www.jazz-blues.comaged Over 29 Years

january/february 2004issue 266

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HOTWINTERNIGHTS!

Honeyboy Edwards

David Sanborn

Toots Thielmans

Peter Green

Published by Martin-Wahl Communications, Inc.

Editor & Founder Bill Wahl

Layout & Design Bill Wahl

Operations Jim MartinPilar MartinTim Murrett

Contributors

Michael Braxton, Mark A. Cole,Dominique Denis, Dewey Forward,Chris Hovan, Nancy Ann Lee,Peanuts, David McPherson, MarkSmith, Duane Verh, and RonWeinstock

Check out our new, updatedwebsite. Now you can searchfor CD reviews by artists, titles,record companies or JBR writ-ers.Nine years of reviews arecurrently up, and we’ll begoing all the way back to 1974!The site is now compatiblewith both Netscape Navigatorand Internet Explorer as wellas AOL. We apologize to all ofyou were unable to navigatethe site in the past.

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PAGE TWO Jazz & Blues ReportJanuary • February 2004 • Issue 266

Hot Winter Nightsin Northeast Ohio

Blues legend David “Honeyboy” Edwardswill be appearing at the Savannah inWestlake on Wednesday, January 21

Contemporary Jazz pioner DavidSanborn will play the Ohio

Theatre on Sunday, January 11

The world’sforemost

harmonicamaster Toots

Thielmans willperform withpianist Kenny

WernerMonday and

Tuesday,February 23 and 34

at Night Town

British guitarist/vocalist/songwriter(wrote “Black Magic Woman”) Peter

Green will bring his Splinter Group toWilbert’s Tuesday, January 27

CCHHOOOOSSEEYYOOUURRHHEEAATT

SSOOUURRCCEE!!

Jazz & Blues Report PAGE THREE

Night Town Rollback Dinner toBenefit Tri-C JazzFest

Cleveland’s premier jazz club andrestaurant, Night Town, located at 12387Cedar Road, has named Tri-C JazzFestCleveland the recipient of their annualRollback Dinner benefit on Wednesday,February 4.

The evening will feature live jazzmusic provided by professional and stu-dent ensembles from the Tri-C JazzStudies Program and dinner prices rolledback to Night Town’s opening on February5, 1965!

“Night Town and jazz are inextricablylinked. Tri-C JazzFest has done a won-derful job of keeping jazz alive with youngpeople, and are therefore fitting recipientsfor this benefit,” said Brendan Ring, ownerof Night Town.

A cover charge of $10 will go directlyto benefit Tri-C JazzFest Cleveland pro-grams, now entering its 25th season, aswill customer donations above andbeyond the low, low dinner prices.

Some unique items of JazzFest auto-graphed memorabilia will be offered forsale, including cds and t-shirts signed byPat Metheny, BWB, Jimmy Scott, JimBrickman, Jeff Lorber, Cleo Laine, JoeLovano and others.

There will be two dinner seatings, at6 p.m. and 8 p.m. Reservations areabsolutely necessary. Please call NightTown at 216-795-0550 for reservations.

New exhibit tells the story ofrock through art created by

African-American artists.The Rock and Roll Hall of Fame and

Museum and the Arts League of Michiganare proud to present Rock My Soul: TheBlack Legacy of Rock and Roll, a specialexhibition of art created by African-American artists, each representing differ-ent eras of African-American music. Theexhibit starts with the music of West Africa,moves through the era of slavery, then onto blues, jazz, gospel, R&B, soul, funk andhip-hop. These nine eras of African-American music will be represented by artthat conveys the historical timeline of themusic, the influence it had on mainstreamrock music, and the spirit of the people whocreated it.

The Rock My Soul exhibit is the resultof collaboration between the Detroit-basedArts League of Michigan and the Rock andRoll Hall of Fame and Museum inCleveland. “The successful collaborationbetween the Arts League of Michigan andthe Rock and Roll Hall of Fame andMuseum produced this exciting exhibition,

Rock My Soul: The Black Legacy of Rockand Roll,” said Oliver Ragsdale, Jr.,President of the Arts League of Michigan.“Were it not for the unique collaborationbetween these two arts organizations, thisexhibition would not exist. Each partnerbrought unique knowledge, resources andsensitivities to the venture,” he added.

“Rock and roll’s strongest roots arebased in styles of music developed prima-rily by African-Americans,” said TerryStewart, President and CEO of the Rockand Roll Hall of Fame and Museum.

The African-American roots of rockand roll - blues, rhythm & blues, jazz andgospel genres - in turn, had their own his-tory, which can be traced back to musicaltraditions that were born in Africa hundredsof years ago. These musical styles werebrought to America when the first Africansarrived in 1619, and as these styles tookhold and evolved, they moved from therural plantations of the Mississippi deltaand the melting-pot metropolis of NewOrleans, up the Mississippi River to urbancenters like Memphis and later, Chicago.Without these African-American influ-ences, rock and roll, as we know it, wouldnever have existed.

Over the last 50 years, as rock and rollitself has evolved, African-American musichas continued to be a major influence.From soul to funk to hip-hop, styles ofmusic developed by African-Americanshave been incorporated into mainstreamrock and roll and have shaped the defini-tion of rock’s identity.

The exhibit is currently open in theMuseum’s Circular Gallery, and runsthrough April 30. There will also be a com-memorative book available for purchase.

Vocal Jazz Day at JazzFestThe New York Voices will be the fea-

tured artists at Tri-C JazzFest Cleveland’sVocal Jazz Day on Monday, February 16,2004. During the day, the group will workwith high school and college ensembles inperformance workshops at the Metro Capus of Tri-C, 2900 Community CollegeAvenue. The public is welcome to observeall day.

At 7:30 p.m., The New York Voiceswill be featured in concert at the CCCMain Stage Theatre, Metro Campus.Special guests will be The Tri-C VocalEnsemble, under the direction of ChrisVenesile and The Tri-C High School All-Stars, under the direction of Steve Enos.Tickets are $15 at the door on the night ofthe show.

For more information, call 216-987-4400 or go to www.tricjazzfest.com

Joe Mosbrook at JanuaryNOJS Jazz Klatch

Joe Mosbrook, the author ofCleveland Jazz History, will be the guestspeaker at the Northeast Ohio JazzSociety Jazz Klatch Sunday afternoon,January 18, at 3 p.m. The informal jazzeducation presentation will be held at theSouth Euclid-Lyndhurst branch of theCuyahoga County Library at 4645 MayfieldRoad, east of Green.

Mosbrook plans to discuss his newbook and play audio clips from some of hismany oral history interviews, which formedthe basis for the most extensive writtensurvey of Cleveland’s contributions andlinks to jazz history. The second edition ofhis Cleveland Jazz History book was pub-lished by the Northeast Ohio Jazz Society.

The longtime Cleveland televisionnews reporter served for ten years as thevice president and newsletter editor of the

Jazz Society. He has produced weeklyCleveland Jazz History radio features forWCPN / 90.3 since 1988. The radio fea-tures are broadcast Monday nights at 9:30.

The NOJS Jazz Klatch is free andopen to the public. It is part of an ongoingseries of jazz education presentationswhich have been offered by the JazzSociety since 1986.

Terence Blanchard at CMAJazz trumpeter and composer

Terence Blanchard will perform a concertas part of the Jazz on the Circle series onSaturday, January 17. The concert is at 8p.m. in Gartner Auditorium at theCleveland Museum of Art.

One of the most important musicians,composers, and bandleaders of his gener-ation, and winner of Down Beat maga-zine’s Readers Poll in the Artist of theYear, Trumpeter of the Year, and Album ofthe Year (2000) categories, TerenceBlanchard has also enjoyed success atthe top of the Billboard jazz charts. He isa multi-Grammy Award nominee, mostrecently in 2002 for “Lost in a Fog” from hisalbum Let’s Get Lost. His August 2003release on Blue Note, entitled Bounce,consists of all original music. The concertwill feature Mr. Blanchard with BriceWinston, tenor saxophone; Aaron Parks,piano; Kendrick Scott, drums; and LionelLoueke, guitar.

Tickets are $27 and $19 and can bepurchased through the Severance HallTicket Office by calling 216-231-1111 or 1-800-686-1141.

Tickets are also available through TheCleveland Orchestra’s website at cleve-landorchestra.com

January • February 2004 • Issue 266

January • February 2004 • Issue 266PAGE FOUR Jazz & Blues Report

DVDV I D E O

The e-mailed responses regardingthe DVD and boxed set reviews in ourNovember-December issue tell us thatmany of our readers want us to continueto include items that are not either jazznor blues, but nonetheless of interest toall those who are not strict purists. Wealways figured our readers to be wellrounded musically, so we will continue tomention such titles when they come ourway.

John Mayall70th Birthday Concert

Eagle DVDIt is a bit hard to believe that John

Mayall is 70 years old already. He per-formed this birthday show in Liverpool toalmost 5,000 fans who had come from allover England and then some. Filmed forposterity, the show featured his currentlineup of Bluesbreakers with some specialfriends: most notably former Bluesbreakerguitarists Eric Clapton and Mick Taylor,plus trombonist Chris Barber.

The first three songs are performedby Mayall and his current band only. Thefollowing four add Mick Taylor as a sec-ond lead guitar, and the next seven fea-ture Clapton in place of Taylor, withBarber added on a few and a horn sectionon some as well. Clapton also contributessome lead vocals. After one more by thecurrent Bluesbreakers only, Clapton andBarber come back on for the finale-a ver-sion of “Talk To Your Daughter.”

Among the 16 tunes here are “Dirty

Water,” “Walking On Sunset,” “Oh, PrettyWoman,” “All Your Love,” and “HoochieCoochie Man.”

Clocking in at over two hours, this isa definite treat for guitar fans, as besidesoffering Clapton and Taylor, it also show-cases current Bluesbreaker guitaristBuddy Whittington, who is a hot commod-ity as well. Mayall, heard on vocals, piano,harmonica and guitar, is in top form, and Imust say that watching this video givesme a new hope for how good life can beat 70!

This music is also available on CD,although I’ve not seen it and cannot tellyou how much of it is included.

Bill Wahl

Howlin’ WolfThe Howlin’ Wolf Story

Bluebird DVDA movie documentary, The Howlin’

Wolf Story, on the legendary blues per-former, Chester “Howlin’ Wolf’ Burnett hasbeen issued on DVD as part of BluebirdThe Secret History of Rock & Roll series.

The DVD claims to include 30 min-utes of additional footage that was not inthe theatrical release, although any suchrelease must have been highly limited.This documentary brings together somevery rare television performance clips ofthe Wolf. It contains the recollections ofhis former sidemen Hubert Sumlin, JodyWilliams, and Sam Lay, and the late SamPhillips who was the first to record Wolf.Then there is legendary rockabilly gui-tarist Paul Burlison (remembering Wolffrom when they had programs on thesame West Memphis radio station), blues-man Billy Boy Arnold, Wolf’s two daugh-ters, Bob Koester, Mark Hoffman (one ofthe authors of the forthcoming WolfBiography), music writer, Robert Gordonand Dick Shurman, blues writer and

record producer. The film traces his career from grow-

ing up in the delta to his last days inChicago. One gets a sense of the realperson. We get to know about Wolf thefamily man as well as the powerful, almostferal, stage performer. The high points arethe performance clips and one under-stands the incredible presence he had onstage. This is not a perfect film. I couldhave done without watching Wolf’srecording of Smokestack Lightning usedessentially as a soundtrack for some vin-tage train footage. One wonders whyother former Wolf sidemen like Detroit Jr.,Henry Gray and Eddie Shaw were notincluded in remembering Wolf.

As far as the DVD presentation of thematerials, it is unfortunate that one couldnot have viewed the performances sepa-rate from the film as an additional feature.It would have been helpful to have themovie chaptered from the DVD menu tomake navigating it a little bit easier. Still,this DVD is well worth it if for no other rea-son than to watch Wolf perform. Despiteits flaws, I would still recommend thismovie. Ron Weinstock

Rhythm, Love and SoulThe Sexiest Songs of R&B

in ConcertShout! Factory DVD

Looking at the front of the case hous-ing this new DVD one might easily think itis yet another collection of old R&B/Soulvideos in black & white. But alas! It isactually a newly recorded concert videofeaturing many performers of yesteryearin fresh 2002 performances.

Many of you may have seen this con-cert when it was aired on PBS during theirfundraising drive. Recorded at theBenedum Center for the Performing Artsin Pittsburgh on November 26, 2002, thisset features 18 tracks by such R&B nota-bles as Aretha (opening the show with“Respect,” Lou Rawls, Dennis Edwards &the Temptations Review, Edwin Starr,Barbara Mason, Carl Carlton, The ThreeDegrees (now know as Valerie, Helen &Cynthia, for some reason),Billy Paul,Freeda Payne, Blue Magic, Peaches &Herb, Gloria Gaynor, Thelma Houston,The Manhattans, and Mary Wilson in aduet with Johnny Bristol–who close theshow with “Someday We’ll Be TogetherAgain.” The total running time for the verywell shot & recorded concert is 107 min-utes. The bonus chapters here includebackstage interviews with several of theperformers.

Originally, this video could only behad as a pledge drive premium concur-

Jazz & Blues Report PAGE FIVEJanuary • February 2004 • Issue 266

PAGE SIX

Old promoters never die...Some go on to sell popcorn & candy.

Come see me in the heart of Chagrin.

- Dewey Forward

Jazz & Blues Report

rent with the airing of the PBS special.Shout! Factory also released a compan-ion 60-track boxed set in February of thisyear featuring tracks from legendary R&Bstars, many of whom have passed away.

Sadly, the performance in thisConcert of Edwin Starr was his last-as hepassed away in April of this year at theage of 61. Starr sings “25 Miles” on thisvideo, but is best know for his scorchinghit “War” from around 1970. That song willalways live on. Bill Wahl

Peter Green & The Splinter Group

An Evening with ... In ConcertEagle Rock Ent. Ltd. DVD

In the glimmer of Peter Green’s eye,you can see that he approved the produc-tion of this DVD. On tour across theUnited Kingdom and Germany, TheSplinter Group entertained the masses.The Splinter Group are the crown jewelsof British blues; The crown should bebestowed upon Green. Venues packedwith adoring fan were stimulated andmused. The disc contains an acoustic setand an electric set: Addendum consists ofan interview, European tour film footage,a full discography, and a full video of thesong of ‘Real World’.

The acoustic set is substantiallyshorter than the electric, but makes itworthwhile with the two closer songs–thedevilish ‘Hellhounds On My Trail’ and thestirring ‘Albatross’. Part of the set is donewith a full acoustic band, and part he doessolo. The audience is stone silent, as theycling on every note. The set is replete witha grand piano, acoustic bass, and doubleacoustic guitar. The drum set is simply asnare drum, the standard bass drum, anda hi-hat cymbals set.

As the band electrifies, the congrega-tion aggravates and then appeases. Bythe time they hear ‘The Red Rooster’,Green has them in the palm of his hand.Green and Nigel Watson pace the combowith their repertoire incorporating ‘TheStumble’, ‘Cool World’, ‘The GreenManalishi’. The encore numbers wereGreen’s own-penned ‘Black MagicWoman’ and a rousing standard of ‘LookOn Yonder Wall’.

At two full hours and then some (147mins.), you are captured and renderedunder their spell. Green and Watson arejoined by Roger Cotton (keyboardist andthird axeman), Peter Stroud (bass) andLarry Tolfree (drums).

Green and Watson et. al. are, can-didly, among the best of white-boys blues.A very fine listen and view!

Mark A. Cole

Bobby RushLive at Ground Zero

Deep Rush Records CD/DVDBobby Rush’s imbibes you in a party

mood. This recorded show was at MorganFreeman’s Ground Zero club. Bobbywows with his singing, and then hisdiachronic and chromatic magic. Theband has a guitarist, double keyboardists,drummer, bassist, and oh yeah ... the fivedancing girls. This CD is on Bobby’s DeepRush Records label. Rush is one ofAmerica’s treasures, and everybodyshould see a Bobby Rush concert beforethey die, you won’t be disappointed.Bobby Rush for President!

The magic in this set is that it’s twodiscs in one. The music CD is the normal,but the DVD enclosed is wrapped inhoney. The ever-smiling Mr. Rush makesyou feel gooood! The performanceexudes and exorcises any bad spirits inyour body. What a deal! Mark A. Cole

Concert For GeorgeW/S/M DVDs or CDs

Hey fellow Boomers–get a load ofthis. I decided to spend New Year’s Eve athome watching Concert for George, a 2-DVD set just released by Warner StrategicMarketing (WSM). What a marvelous ideait turned out to be. A relaxing evening. Nojazz. No blues. No people to entertain.And, not having to worry about being oblit-erated to smithereens by a drunk driver.

This concert was organized by EricClapton and the late George Harrison’swife, Olivia. It took place at the RoyalAlbert Hall in London on November 29,2002 - just a year after Harrison passedaway. comprised of George’s own songs,and songs he loved, the 2-1/2 hour con-cert features a long list of musicians,including Joe Brown, Sam Brown, Jim

January • February 2004 • Issue 266

Capaldi, Eric Clapton, Jools Holland, JimKeltner, Jeff Lyne, Paul McCartney, TomPetty, Billy Preston, Ravi Shankar, TomScott, and Ringo Starr (note the alphabet-ical order). The event was exquisitelyfilmed, assembled along with short com-ments from some of the musicians andwas recently released for a limited run intheatres worldwide. Disc 2 of this set con-tains that motion picture in its entirety,along with some extras such as rehearsalclips and interviews. Disc 1 contains thecomplete concert, with many songs left outof the motion picture due to time con-straints, such as additional music by RaviShankar and his daughter Anoushka, anoutstanding performance from Sam Brownwhere she belts out a version of Harrison’s“Horse To The Water,” and more.

There are many highlights in this con-cert - such as Billy Preston’s features “Isn’tIt A Pity” and “My Sweet Lord,” Clapton &McCartney on “While My Guitar GentlyWeeps,” Joe Brown on “Here Comes TheSun,” Clapton on “Beware of Darkness”and “If I Needed Someone,” and Ringo on“Honey Don’t” and “Photograph,” just toname a few. And, then...hey...did I mentionthat you’ve just got to love that SamBrown!

At times there are 4 drummers andGod only knows how many guitar playersall playing at once. One of those guitarguys is Harrison’s son Dhani, who is aspittin’ image of him. McCartney com-ments at the end of the show that seeingDhani on stage makes it appear as though“George stayed young and everyone elsegot old.”

Well, another year has just gone byand I’ve had a great time watching this.Loud. I hope all the neighbors are outcarousing. Gee...I forgot all about the ballsdropping! Oh well...I’m sure they droppedjust fine without me!

This is also available as a two CD setwith all of Shankar’s music on disc one,and much, but not all, of the music on disc2. But, it only lists at $5 cheaper, so if youhave a DVD player it is a no-brainer and Idon’t have to give you the answer.

Bill Wahl

PAGE SEVENJazz & Blues Report January • February 2004 • Issue 266

FRI 2 .......MY THREE SONSSAT 3.......COLIN DUSSAULT'S BLUE PROJECTFRI 9 .......SAM GETZ BANDSAT 10.....FRANKIE STARR BANDFRI 16 .....BLUE LUNCHSAT 17.....TRAVIS HADDIX BANDFRI 23 .....BLUESTONESSAT 24.....MR. STRESS FEATURING ALAN GREENE

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JANUARY

CDsBOXED & MULTIPLE SETS

Grachan Moncur IIIMosaic Select

Mosaic Mail Order We take it for granted these days, with

packages as large as 18 discs (the BillEvans Verve box) or even 20 discs (theComplete Miles Davis at Montreux), butback about 20 years ago when MosaicRecords started looking at comprehensivereissues, such massive surveys were all buta pipe dream. For better or worse, a renais-sance period of reissue activity, much of itmodeled after Mosaic’s trend- setting pro-gram, has brought us to the point where theamount of material available for furtherunearthing is dwindling.

Still, there are nuggets of music fromobscure artists that still warrant some sort ofrediscovery, albeit possibly not in the grandfashion of a formal boxed set. Thus, we offerthe premise of the label’s new Select seriesof reissues. Housed in conventional jewelboxes with cardboard slipcovers, these limit-ed edition sets also include annotated book-lets that boast full color reproductions of thealbums covers associated with the package.

As a possible link between bop inflectedtrombone stylists such as Curtis Fuller andJ.J. Johnson and the more avant garde lean-

ings of Albert Mangelsdorff or Roswell Rudd,Grachan Moncur III found an attractive mid-dle ground that pushed the music forwardwhile maintaining the kind of hard bopexcitement that fascinated scores of BlueNote followers. During his tenure with pro-ducer Alfred Lion’s quintessential label,Moncur would cut two records of his own asa leader, in addition to appearing as a side-man on several Jackie McLean sessions.Both of Moncur’s records as a leader,Evolution and Some Other Stuff, have beenpreviously available on CD, but are currentlyhard to find. As for the McLean dates heardhere, only the tracks from Hipnosis havenever been previously released on disc.

When Jackie McLean came out withOne Step Beyond in 1963, it was not onlyapparent that the alto saxophonist washeading into unexplored territory, but alsothat he had discovered some substantialnew talent, namely drummer Tony Williams,vibist Bobby Hutcherson, and trombonistGrachan Moncur III. Not only is Moncurheard at length as a soloist, but he also com-posed two of the albums four tracks. “GhostTown” is probably the most remarkable ofthese, creating a dark and foreboding moodin its dramatic opening strains. That sense ofdrama imbues “Love and Hate,” one of threefurther originals from Moncur that wouldappear on McLean’s next Blue Note set,Destination Out. By contrast, “Riff Raff” ismore down home, with a bluesy shuffle anda melody line punctuated by alternating twonote phrases.

Two more Moncur pieces can be foundamong the five that constitute a February1967 session that was not released at thetime, only coming out later as part of the ‘70stwofer Hipnosis. A model of his improvisa-tional style, Moncur’s opening gambit on thetitle track includes sustained tones that spillover bar lines and create drama through thecareful use of space. “Back Home” is anoth-er ‘back to the basics’ tune with a bluesybase that kicks in after a more somber open-ing. Rounding out the McLean material arethree tracks from 1967’s ‘Bout Soul, possiblythe most radical album that the saxophonistcut prior to the end of the decade. Soundingalmost as if it belonged to another project,Moncur’s “Soul” is a groove based numbernot unlike “The Sidewinder” in its visceralappeal, but marked by a very hip recitationby poet Barbara Simmons.

As for Moncur’s own two Blue Notes,much has been written about their impor-tance among the contemporary jazz canon.A few years after Evolution was recorded,trumpeter Lee Morgan commented that the1963 session proved to be one of the mostchallenging that he had ever been involvedin. Certainly the inclusion of BobbyHutcherson and Tony Williams upped theante in terms of what was possible. The castwas no less heady for the follow-up (addingWayne Shorter; Herbie Hancock spellingHutcherson), however Some Other Stuff is amore challenging listen, due to several freeform pieces that are not marked by any sortof beat or tempo. Taken together, all of the

January • February 2004 • Issue 266 Jazz & Blues ReportPAGE EIGHT

recordings on this three-disc set delineate aparticularly fruitful period for both Blue Noteand Moncur and their availability as a pack-age makes it even easier to experience theirfull impact.

Issued in limited editions of 5000, thisrecording is available solely through MosaicRecords; 35 Melrose Place; Stamford, CT.06902; (203) 327-7111. Check their websiteat www.mosaicrecords.com for more infor-mation. Chris Hovan

We Only Bring You The Cream of the Crop

KENNY NEAL / BILLY BRANCHTHE HOLMES BROTHERSDouble Take/Simple Truths

ALLIGATORThe notion of re-statement comes

into play in a big way on both of thesediscs. Individual tunes or entire styles aretransformed and personalized and theresults in both cases make for good lis-tening.

The Neal/Branch set, Double Take,is the domestic release of a session orig-inally done for the Isabel label. While theacoustic guitar and harmonica formatevokes a cozy Brownie McGhee/SonnyTerry scene, the song list calls frequent-ly upon more modern fare. Chicagoclassics such as Little Walter’s “MyBabe” and Sonny Boy Williamson II’s“Don’t Start Me To Talkin’” are retrofittedfor the country. The minor-keyed “TheSon I Never Knew” also betrays urbanbeginnings. The vibes are good through-out and harp man Branch in particularcatches fire periodically during solo cho-ruses.

Simple Truths, the new HolmesBrothers set isn’t the star-laced affairtheir last one was but absent big-nameguests the focus is on the trio’s basic,concise approach. The warm, intimatemood the fellas conjure here smacks ofa Sunday morning gospel hour on small-town radio and they succeed, with mini-mal assistance, in turning a diversebatch of tunes into their own. Countrychestnuts “He’ll Have To Go” and “I’m

So Lonesome I Could Cry”, BruceChannel’s oldie classic “Hey Baby” andBob Marley’s “Concrete Jungle” are allstamped with the Brothers’ signaturevocal grit and stripped-down combosound. Duane Verh

CHUCHO VALDESNew Conceptions

BLUE NOTEOne of the most imaginative pianists

on the scene, Cuban pianist and com-poser Chucho Valdes adeptly mergesAfro-Cuban rhythms with jazz. Returningto his roots music after his 2002 fallrelease which explored his Classicalchops, Valdes kicks off this seven-tracksession with one of his favorites, a livelydanzon interpretation of ErnestoLecuona’s “La Comparsa” featuring flutistJoaquin Olivero.

Supported by six percussionists andfour guest soloists, Valdes mixes it upbetween Afro-Cuban flavored originalsand standards by Miles Davis (“Solar”)and Duke Ellington (a medley that fea-tures “Satin Doll,” “In A SentimentalMood,” and “Caravan”). He also gives theGene DePaul/Don Raye tune “You Don’tKnow What Love Is” tempo-switchingflair and grandiose chordal touches as hegenerates power-packed excitement.

On his original, “Los Guiros,” Valdesmixes swinging piano-bass statementswith Yoruban clave. Other originalsinclude the romantic ballad “Nanu” andthe bop-blues-bolero number, “Sin ClavePero Con Swing,” which literally translat-ed means “without clave but with swing.”

Valdes intertwines jazz, blues, funk,pop, classical and Afro-Cuban rituals. Asperformer AND composer, his creativityand virtuosity shine through on everytrack. Nancy Ann Lee

DELBERT MCCLINTONLive

NEW WEST RECORDSMcClinton has just released this set

of nineteen songs recorded in Norway atthe Bergin Blues Festival. Although itwas not originally an album project, thetapes from this live Norwegian radiobroadcast turned out so good thatDelbert and New West had to release themusic. It resulted in his third concertalbum.

This collection of many of the crowdfavorites from his live performances findsMcClinton’s stunning vocals and his

hummin’ harp leading the way. ‘SmoothTalk’ is smooth indeed, and ‘Livin’ ItDown’ – you know you got to do it. Someof the other songs included are ‘Leap ofFaith,’ ‘I Want to Love You,’ ‘B-Movie BoxCar Blues,’ ‘Old Weakness (Comin’ OnStrong)’ ‘Dreams to Remember,’ and‘Little Fine Healthy Thing.’

His seven-piece combo is stellar aswell too. The hush-hush spectators cooon cue, and splash on every number.From start to finish, this double cd set issimply a blast, just like nitro! See him atwww.delbert.com . Mark A. Cole

AIRTO MOREIRALife After ThatNARADA WORLD

Although Brazilian drummer-per-cussionist-vocalist Airto Moreira (b.1941) has dozens of albums to his cred-it, this nine-track album is being billed ashis “first-ever world percussion-basedrecord.”

Including Airto, an array of nine per-cussionists perform on the album whichalso features Oscar Castro-Neves(acoustic guitar, 12-string guitar, piano,cavaquinho), Stephen Kent (didgeri-doo), Garry Meek (saxophones, flute),Gary Brown or Hussain Jiffry (bass), andothers. Adding to the exuberant fare areoccasional vocals by Airto’s daughter,Diana Moreira Booker, and his wife, FloraPurim.

Airto scores big-time with beatsfrom around the world. One of the mostappealing tracks is “Live Solo,” a live-performed, African beat-driven numberfeaturing Airto’s scatting and singing.“Redlands” captures Kent’s talents onthe humming didgeridoo, spiced up withAirto’s percussive artistry. The free jam,“Baba And Malonga Went Home,” paystribute to percussionist MalongaCasquelourd, who died in an auto acci-dent after the recording, and BabaOlatunji, who was invited to participatebut died one day before the recordingwas made. The brief finale, “Let It In, LetIt Out,” entices with its unique drum-voice riffs.

Airto made his U.S. debut on the1969 Miles Davis album, Bitches Brew,and went on to collaborate with countlessjazz greats as well as the fusion groups,Weather Report and Return to Forever.For over 25 years, he’s topped the per-cussion category in readers and criticspolls in jazz magazines.

This exciting nine-track album holds

PAGE NINEJanuary • February 2004 • Issue 266

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has a powerful, distinctive voice,equally inspired by the blues and

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Nulisch manages to captivate acrowd of casual spectators aged nineto 90, who all seemed to leave with a

funkier stride than they came with. Saturday, January 24

The Gambal BrothersModern southern soul has arrived!

In just a few years the GambleBrothers Band have developed a

style and sound that is wholly theirown, seamlessly interweaving ele-ments of dance-inducing Southern

rhythm and blues, funk, jazz,Jamaican and rock influences into aunique, heady blend that insists you

move, groove and get

Tuesday, January 27Peter Green and The

Splinter Group Friday, January 30

The Floyd Lee Group Saturday, January 31

Fingers Taylor with DougDeming & The Jewel Tones

Friday, February 6

Michael BurksSaturday, February 7

The Zen Tricksters Wednesday, March 31

Room Full Of Blues

lots of attraction for crossover fans ofWorld music as well as diehard jazz fanswho will enjoy its toe-tapping, head-nod-ding rhythms and innovative solos.

Nancy Ann Lee

TOMMY CASTRO, JIMMYHALL & LLOYD JONES

Triple TroubleTELARC

Unlike all too many super-sessionswhere the sum is less than the parts, thissummit meeting between guitaristsTommy Castro and Lloyd Jones andharpist/saxophonist/singer Jimmy Hallstands tall against any of their individualefforts. Backed by the incomparableDouble Trouble rhythm section (TommyShannon on bass, Chris Layton ondrums and Reese Wynans on b4) Castro,Jones and Hall stretch beyond standard12 bar blues and incorporate heavydoses of blue-eyed soul, R & B and evena chunk of honky tonk. The result is aninspired look back at roots music beforecorporate marketing and radio play listsrequired it to fit into specific formats.Scorching harmonica driven blues, BeCareful with a Fool, fit naturally along-side James Brown penned funk, GoodGood Lovin’, Sam & Dave style soul,Whole Lotta Soul, and end of the nightballads, Midnight to Daylight.

Working equally well are a virtuallyunrecognizable cover of the Beatles’Help and the Jones penned DelbertMcClinton style rocker Sometimes whichwill have toes tapping and fannies shak-ing from coast to coast. Top notch stufffrom this collection of seasoned veter-ans. Mark Smith

ART ENSEMBLEOF CHICAGOTribute to Lester

ECMOne of the saddest moments was

when I heard that the much-admiredtrumpeter-composer Lester Bowie haddied. An integral part of the ArtEnsemble of Chicago and leader ofBrass Fantasy and other groups, Bowie’spassing was a big loss to the AACM(Association for the Advancement ofCreative Musicians) community, avant-garde jazz and fans everywhere. It wasunclear what would happen to the AECafterwards. Yet, here are Roscoe Mitchell,Malachi Favors Moghostut andFamoudou Don Moye, as imaginative asever, performing a scintillating six-track

Jazz & Blues Report

set of group originals honoring the mem-ory of their late colleague.

Beat-driven, deep-toned, harmo-nious and ultra-inventive, their musicremains exhilarating to hear. No tune isunder five minutes and the longest is thenearly 14-minute finale, “He Speaks toMe Often In Dreams.” Mitchell (alto,tenor, soprano, sopranino, & bass saxo-phones, flute whistles, percussion cage)contributes the beautiful, melodious,5:22-minute, “Suite for Lester,” whichallows him to express himself. BassistMalachi and drummer Famoudou cre-atively provide rhythm support and takebrief solos. But it’s Mitchell who rises asthe master, demonstrating his proficien-cy and resourcefulness throughout –especially his accelerated circular blow-ing on “As Clear As the Sun.”

Bowie brought a certain spark ofbrash energy to the AEC and while thatwill probably always be missed, this tal-ented threesome does not lack for indi-vidual and collective ingenuity andinvention. Their fans will not be disap-pointed and the memory of Bowie’s myr-iad contributions to the genre continues.

Nancy Ann Lee

BIG BILL MORGANFIELDBlues In The BloodBLIND PIG RECORDS

Blues In The Blood shows that BigBill Morganfield is blessed with somemusical loins as he admirably lives up tohis famous father Muddy Waters.

The Chicago-born Morganfield wonthe W.C. Handy Award for “Best NewBlues Artist” in 2000 following his debutRising Son, affirming that the blues wereindeed in his blood. Even thoughMorganfield only picked up a guitar andthought of pursuing a musical careerafter his dad’s death, it’s clear that heinherited his father’s bluesy genes.

The disc’s sound is rooted in theDelta Blues, especially the raw acousticblues “Whiskey,” which features theraspy accompanying vocals of TadWalters, and the melancholic “Feel LikeDyin.’” Both songs bring to mind RobertJohnson.

Honky-tonk blues are also in abun-dance with “Hoochie Coochie Girl” and“Love You Right.” “Time to Go” is a moremodern rockabilly blues number.

Morganfield closes the album withthe bare bones “Why Don’t You Live SoGod Can Use You” - a tribute to his late,great father that reveals the breadth of

PAGE TEN Jazz & Blues Report

Appearing Friday, February 6 at Wilberts

his baritone voice. Overall, Blues in the Blood showsMorganfield continuing to enhance his musical reputation,step out from his famous father’s shadow, all the while neverforgetting his roots. David McPherson

LARRY CORYELLPower TrioHIGHNOTE

Recorded live at the Jazz Showcase in Chicago, guitaristLarry Coryell continues on his incredible recording journey witha straight trio outing, backed by bassist Larry Gray and drum-mer Paul Wertico.

Given Coryell’s forays into both fusion and free jazz sometime ago, one might think by the title that this is some kind ofhigh wattage blastoff into wherever. Not so. It is rather a moretraditional trio along the lines of Barney Kessel or Tal Farlowplaying a collection of of standards such as “Bag’s Groove,”Autumn Leaves,” and “Black Orpheus” along with WesMontgomery’s “Bumpin’ On Sunset,” and George Harrison’s“Something.” If “power” means energy, well there is certainlysome of that here...such as the very fast paced “AutumnLeaves,” and the somewhat slower “Good Citizen Swallow,” butelsewhere the tempos and moods vary quite a bit.

Granted, Coryell has recorded albums in more musical ter-ritories than most artists, but if you like clean and tasteful jazzguitar trios,then Power Trio is a good bet for you. Bill Wahl

Larry Coryell will be appearing at Night Town on Monday andTuesday, February 9 and 10.

VARIOUS ARTISTS Shout, Sister, Shout!

A Tribute To Sister Rosetta TharpeM.C. RECORDS

Although she went to her last home in the sky over 25 yearsago, Sister Rosetta Tharpe is best remembered for using hervoice and guitar to bring the gospel world into the ears of popculture many years ago. She is being remembered here by anall-star group of musicians, along with 17 of Tharpe’s bestknown songs, plus a bonus for your computer: Sister Rosettadoing an audio/video clip of “Down By The Riverside,” from the1960s show TV Gospel Time.

Although for many in the audience, Janis Ian’s take on “ThisTrain” might be the most recognizable of the batch, there aremany five star performances here, starting with Toshi Reagon’sslow and funky take on “Rock Me” (whose original title had to bechanged from the more titillating “Hide Me In Thou Bosom”) asMaria Muldaur & Tracy Nelson have a gospel rave-up and testi-fy during “Up Above My Head,” which Sister Rosetta charted onthe R&B charts in 1948 at #6.

Shout, Sister, Shout! has performances worthy of notethroughout, yet the most interesting of the deck has to be MarieKnight’s laying out of “Didn’t It Rain,” a song she performed withSister Rosetta about 50 some years ago live and in the studio.The tribute is a mix of gospel, R&B, blues and rock, best shownby Maria Muldaur’s belting out “I Looked Down The Line (And IWondered).”

Like gospel? Like blues? Like strong female singing? Likehot guitar work? Like boogie woogie piano? Then take some ofthat dough you got for Christmas and track down Shout, Sister,Shout! Peanuts

RON CARTERThe Golden Striker

BLUE NOTEBassist Ron Carter triumphs with this tasteful trio album with

pianist Mulgrew Miller and guitarist Russell Malone. When threetop-notch leaders such as these assemble in the studio, you cangenerally expect a sterling session. This one does not disappoint.

Performing a warm-toned, jaunty nine-tune mixture of stan-dards and originals by trio members, the threesome delivers aset that swings, bops and romances. Launching with the lightlyswinging title tune, a gem by the late John Lewis (of Modern JazzQuartet fame), the trio establishes the overall mellowness andmelodiousness of the session.

Carter is as much composer as player and his four compo-sitions (“N.Y. Slick,” “A Quick Sketch,” “Parade,” “A Theme in3/4”) are accessibly pleasing. Miller’s “On and On” draws its titleand melody theme from a line in a popular tune and you’ll rec-ognize it when you hear it; the trio makes much of this brief(3:00) number that should get lots of radio play. Malone’s engag-ing original, “Cedar Tree,” allows him to demonstrate his virtu-osity as well as ability to compose quality tunes and flexibly per-form with his colleagues. The warhorse tune, “Autumn Leaves,”gets a refreshing remake.

Miller, who can pack power at the keys, sometimes displaysa touch so delicate and light, it’s spine-tingling. Malone, who’sbeen known to grandstand on stage, delivers respectful perform-ances throughout. Carter shifts easily from comping to tunefulsolos. These three musicians work wonderfully together to makethis an A-plus album from start to finish. Nancy Ann Lee

January • February 2004 • Issue 266

PAGE ELEVENJanuary • February 2004 • Issue 266

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GENE BERTONCINIGuitar master in solo performance.

MON-TUES FEB 9-10 7 PM

LARRY CORYELLLegendary guitarist.

SUN FEB 29 5:30 & 7:30 PM

LEV POLYAKINViolinist from Cleve. Orchestraleads jazz group. Featuring MIKE PETRONE

WED JAN 7 7 PM

MOISES BORGESBrazilian guitarist and vocalistw/KENNY DAVIS & MATT PERKO

SUN FEB 8 7 PM

STEPHANIE NAKASIANVocalist in Night Town debut.

MON-TUES FEB 23-24 7 & 9 PM

TOOTS THIELEMANSHarmonica wizard, guitarist & whistler.Composer of “Bluesette”. LegendaryJazz man. With KENNY WERNER.

SUN JAN 18 7 PM

FORECASTwithRAMONA DUNLAPFusion group reunites withdynamic vocalist for MLK tribute concert.

MON-TUES JAN 19-20 7 PM

DAVE FRISHBERGVocalist, pianist & legendary songwriter.

Night Town Weekly Schedule: Bob Farrazza (Guitar) . . . . . . . . . . . . . .Mondays Jackie Warren (Piano) . . . . . . . . . . . . . .Tuesdays Joe Hunter/Dallas Coffey(Piano, Bass) .WednesdaysDennis Lewin (Piano) . . . . . . . . . . . . . .ThursdaysCall Club . . . . . . . . . . . . . . . . . . . . . . . . .Fridays Helen Welch (Vocalist, Piano, Bass) . . .Saturdays

HOUSTON PERSONSocial CallHIGHNOTE

There is one thing we can alwayscount on from tenor saxophonistHouston Person–a fine blend of well-sea-soned swing and soul. Carrying on a tra-dition that is not heard today by youngerplayers, it is a always a welcome treat tohear a new recording like this. Backed bypianist Stan Hope, guitarist PaulBollenback, bassist Per-Ola Gadd anddrummer Chip White, Person takes us onhis voyage opening with Gigi Gryce’s“Social Call” and closing with the stan-dard “Some Other Spring.” In betweenhe covers Horace Silver, Duke Ellington,Wild Bill Davis, Benny Carter, TaddDameron and others delivering a set wemight have once expected in a smokefilled jazz club somewhere in a “rough”neighborhood. But hey...that’s where itwas happening. And, if you can find thejoints it still is somewhere in most largeAmerican cities.

Person’s sound and playing is justsooo smoooth throughout this disc, andBollenback and Hope turn out someexceptional work, all complimented verywell by Gadd and White. I don’t knowwhat we’ll do when this kind of music isno longer recorded. But that’s not thecase at the moment, so long liveHouston Person! Bill Wahl

COREY HARRISMississippi To MaliROUNDER RECORDS

On Mississippi to Mali, Corey Harrisgathers a group of African and Americanmusicians to explore the roots of theblues and how this music shapes the cul-ture on both continents. The result is apleasant tasting musical gumbo.

Martin Scorsese’s PBS series TheBlues, which aired in the fall of 2003, wasone of the inspirations for this album.Harris hosted the first episode of TheBlues — entitled “Feel Like Going Home”— and this album is Harris’s explorationof tracing modern blues music’s rootsfrom the United States to Africa. Theresult is an intricately textured album thatmixes the soul of southern blues of theMississippi region — songs like “Mr.Turner” — with rich African rhythms(“Tamalah”). Dominating drums markthe African tracks, while a single guitarleads the American tracks.

“Special Rider Blues” is one of themany Mali standout tracks that features

Jazz & Blues Report

renowned African guitarist Ali FarkaToure playing the njarka (a one-stringviolin). Other guests include anotherAfrican guitar great Ali Magassa andAmerican players: Sam Carr and BobbyRush.

On Mississippi to Mali, Harris suc-ceeds in his attempt to make the connec-tion between his African ancestor’s musicand today’s Black blues music. African trib-al rhythms are mixed with the Delta bluesof the southern U.S. to show each hasaffected the other. David McPherson

SHIRLEY SCOTTQueen of the Organ:

Shirley Scott Memorial AlbumPRESTIGE

Philadelphia has served as incubatorof countless soul-jazz artists, includingShirley Scott, a pianist and Hammond B-3 player inspired as a teen to play the B-3after hearing a recording by JackieDavis—-an ex-member of Louis Jordan’sband. During a stint with tenorman Eddie“Lockjaw” Davis between 1955–1960,Scott developed her signature style andrecorded 17 Prestige albums. She latermarried tenor sax player StanleyTurrentine and both recorded on eachother’s dates between 1961–1968.

On this 14-track compilation ofbluesy recordings made between 1958-1964, Scott shows a percussive, bitingapproach as well as a smoother and cool-er attack compared, for example, to theboisterous, chattering style of JimmySmith. Throughout, Scott lays down solidblues grooves for horn soloists and neverseems to overdramatize in the spotlight.

The CD launches with the standard,“It Could Happen To You,” recorded dur-ing Scott’s first session for Prestige in May1958. Tracks recorded under Lockjaw’sleadership include the “The Chef,” a bub-bler released originally on Davis’ first“Cookbook” session; Scott’s hard-swing-ing original, “Fourmost,” from an April1959 set featuring Davis, ColemanHawkins, Arnett Cobb, Buddy Tate; and aLatinate “The Moon of Manakoora” fromApril 1960. Tracks by vocalist-leaders AlSmith (“Night Time is the Right Time”)and and Mildred Anderson (“Person toPerson”) feature Scott nicely but sheseems to groove deeper with sax players.

Scott strikes a Cool groove on theSonny Rollins swinger, “Sonnymoon forTwo,” documented during a 1960 set withLem Winchester (vibes), George Duvivier(bass) and Arthur Edgehill (drums). With

PAGE TWELVE

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Oliver Nelson (tenor sax), Joe Newman (trumpet), GeorgeTucker (bass) and Roy Brooks drums, she performs Rollins’“Blue Seven,” from her album of the same name recorded inAugust 1961. Tracks under Turrentine’s leadership include thetitle track from 1963’s “Soul Shoutin’” and “Five Spot AfterDark” from 1964.

An essential and enjoyable treat from start to finish, thistop-notch compilation captures the essence of Scott’s B-3 play-ing and could serve to introduce her playing to a new genera-tion of fans. Nancy Ann Lee

EARL KINGStreet Parade

FUEL 2000 RECORDSNew Orlean’s Earl King was the king of funky blues. Born

Earl Silas Johnson, King developed a friendship with FatsDomino. He recorded on Atlantic Records, Savoy Records,Specialty Records, Ace Records, and later Imperial Recordsand Black Top Records.

This Fuel 2000 release shows some of his songwriting,balladry, and guitar playing. The band consisted of organistArt Neville, bassist George Porter Jr., Joseph Modeliste on thedrums, and King at the axe and vocals. King was quoted assayin’: “I’m gonna add my touch to it”. His staccato notes andstabbing runs are unique. All eighteen verses are penned byEarl. Mark A. Cole

VICTOR FELDMANLatinsville!

CONTEMPORARYLondon-born vibraphonist/pianist Victor Feldman (1934-

1987) was mostly self-taught before settling in Los Angelesand becoming exposed to Latin American and Afro-Cubanrhythms of the bands of Machito, Tito Puente, and DizzyGillespie. Feldman absorbed his lessons well as evidenced bythis 17-track compilation recording during 1958-59 with topplayers on the West Coast scene.

Although he began his professional career as a drummer,Feldman began to gain better notice as vibraphonist by 1952.After touring with Woody Herman (1956-57), Feldmanmoved to the USA, recorded during 1957–61 on vibes and

piano for Mode, Contemporary and Riverside, and kept busy as astudio musician.

Three main bands are featured here and Feldman plays vibes(two or four-mallet style) on all but two tracks on which he playspiano with a quintet. Best are the nine tracks spotlighting Feldmanwith a large ensemble (with subtractions and substitutions on 5tracks) featuring trumpeter Conte Candoli, trombonist FrankRosolino, tenorman Walter Benton, pianist Vince Guaraldi, bassistScott LaFaro, drummer Stan Levey, conga player MongoSantamaria and bongo player Armando Peraza. Included amongthis band’s authentic-sounding 1959 tracks are “South of theBorder,” “Flying down to Rio” and “Lady of Spain” (with AlMcKibbon replacing LaFaro); “Cuban Pete” and “In A LittleSpanish Town” (minus Levey & Rosolino) and other familiartreats, including “Poinciana,” “Spain,” “Cuban Love Song,” and“Woody ‘N You.”

Aided by colleagues with abundant Latin jazz experience,Feldman seems to have had a natural feel for such music. This isa stand-out compilation amidst his few existing recordings asleader. Nancy Ann Lee

JOHN LEE HOOKERFace to Face

EAGLE RECORDS

This is the album that John Lee Hooker was working on whenhe died. John said his humble goodbyes and met a new life.Hooker touched so many lives with his own brand of the blues.

It is fitting that his album is titled Face to Face. A myriad ofmusicians attended: Peter Green, Jack Casady, Warren Hayes,Elvin Bishop, Van Morrison, Zakiya Hooker, Johnny Winter, DickieBetts, Johnny Johnson, Roy Rogers, George Thorogood and oth-ers. Choice cuts include an everlasting ‘Dimples’, the title song‘Face to Face’, ‘It Serves Me Right to Suffer’, ‘Mean Mean World’,his athemic ‘Boogie Chillen’, and his wildly rhythmic ‘FunkyMable’. Funky kudos for Eagle Records for this one.

Mark A. Cole

RALPH SUTTON Wondrous PianoARBORS RECORDS

Ralph Sutton (1923-2001) was to the piano what Ruby Braffwas to the cornet: a delightful anachronism. Just as Braff stuck byArmstrong’s canon through bop, cool, free and fusion, Suttonnever strayed far from the stride pantheon, where Fats Waller helda place of honor. But the Missouri native’s genius was to developan original voice in such august company.

Privately recorded by his brother-in-law before a receptiveWest-Coast crowd in 1961, Wondrous Piano reveals Sutton at hismost spectacularly exuberant (his two-handed solo on HobsonStreet Blues must be heard to be believed). Not only did these per-formances fly in the face of fashion, they flew, period.

Though he shone in the company of like-minded soloists,Sutton thrived on the demands of solo piano, which allowed himto display his keen harmonic sense and astounding left hand,probably the steadiest in jazz (though Dave McKenna fans mightbeg to differ). With discreet drum backing, Sutton runs through ahandful of staples (Avalon, Squeeze Me, S’Wonderful) with a pal-pable sense of fun, reminding us of what makes people – musi-cians and audiences alike – turn on to jazz in the first place.

January • February 2004 • Issue 266 Jazz & Blues Report

PAGE THIRTEENJanuary • February 2004 • Issue 266Jazz & Blues Report

Released as part of the Arbors Historical Series, these record-ings had been in the Sutton family for over four decades. Perhapsnot quite as high-fidelity as his studio sessions (the first-time lis-tener should start with his work on Chiaroscuro), Wondrous Pianois nevertheless faithful to the pianist’s life-long love affair with thekeys – and the music. Dominique Denis

BIG DAVE MCLEANBlues from the Middle STONY PLAIN RECORDS

Blues from the Middle is a mélange of prairie bluesanthems and swampy songs. More road warrior than

recording artist, after 30 years travelling the road and onlythree previous albums under his musical belt, Big DaveMcLean is a Canadian blues legend. This country’s answer toMuddy Waters.

Based in Winnipeg, Manitoba, McLean is the granddaddyof the Western prairie blues, having influenced the likes of ColinJames and Wide Mouth Mason.

Armed with an electric guitar, mandolin, a smoky deep-setvoice, and a killer harmonica, McLean blazes through nineoriginal offerings and several more covers that could easilyhave been born down at the Crossroads following lessons fromRobert Johnson. Guest musicians include Sue Foley, GrahamGuest, and Duke Robillard.

The disc opens with the blistering “Ooh Wee” featuringsome hard-core honky-tonk piano and Big Dave’s deep bari-tone growl. “B Meets Po” is a sizzling, smoky blues instrumen-tal where Robillard’s rocking guitar battles with McLean’s grind-ing guitar.

“Johnny Tornado” is a country-blues duet with Juno-Award winner Foley that shows Big Dave’s versatility, andFoley’s phenomenal vocal range.

McLean pays homage to his chief influence, MuddyWaters, in the 11-minute-plus blues jam, “Muddy Waters forPresident,” – a song Waters had intended to record just beforehe passed away. Here, McLean slows things down.

From up-tempo honky-tonk blues songs like “LowdownDirty Rotten Blues” to the mellower stripped-down cover ofearly blues pioneer Bukka White’s “Fix’n to Die,” Blues fromthe Middle offers a wide-range of first-class compositions forblues aficionados of all types. David McPherson

JAY MCSHANNGoin’ to Kansas CitySTONY PLAIN RECORDS

B.B King once described Jay ‘Hootie’ McShann as, “ …the most under appreciated of all us bluesman.”

On Goin’ to Kansas City, the octogenarian blues and jazzlegend shows why he should be appreciated with 17 tracksthat mix a myriad of McShann compositions with classic bluessongs, all recorded in his hometown of

Kansas City.The 87-year-old was one of the first big band leaders – first

hitting the airwaves in the 1940s; McShann’s first orchestraincluded singer Walter Brown and a 20-year-old CharlieParker. Here, he reinvents his classic hit, “Confessin’ theBlues” accompanied by Maria Muldaur’s moody pipes.

Guests include fellow Stony Plain recording artist DukeRobillard on guitar and Johnnie Johnson, who pounds the

PAGE FOURTEEN

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Jazz & Blues ReportJanuary • February 2004 • Issue 266

piano, trying to keep pace with Jay onthe title track, “Kansas City (revisited)”and “Some Kinda Crazy.” Most songsfeature extended piano solos, especially“My Chile,” showing that McShann’s

VANTHOLOGYTribute To Van Morrison

EVIDENCE MUSICTribute discs appear to be all the

rage these days with everyone fromDylan to Led Zeppelin to the Stones get-ting a nod from various blues artists.Some of these discs work, some are realstinkers. This tribute to Van Morrisonworks more often than not- but not as ablues disc. Basically this is little morethan a collection of straight forward cov-ers done by blues artists including LittleMilton, Syl Johnson, Freddie Scott, SirMack Rice, Son Seals, Henry Butler anda host of others. Instead of turningMorrison classics into blues tunes, theartists seem content to simply add theirvoices to the well known tunes. It worksas well as it does because, whileMorrison’s work is more often than notrock, jazz or folk oriented, at its core, ithas always incorporated a deep bluessensibility in its directness and honesty.The blues artists here easily tap into thatsensibility. While none of the covers will

mastery of the 88 keys is still there afterall these decades.

An insightful bonus 20-minute inter-view with McShann sitting at the ivoriesat his Kansas City home concludes thealbum. McShann talks about his home-town, his life’s journey, humorous roadstories, and other reminiscences.

Approaching 90, the renownedbluesman proves with Goin’ to KansasCity that he’s still relevant, and is an influ-ence to a new generation of musicians.What better way to help celebrate the‘Year of the Blues’ then with a new JayMcShann release? David McPherson

have you forgetting the original versions,the different voices do cause you to hearthe tunes anew instead of listening tothem on auto-pilot. Bettye Lavette’s ver-sion of “Real Real Gone” in particularstands out. Mark Smith

WILLIE RODRIGUEZ JAZZ QUARTET

FlatjacksMILESTONE

Titled after the unusual type ofdrums Willie Rodriguez uses, this was hisfirst LP to feature him in the role of jazzdrummer instead of his best-known tal-ents for Latin percussion. The 12-tunestudio set was recorded in July-August1963 with reeds player Seldon Powell,guitarist Barry Galbraith and bassistGeorge Duvivier. That you may not rec-ognize these names or find them listed injazz dictionaries should not dissuade youfrom checking out this enjoyable laid-back mixture of straight-ahead andLatin-jazz tunes.

Seven tunes by group membershold the most appeal. The band alsopleasantly reinvents Leroy Anderson’s“Serenta,” Jose Manzo’s “MoliendoCafé,” Clark Terry’s “One Foot In theGutter,” and the Wayne Rose classic “ItHappened In Monterey,” and Ed Michel’s“After Words.”

Galbraith came up through early1940s bands, including Red Norvo’s,and comfortably moves between ampli-fied (picked) and classical (finger)strumming styles. Powell, a Juilliard gradwho performed in bands led by Sy Oliver,Neal Hefti, Benny Goodman, WoodyHerman and others, is an exquisiteexpressionist, perfect for the subtler

PAGE FIFTEEN

BOOKSMuddy Waters Biography

By Robert GordonMemphis writer Robert Gordon has written a gem of blues

biography of the legendary Muddy Waters, Can’t Be Satisfied:The Life and Times of Muddy Waters . The book traces hisbackground in the delta, through his emergence as the King ofthe Chicago blues scene in the fifties, to the up and down for-tunes of his career as musical tastes shifted and as his musicreached new audiences, until his death almost two decades ago.Gordon integrates materials from the interviews that Muddy didfor various specialist publications (like DownBeat, Living Blues)with his own interviews and other material from Muddy’s rela-tives, band members, managers and others for a book that isone of the better recent musical biographies I have read.

Muddy and his music is brought to life. Unlike anotherMuddy Waters biography, Gordon provides some blood andflesh, including the warts, to Muddy as opposed to rendering himsimply as some legendary icon. Gordon also brings the music tolife and provides some thoughtful commentary on the music.There are extensive end notes as well, and as I write this shouldbe relatively easy to obtain at local stores.

Anyone seriously into blues will need to have this. This setsa high standard for biographies on Little Walter and ElmoreJames that are scheduled to be issued soon.

Ron Weinstock

Jazz & Blues Report January • February 2004 • Issue 266

Every ThursdayIn The Music HallHosted By Jeff Powers

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numbers such as Rodriguez’s “Mr.Yosso,” with its walking bassline.Duvivier, who played and arranged forColeman Hawkins and Lucky Millinder inthe 1940s, displays plump tones, flaw-less intonation, and impeccable time.Rodriguez keeps everything tastefullymoving along.

Flatjacks is a listening delight fromstart to finish. Nancy Ann Lee

BIG JOE WILLIAMSI Got WildDELMARK

Big Joe Williams, whose recordingcareer spanned the the thirties to theeighties, was among the greatest Deltabluesmen who played and traveled withmany legends and contributed one of theblues most enduring classics, BabyPlease Don’t Go. The selections on thislatest release include alternate takes topreviously issued selections, unissuedtracks and some studio talk.

From the opening Coffeehouse Bluesto the closing remake of Washboard’sSam Back Door (familiar to some fromLittle Walter’s recording, Tell Me Mama),these recordings offer Williams’ fierce,rhythmic nine-string guitar playing andhis fervent vocals. Its amusing listeningto the studio chat before his rendition ofCharlie Patton’s Peavine Blues, where a

couple of strings are broken so the engi-neer announces, Big Joe Williams andhis six and half string blues, where he isaccompanied by bassist RansomKnowling.

Big Joe was probably the singlebiggest influence on David ‘Honeyboy’Edwards and in all fairness to Edwardswho is highly revered, his music onlyoccasionally reached the level ofWilliams. Bob Koester’s recollections ofWilliams in the liner notes are also veryinformative. Big Joe Williams belongs inevery blues collection, and if perhaps Iwould first recommend Piney WoodBlues on Delmark, this disc is full ofstrong delta blues and recommended onits own. Ron Weinstock

WALTER TROUTRelentless

RUF RECORDSIt’s always been like this, but

American audiences love music actsfrom Europe and vice versa. Case inpoint is California guitarist Walter Trout,who just came in sixth in a BBC Radioguitar poll in England behind EricClapton, Jimi Hendrix, Gary Moore,Mark Knopfler and Jimmy Page.Remarkable, but 99% of the people I talktoday when Walter Trout’s name comesup will go “who??”

Nevertheless, Relentless marksTrout’s lucky number thirteenth release,trying to make a dent in America’s atten-tion span.

Recorded live at the Paradiso inAmsterdam, Trout tries out 14 brand-new cuts in a live setting that’s ghostlyquiet because the audience was deletedfrom the tapes.

Ignoring that little quirk, the musicclocks in over four minutes on the major-ity of the cuts, which gives Trout plentyof time to bounce his guitar riffs off theband, especially Sammy Avila on theHammond B-3.

Avila gets a nice solo during “MyHeart Is True,” which brings out a strongresponse from Trout. “Talk To Ya”drives hard and “I’m Tired” opens theproceedings with power to spare.“Chatroom Girl” is a rough edged nod tothe modern dating world as Trout basi-cally runs the fret board like a pool tableduring “Helpin’ Hand.”

Trout has put his experience of play-ing with Canned Heat and John Mayall togood use. He might be neglected insome U.S. music circles, thoughRelentless has the potential to put a lot ofpeople on alert. I

f nothing else, it should lift the spiritsof those still depressed by the loss ofStevie Ray Vaughan. Peanuts

January • February 2004 • Issue 266PAGE SIXTEEN Jazz & Blues Report

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Death Valley, California © Charlie Ott