveland Fats issued in 1999, it was again reissued in superb sound quality. The production of The Schwartz Brothers August of 2005. I doubt if there are many, each album was overseen by Bob Irwin, if any, differences between the two – but the mastering Vic Anesini at DC and the there are many differences between this Studios in NYC, and the entire project was box and the 1993 3-CD set titled Janis. completed with the consultation and full Continentals This set features the four albums in approval of the Joplin estate. But, if you For Bookings Contact their entirety - Big Brother & The Hold- want to pick up all four albums, this set ing Company, Cheap Thrills, I Got Dem is pretty much a no-brainer. Throw in the HONEYBEE ENTERTAINMENT Ol’ Kozmic Blues Again Mama! and book, the fifth CD, and you have one fine 4786 Dressler Rd #145 Pearl. Each also has four bonus (one has Janis Joplin collection. Canton, OH 44718 three) tracks of live recordings from the Once again, the hats go off to the 330-904-0454 band represented on the album, and folks at Legacy Recordings for another [email protected] each comes in a mini LP cover replica excellent boxed set of reissued classics. with the original artwork front and back. Bill Wahl February 2006 • Issue 279 PAGE NINE WILLIAM CLARKE Live In Germany TAIL DRAGGER WATCH DOG HEAT The late William Clarke had established himself as among the premiere harmonica players and performers in blues when he passed in 1996. His widow, Jeanette Clarke Lodovici, has New Delmark blues releases previously issued some unreleased studio recordings for Clarke’s many fans and has just produced a new CD, Live in Otis Rush Germany, (Watch Dog) that should be welcome by Clarke News of a previously unissued live recording of Otis Rush fans and those who love great blues harp. from the mid-seventies created much excitement among blues From the opening notes of Blown’ Like Hell, a torrid in- enthusiasts. Rush, a Mississippi native, moved to and strumental showcasing his strong driving play and full tone, became part of the West Side Chicago blues scene playing to the closing moments of Lollipop Mama, Clarke was in top some blistering guitar and singing with great fervor. One of form. He was backed by a terrific band that included John many blues artists in the post-B.B. King style, Rush’s first ‘Marx’ Markowski on guitar (and vocal on Charles Brown’s I recording for the Cobra label, I Cant Quit You Baby, charted Cried Last Night), Willie Brittle on bass and Eddie Clark on on the R&B charts, and was followed by early recordings in- drums. cluding All Your Love (I Miss Loving), My Love Will Never Die, Most of the performances are interpretations of some ter- and Three Times a Fool. After the Cobra label folded, he briefly rific, but not over-recorded numbers from , was on Chess and then Don Robey signed him but only is- Walter Horton and Mercy Dee Walton. Clarke’s strength as a sued one single, Homework. Many of these songs have be- singer is such that he can make a classic like One Room Coun- come part of the modern blues repertoire and covered by try Shack, his own. New releases of Clarke are very welcome, such blues-rock acts as , Led Zeppelin and J. but it’s a bonus that the music is as good as it is here. Geils. He was one of the artists featured on the legendary Ron Weinstock Chicago, The Blues Today series and has had a number of albums issued over the past three decades. JOE WILLIAMS Delmark issued Cold Day in Hell in the mid-1970s and it Havin’ A Good Time! had received a fair amount of airplay on rock station WXRT HYENA RECORDS which led to WXRT recording and broadcasting Rush in per- Hyena has just issued this posthumous release by the formance from Chicago’s Wise Fools Pub in January 1976. great Joe Williams. Recorded at Pio’s in Providence, Rhode Now about three decades later, this performance is available Island in the snowy winter of 1964, this tape was among the for all blues lovers on a new Delmark CD, All Your Love I items that the Estate of Joe Williams gave the Hamilton (NY) Miss Loving. Featuring his superb band of the time with Bob College Jazz Archive. Levis on second guitar, on bass, Jesse Green on This is a club recording with the great blues and ballad drums and Alberto Gianquinto (ex-, ex-Santana) singer backed by the Trio (Bob Cranshaw on on piano, Rush is in superb form opening with B.B. King’s bass and on drums) with Ben Webster joining Please Love Me and redoing his All Your Love and It Takes the proceedings. The sound is generally good with Williams’ Time as well other songs from King, T-Bone Walker and Chuck voice and Webster’s sax having a definite presence in the mix. Willis. To hear Rush, one of the most intense guitarists in the The backing trio can be felt, if not as prominent, listening to blues, laying out his soul singing You’re Breaking My Heart, this, although Mance has plenty of space for his strong, bluesy or rearranging T-Bone Walkers Mean Old World to the melody piano playing. of I Cant Quit You Baby, one is treated to a performance that There is a real nice mix of material opening with the Duke will reaffirm for many of us why we love the blues, to para- Ellington number Just a Sittin’ and A Rockin’ , using the lyr- phrase Steve Tomashefsky’s liner notes. Few blues artists put ics of the Delta Rhythm Boys 1946 rendering of this number as much soul into their performances and reach the level that and a nice Webster who took the solo on Ellington’s Rush at his best achieved, and he was at his best that Janu- original. It’s followed by Kansas City Blues, Williams’ rendi- ary 1976 night at the Wise Fools Pub. tion of the -Big Joe Turner blues classic Piney Tail Dragger Brown Blues, with Williams pointedly saluting the Boss of the Another new Delmark release is one of two that is on CD Blues in his intro. While not sure he knew all the words of the and DVD. James Y. Jones, the Chicago blues singer, took his standard That’s All, Williams more than gamely handles it for stage name Tail Dragger from a Howlin Wolf song. This was the request of the audience member who braved the blizzard fitting insofar as Wolf was a mentor and heavy influence on conditions for the show. him as reflected in his singing, stage act and his music which Also on the program are a couple of Fats Waller clas- employs some of the grooves and melodies associated with sics, Ain’t Misbehavin’ and Honeysuckle Rose, some other some of Wolf’s classic recordings, even tossing in a yodel- standards and Williams’ hit Alright, Ok, You Win. like Howl on several tracks. His new CD and DVD on Delmark I suspect the presence of Webster is a factor in the re- are both titled’My Head is Bald, Live at Vern’s Friendly Lounge, lease of this material which is a welcome addition to Will- Chicago. He certainly benefits from a terrific band that has iams’ discography and a release that is consistently enjoy- Billy Branch on harmonica, on Guitar, Kevin able. It’also leads to anticipation of further releases of Will- Shanahan on guitar, Bob Stroger on bass, Kenny Smith on iams recordings from the Hamilton jazz Archives. drums and Willie Young on tenor sax. re- Ron Weinstock places Shanahan on My Head is Bald. Tail Dragger contrib- PAGE TEN February 2006 • Issue 279 uted all the songs except Jimmy Heat,’One Eye Open - Live at Rosa’s Got to Sleep With One Eye Open, as she Dawkins’’So Ezee.’One song, Cold Out Lounge, Chicago. is the has to keep her eye open to keep her Doors, is a DVD bonus track not on the wonderful group that Israeli-born Pierre man from loving her all night, which is CD. While one would be hard-pressed Lacocque has organized and fronted quite a different take than the usual story to call the Tail Dragger a major artist, using some of the finest, if not best of the mistreating lover who is way too he certainly entertains with a program known Chicago blues musicians. Mixing quick. Guitarist Max Valldeneu takes the that evokes the Wolf. His vocals are in some choice blues classic with his own lead here. Pierre opens on chromatic slightly slurred and don’t have Wolf’s fine originals, Lacocque has been vary- harp as Inetta sings his Dirty Deal about crispness nor is he as forceful as Wolf ing personnel to his group, but they have being “so in love, I could not see he was was, but still is a very enjoyable singer always had a strong Chicago blues en- giving me a dirty deal.””Cool Twist is a with the band rocking behind him. Billy semble sound that supported the vocal- nice rocking dance tune while the DVD Branch is typically outstanding while ists and the soloists. Its hard not to no- only Moanin’ and Cryin’ is a fine slow Lurrie Bells stinging lines and riffs evoke tice Lacocque’s strong harp playing that blues followed by She Ain’t Your Toy, ’s playing with Wolf. The evokes at times with his vo- where Inetta gives a male friend some rhythm duo of Stroger and Smith pro- calized playing and fat tone. This edi- advice. Eddie Harris’’Listen Here pro- vide a solid foundation for everybody tion of Mississippi Heat also benefits from vides Pierre with another showcase of else. Songs like Tend to Your Business, the stunning guitar of Lurrie Bell and the his harp as the performance concludes My Woman is Gone, and the title track, strong rhythm of Chris ‘Hambone’ in a most satisfactory fashion. The DVD are typically of the solid evocation of Cameron’s keyboards, Sturling Banks’ thankfully focuses on the performers Wolf’s music present throughout and it’s bass and Kenny Smith on drums. While with some crowd shots mixed in but not entertaining to watch the DVD to see Tail Lurrie Bell takes two nice vocals on to distraction. Like Tail Dragger’s DVD, Dragger singing for the woman, work- Muddy Waters’’19 Years Old, and T-Bone the focus is on the music and the per- ing the crowd and egging his musicians Walker’s Cold, Cold Feeling, it is a won- formers and let that do the talking. There on. I was also impressed by the camera derful vocalist, Inetta Visor, who currently is some really strong Chicago blues here work and production on the DVD, which fronts the band and introduces Pierre as as well and whichever format you really gives a sense of that evening at “the man who came up with the plan” choose, you should find it to your liking. Vern’s Friendly Lounge. This is certainly for the opening instrumental, Rosa’s welcome as an entertaining release that Zora Young Strut, that showcases his playing and the should appeal to fans of classic Chicago The final new Delmark release is band’s nice ensemble sound as they pro- blues. from Zora Young, Tore Up From the vide that nice walking tempo behind him. Floor Up. Young has been part of the Mississippi Heat After Lurrie Bell’s fine delivery of 19 Chicago club scene for several decades Another new Delmark offering in Years Old, Ms. Visor takes the mike to and first recorded in the early 1980s. She both CD and DVD formats is Mississippi deliver Frederick Knight’s amusing I’ve has developed an international reputa- THE OTHER SIDE OF CLEVELAND ART

INTRA WWW.I-N-T-R-A.COM RICK RAY BAND WWW.RICKRAY.NET RARE BLEND WWW.RAREBLEND.NET RAZOR WIRE SHRINE WWW.PMM-MUSIC.NET NO BRASS WWW.NOBRASSMUSIC.COM DRUMPLAY WWW.DRUMPLAY.COM VENN DIAGRAM WWW.VENNDIAGRAM.NET SYZYGY WWW.SYZYGYMUSIC.COM TONY PULIZZI WWW.JUSTTONY.BIZ HERITAGE DRIVE WWW.HDRIVE.BIZ BLUE JAZZ WWW.BLUE-JAZZ.COM

February 2006 • Issue 279 PAGE ELEVEN tion through touring and has a small body of recordings Conservatory from ages nine to 17. In 1968, she moved to including a 2002 Delmark disc, Learned My Lesson. Philadelphia where she worked with and oth- Here she is supported by a band that includes guitarist ers and played electronic keyboards (and B-3) with local rock Pete Allen and Bobby Dirninger on keyboards with horns bands before relocating to San Francisco in 1977. By the mid- added to two tracks. She is heard on a mix of originals and 1980s, Williams had gained some notice as house pianist for songs associated with (among others) B.B. King, Bobby Keystone Korner and had developed her signature style, docu- Bland, and O.V. Wright. Certainly there is nothing wrong mented mostly in recordings for small labels. with the material from the opening reworking of Bobby As on Volume 1, Drummond and Lewis tastefully aug- Bland’s Love of Mine to the ballad medley of Since I feel For ment her style. Here, the threesome serves up fresh readings You/Silhouettes, and the low-key down-home groove of of standards such as Miles Davis’s “Flamenco Sketches,” a Muddy’s Two Trains Running. Her own material is pretty swinging “Why Do I Love You,” a playful Monkish take on good including the title track or her topically laced Til the “Lulu’s Back In Town,” and a poignant rendering of “Sum- Fat Lady Sings. There is also a brief interview to close this mertime.” Included on this set are four diverse Williams origi- release. nals: the pretty ballads “Spoken Softly” and “Soldaji,” the This is played and sung well enough, but while enjoy- waltzing Monk-inspired “Elbow Room” and the straight-ahead able I found little in Young’s vocals or the band that was gem “Dear Gaylord.” striking and memorable that would stand out among simi- A melodious player, Williams caresses each tune as if lar recent blues releases. Ron Weinstock she were discovering its beauty for the first time. Her elegant arrangements, spacious phrasing, unexpected twists of tech- nique, and plenty of imagination make for totally satisfying JESSICA WILLIAMS listening. Nancy Ann Lee Live at Yoshi’s – Volume 2 MAXJAZZ DOUG MACLEOD Pianist Jessica Williams excels in this live-recorded nine- Dubb tune trio set with bassist and drummer Victor BLACK & TAN Lewis, a sumptuous follow-up to her spectacular Volume 1 Years ago in the Washington D.C. area, legendary recording, reviewed in the JBR September-October 2004 is- WPFW-FM blues radio personality Jerry ‘The Bama’ Wash- sue (online at www.jazz-blues.com). ington would play at least a couple of times a month an Williams (born 1948, in Baltimore) studied at the Peabody evocative song, Night Bird, by one Doug MacLeod (some may be familiar with Eva Cassidy’s recording of this song). Hearing this led me to the No Road Back Home album that MacLeod, Dennis Walker and Bruce Bromberg pro- duced. MacLeod has since compiled a fairly extensive dis- cography and established himself for his evocative vo- cals, guitar and songs, rooted in the blues tradition but speaking from personal experiences. In recent years he has eschewed the electric guitar, preferring to perform and record acoustically with the fo- cus on his intricate fingerstyle guitar as well as slide play- ing, and his intimate vocals. His most recent disc†on the Dutch Black & Tan label it titled Dubb, which refers to the nickname the late legend George ‘Harmonica’ Smith gave him. He’s backed by bassist Denny Croy and drummer Dave Kida with Carl Sonny Leyland adding some piano for several tracks. Songs that spin some philosophical take on rela- tionships, (If You Going to the Dog House) mix with songs about a woman who really gets down and upsets the neigh- borhood (She’s Boogy’n), a touch of cynicism about our supposedly public spirited politicians (Dubb’s Talkin’ Poli- tician Blues), observations of someone who can’t stop yapping (One Fool Show) and a lying lover ($50 Wig with its line “You got a $50 wig, setting on a $5 head), and a touch of the melody (North Country Woman). Some songs I am sure will grab you more than others, but certainly Macleod’s songs ring a bit bluer than some award-winners – and his understated approach stands out with so much rocked out music these days. Seems like some good material to cover in here as well. Definitely a release to check out. Ron Weinstock

PAGE TWELVE February 2006 • Issue 279 LAFAYETTE GILCHRIST RAZIA Towards The Shining Path Magical HYENA RAZIASAID MUSIC If Lafayette Gilchrist’s “lid” evokes an image of Monk, An interesting album has come from a singer known as that’s not the end of it. The idiosyncrasy that permeates the Razia, who was born in Madagascar, an island just a bit less Baltimore-based pianist’s compositions will only reinforce the than twice the size of Arizona located 250 miles off the south- picture. It’s an eccentricity marked by the quirky Monk-like east coast of Africa. While she has been billed as a smooth angularity found in abundance in “heads,” bass lines and in jazz vocalist and likened to Sade, perhaps the best descrip- Gilchrist’s own solo stretches. tion I’ve seen is “NYC world beat meets the sultry soul of Underneath lies funk from a classic jazz perspective and Madagascar.” True, like Sade she has a very smooth voice, in the hands of the leader (also a member of saxophonist and is quite sensual, but the world rhythms add a whole dif- David Murray’s nonet) and his seven-piece crew (four horns ferent dimension to her music. There is actually quite a lot and rhythm) it’s a format for inventive and highly charged going on here. workouts. This is music that is creative, strong, fun and that The songs, all originals co-written by her acoustic guitar- refuses to sit still long enough to pigeon-hole. ist, are lyrically rich, and most groove long in a medium tempo Gilchrist has the makings of a major jazz figure and lis- fashion, though some slow it way down. The arrangements teners are encouraged to sign on early. Duane Verh are fresh, and she is backed by guitars, keyboards, bass and drums (live and programmed) with some tracks adding sax, trumpet and violin. Three percussionists are also on hand for Gettin’ My Groove Back the recording, adding to the world/island music effect. The background vocals, with Razia joined by three other voices, BLIND PIG Okay, for those of you late to class, here’s the deal on Elvin are rich and very smooth. Bishop: Raised in Tulsa, he took to the blues at an early age. He Razia, who grew up listening to traditional Malagasy mu- moved to Chicago to pursue a college degree he and was soon sic, The Beatles, Bob Marley, and James Brown, certainly introduced to the Southside blues scene where he not only learned has a sound that should appeal to a variety of tastes. Sweet at the feet of legends such as Little Smokey Smother and Otis stuff. If you want more information, go to www.raziasaid.com, Bill Wahl Rush, but soon had a fateful meeting with a young Paul Butterfield where you can also sample some tracks. which lead to the formation of the Paul Butterfield Blues Band. Once Michael Bloomfield joined the fold the band intro- duced the concept of twin lead guitars and soon proceeded to DAVID CHRIS cut some of the discs that finally brought the blues to a wider white audience including the self-titled Paul Butterfield Blues SANBORN & BOTTI Band, East West and The Resurrection of Pigboy Crabshaw. Bishop eventually took off on his own and put a number of songs on the charts including Travelin’ Shoes and Sure Feels Good. In 1975 he scored big with the cross over single, Fooled Around and Fell in Love, which featured future Jefferson Starship vocalist Mickey Thomas on lead vocals. Bishop con- tinued a prolific output of new material through the 70’s and 80’s with no new hits and slowed down considerably in the 90’s with only a couple of releases on the Alligator label. Bishop is now ready to jump start his recording career with this new effort on Blind Pig which marks his first entry into the recording studio in several years. Unlike too many of his past efforts where his frequent focus on goofy novelty type tunes and the quest for another cross over hit have masked his considerable talent on both guitar and vocals, this release seems tightly focused and hot wired into the blues. Kicking things off with the gritty What the Hell Is Going On, Wed. Feb. 22 - 7:30 pm Bishop hits a number of blues bases including and Allman Brothers inspired slide instrumental, Sweet Dreams, the highly Palace Theatre funky That’s My Thing, Blues Train and Got To Be in New Orleans, and southern fried soul that would fit nicely on a $30, $25 & $15 Blind Boys of Alabama disc, I’ll Be Glad. Deep John Lee Hooker style blues make an appearance on Come On Blues which features plenty of raw guitar and Bishop’s desperate plea for the blues to help him make it through a tough spot. Unable to leave without a party, Bishop closes the disc with Party Til the Cows Come Home, a jumping little number that lives up to its title. If Bishop ever lost his groove he’s got it back big time on this disc. Mark Smith February 2006 • Issue 279 PAGE THIRTEEN ART BLAKEY AND THE ROD PIAZZA Bring Em In JAZZ MESSENGERS For The Chosen Who SILVERTONE RECORDS DELTA GROOVE Buddy Guy is one bluesman who has COLUMBIA/LEGACY Rod Piazza … the Mighty Flyers’ ter- been enjoying a mighty successful ca- This reissue featuring drummer Art rific new disc, is a combined CD-DVD reer in recent years. He is one of the few Blakey and the Jazz Messengers adds package that may be amongst the best blues artists to play Cleveland’s House three bonus tracks to the six tunes on recordings of Piazza’s lengthy recording of Blues since it opened in late 2004, the original LP. Three different Blakey career. One reason to the Mighty Flyers’ and I believe the only one to play there bands are featured. success among the blues’ top touring twice. His latest disc is a collection of Recorded in 1957, tracks 1-3 fea- bands is the band’s stability reflected by well-known (and well-chosen) songs ture The Art Blakey Percussion En- the long tenure of pianist Honey Piazza mixed with some originals with very semble with Ray Bryant (piano), Oscar and bassist Bill Stuve. Guitarist Henry good production quality. Pettiford (bass, cello), Blakey or Jo Carvajal and drummer Paul Fasulo are Guy’s impressive vocal range stands Jones (drums) and three percussionists. relative newcomers to the Flyers and fit out as he opens the disc in a very high They perform appealing beat-driven in like they have been there for a de- register on Curtis Mayfield’s “Now You’re numbers: Blakey’s original “The Sacri- cade. Gone,” and, after Wilson Picket’s “Ninety fice,” Bryant’s “Cubano Chant,” and This new disc includes a number of Nine And One Half,” he drops it way Pettiford’s “Oscalypso.” choice covers, none of which have been down low for his original “What Kind Of The remaining tracks were recorded overrecorded, such as Jimmy Reed’s I’m Woman Is This.” While some may yearn on two separate dates in 1956. Tracks a Love You, Ted Garrett’s You Can Make for more power guitar work from Buddy 4-6 spotlight the Messengers’ band ver- It If You Try, John Lee Williamson’s than is heard on most of the album, he sion with , (trumpet), Ground Hog Blues, Ike Turner’s She does let it loose on Screamin’ Jay Jackie McLean (alto sax), Sam Bockery Made My Blood Run Cold, and a pair Hawkins’ “I Put A Spell On You,” for (piano), Spanky DeBrest and leader from Broken Hearted which he is joined by Carlos Santana. Blakey. They perform the Gigi Gryce Blues and Trace of You. On several tracks The two of them really go at it for a while tune “Nica’s Tempo” as well as Mal Phil Guy plays lead guitar, Finis Tasby there. Waldron’s “D’s Dilemma” and Bill plays bass and plays After a rendition of Eddie Floyd’s Harman’s “Just for Marty.” Bonus tracks drums. Piazza sings as good as I’ve ever “On A Saturday Night,” he is joined by 7-9 capture the short-lived Messengers heard him, and the group as a whole Tracy Chapman for a haunting version line-up with Donald Byrd (trumpet), Ira sounds terrific. There are too many high- of ’ “Ain’t No Sunshine” - one Sullivan (tenor sax, trumpet), Kenny lights to mention as everything is first- of the several standout tracks. “I’ve Got Drew (piano), (bass) and rate, but Kid Ramos adds some nice lead Dreams To Remember,” the Otis Blakey interpreting Byrd originals. guitar for Broken Hearted Blues while Redding chestnut, finds him paired with While the first three tracks demon- guitarist Carvajal evokes Turner’s guitarist/vocalist John Mayer and is the strate Blakey’s traps mastery, the re- tremelo-laced guitar style on She Made sweet ballad of the bunch. Dylan’s “Lay maining tracks here sound more like the My Blood Run Cold. Ground Hog Blues Lady Lay” doesn’t really work - might expansive, hard-bop band we’ve come is a wonderful duet between Honey’s pi- be one of those songs best left uncov- to recognize. Adding the Byrd tracks ano and Rod Piazza’s vocal and harp ered as Dylan’s incredibly low vocals will (“Lil’ T [aka The Third],” and two differ- while Shoestring, a Red Prystock num- always rule. The “Cheaper To Keep Her/ ent takes of “The New Message [aka ber I believe, serves as a showpiece for Blues In The Night” medley, sans guests, Little T]”) was a wise choice, as those does work quite well though. are most appealing. If you’re confused Closing out the album are Guy’s ren- about the bonus titles, reissue producer LIVE BLUES ON dition of “Cut You Loose,” for which he Michael Cuscuna offers clarifying notes THE HIGH SEAS does cut it loose on guitar for the first in the 24-page liner booklet, which also time since his above meeting with contains the original LP notes, an essay Carlos; Keb Mo’s “The Price You Gottta by drummer Kenny Washington, and Pay” finds Buddy joined by the Stones’ attractive historic black-and-white pho- Keith Richards on guitar, and the clos- tographs. ing tune is Guy’s version of Isaac Hayes’ Slipping this disc into my soul classic “Do Your Thing.” computer’s CD drive made my spyware On board with Buddy for most of program go nuts, but this is an A-plus this voyage on the seas of blues, R&B package that’s chock full of music and and soul are Willie Weeks/bass , Steve musings! Nancy Ann Lee Jordan/drums, Bernie Worrell/key- boards and Danny “Kootch” Kortchmar/ Search thousands of guitar. Keb Mo is heard on some of the Read The Review at jazz-blues.com songs, and horn players are added for CD & DVD Reviews several as well. Though some purists Click the Featured Story Tab may feel left short, this is a good, solid www.jazz-blues.com Sign up at www.bluescruise.com crossover effort from Guy. Bill Wahl PAGE FOURTEEN February 2006 • Issue 279 Rod Piazza’s superb harpwork, as does GEORGE GRUNTZ ers to list as well as being admired by the slow Honey’s Blues, with Piazza play- Ringing the Luminator so many others like , the ing some brooding chromatic harp while Neville Brothers and Lightnin’ Hopkins ACT RECORDS Honey comes across like and (“The blues gets all over everything. Part of the Act label’s Piano Works Phil Guy adds some strong fills. Johnny Watson is all over the blues and the Series, this CD features internationally Dyer joins for a vocal duet on Little blues is all over him.”). known pianist-composer-bandleader Walter’s Gotta Find My Baby, while la- When he collapsed on stage in Ja- George Gruntz as a piano soloist for the bel head Chortkoff wrote and plays harp pan during the second verse of Super- first time in his four decade career. on Call Me Dangerous. man Lover, it ended a four-decade ca- Recognized primarily as a big band This disc has a DVD bonus that in- reer that took him from Houston to the leader, Gruntz (b. 1932 in Basle, Swit- cludes a 23-minute documentary over- world and transformed Young John zerland) displays many expressions as view of the recording of the CD along Watson into the Gangster of Love and he works his way through 15 solo piano with the performers’ views on this re- Superman Lover. He was a pianist who tunes, a mixture of his originals and cording and the blues. Two of the per- could rock the boogie like Amos popular standards such as Victor Young’s formances are also captured on video Milburn and a guitarist who wowed “My Foolish Heart,” Thelonious Monk’s along with a gallery of photos to com- Frank Zappa with tracks like Three “Well You Needn’t,” Dizzy Gillespie’s “A plete this absolutely terrific blues record- Hours Past Midnight . Then there is the Night In Tunisia,” and tunes by George ing package. Ron Weinstock incredible guitar showpiece from the Gershwin, Andreas Vollenweider, Ray mid-fifties space guitar plus his origi- Anderson and more. nals of Gangster of Love . I suspect Gruntz possesses an engaging, con- All Soul Watson’s recording of One Room Coun- fident keyboard style and flawless tech- HIGHNOTE try Shack inspired Buddy Guy to do that nique that melds serious music with the On this 10-tune studio date recorded number. Then there were his acclaimed language of American jazz. His interpre- in June 2005, tenor saxophonist Hous- piano album, the duets with Larry Wil- tations range from sweepingly romantic ton Person leads a solid session that liams which probably did not catch the to bluesy to spirited, swinging and play- varies from quartet to sextet configura- mood of the audience turning to ful. Alone at the keys, he proves why tions and spotlights pianist Stan Hope, Motown, the two superb albums for fan- his big band direction has drawn so bassist Per-Ola Gadd, and drummer tasy which anticipated his maturation many fans: he hears with an all-encom- Chip White (Person’s traveling rhythm and his funkster era for DJM in the sev- passing ear. section) as well as guests Eddie Allen enties. This lovely recording made in a (trumpet) and label mate Randy The Funk Anthology has two and a church in Zurich is a true treat for those Johnston (guitar). half hours of Watson’s music from his of us who have admired his band lead- Gadd, from Sweden, is the newest seven DJM albums From Ain’t it a Bitch ership in live performance. It’s wonder- member of Person’s rhythm team. Hope in 1976 to Johnny ‘Guitar’ Watson and ful to hear another side of this widely (b. 1933) is a veteran who joined the the Family Clone (1981), as well as his respected, talented musician. Houston Person-Etta Jones band in last album in 1994, Bow Wow for Nancy Ann Lee 1986. Trumpeter Eddie Allen is a new Bellmark). There is at least one album collaborator with Person. that Watson did in the interim not repre- The drawling title track is launched JOHNNY GUITAR WATSON sented, but this compilation made by his by Person with a smoky melody head The Funk Anthology children certainly is full with some ter- before Allen and Johnston take impro- SHOUT FACTORY rific music, some of which has become vised solos. An uptempo swinging take Few folk have had as much influ- staples of blues and funk bands today, on Benny Carter’s “Wonderland” pro- ence in the worlds of blues soul and funk like A Real Motha For Ya, Superman vides solo space for all. On a churchy than Johnny ‘Guitar’ Watson. As David Lover, You Can Stay But the Noise Must quartet rendition of the ballad “Let It Be Ritz notes in the liner notes of the Go and Bow Wow. There’s the humor- Me,” Person’s playing brings to mind Ben two disc, The Funk Anthology, Watson ous post-Watergate I Don’t Want to Be Webster’s sound. The full band gives lends a long shadow over hip hop, with President that he co-authored with Percy Miles Davis’ “So What” a brisk bopping the track It’s About the Dollar Bill ex- Mayfield (and on whose Atlantic record- reading. Probably the best track is the emplifying this best, although rappers ing of this Watson played). I Want to Ta- soulful quintet rendition (sans Allen) of have long sampled his grooves and Ta You Baby has to be as sexy a love Percy Mayfield’s “Please Send Me Some- Snoop Doggy Dogg lifted a trademark song as one is going to hear anywhere. one To Love.” Person contributes two phrase from Watson’s Bow Wow I am sure that some of those who originals, the pulsing opener “Why Not” (Which Watson in performance referred complain about ‘purists’ in the blues will and the chugging, bluesy closer “Put It to as the dog song). He was a major also dismiss this as funk and not blues, Right There.” influence on folks as varied as Etta but the simple fact is for the 70s through A couple of the tracks seem overly James (“He’s my model. He taught me the 90s this was as contemporary as arranged and/or not in the bluesy style to sing blues. He taught me to sing bal- the blues got. Shout Factory will be re- we usually associate with Person. Over- lads....”), Jimi Hendrix, The Vaughan issuing the eight albums collected here all though, there are plenty of appealing Brothers (who linked him with Freddie, separately, so this also serves as an in- numbers and spectacular solos from Albert and B.B. King of guitarists they troduction to those releases. These two everyone to make this CD a listening admired… “He made magic,” accord- discs will certainly keep things funked treat. Nancy Ann Lee ing to Jimi), Prince and too many oth- up quite nicely. Ron Weinstock February 2006 • Issue 279 PAGE FIFTEEN AHMAD JAMAL against one another for Contemporary Blues Album of the Year), Rod Piazza The Legendary OKEH & the Mighty Flyers pulling down three & Epic Recordings nominations for group and individual ef- EPIC/LEGACY forts and soul blues artist Otis Clay get- Pittsburgh-born pianist Ahmad ting a nomination instead.... Tragically Jamal (1930—) is presented on this 21- quiet blues.... Blind Pig Records sadly tune reissue of three albums recorded announced the apparent end to up and and released at the dawn of his long, il- coming blues singer Renee Austin’s re- lustrious career. cording career as a consequence of a Studio dates from 1951, 1952 and By Mark Smith paralyzed vocal chord. Austin’s 2003 1955 capture Jamal in peak form, in- national debut CD, Sweet Talk, sparked terpreting an array of standards such as New Release blues.... John Long- critical raves and predictions of great- “The Surrey With the Fringe On Top,” Lost & Found; Delta Moon- Howlin’; Wa- ness, with many comparing her to Janis “Love For Sale,” “Poinciana,” “Autumn termelon Slim- Watermelon Slim & The Joplin and Tina Turner. It also led to a Leaves,” “Perfidia,” “Squeeze Me,” “Old Workers; Deb Callahan- The Blue Pearl; “Best New Artist Debut” W.C. Handy Devil Moon,” “The Donkey Serenade,” Vargas Blues Band- Love, Union, nomination and a slot on the PBS-TV film and other gems. Jamal contributes two Peace; - Sweet Pea; Rose entitled Blues Divas. Her second Blind originals, including “Aki and Ukthay,” a City Kings- Holler Out for More; Lee Pig release, Right About Love, impressed standout for its romanticism and movie- Rocker- Racin’ the Devil; Climax Blues critics with her stunning vocal dynamism, theme style. Band- Rich Man; Sam Cooke- Love her passion, and her remarkable versa- Jamal competently switches moods, Songs; - Love Songs and tility. In an open letter to her fans and navigating tunes ranging from uptempo The Ultimate Collection; Bettye LaVette- supporters, Austin broke the heart-rend- swingers to ballads to Latinate numbers. Take Another Piece of My Heart; ing news, “I want to start by thanking all His chops remain scintillating through- Leadbelly- Collector’s Edition; Nina of my friends, family, fellow musicians, out as he constantly conjures up fresh Simone- The Definitive Collection; Paul and fans for all the love and support you interludes and grooves. Jamal’s amaz- Butterfield- North South and Put It In have given me over the years. As most ingly diverse touch is, at times, light and Your Ear; Guitar Slim- Atco Sessions- of you know I released my second CD airy and other times it is two-handed 1956-1958; Otis Rush- Mourning in the with Blind Pig Records Right About Love chordal and vigorous. Morning; Susan Tedeschi- The Best Of; on August 16th. It is a piece of me that I Guitarist Ray Crawford delivers spar- Big Joe Turner- Boss Man’s Blues; am very proud of and a culmination of kling moments in the spotlight and ei- Saffire the Uppity Blueswomen- De- lots of hard work from many people. As ther bassist Eddie Calhoun (6 tracks) or luxe Edition; Various Artists- I Am the some of you know I had to have surgery Israel Crosby (15 tracks) agreeably solo Resurrection; A Tribute to John Fahey; on September 13th to remove a lump on and support Ahmal on these drumless Eric Burdon- Soul of a Man.... What’s my thyroid gland. I feel blessed to be sets. On “Don’t Blame Me,” Crawford’s in a name blues.... The Blues Founda- able to tell you that I am doing fine and muted plucking sounds like congas. You tion has announced that its annual rec- the lump turned out to be cancer free. I may not miss the drums at all. ognition of the finest in blues perfor- regret to inform you all that as a result of Although no tune is over five min- mances and recordings will now be called the surgery my left vocal chord has been utes, there’s plenty of music to absorb “The Blues Music Awards” instead of left paralyzed and is not working. The and it’s a seamless recording despite the the “W.C. Handy Blues Awards.” “This result of this is I can talk softly but I can- three separate recording dates and years is a move to bring broader visibility to the not sing. In the last couple of weeks af- in between. Included in the 16-page liner music we love.” noted Board President ter lots of medical opinions and various hospital visits my condition has been di- booklet are 1956 notes by Nat Hentoff Kevin Kane. The 27th annual celebration agnosed as likely permanent. This and 2005 notes by Randy Weston/Brian of blues excellence, now known as “The means that I probably will never be able Bacchus, as well as an array of photos Blues Music Awards,” will be held at the to sing again. I am working hard with a from the original session released on LP. Cook Convention Center in Memphis on Thursday, May 11, 2006. The Handy speech therapist to see if I can beat the This is a wonderfully vibrant and imagi- name has been associated with the ac- odds and God willing raise my voice in native display of the pianist’s talents that tual award since its inception in the Fall song once again someday. Until that time should satisfy his fans for years to come. of 1980. Since the early ’90s, the genre’s comes I must say goodbye to you all as Nancy Ann Lee highest honors have been officially a singer and thank you again for all of known as the W.C. Handy Blues Awards, the love and support you have given me. in recognition of the man commonly re- I thank God for the opportunities He gave Check the Site ferred to as “The Father of the Blues” me to live out my dream even if only for because of his role in popularizing the small window of time. I trust that He has for Special Editions music. Artists recording on the Blind Pig a plan for my life and whatever that is, I or Announcements label racked up some impressive num- will put my heart and soul into it just as I bers with & the Teardrops did my music. From the bottom of my pulling down five separate nominations, heart- please know I thank all of you for www.jazz-blues.com Elvin Bishop and the your kindness to me and I will remember Band pulling down two nominations it always. May God Bless each of you.” each (and ironically enough facing off .....That’s all for this month. See ya. Mark PAGE SIXTEEN February 2006 • Issue 279 JAZZ AND BLUES REPORT READERS ARE INVITED TO See Garth Fagan Dance perform

LIFE:DARK/LIGHT With music by jazz violinist Billy Bang Sat, Feb 25, 8pm Ohio Theatre, Playhouse Square Center “Fagan and Jazz: a Pairing made in Heaven” Newsday, NYC 11/2005

Set to the music of jazz violinist Billy Bang’s 2001 release Vietnam:The Aftermath, the work grew from Bang’s own experiences of fear, loss and life rejuvenated during his service in the Vietnam War. Arranged into a three movement format taken from the title Life:Dark/Light, it has been likened to a choreographic concerto with the dancers as elements of the work. Garth Fagan Dance will also perform Prelude with music by Abdullah Ibrahim(Dollar Brand) and Max Roach, Sonata and the Afternoon, music by Johannes Brahms, Touring Jubilee 1924 (Professional) music by Preservation Hall Jazz Band and Translation/Transition to music by the Jazz Jamaica All Stars. Visit www.garthfagandance.org

Jazz & Blues Report Readers Receive 2 Tickets for 1! E-Mail [email protected] before 5 pm February 15 and get 2 tickets for the price of 1! You choose@ $40, $30 or $20 Tickets are subject to availability. This offer is not valid for pre-purchased tickets or with any other discount offers. Performance and artists are subject to change without notice.

February 2006 • Issue 279 PAGE SEVENTEEN February 2006 • Issue 279