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A Christmas Concertat Playhouse Square

2006 Holiday Gift Guide - Part III

Peter White

Rick Braun

Mindi Abair

PLUS:

November/December 2006 • Issue 288PAGE TWO

Published by Martin WahlCommunications

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Mindi Abair & Rick Braun

Peter White

Monday, December 11 at Playhouse Square

It ‘s becoming a yearly traditionat Playhouse Square... smooth jazzguitarist Peter White will returningwith trumpeter Rick Braun and saxo-phonist Mindi Abair for their annualChristmas concert on Monday, De-cember 11.

The three musicians will be in themidst of a 25-city U.S. concert jour-ney, which kicks off in Mesa, ArizonaNovember 18. White, Braun and Abairwill deck the halls with jazzy versionsof seasonal classics, a few originalholiday songs and some of their bestknown hits. A Peter White Christmasis a holiday treat loaded with only thefinest ingredients - fun, funk, jazz andpop - and they guarantee it will en-chant even the meanest of Scrooges.

All three artists have previouslyreleased holiday CDs, which is oneof the things that inspired White tolaunch the tour, now in its fourth year.“My earliest memories of Christmaswere probably not much different frommany other people: snowflakes, tin-sel, Santa Claus, reindeer and theopening of presents surrounded byfamily. As a child, my father taughtme to play Christmas music on myfirst instrument, the recorder, and my

love for holiday music has enduredthroughout the years. I hope this tourwill be an opportunity for fans to enjoytheir favorite Christmas songs in a fam-ily setting. Perhaps I’ll even bring myrecorder.”

Over the past decade, White’s inti-mate way with acoustic guitar melodieshas scored a slew of #1 singles thathave helped define the smooth jazzradio format. His latest album, Playin’Favorites, was recently released onColumbia/Legacy Records. His guitarsound has become his signature, asensitive and emotive voice of melody,which sings eloquently over R&B, jazz,pop and Latin rhythms. White, who firstmade his mark as a teenager whileplaying with singer-songwriter AlStewart, with whom he wrote the hit“Time Passages,” has recorded and/ortoured with Abair, Basia, Dave Koz,Richard Elliot, Boney James, DavidBenoit, Gato Barbieri, Euge Groove,Craig Chaquico, and Braun.

Braun is also regarded as one ofthe top artists in smooth jazz, a formatthat he fell into after a stint in the popworld, where he co-penned the hit,“Here With Me,” while playing with REOSpeedwagon. He went on to play inSade’s band, which helped him honehis own sound as a solo artist. Thetrumpeter consistently delivers #1 hitsingles and his albums often stay at thetop of the national charts for monthson end. Twice named “Smooth JazzArtist of the Year” by the Gavin Report,Braun is also recognized as an ace inthe studio, where he has producedrecords for White, Benoit, Marc Antoine,Jeff Golub, Eric Marienthal, Willie &Lobo, amongst others. On the concertstage and on record, Braun is a soulfuland dynamic funkster, who has re-corded and toured behind collaborativeduo and trio album projects with BoneyJames and Kirk Whalum and Norman

November/December 2006 • Issue 288 PAGE THREE

Brown (BWB). His latest album is Ses-sions, Volume 1, released in Auguston ARTizen Music Group.

Cleveland Fats

The Schwartz Brothers

DC and the

Continentals

For Bookings ContactHONEYBEE ENTERTAINMENT

4786 Dressler Rd #145

Canton, OH 44718

330-904-0454

Pblues@hotmail.com

Mindi Abair was 2003’s break-through new artist of the year insmooth jazz. She shared the stageon White’s inaugural Christmas con-cert tour that year and she’s back foranother round, this time in support ofher recently released third album, LifeLess Ordinary on GRP Records.Abair is an instrumentalist and a vo-calist who incorporates rock and popinto her soul-jazz selections and shehas already started her own collectionof #1s. Before emerging as a soloartist, Abair toured with The BackstreetBoys, Mandy Moore, Duran Duran andJonathan Butler.

Last year there were two Christ-mas concerts at Playhouse Square.This one, and Dave Koz & Friends’show. For 2006, this is the only one,so you might want to get your ticketsearly...especially you guys out therewho want to be close enough to gawkat Mindi Abair!

The Color of Rock:The Art of Philip Burke Exhibitto Open at the Rock and RollHall of Fame and Museum

CLEVELAND – On November 14 theRock and Roll Hall of Fame and Museumwill open The Color of Rock: The Art ofPhilip Burke. The exhibit, which will belocated on the Museum’s 6th floor, willfeature 33 portraits of musicians by thefamed painter Philip Burke. The exhibitwill be open through April 15, 2007.

You may not know Burke by name,but you probably know his art. PhilipBurke’s unique and vivid portraits of ce-lebrities from politics, business, sportsand the arts have been featured in morethan 200 magazines and newspapers,including Time, Newsweek, Vanity Fair,The New Yorker, GQ, and Vogue. Manyof his subjects over the past 25 yearshave been rock stars and Burke was thefeatured artist at Rolling Stone for sevenyears. “When I was a teen in Buffalo, Iwanted to be a rock star, but I couldn’tplay any instruments and I was too shyto sing. So, I put my dream into paintingand drawing rock stars,” Burke says. Theexhibit includes paintings of the Beatles,Jimi Hendrix, Annie Lennox, BonnieRaitt, Korn, Ramones, Bono, Little Rich-ard and Prince among others. Burke’spainting of Aerosmith’s Steven Tyler is

CUYAHOGA COMMUNITYCOLLEGE PRESENTS

THE 2ND ANNUALJAZZFEST PICANTE

A Full Weekend ofDancing and Music

Featuring Legends of Latin MusicCLEVELAND – Tri-C JazzFest pre-

sents the 2nd Annual JazzFest Picante,one of the most exciting events to hitCleveland. Sizzling hot Latin jazz is ontap from November 17-18, with a lineupthat includes The Conga Kings, GrupoFuego and Johnny Pacheco Y SuTumbao Anejo.

The weekend kicks off with TheConga Kings at 8 p.m. on Friday, Novem-ber 17 at the Tri-C Metro Campus Audi-torium. The 11 piece Rumba group fea-tures three of the master congrueros ofAfro Cuban music: Candido Camero,Carlos, “Patato” Valdes and GiovanniHidalgo. Tickets are $25.

Dinner starts the evening off on Sat-urday, November 18 at the Holiday InnIndependence, 6001 Rockside Road.Grupo Fuego sets the musical tone withcontemporary Latin jazz, starting a 9:30p.m. The internationally renownedJohnny Pacheco Y Su Tumbao Anejotakes the stage at 11 p.m. to rev theweekend into high gear. With nineGrammy nominations and ten goldrecords, Johnny Pacheco’s salsa rendi-tions are sure to please and prove whyhe is a true legend of tropical music.Tickets are $50 for dinner, concerts anddancing; and $25 for concerts and danc-ing only.

Other Events: Tri-C’s Showtime atHigh Noon Series will feature SammyDeLeon Y Su Orquesta during a onehour concert lecture/demonstration onLatin Jazz at the Allen Theatre on Fri-day, November 17 from noon to 1 p.m.This event is free and open to the pub-lic. For more information or to make res-ervations for groups, call 216-987-4940.

A Late Night Latin Jam featuringSammy DeLeon will be held at the ViewNiteclub, 618 Prospect Avenue on Fri-day, November 17 following The CongaKings performance. This event is co-pre-sented by Tri-C JazzFest and TropicalRhythms.

A series of dance workshops will beheld on Saturday, November 18 from 12-4 p.m. at Viva Dance Studio, 12381Pearl Road, Strongsville. Dance lessonsin salsa, mambo, cha cha, merengue andbachata are featured at a cost of $15 perclass or $50 for 4 classes. To register,call 216-987-4400 or visitwww.tricpresents.com.

For more information go online towww.tricpresents.com. For single tick-ets, call 1-800-766-6048; visitwww.tricpresents.com; or purchase tick-ets at the following retail outlets: IslaMusic, 3070 West 25th Street, Cleveland,216-687-1997; and Joyeria Viejo SanJuan, 2705 Clark Avenue, Cleveland,216-961-1347.

The JazzFest Picante Weekend ispresented by Tri-C JazzFest Cleveland,Tropical Rhythms, National City Bankand MQ Productions. Major Tri-C Divi-sion of Performing Arts season fundersinclude Arts Midwest, National DanceProject of the New England Foundationfor the Arts, National Endowment for theArts, Ohio Arts Council, Ohio Humani-ties Council and Pennsylvania Perform-ing Arts on Tour.

Cuyahoga Community College Divi-sion of Performing Arts presents signifi-cant contemporary artistic programmingof the highest quality for our diversemulticultural regional audiences. Thesearts and cultural experiences are de-signed to stimulate, enlighten, educateand mutually enrich both the artists andour community.

At the Rock Hall...

November/December 2006 • Issue 288PAGE FOUR

By Mark Smith

part of Gap’s 2006 fall advertising cam-paign.

Other exhibits currently at the Rockand Roll Hall of Fame and Museum:

• Revolution Rock!: The Story of theClash – on exhibit until April 15, 2007

• Tom Petty and the Heartbreakers:30 Years of Rock and Roll – on exhibituntil May 2007

• Haunting and Yearning: The Life andMusic of Roy Orbison – on exhibit untilDecember 31, 2006

• George Harrison and the Concertfor Bangladesh – on exhibit until Decem-ber 31, 2006

• Rick Nelson: From Idol to Icon• 2006 Inductees – on exhibit until

March 2007The Rock and Roll Hall of Fame and

Museum is the nonprofit organization thatexists to educate visitors, fans and schol-ars from around the world about the his-tory and continuing significance of rockand roll music. It carries out this missionboth through its operation of a world-classmuseum that collects, preserves, exhib-its and interprets this art form and throughits library and archives as well as its edu-cational programs.

The Museum is open seven days aweek from 10 a.m. to 5:30 p.m. OnWednesdays the Museum is open until 9p.m. Museum admission is $20 for adults,$14 for seniors (60+), $11 for children (9-12) and children under 8 and Museummembers are free.

New Release blues.... Here’s thenext to last batch of new blues releasesfor the year. Stay tuned next month forthe releases that hope to make it underthe Christmas tree : Ray Charles/CountBasie- Ray Sings, Basie Swings; JonnyLang-Turn Around; Tony Joe White-Uncovered; Jason Moran- Artist in Resi-dence; George Winston- Gulf CoastBlues: A Hurricane Relief Benefit;Hazmat Modine- Bahamut; GraysonCapps- Wail & Ride; Chris Whitley- Dis-location Blues; Stevie Ray Vaughan-Live in Tokyo; Ike Turner- Risin’ with theBlues; Smokey Wilson- Round Like anApple: Bit Town Sessions 1977-1978; Dr.John- The Definitive Pop Collection; JoeLouis Walker- Playin’ Dirty; Dr. DukeTumatoe- You’ve Got the Problem!;Sandy Carroll- Memphis Rain; Eat to

www.jazz-blues.com

the Beat- The Dirtiest of them DirtyBlues; Mitch Kashmar- Wake up &Worry; Jr. Wells- Live at Theresa’s 1975;Sir Charles Jones- Thank You for Hold-ing On; Terrance Simien- Across theParish Line; Mills Blue Rhythm Band-Harlem Heat; George “Harmonica”Smith & Bacon Fat- The Complete BlueHorizon Sessions; Willie Clayton-Gifted; The Kelly Richey Band- Speech-less; Peter Green Splinter Group- Bestof Peter Green: Splinter Group; DennyFreeman- Twang Bang; Jackie Payne/Steve Edmonson Band- Master of theGame; Sr. Otis Jackson- The Art ofLove; The Nighthawks- Blue Moon inyour Eye; Jon Cleary- Alligator Lips &Dirty Rice; Maria Muldaur- Songs for theYoung at Heart; Lil Dave Thompson-Got to Get Over You; John Mayall-Plays John Mayall: Live at Klooks Kleek;Taj Mahal- Songs for the Young at Heart;Etta James- Best of Etta James....Hatsoff blues.... Tommy Castro was hon-ored by his home town of San Franciscowith October 14th being declared“Tommy Castro Day” in recognition of hisunselfish efforts†in support of variouscommunity projects as well as his musi-cal achievements. Castro proclaimed“This is a huge honor. San Francisco isthe greatest city in the country. There’sno place else I’d rather live.” Castro alsois being featured on a building-wide mu-ral at the intersection of Broadway andColumbus Streets which†depicts the cul-tural icons and heroes from that storiedneighborhood’s illustrious history and isa fitting tribute to his long history of grind-ing out the blues in the North Beachneighborhood bars.....Liver blues.... No,this isn’t a reference to the infamous truckstop meal that you either love or hate;it’s a real life tale of the kinship of theblues. West Coast blues man CurtisSalgado has been suffering from livercancer and is in tough shape. Fortu-nately, a friend tested positive as a do-nor match and it looks like she will beable to donate a portion of her liver tosave Curtis’ life. Curtis, like too manybluesmen, is uninsured so there is sureto be the need for contributions to paythe freight of the surgery. Stay tuned herefor more information as it becomes avail-able..... End of the year blues..... Lookhere next month for Smitty’s 2006 picksand annual blues Christmas gift guide.

Cleveland Pops performsThe Music of Led Zeppelin:

A Rock Symphony CLEVELAND – Bridging the gulf

between rock ‘n’ roll and classical mu-sic, The renowned Cleveland Pops per-forms The Music of Led Zeppelin at thebeautiful State Theatre at PlayhouseSquare on Saturday, November 18 at7:30 p,m. Amplified by a full rock bandand accompanied by singer RandyJackson’s screaming vocals, creatorBrent Havens guest conducts the en-semble as they capture Led Zeppelin’s“sheer blast and power,” riff for riff whilechurning out new musical colors.

A portion of the proceeds from thisconcert will benefit the A.J. SchroederMemorial Fund compliments of LiveNation, The Bud Light Series andCleveland’s Classic Rock, 98.5 WNCX.

Tickets are available at The Play-house Square Center Ticket Office,www.livenation.com, all tickets.com lo-cations, www.playhousesquare.org orvia charge by phone at (216) 241-6000.

“We are delighted to bring to ouraudience the pairing of Cleveland Popsand the music of rock icon Led Zeppe-lin,” remarked Carl Topilow, Music Di-rector of The Cleveland Pops. “HavingCleveland Pops joined with the Musicof Led Zeppelin will offer a unique andpowerful musical experience for bothfans of Cleveland Pops, as well as LedZeppelin. No one should miss thisgroundbreaking concert!”

“My concept for The Music of LedZeppelin was to take the music as closeto the originals as we could and thenadd some colors to enhance what Zephad done,” says Havens. “The won-derful thing with an orchestra is that youhave an entire palette to call upon. Theband is reproducing what Led Zeppe-lin did on the albums, verbatim, andthen having an orchestra behind theband gives the music a richness, awhole different feel, a whole differentsense of power.”

The symphonic rock hybrid hasmet with approval on both sides of thepodium. “When we first came on stage,the audience gave us polite, almostclassical applause,” says Havens.“Then we hit the first note and they re-alized it was a rock show.” Classicalmusicians also enjoy the change ofpace; “In one concert, during Stairwayto Heaven, the entire string sectionpulled out Bic lighters!” laughs Havens.

November/December 2006 • Issue 288 PAGE FIVE

We only bring youthe Cream of the Crop!

CHRIS THOMAS KINGRise

21ST CENTURY BLUES RECORDINGSChris Thomas King, the Baton Rouge born son of Tabby

Thomas, has issued a most impressive recording reflectingon the aftermath of Hurricane

Katrina that was recorded at several locations. From theopening What Would Jesus Do? to the closing What a Won-derful World, Thomas interprets some classic songs associ-ated with New Orleans along with originals that cover a widerange of musical styles, although not the incorporation of hiphop that he has utilized on other recent recordings. Thomasis in an almost traditionalist mode here. The CD was recordedat a number of locations and tracks include several on whichThomas plays all the instruments along with several musi-cians including Mike Finnigan and Tony Braunagel of the Phan-tom Blues Band on several selections, and drummer JasonMarsalis on the closing What a Wonderful World.

There is some country flavor to the opening What WouldJesus Do? as he sings “Tell Me America, What Would JesusDo (2x) If he had to walk a mile in my shoe” with its hauntinglyrics. There is a bit of modern gospel-soul flavor in the back-ing for Faith told from the standpoint of someone on a roof-top waiting to be saved as a neighbor floats on back and howwe need to have some faith in one another. Baptized in DirtyWater is a modern electric guitar blues as he powerfully shoutsin the manner of a young Buddy Guy or Otis Rush (and thesong suggests Rush’s I Can’t Quit You Baby.

On the wistful Flow Mississippi Roll he sings about hav-ing no place to go and wanting to drown on my own tears asa businessman is making plans for his land. St. James Infir-mary is handled as a modern blues with more fine guitar asKing updates the lyric with his asking when he dies for sixgamblers to carry his coffin, six chorus girls to sing his songand put a good jazzband on my tailgate to raise hell as we rollalong.

Joni Mitchell’s Big Yellow Taxi, I believe was recorded afew days before Katrina in New Orleans, and Thomas’ perfor-mance makes the lyric “Don’t You Know What You Got ‘Til ItsGone, they paved paradise and put up a parking lot,” pre-scient in terms of the destruction of wetlands that helped con-tribute to Katrina’s devastation. Its not the only tune that is soin place even if not directly alluding to Katrina, as does thegospel number Deepest Ocean. His rendition of the Irish bal-lad, ‘Tis Last Rose of Summer, a tribute to his mother, is full ofwarmth and tenderness as is the rendition of the closing chest-nut, What a Wonderful World.

Rise is a remarkable recording that transcends any limi-

tation of genre. Heartfully sung and played with an eye to thelosses he and so many others have suffered yet he also hasan eye for that part of the human spirit that enables people towork together to overcome such traumatic and devastatingnatural disasters. This album will undoubtedly be on manyBest Recordings of 2006 lists. Ron Weinstock

TANIA MARIAIntimidadeBLUE NOTE

A veteran recording artist, Brazilian pianist, vocalist andcomposer Tania Maria excels on this pleasant array of 10songs sensitively accompanied by various side musicians,including bassist Eddie Gomez and master percussionistMestre Carneiro.

Tania’s sultry alto voice is pleasing to the ears. Her styleis relaxed and she conveys a sense of frothy fun on sometunes. The disc I reviewed had no English translations of titlesor lyrics, so I couldn’t tell you what she’s singing about. Buther appealing melodies and heartfelt delivery on this mix ofstandards and originals is satisfying. Included among the tunesare Antonio Carlos Jobim’s “Agua De Beber” and the roman-tic ballad “Besame Mucho,” a classic by Mexican bolero com-poser Consuelo Velasquez.

Born in the historic port city of Sao Luis, Tania MariaCorrea Reis began formal piano studies at a young age. Afterestablishing herself as an interpreter in the bossa nova style,

The 2006 Holiday Gift Guidebegins on page 11

November/December 2006 • Issue 288PAGE SIX

she set out for Europe where she madea name for herself in the 1970s. Her tal-ents caught the attention of guitaristCharlie Byrd who recommended her tothe Concord label, where she subse-quently made nine albums.

If you haven’t checked out record-ings by Tania Maria, her enjoyable 26thalbum is an agreeable place to start.

Nancy Ann Lee

DEANNA BOGARTReal TimeBLIND PIG

Returning to Blind Pig after a num-ber of years, Deanna Bogart has pro-duced a new CD that shows how she hasmatured as a performer. While knownas a blues and boogie woogie artist, Iwould suggest this disc transcends cat-egorization, although her musical rootsare never far from the surface.

The disc opens with the title track,an intriguing lyric about not being therewhen the musical greats of the fortiesand fifties sprouted their musical inno-vations, wondering what it would havebeen like to discover them in Real Time,not years later from books and record-ings. It’s followed by Everybody has aStory, a nice rocker with a bit of countryand folk in its lyric and melody that isnicely developed, followed by a lovelyballad, Blue By Night. There are twocovers here, Are You Lonely For Me Babyand Baby You Got What It Takes, thatBogart reworks and transforms almostinto completely new songs with somefine singing and playing (nice, earthy saxon the latter number). More gritty saxcan be heard on the very fine instrumen-tal Blues in the Bine. Tender Days is alovely ballad, soulfully sung, whereasBite the Bullet is a solid boogie woogie,with some unusual twists. The remain-der is equally entertaining and captivat-ing.

This album will be welcome by anyof her fans, or anyone who loves strongblues and blues-rooted songs and ter-rific singing and musicianship. Highlyrecommended. Ron Weinstock

Thousands of CD & DVD ReviewsAt Your Fingertips in our searchable database!

Plus all issues since October 2003 available as PDFs.www.jazz-blues.com

ERNIE KRIVDA QUINTETLive In New York City

CADENCEThis recording initially came as a

surprise to Cleveland-based tenor saxo-phonist Ernie Krivda. His long-time col-league, guitarist Bob Fraser, had placeda “little digital recorder” on one of thetables at the intimate New York jazz club,Sweet Rhythms, to capture the January13, 2005 gig—something he’d been do-ing all along.

Old friends of Krivda’s, artists, andfollowers of trumpeter DominickFarinacci had gathered for the engage-ment which was supposed to be a warm-up for a Cadence Jazz Records studiodate. Without any amplification exceptfor Fraser’s guitar and considering theexcellent sound quality of the room, therecording apparently needed only someequalization and mastering by a pro. Theresult is an exhilarating performancecaptured basically as it happened.

Containing four lengthy tunes(around 60 minutes, total), the CD fea-tures Krivda, Fraser, Farinacci, bassistYasushi Nakamora, and dramatic drum-mer Carmen Intorre performing Krivdaoriginals at their inspired and collectivebest. The lively set launches with thehigh-energy “Panhandle Hook,” appro-priately named after a force of nature inweather. Written in 2004, “Alcara LiFusi,” honors the Sicilian village ofKrivda’s maternal grandparents and isprobably the most lyrical and moody,capturing Farinacci in one of his bestsolos. “Adagio,” written in 1988, is alovely 15-plus minute jazz ballad re-worked for quintet. Krivda first recordedthe oldest (and lengthiest at 21:40)piece, “Song of the Moor,” on Inner CityRecords. Written in 1973 before Krivdabegan working with Fraser, it’s refreshedhere to benefit from Fraser’s tremendoustalent.

Judging by this live-recorded date,the quintet seems to be Krivda’s bestformat. This is one of his most excitingand creative small band projects.

Nancy Ann Lee

JACKIE PAYNE /STEVEEDMONSON BAND

Master of the GameDELTA GROOVE

Jackie Payne is an old school soulsinger in the tradition of Otis Reddingand Al Green with a heavyweight resumethat includes stints with T-Bone Walker,Freddie King and, most recently, theJohnny Otis Revue.

Steve Edmonson is a soul/R & Bguitarist with an equally impressive re-sume including time with Syl Johnson,Luther Tucker, The Dynatones, JamesCotton and even Van Morrison. This discis the fruit of putting the two togetherwith the Sweet Meet Horns (Carl Greenon tenor and alto sax and John Middletonon Trumpet), some keyboards and acouple of back up singers.

Sticking to their roots, the band laysdown a classic Memphis soul grooveaugmented by a bit of funk. With a soundso fat that Weight Watchers is on alert,the band gives Payne a solid base fromwhich to weave his tales about the“Sweet Landlady” who takes the rent intrade, the disappointment of losing alover, “A Fool Named Me,” the need tomove on because a “Black Cat Roun’My Do’” and the joy of having a “Womanin Kansas City” who will do whatever ittakes to keep him happy. Like all goodsoul singers Payne delivers his vocalswith an urgency that pulls you into themoment and makes you feel the emo-tion that drives every word.

A new Soul Blues classic: Miss thisone at your own risk. Mark Smith

MARIO ADNETWINDS OF BRAZILVITTOR SANTOSBRAZILIAN JAZZ FROM

ADVENTURE MUSICGuitarist Mario Adnet leads an all-

star cast of Brazilian jazz instrumental-ists cast in different configurations onFrom the Heart, a 12-tune CD of lively,modern originals. Adnet shows abundanttalents as composer, arranger, producerand performer. Pretty melodies, interest-ing arrangements, tidy tempos andunique instrumentation make each tunea listening adventure. Everything aboutthis album is first-rate.

Winds of Brazil (um sopro de brasil)contains lush Brazilian classical and jazzperformances by 11 individual musi-cians and their groups (each expanded

November/December 2006 • Issue 288 PAGE SEVEN

Off to the Races, Donald Byrd Here to Stay, Freddie Hubbard Happenings, Bobby Hutcherson

Demon’s Dance, Jackie McLean City Lights, Lee Morgan Doin’ the Thing at the Village Gate, Horace Silver

The Cooker, Lee Morgan It Might as Well be Spring, Ike Quebec

The Congregation, Johnny Griffin

Another Workout, Hank Mobley

Trompeta Toccata, Kenny DorhamRoyal Flush, Donald Byrd

THE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSFrom 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 morethan set a new standard. Devoid of caution or timidity, he captured the full power and rich sound of jazz ensembles withdazzling 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 thesame skill and focus. More RVG Editions have just been released. If you think you’ve heard these gems before, listen again.

Available In Stores & Online • www.bluenote.com

November/December 2006 • Issue 288PAGE EIGHT

with a string quartet). Recorded live inNovember 2004 at SESC Pinheiros The-ater, Sao Paulo as part of the seventhmusical series put on by the BrazilianMemory Project, the concert featuresMaruicio Einhorn (Harmonica), MauroRodrigues (flute), Joatan Nascimento(trumpet), Paulo Moura (clarinet on 2tunes), Lea Freire (flute), Mané Silveira(alto, soprano sax), Altamiro Carrilho(flute), Vittor Santos (trombone), TecoCardoso (bamboo flutes, soprano sax,urua), and Vinicius Dorin (tenor sax).Two-hundred and fifty musicians showedup for this event and this disc (the firstof three) features mostly soothing,graceful arrangements never heard be-fore. Highlights include Santos’ novelarrangement of the familiar “Manhã deCarnaval,” which features his trombonesolos, and Moura’s percolating but all-too-brief arrangement of “Mulatas, etc.And All.”

Trombone fans will love the eighttunes on Renewed Impressions spot-lighting Vittor Santos in a (mostly) quin-tet setting of alternating members. Flow-ing and expressive, Santos’ warm-tonedsolos are ear-candy. He contributes onlyone original to the fare (“The MovingWater”), but it’s his skillful playing,phrasing and improvisations as well assympathetic accompaniment (and so-los) from his side musicians that makethis a successful album. One of the mostenticing pieces his perky reading of“London Samba,” by the Brazilian vo-calist, Joyce. For its melody and time-shift, his original tune is one of the mostintriguing on the CD. Santos also playspiano on a couple of tracks. Nine yearselapsed between this and his previousrecording, Sem Compromisso. Hope-fully, Santos won’t wait so long to releaseanother. His talents are surely deserv-ing of the widest audience.

Nancy Ann Lee

WILLIAM LEE ELLISGod’s TattoosYELLOW DOG

If the eclectic musicians of the worldever held a convention somewhere, nodoubt guitarist William Lee Ellis wouldbe the poster boy for opening night. In-fluenced by both secular and spiritualsources, God’s Tattoos is Ellis’ third re-lease for the label and runs a twelve cutstylistic gauntlet.

Using acoustic guitar, augmented attimes by slide, Ellis wanders through awonderland of tones and starts with a

DAVE STERNER QUINTETWhat’s What

DAVE STERNER MUSICOftentimes my method of operation

in listening to CDs for possible cover-age in the mag is to simply grab a pileand stick them in the player at randomwithout really looking at them. Admit-tedly, most don’t last more than a songor two before hitting ‘eject.’ But this dayI heard one open with a head somewhatreminiscent of Eddie Harris’ “FreedomJazz Dance” and quickly break into anall out swing bringing to mind the quin-tets of both Cannonball Adderley andPhil Woods. Yes...I think i am going tolike this one. Rich melodies, smooth tightensemble work and fine all around play-ing. As the music went on, disappoint-ment did not seem to be on the horizon.Who was this? To my surprise, it was aband practically from my own backyardright here in Cleveland.

Alto saxophonist Dave Sterner andtenor man Chris Burge are the ones pro-viding these well crafted solos and en-semble work throughout the 12 song setof eight Sterner originals and four cov-

ers. In the company of Roger Friedman/piano and Fender Rhodes, Kur tFelgemaker/bass, Ray Porello/drumsand Beau Lisy/percussion they delivera fantastic set of straight aheadjazz...with swingers, ballads, and someLatin & funk. Sterner’s writing deservesspecial mention as it obviously has alot to do with the overall success of theproject. Unlike too many originals,these songs are all very accessible...inother words, universally listenable.While the horn players are the spotlight,the band is super with their support.Friedman does a fine job in his solospots. He’s mostly on acoustic piano,but the Fender Rhodes (a popular in-strument in 70s jazz) used on a fewtunes is a nice twist. Felgemaker andPorello are both very good players andwork well together propelling the pro-ceedings. The covers heard are “That’sAll,” “Don’t Get Around Much Any-more,” “But Not For Me” and HoraceSilver’s “Split Kick.” Whether Sternerand company meant it, or even knewit, the music of the two above-men-tioned great alto saxophonists, PhilWoods and the late CannonballAdderley, didn’t just come to mind inthe opener...it permeates the whole set.And that, my friends, is a good thing.The only thing that doesn’t add up isthere are six musicians in the quintet.I’m guessing percussionist Lisy is aguest.

Those in the Cleveland area mayhave seen Sterner performing withErnie Krivda’s Fat Tuesday Big Band,which he joined in 1993. He’s been onsome of Krivda’s CDs, but this is hisfirst...and it’s first class all the way.Available at CDBaby.com and someBorders and Barnes & Noble stores inthe Cleveland area. Bill Wahl

THE KINGBEESBeware Of The DogKINGBEES RECORDS

The KingBees, have been workingthe clubs in the Northeast Ohio area foralmost 15 years now and their latest CDreflects those years stacked up undertheir belt. Formed in ’93 by Mike Binder/guitar & vocals and Brantt Hamilton/harp & vocals, the six-piece unit includesScott Wilson on organ and piano, ReggieRedd/tenor & alto sax, John McComb/bass and Jon Darling drums. This discfeatures a few guests – Norm Tischler/tenor & alto sax, Mike Rubin/trumpetand Wil Jones/drums – heard on vari-

little juice via “Snakes In My Garden,”before jumping into the title cut, arhumba that was probably being playedat Rick’s when piano player Sam wenton break in the movie “Casablanca.”Being inspired by the late Reverend GaryDavis, Ellis shows that facet during“Search My Heart” and “Four Horses,”the latter number being gospel music forthe end of the world.

Drummer Paul Taylor gives “ColdAnd Weary” a nice shuffle as a Missis-sippi John Hurt tune, “Here Am I, LordSend Me” returns for an Ellis’ acousticreading. As I said, we’re all over the maphere on God’s Tattoos, with the afore-mentioned “Search My Heart,” being aprime example, gospel with a channeledLed Zeppelin guitar in the middle of it.

Now you won’t really be surprised ifI mention Ellis’ states his influences areLeadbelly, Mississippi John Hurt, theReverend Gary Davis and Carl Jung. It’sblues, it’s roots, it’s gospel, it’s slide, it’saudio potpourri coming out of Memphis,thanks to the guitar of William Lee Ellis.

Some people wake up in the morn-ing with a tattoo and start to think howto get it taken off. If you rise in the morn-ing and God’s Tattoos is playing in yourstereo, you’ll be thinking up ways on howto keep it in there. Peanuts

November/December 2006 • Issue 288 PAGE NINE

SMOOTH JAZZ ROUNDUPPeter White

George Benson/Al JarreauBoney JamesLee Ritenour

Joyce CoolingWith so many CDs coming out this time of the year, I have

been asked to capsulize some of the contemporary, or smooth,jazz releases. So here we go.

Guitarist Peter White, who will be presenting his annualChristmas Concert at Cleveland’s Playhouse Square December11, has released a new CD titled Playin’ Favorites on Columbia/Legacy Records. He’s decided to cover eleven of his favoritepop tunes from some decades gone by. The first song, “WhatDoes It Take (To Win Your Love)” is already getting smooth jazzairplay and more will probably follow. Some of the musicians on

FRI 3 .......... ROB “C” AND THE HIPNOTIKSSAT 4.......... SWAMP BOOGIE BANDFRI 10 ........ SLANT ZEROSAT 11........ MIKE MILLIGAN & STEAMSHOVELFRI 17 ........ TIME WARPSAT 18........ TRAVIS HADDIX BANDFRI 24 ........ KRAKER BROTHERSSAT 25........ COLIN DUSSAULT’S BLUES PROJECT

FRI 1 .......... BAD HABITSAT 2.......... COLIN DUSSAULT’S BLUES PROJECTFRI 8 .......... DAVE ‘C’ & THE SHARPTONESSAT 9.......... ACES & EIGHTSFRI 15 ........ K.G. BLUESSAT 16........ SWAMP BOOGIE BANDFRI 22 ........ CITY HEATSAT 23........ THE CHOSEN FEWFRI 29 ........ DENZON AND THE ROADDOGGZSAT 30........ COLIN DUSSAULT & THE BLUES PROJECT

November

December

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DECEMBERNOVEMBER5 THE GEEZECATS12 BRENT HOPPER & BRITTANY REILLY19 TIM LAKE TRIO26 STONE BERMUDEZ

TUESDAYS7 THE GEEZECATS14 BRENT HOPPER & BRITTANY REILLY21 TBA28 ERNIE KRIVDA BIG BAND

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NOV. 12 STACY MITCHHART & BLUES-U-CAN-USETHE BLUES DOCTOR RETURNS FROM NASHVILLE!!!NAMED BLUES ENTERTAINER OF THE YEAR, BLUES GUITARIST OF THE YEAR, AND MALE VOCALIST OF THE YEAR.

ous tracks.This band does a commendable job of bridging the gap

between blues and jazz, while always maintaining a party at-mosphere. The program is well-balanced between six origi-nals and five covers. While their own material holds up verywell, it is their choice of covers that makes the project a suc-cess. Instead of choosing “the same old stuff,” they have in-cluded interesting takes on songs such as Fleecie Moore’sjump blues “Caldonia,” Eddie Harris’ funk classic “Cold DuckTime,” Floyd Dixon’s “Hey Bartender,” and Rufus Thomas’“Walking The Dog.”

A nice, well varied and enjoyable set from the KingBees,who obviously know that you can’t conduct a really good partyby falling into a rut. Many of the other bands out there stillneed to learn that lesson. This is available at their gigs andthrough their website www.thekingbees.com. Bill Wahl

the album include Boney James, Rick Braun, Richard Elliot,Bob James, Jonathan Butler and Jeffrey Osborne; and just afew of the other songs include Van Morrison’s “Crazy Love,”Bobby Hebb’s “Sunny,” “Ray Charles “Hit The Road Jack,”Grover Washington’s “Mr. Magic” and Burt Bacharach’s “TheLook Of Love.” White’s pretty guitar melodies are everywhereand background voices are on a several tracks. I’d have to ratethis one much better than his previous Confidential.

George Benson and Al Jarreau have teamed up for the firsttime on disc for Givin’ It Up, just released on Concord Records.Benson’s guitar and Jarreau’s vocals spice up 13 songs, somevery familiar, such as “Breezin’, “God Bless The Child” (withguest vocalist Jill Scott), “Every Time You Go Away,” “Bring ItOn Home To Me” (with guest Paul McCartney) and the old Seals& Crofts hit “Summer Breeze.” They also give a nod to MilesDavis with “Four” and “‘Long Come Tutu.” A newly-written song,“Let It Rain,” is also included featuring Patti Austin. Very nice.

Saxman Boney James is on a new label with a new direc-tion. Shine finds him on Concord Records with a slick produc-tion featuring a host of guests, like George Benson, George Duke,Faith Evans and R&B singers Dwele & Phillip Bailey. Along withsome the very smooth type of instrumentals we’ve come to ex-pect from Boney (like “Let It Go” and “Breathe,” some of theother cuts go off in more of a R&B vein – that’s where the guestvocalists are enlisted. No doubt James will get a few WAVE ra-dio hits extracted off of this one.

Guitar man Lee Ritenour has a new one, also on Concord,titled Smoke N’ Mirrors. With almost 40 albums under his belt,Ritenour has been around...and he gets around a bit on this onewith world music textures abound everywhere. He’s got musi-cians from South Africa, Cameroon-West Africa, India, Braziland Columbia helping him out on the 14 tracks, along with someAmerican buddies like Dave Grusin, Patrice Rushen and JohnPatitucci. While ten out of the 14 are instrumentals, three of the

November/December 2006 • Issue 288PAGE TEN

MANHATTAN TRANSFERThe Symphony Sessions

RHINOAn Acapella Christmas

RHINORecorded in 2006, the jazz/pop vocal group Manhattan

Transfer re-interprets 12 classics from past albums with back-ing from a studio strings orchestra on The Symphony Ses-sions. Nostalgic tunes such as “Route 66,” “Candy,” “Embrace-able You,” “Birdland,” and other lush, dreamy gems are giventhe MT treatment. The City of Prague Symphony Orchestra,

directed by Corey Allen, provides sweet backing and is promi-nently featured as Cheryl Bentyne, Tim Hauser, Alan Paul andJanis Siegel remain true to lyrics and melodies as they werewritten. There’s not a lot of energy and improvisation on thisouting but, nonetheless, it’s a pleasing listen, although somefans might find it a bit too conventional.

An Acapella Christmas finds The Manhattan Transfer inan unaccompanied, improvised delivery of 10 holiday favor-ites, including a perky version of “Jingle Bells,” an upbeattake on Irving Berlin’s “White Christmas,” a heartwarmingversion of Vince Guaraldi’s “Christmas Time Is Here,” a uniqueand sweet reading of “Toyland,” a bluesy take on “MerryChristmas Baby,” and more. Released in Japan in 2004, thisis Manhattan Transfer’s first Christmas album since 1992. It’sa gem that makes you wish for more acapella sessions fromthem. Vocal arrangements are sublime and their crisp, clearvoices blend and melt like butter. Even if you own a lot ofChristmas albums, this first-rate recording is a must-add foryour collection. A jazz lover’s dream, the lively fare truly war-rants year-round play. Nancy Ann Lee

STUDEBAKER JOHN & THE HAWKSSelf Made Man

AVANTI RECORDSStudebaker John Grimaldi and the Hawks have been lay-

ing down some house-rocking blues for nearly 3 decades.His band name referenced the Studebaker Hawk as well asserved as a tribute to the late J.B. Hutto, whose backing bandwas known as the Hawks. Playing both slide guitar & harp, hehas been adept in a traditionally oriented approach to theblues (reflecting especially the driving approaches of Huttoand Hound Dog Taylor), but not afraid to mix in a bit of rockand roll and bring his own voice. He has toured and recordedbehind a number of blues legends as well as developed hisown music. He had several fine recordings on Blind Pig in the1990s and has just released this new disc on the Avanti label.

He is backed by his trio that includes bassist Bob Halajand drummer Willie Hayes for a collection of straight-aheadrocking blues. Perhaps no finer example of Studebaker John’shard rocking approach is the hot boogie, Back in Your Town,with its stop time boogie break suggestive of Magic Sam. Thetitle track has the rhythm laying down a churning groove withsome fine guitar from John. He picks up the harp and dis-plays a nice fat tone on Fast in the Slow Lane, singing aboutwanting to get home to his woman as the three get a real niceshuffle groove going. Hayes kicks off a boogaloo groove asJohn plays some very atmospheric tremolo for The Hard Way,singing about being knocked down and getting back up andtaking no easy shortcuts. Some nice playing as he effectivelymixes in slide with his single note runs.

All Aboard (The Streamliner) is a hot harmonica instru-mental where we get taken for quite a ride while Hoo Doo Youis a funk blues about having more than a little spell placed onhim. Where Are You? is another harmonica blues with aswampy feel, and Hey Little Mama is a slide guitar boogiewhere John evokes Hound Dog Taylor.

By the time the set closes with another harp rocker, RideWith me Baby, one has been taken through an 80-minute rollercoaster of blues with more than a few rock and roll accents.Studebaker John has left us another helping of original musicthat is deeply rooted in the traditional Chicago blues, but full ofhis own personal stamp on the music. Ron Weinstock

four vocals feature the beautiful South African singer Zamajobe.They are among the standouts on the disc (one is PatriceRushen’s “Forget Me Not), and might make you want to searchout more of Zamajobe’s recordings (try www.zamajobe.co.za/). Another standout is Gabor Szabo’s “Spellbinder.

While on the subject of beautiful women, Joyce Coolinghas a brand new one on the streets titled Revolving Door onNarada Jazz (which I am told is now a division of Blue Note -or something like that). Joyce is a fine player on electric andacoustic guitars, and her piano player, Jay Wagner, deservesrecognition as well. The pair also wrote all ten of the songshere. Cooling’s albums are more natural sounding than manyof the slick, overly produced recordings in the genre, which iskind of a breath of fresh air, so to speak. Her real forte is onguitar, but she also sings on three songs...and she has improvedquite a bit in that department. Though just released, this CD isalready getting airplay. Michael Braxton

November/December 2006 • Issue 288 PAGE ELEVEN

Jazz & Blues Report32nd Annual Holiday Gift Guide - Part 3

As is the case every year at this time, this section will give you some ideason holiday gifts to pick up for a friend...or to drop hints on for yourself!

As usual, most of these are boxed or 2-CD sets and DVD concertor documentary videos, although we have chosen some single CDs as well. Most are very new,

some a bit older titles that we have just recently latched on to. None have been previously re-viewed. As has been our custom, we have included several items in other genres for those folkswith diverse tastes, or those who are not into jazz or blues as such. This year we started the GiftGuide in the September and October issues...so this is Part 3. Around the middle of Novemberyou can download the standalone Gift Guide from jazz-blues.com to get each installment alltogether, plus the entire Gift Guide from 2005 to give you even more ideas. Happy shopping!

MILES DAVIS QUINTETThe Legendary Prestige Quintet Sessions

PRESTIGE/CONCORD BOXED SETMore years ago than I’d care to count at this point, back

when I was first building a jazz LP collection, I stumbled upontwo Miles Davis records at a garage sale. They were the origi-nal Prestige pressings of the albums “Relaxin’ With The MilesDavis Quintet” and “Cookin’ With The Miles Davis Quintet.”What great stuff...had to pick up the other two in the series,“Workin’...” and “Steamin’...” asap. The albums caused meto get heavily into both Miles and Coltrane at the very sametime...and then go on to spend a lot of money as a result.

This 4 CD set brings together all the music from thosefour albums, plus “The New Miles Davis Quintet” all in onepackage. All five albums were recorded in three long, coffee-filled sessions in late ’55 and ’56 – just before Miles movedover to Columbia Records. This was Miles’ great quintet (well,one of them) which included Coltrane on tenor sax with themajestic rhythm section of Red Garland/piano, Paul Cham-bers/bass and Philly Joe Jones/drums. They more or lessmerged bop with cool jazz and came up with cool bop (I don’tthink that is a legal term, but let’s use it anyway–just don’tcall the cops).

Only a handful of the songs were penned by Miles...threeversions of “The Theme” plus “Four,” “Half Nelson” and “TuneUp.” Coltrane wrote one, “Trane’s Slow Blues.” Other thanthat, the rest are covers, such as “My Funny Valentine,”“Oleo,” “If I Were a Bell,” “‘Round Midnight,” “Salt Peanuts,”“There Is No Greater Love,” “Woody’N You,” “Well YouNeedn’t” and more...much more. All 32 songs from thosesessions were recorded by Rudy Van Gelder at his New Jer-sey studio and are sounding better than ever in this latest CDincarnation. In fact, they might just be as good as pristinevinyl versions, though I’m sure some serious audiophiles willprobably disagree. I’ve not heard gold versions, if they exist.

Disc 4 contains four tracks recorded live on the TonightShow with Steve Allen in ’55; two more recorded live at theBlue Note in Philly in ’56; and three more recorded live at theCafé Bohemia in New York in ’58, with Bill Evans replacingGarland at the piano. All ten cuts are previously unreleasedand actually sound decent considering the sources. The en-hanced portion of Disc 4 contains transcriptions of four ofMiles’ trumpet solos.

The longbox holding the CDs also contains a 42 pagebook loaded with photos, plus an essay from Bob Blumenthaland all the recording info you should need. All the music hereis presented as it was recorded, session by session, ratherthan the way it appeared on the five albums as previouslyreleased.

This set would be a fantastic treat for any Miles Davisfan...anywhere...anytime. Bill Wahl

BUDDY GUYCan’t Quit The Blues

SILVERTONE/LEGACY BOXED SETBuddy Guy’s 3-disc-plus-DVD retrospective will almost

surely not square with purists’ notions of an anthology. Per-haps unsurprisingly, Can’t Quit The Blues is heavily stackedin favor of Guy’s contemporary work. Few blues players, eventhe most widely celebrated, have netted the commercial suc-cess Guy has over such an extended period of time. His 90’ssmash Damn Right I’ve Got The Blues rates as a bona-fiderock sensation in terms of sales. He brought in the new mil-lennium with the critically praised retro hit Sweet Tea. Theprimary message of this collection remains Guy’s enduringenergy and still very serious chops.

Buddy Guy always had more than great guitar and vocaltalent. The man had “star power”. During Chicago blues’ 50’s-60’s glory days the commercially-savvy Chess label special-ized in focusing on blues talents that were also strong, mar-ketable personalities. Tracks from those times present on thisset make the case that Guy had that special edge. A coupleof tracks from Junior Wells’ classic Hoodoo Man Blues, onwhich the harp man’s good friend Buddy backed him up, werea nice inclusion on this collection.

Buddy tells his own story on an excellent bio-documen-tary DVD that completes the set. The photos included in thepiece are choice and selected stage performances showcaseGuy both with band and solo. There are also 11 full lengthlive performances (2 with Wells) spanning 30 years, mostlyfrom the Montreux Jazz Festival. Inside there is a 40-pagebook with black & white and color photos along with record-ing information on all the tracks.

Hopefully the older stuff on Disc One will encourage Guy’slatter-day fans to do some exploring. The remaining tracksshow how much he’s got left in the tank. Duane Verh

November/December 2006 • Issue 288PAGE TWELVE

WEATHER REPORTForecast: Tomorrow

COLUMBIA/LEGACYFusion was the spawn of Miles Davis’ electric bands of

the late 60’s and early 70’s and no alumni of those outfitsfared better than keyboardist Joe Zawinul and saxophonistWayne Shorter. While other first-wave fusionists seemed toeventually paint themselves into a creative corner, the co-leaders of Weather Report kept it fresh for years drawing ondiverse influences, while maintaining the group’s core iden-tity. This three-disc retrospective does a first-rate job in show-casing the band’s success at mastering both of these feats.

Serving as a marker for WR’s evolution (and also as apossible cause for the band’s constant rejuvenation) is theperiodic changes in the rhythm section. As the excellent de-but lineup of bassist Miroslav Vitous, drummer AlphoneMouzon and percussionist Airto Moriera would be replen-ished by the likes of Dom Um Romao, Eric Gravatt, super-star/tragic figure Jaco Pastorius and others, the band’s earlyinstincts expanded. Textures get more complex and colorfuland a growing “world music” influence makes its presencefelt. Catch the development on Zawinul’s compositions from“Unknown Soldier” to “125th Street Congress” on the firstdisc to the next one’s leadoff track, an exciting “live” take of“Mysterious Traveller.” It’s a timeline that remains reliablethrough this entire box.

Unlike some of its early 70’s brethren, Weather Reportnever abandoned the jazz dimension of this new “fusion” inthe name of high-energy rock. Sampling these tracks makes

a strong case for crediting the lower-keyed co-leader Shorterfor much of this. Then again, Zawinul learned how to simul-taneously swing and funk it up back in his CannonballAdderly days.

One of the set’s best features is the handful of openingtracks that set the stage for the birth of Weather Report.Zawinul’s “In A Silent Way” from Miles’ album of the samename, the title track from Shorter’s Super Nova and an ex-cerpt from a Zawinul suite performed by the Adderly groupplus orchestra, “Experience In E” all speak to WR’s futurevalues. Of course, signature tracks like “Birdland” are here,too. Credit goes to Zawinul and Shorter, who prepared thisrelease, for avoiding gratuitous “unreleased” fare and pro-viding instead a quality overview of one of the most sub-stantial (and still fresh-sounding) fusion bands.

The bonus DVD features a two-hour concert set fromGermany in 1979. The band was a compact foursome withrhythm courtesy of Pastorius and drummer Peter Erskineand this was a time when WR was arguably at their peak,“blowing”-wise.

In addition to solid run-throughs of well-known num-bers, Shorter and Jaco, in particular, steal the show duringinspired-sounding solo stints. Are you ready for Jaco doingHendrix?? Duane Verh

CANNED HEATLive at Montreux 1973

EAGLE VISION DVDEagle just keeps these Montreux DVDs flowing right

along, and most of them are real gems. This Canned Heatconcert from 33 years ago is no exception. This being theirfirst and only Montreux appearance, the Heat had quicklyrisen to stardom with their Monterey Pop Festival appear-ance six years earlier. Formed in 1965, Canned Heat wasled by high-voiced, introvert Alan “Blind Owl” Wilson andlow, gravelly-voiced extrovert Bob “The Bear” Hite. Thesequalities made for quite the contrast both on record and onstage. Make no mistake...Canned Heat was an authenticblues band, and their recordings with John Lee Hooker re-main treasures today.

By the time of the Montreux appearance the band hadalready played Woodstock two years after Monterey. Butsadly Alan Wilson died in 1970 and Hite had to take overthe band on his own. By the time Montreux rolled around hewas in the groove and the band did a memorable perfor-mance. The jazz audience was sedate when they began with“On The Road Again” (with Hite doing Wilson’s vocal), butby the time they finished up with a 14 minute boogie, “Shake‘N Boogie,” the crowd was nuts.

The affinity that many black blues masters had for the Heatis no secret. For this show they were joined by the late-greatClarence “Gatemouth” Brown on the second through fifth songs,including “Worried Life Blues” and “Please Mr. Nixon,” wherehe sings “Please Mr. Nixon, don’t cut off that welfare line...Iwant you to give up a whole lot more money so we can livegood in this country all the time.” Gatemouth, who sang andplayed guitar, fiddle and harp, was actually responsible forwaking that crowd up. After Gatemouth left the stage, the Heatwere back on their own for five more songs, including an acous-tic slide feature for James Shane on “Lookin’ For My Rainbow”and closing with the above-mentioned extended boogie, wheredrummer Fito De La Parra, guitarist Henry Vestine, pianist Ed

November/December 2006 • Issue 288 PAGE THIRTEEN

A PeterWhite ChristmasFEATURING

Rick BraunMindi Abair

December 11Monday, 7:30 PM$35, $30, $25 & $10

TICKETS: Ticket Office216.241.6000PlayhouseSquare.orgGroup discounts: 216.664.6050

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Beyer and bassist Richard Hite (The Bear’s brother) all gotroom to do their stuff.

As with most of the Montreux series on Eagle, the soundand video is first rate. It is quite the treat to hear Canned Heatwith a choice of clean stereo, DTS or Dolby 5.1 surroundsound. Mix that with the inspired performances and you get awinner. Ready to boogie? Bill Wahl

THELONIOUS MONK WITH JOHN COLTRANEThe Complete Riverside Recordings

RIVERSIDE/CONCORD 2CD SETThe pairing of Thelonious Monk and John Coltrane one

of the most notorious unions in jazz history. Oddly enough,their actual quartet lasted less than six months back in 1957– until Coltrane began recording as a leader for PrestigeRecords.

Monk and Trane recorded some tracks for RiversideRecords in April as a trio with bassist Wilbur Ware, and inJune with a septet including Ware, Ray Copeland, Gig Gryce,Coleman Hawkins and Art Blakey. Then, as a working band,the Monk-Coltrane Quartet spent July through December play-ing its now famous gig at New York’s Five Spot, as well asmaking a trip to the studio to record three songs for Riversidein July. The entire body of work recorded at all these sessionsis now available all together in this 2-CD set.

Orrin Keepnews, who produced the recordings, also pro-duced this release and wrote quite an interesting essay in-cluded in the booklet. All of the songs here are Monk compo-sitions, except for 1800’s composer William Henry Monk’swonderful hymn “Abide With Me,” played by the septet hornsonly. The first song, “Monk’s Mood,” is played as a false startand a full version by Monk, Coltrane and Ware. The next 15are done by the septet and include some short versions, break-downs and re-takes; and the last three, “Ruby My Dear,”“Nutty,” and “Trinkle Tinkle” are performed by the originalFive Spot quartet with Monk, Trane, Ware and drummerShadow Wilson. Great stuff...all of it!

This historically important collection of recordings wouldmake a most welcome addition to any serious jazz listener’sCD collection. Bill Wahl

FRANK SINATRASinatra: Vegas

RHINO ENTERTAINMENTFrank Sinatra helped put Las Vegas on the entertainment

map and this four-CD, one-DVD set captures the essence ofthe late singer’s performances there. The set contains previ-ously unreleased American Songbook favorites (from RepriseRecords) live-recorded in 1961, 1966, 1982 and 1987. Theengrossing DVD captures Sinatra onstage and backstage atCaesars Palace in May 1978.

Disc One was recorded at The Sands in November 1961and features 17 familiar gems such as “Moonlight In Vermont,”“Don’t Cry Joe,” “Here’s That Rainy Day,” “You Make Me FeelSo Young,” “The Lady Is A Tramp,” “Young At Heart,” andmore. Sinatra swings and croons in his indelible style, withstellar strings backing by Antonio Morelli & His Orchestra.

Recorded in January-February 1966, Disc Two findsSinatra performing 14 songs with Count Basie & His Orches-tra, conducted by Quincy Jones. Gems such as “Come FlyWith Me,” “I’ve Got You Under My Skin,” “Fly Me to the Moon,”

“It Was A Very Good Year,” “My Kind of Town,” and others.Sixteen years later (1982), Sinatra is captured at Caesar’s

Palace during a two-week gig at the Circus Maximus. NancySinatra joins her father on Disc Three, singing “Somethin’Stupid.” Included are “I Can’t Get Started,” “All Or NothingAt All,” and nine more tunes.

Disc Four features Sinatra in a late-period (April 1987)performance at The Golden Nugget. The change in his voiceover the 25 years is noticeable in his swoops from high to lownotes and there’s just a little more gravel in his voice. Yet, hisperformance of such classics as “Witchcraft,” “For Once InMy Life,” “I Get Along Without You Very Well,” “Pennies FromHeaven,” and nine other tunes will satisfy listeners.

Seeing Sinatra onstage is a real treat and the DVD cap-tures the essence of his dynamic and fun live performancesas he segues from monologues and announcements into someof his best tunes. Ol’ Blue Eyes oozes charm and passion ashe delivers songs such as “All Of Me,” “Someone to WatchOver Me,” “My Way,” and more.

Sinatra’s monologues add atmosphere and reveal the con-summate entertainer he was. Bonus tracks on the CDs in-clude “Sinatra Speaks on Segregation in Nevada” and “SinatraSpeaks on Working With Count Basie,” as well as his kiddingaround with the audience on both CDs and DVD. Packaged ina metallic foil clamshell box, the set includes a 64-page bookcontaining celebrity commentary, essays by notableSinatraphiles, rare photos, and reproductions of Vegas memo-rabilia. This sterling set should satisfy Sinatra fans with hoursof repeat enjoyment. Nancy Ann Lee

November/December 2006 • Issue 288PAGE FOURTEEN

Introducing The Dave Sterner Quintet’s Debut CD What’sWhat, that features “Don’t Get Around Much Anymore,” “But NotFor Me,” “That’s All,” “Split Kick” and 8 original compositions thatshowcase talented writing with stellar playing.

the dave sterner quintet

“Dave and his band speakto an audience young and

hip, but a foundation drawn

from a deep well of tradition

gives the music a substance

that takes it beyond the

trendy.” - Ernie Krivda

Available at: Borders and Barnes &Noble (Mentor, Westlake, ClevelandHts.), Academy Music (Noble Rd.),Skyline Music (Center Ridge Rd.)& online at www.CDbaby.com

THE WAY THINGS GO is a fresh take on traditional Blues from the veteranBluesman. CLEVELAND FATS once again shows that he is a master singer, guitarist,

and songwriter highlighting his talents on nine originals and three covers. This recording

includes the re-teaming with his former boss and mentor ROBERT LOCKWOOD, JR.

and special guest BILLY BRANCH on harmonica.

CD NOW AVAILABLE DIRECT FROM HONEYBEE ENTERTAINMENTOnly $15 including shipping (outside US add $2). Send check or money order to

4786 Dressler RD NW #145, Canton, OH 44718. Or online at www.honeybeeblues.com

For booking information please contact BLUE SKUNK MUSIC at (847) 275-8378

PAT METHENY GROUPThe Way Up - LiveEAGLE VISION DVD

Guitarist Pat Metheny has been releasing albums for justabout the same number of years as this magazine has beenpublishing issues. Over the course of those three decades,I’ve seen more Metheny concerts than probably any one singleartist. There is an uplifting quality about his music which isjust plain good for the spirit. In short...it makes you feel great!On top of that, there can be no question that the musician-ship in his band is always top shelf, and the production, mixand overall sound is about as good as it gets.

That said, this brand new DVD was shot at a concert inSeoul, South Korea in 2005 as the group was touring in sup-port of its latest album, The Way Up. Metheny won his 17thGrammy award for that 2005 release on Nonesuch Records.As with the CD, the concert featured what was actually onelong song. Though split into four parts, there are no breaks inthe music...making it more like a suite as things constantlychange over the 68 minutes. The band consists of Methenyon (many) guitars, Lyle Mays/keyboards, Steve Rodby/bass,Antonio Sanchez/drums, Cong Vu/trumpet, percussion &vocals, Gregoire Maret/harmonica, guitar, percussion & vo-cals and Nando Lauria/guitar, vocals & percussion. Together,these seven guys create some great music, loaded with giftedsoloing, uplifting melodies and brilliant dynamics. This is bestexperienced with no outside interruptions, like phones, peopletalking...or worse...asking stupid questions, or whatever tobest enjoy the intricacies of the music and the quiet passages,subtle nuances and the many changes.

The music was written by the longtime team of Methenyand Mays, who have been writing and performing togetherfor thirty years. It shows.

On top of the music, the filming is among the best I’veseen for a concert DVD, and the sound, available in DTS,Dolby 5.1 and digital stereo is on the same level as well. A 22minute interview with Pat is the single bonus feature...as if wereally need a bonus.

This one is a no-brainer for any Metheny fan out there. Bill Wahl

ROCKIN’ BONES1950’s Punk & Rockabilly

RHINORockabilly may not be held in high regard by some “seri-

ous” blues fans, but a roots music it is. And if one takes thetime to check out this primal rock-and-rhythm strain, its claimon partial blues parentage is undeniable, and this exquisitelyappointed mega-dose of rockabilly gems is one great placeto jump in and get wet.

The one hundred-plus-one tracks on four “45” lookalikediscs are comprised of dozens of chart-toppers, obscure gems,

and curiosities usually cast in the classic mold of bare-bonesguitar, string bass and drums that defines the sound. Hit tracksby “names” such as Gene Vincent and Carl Perkins bump upagainst rarities by other stars- Buddy Holly’s earthier pre-Crickets “Down The Line” or Elvis’s too-sexy-for-50’s-Americapredecessor to “One Night With You” (“One Night Of Sin”).The number of one-hit wonders present on Rockin’ Bones istoo great to elaborate here but the excellent 65-page guideincluded provides the facts and completes this world-classsurvey course on the music that served as the soundtrack tothe nation’s first rock rebellion. Hip (pulp novel styled) pack-aging by Rhino is a foregone conclusion and the audio trail-ers from teenage exploitation flicks that show up periodicallybetween tracks make this set a fun proposition. That said,this is still real roots music. Duane Verh

CLEVELAND FATS INTERVIEW

Coming in our December Online Issue

www.jazz-blues.com

November/December 2006 • Issue 288 PAGE FIFTEEN

Colin Dussualt’s Blues Project “Recorded Live at theMain Street Cafe” - The 10th compact disc from thehardest working band in northeast Ohio.Available Now!

Available online at: www.colindussault.comAvailable online at: www.colindussault.comAvailable online at: www.colindussault.comAvailable online at: www.colindussault.comAvailable online at: www.colindussault.comor at any of the bands’ live shows.or at any of the bands’ live shows.or at any of the bands’ live shows.or at any of the bands’ live shows.or at any of the bands’ live shows.

To order contact: Colin Dussaultc/o Dussault Moving Inc.13000 Athens Avenue,

Cleveland, Ohio 44107. (216) 221-5288

NEW ORLEANS OWNDUKES OF DIXIELAND

Timeless: The Classic CollectionLEISURE JAZZ

As the oldest, continuing tradi-tional/Dixieland jazz band, The Dukesof Dixieland celebrate three decades mu-sic with this four-disc box set beginningthat includes tunes from 1975’s versionof “At Duke’s Place” and to 2006’s “GoTo The Mardi Gras.” An informative 16-page liner booklet tells about the band,the original records and the assembledtunes.

Compiling previously recorded, re-mastered tunes from 16 of the band’salbums, the four discs convey plenty ofNew Orleans jazz expressions that willhave you tapping your feet. Band per-sonnel changes over the years but theirmusic remains solid and lively. Disc 1contains 17 tracks, including “DarktownStrutters Ball,” “Muskrat Ramble,” “BigButter and Egg Man,” “Up A Lazy River,”and more. Disc 2 features 12 more clas-sics such as “When the Saints Go March-ing In,” “When It’s Sleepy Time DownSouth,” “Tiger Rag,” and others. The 14tunes on Disc 3 include “Me and MyShadow,” “Struttin’ With Some

Barbeque,” “Candy,” “I Found A NewBaby,” and other gems. The 15-tune fareon Disc 4 launches with “Royal GardenBlues,” and includes stalwarts such as“Amazing Grace,” “Swing Low, SweetChariot,” “Sweet Georgia Brown, and“Black Bottom Stomp.” A number ofsingers make guest appearances on thediscs.

The band now consists of drums,bass, piano, trumpet, trombone andclarinet and frequently features an ar-ray of guests. Initially led by ConradJones and now led by drummer RichardTaylor, the band began in the summerof 1974 with an appearance at Chicago’sGrant Park and by December, the bandbegan a nightclub engagement at Duke’sPlace atop New Orleans’ MonteleoneHotel that last nearly ten years. Theydelivered another decade of music atLulu White’s Mahogany Hall and, sincethe early 1990s, they’ve been aboardSteamboat Natchez, traveling up anddown the Mississippi River. When Hurri-cane Katrina hit New Orleans, the boatsailed to Baton Rouge for safety but thesix band members scattered around thecountry. They’ve gotten together sincefor tours and fundraisers and continueto tour globally.

To learn more about their itinerary,activities and products, check theirwebsite at www.dukesofdixieland.com .

Featuring stomps, rags, barnburnersand more, this set is a treasure. Brassy,bold and full of rousing beats, their mu-sic begs for a New Orleans style party.

Just cook up some jambalaya, blackbeans and rice, invite in some buddies,and crank up your CD player. What fun!

Nancy Ann Lee

NINA SIMONERemixed & Reimagined

RCA/LEGACYToo cool! Many of these 21st Cen-

tury dance remixes of jazz artists com-ing out fall short of the mark, which iswhy you don’t read about them in thispublication. However, this brand new re-mix of Nina Simone is right on themoney...and then some.

Nina had a knack for igniting heraudience, touching their souls and set-ting them in motion, so what better a sub-ject for a dance remix set. Though not asmuch as Grace Jones – whose voice wasof a similar timbre – Nina’s music was nostranger to the disco and post-discodance scene, especially in Europe, some20-30 years ago, and this set will bring

November/December 2006 • Issue 288PAGE SIXTEEN

her back to today’s action. Several topDJs were on hand for this project, mak-ing the results constantly changing andalways intriguing.

It may start off rather ordinary, butpicks up with the second track, and then,after the horn-laden version of “Ain’t GotNo/I Got Life” (from Hair), things getvery interesting and stay that way untilthe end. The Crosscut remix of “SaveMe” backs Nina’s deep vocals with vo-cal samplings and programmed drums,percussion and piano. Then, “Turn MeOn” continues with the percussion andsampled synth goodies, slowlybuilding...adding repetitive bass lines,guitar, more percussion and cymbalcrashes. It, like many of the tracks, hasa trancelike quality that makes you wantto move and groove. Get it? Good, be-cause rather than describe all of themusic tune by tune, I’ll quit here and sim-ply recommend this to anyone whowants to hear something really modernand different.

Some of the other songs here, allfrom Nina’s RCA period (’67-’74) are“Go To Hell,” O-o-oh Child,” ObeahWoman,” “The Look Of Love,” GeorgeHarrison’s “Here Comes The Sun” andThe Bee Gees’ “To Love Somebody.” I’mglad to say these guys didn’t mess withher lead vocal track on thesesongs...they just had their fun every-where else — a big plus. I think Ninawould have loved this!

It is too bad winter is coming, as Iam looking forward to sliding this intothat horizontal slot in the dashboard,cranking it up and taking a long drive.

Bill Wahl

THE JEFF HEALEY BANDLive At Montreux 1999

EAGLE EYE MEDIA DVD/CD SETBlues-rock guitar phenom Jeff

Healey leads another musical life, whichthis publication will deal with in the nearfuture. But in the meantime this live setfrom the 1999 Montreux Jazz Festivalwill be good news for the many fans ofthis Toronto-based axe-meister. Packedwith solid on-stage renditions of Healeyfavorites, including his debut smash “An-gel Eyes,” Live At Montreux is the sortof straightforward no-frills performanceset this label has consistently turned out.For those who’ve never eyeballed thisblind guitarist’s unique “lap” style, theclose-ups provide a perspective onHealey’s remarkable technique that’sbound to impress. Then there’s his unex-

pected active stage presence that pushesaside preconceptions of what some folkscan do.

Healey’s singing and playing are infine form and his band delivers solid sup-port. Bonus tracks from 1997 reveal alonger-haired Healey and some equallystrong performances. Live In Montreuxis an excellent package and a must-havefor Healey fans.

We reviewed this DVD before, but ithas been re-released in an expandedversion. Now, for five bucks more thanthe DVD-only version, you can get thedouble disc package with a CD contain-ing 12 of the 14 songs from the DVD –10 from 1999 and two from 1997. Youget it all for $19.95 list. What a deal.

Duane Verh

ERIC CLAPTONLive at Montreux 1986

EAGLE VISION DVDEric Clapton’s 1986 Montreux con-

cert featured the guitarist backed bydrummer Phil Collins (of Genesis) andsession musicians Nathan East on bassand Greg Phillinganes on keyboards.

His longtime fans will certainly en-joy the Cream songs, such as the open-ing “Crossroads,” played here in aslower, funkier style. The following song,“White Room,” does stay a bit closer toCream’s version, then they slip into arock-reggae groove for Bob Marley’s “IShot The Sheriff.”

The rest of the set includes severalsongs from his then upcoming “August”album, plus “Miss You,” “Let It Rain,”“Badge (Cream),” and “In The Air To-night,” a Genesis song sung by Collins.Then they return to some more Claptonclassics with J.J. Cale’s “Cocaine,”“Layla,” another Cream song “SunshineOf Your Love” and the closing extendedslow blues “Further On Up The Road.”

Clapton delivers several blisteringsolos throughout the concert, whichclocks in at just under two hours. Thesound quality is very good, with Eagle’susual DTS, Dolby 5.1 Surround and digi-tal stereo offerings; and the video sideof things is certainly very respectable,especially given the timeframe.

Died-in the-wool Eric Clapton fanswill love owning a copy of this DVD.Those more into his earlier Cream yearsand blues-rock offerings will especiallyenjoy the live versions of those songs,though by contrast the “August” mate-rial is understandably less interesting.

Bill Wahl

SANTANASantana III

Legacy EditionCOLUMBIA/LEGACY 2CD SETThis double disc set released by

Columbia/Legacy earlier this year wouldcertainly make a great gift for anySantana fans out there.

Recorded in 1971, Santana III wasthe last to feature the original lineup,which was heard on their debut Santanaand the follow up Abraxas, with the ad-dition of Neal Schon/guitar and CokeEscovedo/percussion & backgroundvocals. The big radio hits were“Everybody’s Everything” and “No OneTo Depend On,” but the real treats comewith instrumental songs such as“Toussaint L’Overture,” “Batuka,” theirunique version of Gene Ammons’“Jungle Strut,” and one with Spanishlyrics, “Guajira.” The Legacy Editionbonus tracks consist of three previouslyunreleased studio tracks from thealbum’s sessions, two of which are ex-tended instrumental jams, “FolsomStreet–One” and “Banbeye,” runningover 7 and 10 minutes respectively. Thefourth bonus track is the single versionof “No One To Depend On,” clocking inover two minutes shorter than the albumversion. But the treats have just begun...

Disc 2 contains 11 tracks recordedlive at the Fillmore West in July of ’71.Three of these were previously releasedon the Expanded Edition of this album’sCD release in 1998, and two others wereissued on the album Fillmore-The LastDays - a 1972 boxed LP set. The remain-ing six, include six minute-plus versionsof “Toussaint L’Overture” and “BlackMagic Woman/Gypsy Queen.” The twofrom the Last Days set are a version ofJoe Zawinul’s “In A Silent Way,” origi-nally recorded by Miles on his album ofthe same name, and another very jazzyinstrumental “Incident At Neshabur” –quite a blowout in fact. The remainingFillmore tracks are “Batuka,” “No OneTo Depend On,” “Taboo,” “Jungle Strut,”“Savor,” “Gumbo” and Tito Puente’s“Para Los Rumberos.”

The sound on these Fillmore cuts isexcellent—to add even more icing onthis well-stacked cake. At $24.98 list,this Legacy Edition is just about twicethe price of the regular single-CD ex-panded edition — but the added songs,especially the 11 Fillmore cuts — are sogood that it is more than worth the price.

Bill Wahl

November/December 2006 • Issue 288 PAGE SEVENTEEN

J. J. CALE & ERIC CLAPTONThe Road To Escondido

REPRISE RECORDSIt has been two years now since J. J. Cale’s last album,

To Tulsa And Back. Now, the the reclusive, very prolificsongwriter who performs and records when he feels like ithas teamed up with Eric Clapton for this collection of 14songs set for release November 7. Clapton cites Cale, whowrote the songs “After Midnight” and “Cocaine,” as a stronginfluence and decided he’d like J.J. to produce his next al-bum to get that “Cale sound.” Well, it worked, and then theClapton album mushroomed into a full-blown Cale/Claptoncollaboration with the two co-producing and both playingguitar and singing on the tunes. The result? Every bit as goodas I anticipated...and then some.

Right off the bat that medium tempo J.J. groove comesat you with “Danger,” one of 11 Cale originals in the set. Theproceedings mostly stay in that groove that makes you wantto bob your head or drive on the highway; some a bit faster,some a bit slower...but all with that classic, wonderful J.J.Cale trademark sound. One that slows way down is a versionof Sonny Terry & Brownie McGhee’s “Sporting Life Blues,”and the next one speeds way, way up as they run through aCale bluegrass song titled “Dead End Road.” The other twonon-Cale songs are Clapton’s ballad “Three Little Girls” andJohn Mayer’s slow blues “Hard To Thrill.”

One song J.J.’s fans will recognize is the freshly updatedversion here of “Don’t Cry Sister,” which was on his classic1979 album titled 5. The disc closes back in that same above-mentioned groove, at a bit quicker clip this time to take it allhome. That instantly recognizable J.J. blend of blues, rock,country and jazz is always a certified treat.

In true J.J. Cale tradition, the music here comes offsounding very sparse...nothing coming even close to over-production. Yet, the listing of musicians is definitely not ashort one. You have Cale & Clapton on guitars and vocals,four drummers, four bass players, the late Billy Preston onHammond organ and electric piano, J.J. on keyboards, asmall battery of guitar players consisting of Doyle BramhallII, Derek Trucks, John Mayer and Albert Lee; Cale’s long-time bandmate Christine Lakeland on acoustic guitar andbackground vocals, Taj Mahal on harmonica, DennisCaplinger on fiddle, three percussionists and four horn play-ers. Obviously they are not all playing at once!

Pick this one up and get yourself or a deserving friendinto that groove! Bill Wahl

Read TheReview

LIVE BLUES ON THE HIGH SEAS

www.jazz-blues.com

A Pricey, ButIncredible Gift

Idea!

click the ‘Notable’ button

Good Stuff InDifferent Genres

We always love to cover interesting CDs and DVDs in othergenres year-round, and it is especially helpful at the holidayseason...so here are several more gift ideas!

THE BYRDSThere Is A Season

COLUMBIA/LEGACY BOXED SETThis new 4-CD/1-DVD set is definitely one of our baby

boomer gift choices for this year’s guide. The handsomelypackaged set serves up 99 songs in all, presented in nearperfect chronological order by recording date.

The Byrds emerged on the scene in the mid sixtieswith a folk-rock blend highlighted by Jim (Roger)McGuinn’s 12-string Rickenbacker guitar and the rich har-monies coming from the vocals of McGuinn, David Crosby,and Gene Clark. While born of both The Beatles and BobDylan, The Byrds took their influences in, and then putout a sound of their own. They would, in fact, record manyof Dylan’s songs, including their first big hit “Mr. Tam-bourine Man.”

This set contains most of the Byrds recordings madefor Columbia Records from their 1965 debut through1971’s Farther Along. You also get some early record-ings, their Jet Set demo, Beefeaters singles and threePreflyte recordings on disc one before the songs fromtheir first two albums, Mr. Tambourine Man and Turn!Turn! Turn!. Most of the band’s best-known songs are onthis disc, such as the title tracks for both albums, plus “IFeel A Whole Lot Better,” “The Bells Of Rhymney,” “All IReally Want To Do,” and three more Dylan covers “ChimesOf Freedom,” “It’s All Over Now Baby Blue” and “TheTimes They Are A-Changin’.”

Disc 2 opens with another hit, “Eight Miles High,”plus “5D (Fifth Dimension),” “Wild Mountain Thyme” and“Mr. Spaceman,” along with many of the songs from theFifth Dimension album of 1966 and their following tworeleases.

Over the next two discs their remaining albums arerepresented. Mixed in throughout the set are five previ-ously unissued live recordings and a total of 30 whichhad been unissued prior to Legacy’s Byrds restorationproject of the 1990s. Disc 4 also includes the band’sfinal recordings, done for Asylum Records in 1973.

The DVD included in the set contains 10 videos takenfrom television appearances in the U.S and Britain dur-ing the 60s as they run through nearly all of their mostpopular songs.

The 100-page book is loaded with photos, essays andall the track and recording information anyone would everneed. Another nice touch is the fact that the song titlesand track numbers are printed beneath each of the cleardisc trays so you don’t have to keep paging through thebook.

If you have a Byrds fan on your shopping list, now orany time of the year, There Is A Season will be right ontime. Bill Wahl

November/December 2006 • Issue 288PAGE EIGHTEEN

MARVIN GAYEThe Real Thing

In Performance 1964-1981MOTOWN/UNIVERSAL DVD

Video footage of Marvin Gaye is rare, and this DVD of-fering 16 performances should tickle the fancy of the latesinger’s many fans. With over 70 minutes of full-length per-formances (rather than clips seen on some other DVDs), youcan see his transition from a fresh new talent in 1964 to be-ing self-assured and on top of his game in 1981.

Many of the earlier songs are from black & white TVshows, such as American Bandstand and Hollywood A-GoGo;and some of those are actually a bit corny – which, lookingback – those shows really were. By video 6 we get full colorand things start to get much better. “Ain’t No Mountain HighEnough” with Tammi Terrell is a fine treat. Then it gets evenbetter with performances from ’69 and ’72 of “I Heard ItThrough The Grapevine,” “What’s Going On” and What’sHappening Brother.” Some of the others seen are “Let’s GetIt On” and “Distant Lover” before “Heavy Love Affair” in 1981brings it all to an end.

Interspersed between some of the performances are in-terview clips from shows such as Dinah And Friends givingyou a bit of an insight into Marvin from a personal stand-point. The sound is quite good throughout and has been madeavailable in stereo, Dolby Digital and 5.1 Surround. Inshort...very nice! Bill Wahl

LOS LOBOSThe Town And The City

HOLLYWOOD RECORDSLos Lobos is certainly not a band I am unfamiliar with. In

my old concert promotion days I brought them to Clevelandtwice. Since that time I have kept up with theirrecordings...always interested in seeing what new stuff theycame up with. Known for their Tex-Mex rock, roots and Mexi-can music with tinges of jazz, blues and more, they began tobranch off into a fresh and different direction on the CD Kiko.Now they have really expanded more on that with this brandnew album, resulting in their finest, deepest, most creativeoffering to date.

The music here is comprised of dark moods and strangegrooves – done mostly at medium or slow tempos and loadedwith emotion. The concept is a look at life in America

BOB MARLEY & THE WAILERSAfrica Unite: The Singles Collection

ISLAND/UNIVERSALWant reggae? You can’t go wrong with Africa Unite, a

collection of 20 gems delivering the best-known songs fromthe late reggae master, plus a few extras. A great choice foranyone who wants to get into Marley’s music, or those on abudget looking to get a lot of bang for the buck, you’ll findsuch classics as “Get Up, Stand Up,” “Jamming,” “I ShotThe Sheriff,” “Buffalo Soldier,” “Waiting In Vain,” “No Woman,No Cry,” “Exodus,” “One Love/People Get Ready” and lotsmore.

Also included are some of his early work and two 2005remixes – “Africa Unite” and “Standup Jamrock,” plus theonly ‘new’ Marley song, “Slogans,” which existed only asMarley’s vocal and acoustic guitar tracks on tape with recentmusic tracks added by a slew of musicians, including EricClapton on guitar and Marcia Ball on background vocals.

Everybody should own a copy! Bill Wahl

LUTHER VANDROSSROY ORBISON

SARAH MCLACHLANLEGACY CDS

Legacy Records has just released three CDs - two singlesand and 2-CD set - which would make fitting gifts anytime.

The late Luther Vandross has quite a few compilationsavailable. The most up-to-date is The Ultimate LutherVandross (Epic/Legacy) which opens with two previouslyunissued songs, “Shine” and “Got You Home.” After thatcomes a program of 16 Luther favorites, which bounce allover the map chronologically, but offer a tidy single-disc col-lection of Luther including his 2003 hit “Dance With My Fa-ther,” taken from the album of the same name which was hisfirst to reach #1 on Billboard’s Album Chart. Some of theother songs here are “Never Too Much,” “Here And Now,” “AHouse Is Not A Home,” “Give Me The Reason,” “Any Love,”“Power Of Love/Love Power,” “Your Secret Love” and twobeautiful duets – “The Closer I Get To You” with Beyoncé and“Endless Love” with Mariah Carey. I’m glad to see they lefthis cover of Stephen Stills’ “Love The One You’re With” off ofthis one, which makes this sweet set an even more desirable,nicely updated compilation for the much-missed LutherVandross.

Roy Orbison, who was just featured in the Rock & RollHall of Fame’s American Music Masters Series is anothersinger who left us way too early. Black & White Night (OrbisonRecords/Legacy) has just been re-released featuring Roy’sperformance at the Coconut Grove nightclub in Los Angelesin late 1987 just a year before he passed away. The come-back concert was aired on TV in January, 1988 and included17 Orbison favorites, like “Only The Lonely, “Blue Bayou,”

“Crying,” “Candyman,” “It’s Over,” “Oh, Pretty Woman” andtoo many more to list here. He had quite a cast of guestsingers on stage for the event (some of whom also play