September/October 2003Issue 264Free

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Brian Auger Brings His Oblivion Express To Night Town

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PAGE TWO September • October 2003 • Issue 264 Jazz & Blues Report

Brian Auger’s

Oblivion Express

Brian Auger’s Oblivion Express willroll into Night Town for the third time onMonday and Tuesday, October 6 & 7 fortwo shows nightly at 7 & 9 p.m. You mightwant to buy your tickets in advance forthis one–you don’t want to miss this train.

The Oblivion Express released itsfirst, self titled album in 1970, but thegroup’s leader, Brian Auger, goes backway before that.

Auger had been playing piano sincehe was a young child in London. His olderbrother had a large collection of Americanjazz recordings by Ellington, Fats Waller,Nat King Cole, George Shearing andmany others,and youngBrian listenedto them all. Inhis teens he’dwas playingjazz at partiesand otherg a t h e r i n g s .Soon there-after, he’d befound playingin some of thetop clubs inLondon withsome of thatcity’s finest. In1964, Auger won first place in two cate-gories in the prestigious Melody Makermagazine’s musicians poll–”Jazz Piano”and “New Star.”

Sometime in the early 60s, Brian wasin a record store where they were playingJimmy Smith’s Back at the ChickenShack album. He was hooked...hebought a Hammond B-3 organ and his lifewas changed. Inspired by Smith andMose Allison, he started the first BrianAuger Trinity as a jazz-blues trio .

Sonny Boy Williamson was living in

London at the time and used to drop by tosee the trio’s shows and would often sit infrom time to time. Auger arranged arecording session shortly beforeWilliamson’s return to the States to docu-ment the rapport the great bluesman hadwith the trio, and some other musicianswere asked to join in on the recording -saxophonists Joe Harriott and guitaristJimmy Page. The resulting album, Don’tSend Me No Flowers, was released justa short time before Sonny Boy died. Hethen put together a band calledSteampacket with Long John Baldry, RodStewart and Julie Driscoll - three singers

on the front line.“After play-

ing withSteampacket,”Auger stated” Iwanted to putmy own bandtogether againto combinenumerous ele-ments–the jazzsounds I hadalways loved,the newly-emerging rock ‘nroll, the kind ofblues I had

learned about from Williamson andBaldry, and soulful funk which goes sowell with the organ. I was trying to build abridge between all these diverse ele-ments and after a while they started call-ing it ‘jazz-rock’ or ‘fusion.’ But you haveto remember, this was still several yearsbefore Miles put out Bitches Brew, so wewere treading in unknown waters.”

The new band went by the name ofthe Brian Auger Trinity with Julie Driscoll,and their first album in 1967, Open, fea-tured their classic (especially if you were

Brian Auger & Julie Driscoll

Jazz & Blues Report September • October 2003 • Issue 264 PAGE THREE

of the late sixties hippie variety) organ-driven version of Donovan’s “Season ofthe Witch.” In 1968 The Trinity becamethe first fusion group to headline at theMontreaux and Berlin Jazz Festivals.After another album, Streetnoise, and atour of the U.S., the group broke up due totypical band problems.

Auger relates, “After the shambles ofTrinity, I was in a cynical mood. I encour-aged everyone in the new band to be cre-ative as possible, and not to worry aboutwhat the record company or the publicmight want. This seemed to be goingagainst the commercial tide and I thoughtwe might be headed the quickest waytoward oblivion, so tongue-in-cheek, Icalled the band the Oblivion Express.”

But the public did like their albums.Sarah Vaughan liked them too, andrecorded three of Brian’s songs. Thesame year Auger was the first to take firstplace in both the Jazz and Rock cate-gories in the major European Rock & Folkmagazine. Their breakthrough album wasthe very jazzy Closer to It – of whichAuger says “We called it that because wegot the exact sound I was looking for, andit went on Billboard’s Rock, Jazz and R&Bcharts and really established me in theU.S.” The Oblivion Express toured withjazz, rock and R&B acts such as HerbieHancock & the Headhunters, Chick Coreaand Return to Forever, Weather Report,The Crusaders, Earth Wind & Fire, BlueOyster Cult and ZZ Top.

In 1977 Brian had a wonderfulreunion with Julie Driscoll (now marriedand known as Julie Tippets) for the albumEncore on (I believe) Warner Bros.Records. It offered very memorable ver-sions of classics from The Animals andTraffic – “Don’t Let Me Be Misunderstood”and “No Time To Live.”

As the nineties began, Auger gottogether with Eric Burdon and their bandtoured for four years. Brian’s son, Karma,played drums for the band for their lastyear. In the mid-nineties, Auger got therights to re-release many of his cataloguealbums worldwide and they appeared onCD for the first time. The new OblivionExpress was formed, and Auger was sur-prised to find the media hailing him as the“Godfather of Acid Jazz” as he was tour-ing Europe.

The latest addition of OblivionExpress is a family-oriented affair bringingsome youthful spunk into the equation.Brian still plays the Hammond B-3 whichhe bought in 1968, his son Karma is ondrums, his daughter Savannah is onvocals, Don Lutz plays bass and ChrisClermont is on guitar. The new band hasan album titled Voices Of Other Times

on Marimar Records which features bothvocals and instrumentals. There arebrand new versions of songs from previ-ous Auger albums – “Isola Natale” (previ-ously on Open) , the title track which wasfirst heard on Closer To It), RichieHaven’s “Indian Rope Man” (originally onStreetnoise) and “Never Gonna ComeDown” (first heard on HappinessHeartaches).

I first became familiar with Augerfrom the Trinity albums when I was a bityounger and wilder. Luckily I lived throughthat period in time and am still able toenjoy his music today, as I have been afan ever since.

I’ll be on that train for sure. Bill Wahl

Some Notable Quotes“Brian Auger is one of the best B-3

artists I have ever heard in my life. Thistechnique is awesome and the amount ofenergy he generates is unparalleled andrelentless. He is a tremendous talent witha wonderfully warm and compassionatepersonality, a combination that is hard tobeat. He deserves all the accolades.”

-Herbie Hancock

“Those who remain oblivious to the obvi-ous delights of Brian Auger’s Oblivion Expressdo so at their own risk.” -The Beastie Boys

My favorite rock artists are VanMorrison, Bonnie Raitt, Brian Auger andLoudon Wainwright.” -Mose Allison

“When I first heard Brian’s album‘Definitely What’ I could not believe howahead of its time it was. A visionary in hisown time with music that still comes overfresh today – and he’s still doing it just asgreat – keep up the good work mate!”

-Simon Bartholomew(The Brand New Heavies)

“Brian – Brian Man, You’re Crazy!”-Jimmy Smith

“His power and love for the musicwas the foundation for one of the mostmemorable tours I have ever done. Withhis great solid foundation it made it possi-ble for us to blow free. Brian is true inspi-ration to work with despite the fact t hat heis an Englishman! Brian is a badmutha!!!” -Les McCann

“Brian Auger is a superb technicianon his instrument but he also plays withfeeling that is a rarity. I am looking for-ward to recording with him in the nearfuture.” -Eddie Harris

“Mr. Brian Auger is a personal friendand a great artist. I have had the oppor-tunity to work with Brian just as a trio. Hemade his keyboard sound like a big band!He is a composer, arranger, completekeyboard player and a great accompanist.I enjoy playing with Brian – he can reallymake it happen.” -Louis Bellson

“Brian is one of the originators of thehigh energy Hammond organ style alongwith Larry Young in the tradition of JimmySmith. I remember in the late sixtieswhen Brian and I were in London togeth-er. Our paths crossed at different timesboth socially and also playing with thelikes of Jimi Hendrix and the guys fromCream. I consider Brian a great friendand musician.” -Tony Williams

The Oblivion Express Today

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September • October 2003 • Issue 264PAGE FOUR

Pat Metheny

JazzFest presentsThe Pat Metheny Trio November 9 at Severance Hall

Tri-C JazzFest Cleveland and Jazz onthe Circle present an evening with The PatMetheny Trio at Severance Hall, 11001Euclid Avenue, on Sunday, November 9 at7:30 p.m. The award-winning guitarist will bejoined by bassist Christian McBride anddrummer Antonio Sanchez in a specialacoustic trio concert.

Pat Metheny has achieved acclaimfrom critics and peers, winning countlesspolls as “Best Jazz Guitarist” and numerousgold records and Grammy awards for workin rock and jazz. Pat Metheny’s body ofwork, as part of a writing team with key-boardist Lyle Mays, includes compositionsfor solo guitar, small ensembles, electric andacoustic instruments, large orchestras, andballet pieces, with settings ranging frommodern jazz to rock to classical.

In just the last decade, ChristianMcBride has arguably become the mostacclaimed acoustic and electric bassist toemerge from the jazz world. In addition tohis many solo recordings, McBride has beenfeatured on over 200 recordings and hastoured and/or recorded with artists such asDavid Sanborn, Chaka Khan, Ray Brown,George Benson, Diana Krall and Sting.

Drummer Antonio Sanchez, a native ofMexico, is a Magna Cum Laude graduate ofBerklee College of Music in Boston. At theNew England Conservatory in Boston, hestudied with George Garzone and DaniloPerez. Sanchez has played with the lateDizzy Gillespie’s United Nation Orchestra,John Patitucci’s Quartet and Victor Mendoz,among others. He was first noticed by PatMetheny while playing on a double bill inEurope with the Danilo Perez Trio.

Tickets are on sale now for$50/42.50/37.50, at the Severance Hall boxoffice, or can be charged by phone by calling216/231-1111 (toll free 800-686-1141). Orderonline at www.clevelandorchestra.com

BLUES WATCHBy Mark Smith

New Release blues…. Wrap upyour summer with these hot new releas-es: Joe Krown- Down & Dirty; VariousArtists- Genuine Houserockin’Christmas; Eric Bibb- Natural Light;Scott Ellison- Bad Case of the Blues;Tony Furtado- Live Gypsy; LosStraitjackets- Supersonic Guitars in 3-D; North Mississippi Allstars- Polaris;James “Blood” Ulmer- No Escape fromthe Blues: The Electric Lady Sessions;ZZ Top- Mescalero; Various Artists-Martin Scorsese Presents the Blues (Original Soundtrack recordings includ-ing : Feel Like Goin’ Home; PianoBlues; The Soul of a Man; Warming Bythe Devil’s Fire, Godfathers & Sons;Red, White & The Blues and The Roadto Memphis) ; Blind Boys of Alabama-Go Tell It on the Mountain; ReneeAustin- Sweet Talk; Big Dave- BluesFrom the Middle; Rory Block- last FairDeal Gone Down; Jay McShann- Goin’to Kansas City; Johnny B. Moore-Rockin’ in the Same Old Boat; Big BillMorganfield- Blues in the Blood; DukeRobillard- Exalted Lover; Bobby Rush-Live at Ground Zero; Muddy Waters-Muddy “Mississippi” Waters- LegacyEdition; Martin Scorsese presents theblues- single disc collections by TheAllman Brothers Band; Eric Clapton;Son House; Robert Johnson; Keb’ Mo’;B.B. King; J.B. Lenoir; Taj Mahal; StevieRay Vaughan; Muddy Waters; BessieSmith; Jimi Hendrix; Mississippi FredMcDowell- Heroes of the Blues: TheVery Best of; Sonny Boy Williamson-Bluebird Blues: The Secret History ofRock & Roll; Various Artists- The BluesCame from Memphis; Various Artists-The Blues Came from Texas; VariousArtists- Blues Guitar Heroes; SisterRosetta Tharpe- The Gospel of theBlues; Dr. John- All By Hisself: Live atthe Lone Star ’86; Albert King- Live ’69;Robert Lockwood Jr- The Complete TrixRecordings; John Mayall- A hard Road-Blues Breakers with Peter Green; MariaMuldaur- The Very Best of; Joe LouisWalker- Heritage of the Blues; John LeeHooker- End of the World Blues and,finally, Triple Trouble ( Tommy Castro,Jimmy Hall and Lloyd Jones- backed byReese Wynans, Tommy Shannon andChris Layton of Double Trouble);Delbert McClinton- Live (two discrelease recorded April 03)…. That’s itfor this month. I need to squeeze thoselast couple of drops of sunshine out ofsummer!! See ya.

Norman Brown & Brian Culbertson

to play Allen Theatre September 18An enduring presence on the jazz

charts and a bounty of industry awardscharacterize the careers of NormanBrown and Brian Culbertson, two smoothjazz artists who exemplify the mindsetthat musical adventure is as much aboutthe journey as the destination. TheWarner Bros. Iabelmates have teamed fora concert tour that will spotlight them atPlayhouse Square’s Allen Theatre,Thursday, September 18 for one 8 p.m.performance, where the hits of both artistswill be showcased, as well as numbersfrom their latest albums: Just Chillin’(Brown) and Come On Up (Culbertson).

Guitarist Norman Brown is wellknown for powerful live performances thatcreate a party-vibe, both onstage and inthe audience. The fact his name is oftenmentioned in the same sentence as mas-ter guitarists Wes Montgomery andGeorge Benson is ironic for Brown, who,at age eight, vowed to make the guitar hislife after hearing the mind-exploding bril-liance of Jimi Hendrix. It took Brown’ssteelworker father to steer his son to theequally life-changing influence of WesMontgomery, which turned the boy’smusical direction from rock to jazz.

On his way to becoming one oftoday’s freshest and most innovativejazz/urban virtuosos, Brown addedGeorge Benson to his list of seminal influ-ences. Motown Records liked what theyheard, signed him, and his resulting threealbums between 1992 & ‘96 all met withcritical acclaim. A recording “lull” ensueduntil 2000 due to the guitarist’s in-demandtouring schedule... the same happy rea-

Norman Brown

Jazz & Blues Report

Jazz & Blues Report

the JOURNEY

A Mind, Body & SoulEXPO

alternative medicine, aromatherapy, crystals, nutritional supplements,spiritual guidance, astrology, intuitive readers, healing work, massagetherapy, Zen meditataion, informative lectures, workshops, demonstra-tions, Yoga, Tai Chi, QiGong, Sacred Dance, Hypnosis, TelepathicCommunication with Animals, Drumming, Healing Harp, Raw FoodPreparation, candles, incense, herbs, and much more...

The EXPO will featureover 100 vendors in

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September 5, 6, & 7, 2003

LakelandCommunity

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Lakeland Community Collegeis located 20 miles East ofCleveland located off of

Interstate 90 at the State Rt. 306 exit

With Headline Speakers & MusicDr. Wayne Dyer • Neale Donald Walsch

Dr. William Glasser • Earnie Larsen • Wah!

Dr. Wayne Dyer Neale Donald Walsch

Dr. William Glasser Earnie Larsen

Music & Chants by Wah!

Friday 5-11 PM, Saturday 10 AM - 11 PM,Sunday 10 AM - 6 PM.

PAGE FIVESeptember • October 2003 • Issue 264

3

PAGE SIX September • October 2003 • Issue 264 Jazz & Blues Report

son a three-year recording hiatus preced-ed 2003’s Just Chillin’ CD.

Brian Culbertson’s meteoric riseshould not be mistaken for overnight suc-cess. Like Brown, Music 101 also beganat age eight for Brian, first on piano. Atage nine it was drums. Next came trom-bone at 10, followed by bass at 12.

As early as junior high, his talents asa writer were evident when his 7th gradepiano recital consisted entirely of Brian’soriginal compositions. A trumpet-playing,award-winning high school jazz banddirector was so impressed with Brian’smusic prowess, he allowed the pre-teento build a recording studio in the director’sbasement. Never mind that the banddirector was also Brian’s dad... he knew arising star when he saw one. (The seniorCulbertson was eventually rewardedtwofold: by his son’s success, and with ajob...as one of the musicians in Brian’stouring band)

Merging his enthusiasm for musicwith the emerging technology of comput-ers, Brian became a high school studentby day and a composer/producer by night,garnering a list of prestigious Downbeatstudent awards for trombone, piano andcomposition. By the time he was a 20-year-old college student, Brian wasauthoring commercial jingles for corpo-rate giants the likes of McDonald’s, Sears,United Airlines and Oldsmobile.

In 1994, he recorded his smooth jazzdebut CD in a bedroom of the Chicagoapartment he shared with three collegebuddies. Self-produced and unencum-bered by industry expectations, LongNight Out was an instant sensation,spending 10 consecutive weeks in theTop 5 on the Contemporary Jazz Charts(two of those weeks at #2). That debutrelease spawned a run of chart-toppingCDs and #1 singles. Seven album later,Brian enjoys success and stature as oneof the most in-demand artists in the busi-ness for production and writing collabora-tions.

Tickets for the Brown/Culbertsonconcert are $25 & $30, on sale atPlayhouse Square’s Box Office; online atwww.playhousesquare.com; tickets.comoutlets at Tops Friendly Markets; byphone at 216 241-6000 or toll-free at 800-766-6048.)

Back By Popular Demand!“The Song Is You”

Presented by Tri-C JazzFest

Tri-C JazzFest Cleveland, with thesupport of WRMR 1420 Classic Pops AMand The Andrews Foundation, presents asecond season of “The Song Is you”. Thefive-part series will begin on Sunday,October 5th at 3 p.m, at the CCC MetroCampus Mainstage Theatre. Hosted byradio personality Bill Rudman and pianistJoe Hunter, the sessions will feature livemusic, recordings, videos and guest vocal-ists Susan Hesse, Barbara Knight, ErinKufel, Vince Mastro and Evelyn Wright.

Admission is only $10 at the door –no advance reservations necessary.

The Song Is You ProgramSESSION 1: October 5 (3 PM)Irving Berlin: The Proud Father of

20th Century Song Featuring vocalistsErin Kufel and Vince Mastro

SESSION 2: November 30 (3 PM)Richard Rodgers and Lorenz Hart:

It’s Smooth, It’s Smart, It’s Rodgersand Hart Vocalist Barbara Knight

SESSION 3: January 11, 2004 (3PM) Peggy Lee: The Art of the Singer

Up-close-and-personal look at the 50-year career of a legendary American singer,featuring rare film and interview clips

SESSION 4: March 4 (3 PM)Cole Porter: Mr. SophisticateFeaturing vocalist Susan HesseSESSION 5: April 18, (3 PM)I Love The Blues – She Heard My

Cry: The Impact of the Blues on AmericanPopular Song Featuring vocalist EvelynWright

Directions and Parking: The CCCMetro Main Stage Theatre is located at2900 Community College Avenue in down-town Cleveland. At Woodland Avenue,near East 30th, turn right into Entrance #6for underground parking. Fifty cents (twoquarters) will be needed to exit.

For more information, call 216/987-4400 or visit us online at www.tricjaz-zfest.com

About The HostsBILL RUDMAN is a music historian

and broadcaster who specializes in clas-sic American song.His radio program,“Life Is a Song” is heard on WRMR 1420AM and his nationally syndicated“Footlight Parade” is carried locally bothon WRMR and WCLV 104.9 FM.

JOE HUNTER is a versatile pianistwho has performed with many nationalartists, including Ernestine Anderson,Buddy DeFranco and Scott Hamilton. Hecurrently serves on the Jazz StudiesFaculty of Cuyahoga Community College.

Jazz on the CircleThe ninth season of the award-win-

ning Jazz on the Circle concert series willkick off in October. A collaborationbetween Severance Hall, the ClevelandMuseum of Art, the Northeast Ohio JazzSociety and Tri-C JazzFest Cleveland, theseven-concert season features interna-tionally-acclaimed guest artists.

Jazz on the Circle concerts are pre-sented in Reinberger Chamber Hall andthe Concert Hall at Severance Hall and inGartner Auditorium at the ClevelandMuseum of Art

The 2003-2004 season begins onOctober 12 with the Benny Green andRussell Malone Duo in ReinbergerChamber Hall at Severance Hall. PianistBenny Green and guitarist RussellMalone have brought together a recordingand touring project dedicated to the mem-ory of the late jazz bassist Ray Brown.Compositions being performed includestandard jazz tunes as Thelonious Monk’s“Ask Me Now,” Benny Carter’s “WhenLights Are Low,” Cannonball Adderley’s“Wabash,” Billy Strayhorn’s “The Intimacyof the Blues,” and John Coltrane’s“Moment’s Notice”/”Lazy Bird.”

On November 9 Tri-C JazzFestCleveland will present the Pat MethenyTrio with Christian McBride and AntonioSanchez in Severance Hall’s ConcertHall. Winner of countless polls as “BestJazz Guitarist” and 14 Grammy Awards,Pat Metheny has performed with artists asdiverse as Steve Reich, OrnetteColeman, Herbie Hancock and DavidBowie. Metheny’s body of work includescompositions for solo guitar, small ensem-bles, electric and acoustic instruments,large orchestras, and ballet pieces, withsettings ranging from modern jazz to rockto classical.

On December 6 Paquito D’Riveraand New York Voices will present“Brazilian Dreams” in Gartner Auditoriumat the Cleveland Museum of Art. PaquitoD’Rivera’s interest in vocal quartet musicbegan in the 1960s in Havana, listening toradio programs on Miami’s WQAM thatfeatured wonderful vocal quartet harmonyfor commercials and station IDs. His fas-cination with Brazilian music also beganaround this time, coinciding with theBossa Nova movement. D’Rivera haddreamed of one day incorporating his loveof American vocal quartet music with themelodies and harmonies of his favoriteBrazilian composers. With the help of thevocal stylings of New York Voices,D’Rivera’s “Brazilian Dreams” have cometrue.

Log On...www.jazz-blues.com

PAGE SEVENJazz & Blues Report September • October 2003 • Issue 264

On January 17, 2004, TerenceBlanchard will perform in GartnerAuditorium. One of the most importantmusicians, composers, and bandleadersof his generation, and winner of DownBeat magazine’s Readers Poll in the Artistof the Year, Trumpeter of the Year, andAlbum of the Year (2000) categories,Terence Blanchard has also enjoyed suc-cess at the top of the Billboard jazzcharts. He is a multi-Grammy Awardnominee, most recently in 2002 for “Lostin a Fog” from his album Let’s Get Lost.His latest release on Blue Note, entitledBounce, consists of all original music.

On February 29 the Uri Caine Trio willperform in Reinberger Chamber Hall atSeverance Hall. Uri Caine is a pre-emi-nent “straight ahead” jazz pianist and a“cutting edge” innovative pianist, musi-cian, and composer who is not afraid toexperiment with new forms. Utilizinginstrumentalists, vocalists, assorted streetsounds, and digital recording effects,Caine makes well-disciplined and well-thought-out music that cuts across all cat-egories, encompassing jazz, classical,synthesizer, ethnic and religious music. Inaddition to his Jazz on the Circle perform-ance, Uri Caine will make his ClevelandOrchestra debut as soloist in concerts onFebruary 26, 28, and March 2, 2004,

when Franz Welser-Möst will conduct theUnited States premiere of Beethoven’sDiabelli Variations in an arrangement forpiano and orchestra by Uri Caine.

On March 13 the Caribbean JazzProject will present a concert in the ArtMuseum’s Gartner Auditorium. One ofthe most refreshingly innovative groups inLatin jazz today, the Caribbean JazzProject never fails to surprise and delightlisteners with their inspired melding ofjazz and Latin music. Whether putting afresh, Latin spin on jazz standards orbringing their compelling original compo-sitions to life with distinctive artistry andvirtuosity, the Caribbean Jazz Project hascreated a signature sound unlike anyother group in Latin jazz.

The ninth season of Jazz on theCircle concludes on May 2 with the JazzAcross The Americas concert in theReinberger Recital Hall at SeveranceHall. The Jazz Across the AmericasConcert is being co-curated by theChicago Jazz Series, the ContemporaryArts Center of New Orleans, Detroit JazzFestival, Kuumbwa Jazz Center (SantaCruz, CA), MCG Jazz, Monterey JazzFestival, Syracuse JazzFest, Tri-CJazzFest Cleveland, VancouverInternational Jazz Festival/Coastal Jazz &Blues Society (Vancouver, B.C.), and “We

Always Swing” Jazz Series (Columbia,MO). The project will bring together artistsfrom each region, forming an “all-star”ensemble to celebrate North America’srich musical history. The ensemble’srepertoire will represent each region’sconnection and heritage to jazz. JazzAcross The Americas will premiere inPittsburgh and will then appear inCleveland for one day on the Jazz on theCircle series.

Series subscriptions for Jazz on theCircle 2003-2004 are currently on sale.

Single tickets for all Jazz on theCircle concerts go on sale Tuesday,September 2.

Tickets are available in person at theSeverance Hall Ticket Office, by phone at(216) 231-1111 or 1-800-686-1141 oronline at www.clevelandorchestra.com .

There are no added service chargesfor tickets purchased through theSeverance Hall Ticket Office.

Jazz on the Circle is a collaborationbetween the Musical Arts Association,Cleveland Museum of Art, Northeast OhioJazz Society and Tri-C JazzFestCleveland. Funding is provided by theKulas Foundation and John P. MurphyFoundation.

Promotional support is provided byWCPN.

September • October 2003 • Issue 264 Jazz & Blues Report

We Only Bring You The Cream of the Crop

JOE LOVANO NONETOn This Day...At the Vanguard

BLUE NOTECaptured in live performance on

the final night of a week-longengagement at Manhattan’s VillageVanguard, saxophonist Joe Lovano’sNonet delivers a sophisticated set ofseven tunes by Tadd Dameron, JohnColtrane, David Arksin, BillyStrayhorn and two Lovano originals.This is a communal effort with eachplayer contributing top licks.

Three years after Lovano’s firstnonet album (the Grammy winner52nd Street Themes), the leader andhis cohorts pick up where they leftoff, expressing bebop, swing andboundary-stretching themes onarrangements by Lovano, Willie“Face” Smith and Steve Slagle.

The superb rhythm section ofpianist John Hicks, bassist DennisIrwin and drummer Lewis Nash, pro-vides plenty of punch and artistry.

Horn players include trumpeterBarry Ries, trombonist LarryFarrell, alto saxist Steve Slagle,tenor saxophonists George Garzoneand Ralph Lalama, and baritone saxman Scott Robinson, all solid inno-vators and/or leaders on the NewYork City scene.

One of Lovano’s best perform-ances is his expressive, dreamy soloon Coltrane’s “After the Rain,”arranged by Slagle. Smith’s smooth,tight arrangements and Lovano’sprime solos on Dameron’s “Focus”and “Good Bait” rank among thebest highlights.

Throughout, Lovano solos withfinesse but doesn’t hog the spotlight.Rather, he (and the other soloists)enhance well-chosen tunes andattractive arrangements to makethis a pleasurable listen from start tofinish. Nancy Ann Lee

PAGE EIGHT

EDDY “THE CHIEF”CLEARWATER

FEATURING

LOS STRAITJACKETSRock ‘N’ Roll City

BULLSEYE BLUES & JAZZEddy Clearwater came upon his

name playing upon the stage name ofChicago superstar, and local 1960’scompetitor, Muddy Waters.

Any one with a knack like thiscould be expected to have a light-hearted nature, and the blues-meets-country guitarist/singer usually deliv-ers this nature on disc, Rock ‘N’ RollCity is no exception.

A couple of nicely done minor-key tracks aside, this is an easy-goin’set of party rock with deep roots over-tones. Residing somewhere betweenScreamin’ Jay Hawkins andGatemouth Brown, Clearwater’s play-fulness and throwback sensibilitiesmesh well with the roots instrumental-ist Straitjackets.

No brilliant moments, perhaps,but fun and entertaining.

Duane Verh

JACO PASTORIUS BIG BANDWord of Mouth Revisited

HEADS UPThe Peter Graves Orchestra,

renamed “the Jaco Pastorius BigBand” for this venture, invites some ofthe finest electric bass players on thecontemporary jazz scene as guestartists to perform Jaco Pastorius’music. Bassists Victor Bailey, RichardBona, Jeff Carswell, Jimmy Haslip,Christian McBride, Marcus Miller,David Pastorius (Jaco’s nephew),Gerald Veasley and Victor Wooten arebacked by a noteworthy orchestraand additional guests.

This 14-musician tribute banddevoted to the legacy of the leg-endary bassist is the life-long projectof trombonist/conductor Graves, whofirst hired the late Jaco Pastorius in1971 for a five-year stint as bassistwith his orchestra, then the houseband at Bachelors III in Ft.Lauderdale, FL. Graves’ orchestraserved as the foundation for Pastoriusto explore his brilliance and talents aswriter and arranger.

The 13 tracks featured span mostof Pastorius’ diverse and prolific

career, from his early years withGraves’ orchestra, to reformist forayswith Weather report and his own Wordof Mouth Band. One of Jaco’s favoriteHerbie Hancock tunes, “WiggleWaggle,” features Graves’ currentlineup playing around a bass trackoriginally live-recorded by Pastoriusat a Sanibel Island gig in the late1970s. Other selections are “TeenTown,” featuring Wooten; “Punk Jazz”starring Bona; “Barbary Coast” and“Elegant People” spotlightingVeasley; “Continuum” highlightingHaslip; and more. While all of the basssoloists satisfy listener expectations,other highlights include an awesometenor sax solo by Ed Calle on thebrisk-paced “Domingo” and solos byMike Levine (piano) and Billy Ross(piccolo) on the racing “(Used to BeA) Cha Cha.”

An added bonus to this excitingalbum is that it’s an enhanced CDwhich also contains videos, artist pro-file and more. The liner booklet con-tains photos and extensive biographi-cal notes, comments from Graves andSound Consultant Larry Warrilow(Graves’ first guitarist who wrotearrangements in synergistic collabo-ration with Jaco), and historicaldetails about each tune. Seven inter-lude tracks feature Jaco’s actual spo-ken comments.

This is an exceptionally appealingalbum. One can only hope The JacoPastorius Big Band will continue on(much like the Mingus Big Band) toperform Pastorius’s charts and towrite new compositions in the spirit ofthe legendary bassist. For moreinformation on Jaco, visit the officialwebsite, www.jacopastorius.com.

Nancy Ann Lee

CLASSIC BLUES ON A BUDGET50th Anniversary Super Savers

DELMARKIn its continuing celebration of a half-

century of blues and jazz recording, thissturdy Chicago-based label has releasedseveral budget-priced discs highlightingspecific genres and styles contained intheir venerable catalog. Each one cov-ered here provides nice glimpses into itsspecialty and makes for a nice gatewayto the specific turf they cover.

For those who got caught up in the90’s “swing” scene- actually a “jump”movement- the fare on For Jumpers

PAGE NINEJazz & Blues Report September • October 2003 • Issue 264

12387 Cedar Road Cleveland Hts.

Reservations: 216-795-0550

MON SEPT 8 7 PMWILLIE & LOBONarada rec. artists. International gui-tar/violin duo in Night Town debut.

TUES SEPT 9 7 PMMICHAEL MANRINGElectric bass player extraordinaire.

WED SEPT 17 7 PMNEW BARLEYCORN Half-way to St. Patty’s Day.

MON SEPT 22 7 PMYELLOWJACKETSHeads Up rec. artistsLegendary jazz fusion group.

THURS SEPT 25 7 PMMAHAVISHNUPROJECTNYC group’s tribute toJohn McLaughlin.

MON & TUES OCT 6-7 7 & 9 PMBRIAN AUGER’SOBLIVION EXPRESSFrom London. The Godfather of“Acid Jazz”. Legendary B-3 player.

TUES SEPT 16 7 PMBEPPE GAMBETTAFrom Italy. Master finger-pickingguitarist performs solo.

SUN-MON SEPT 14-15SUN 5 & 7:30 MON 7 & 9 PMMONTY ALEXANDERTelarc rec. artist. Jamaican pianist.

SUN OCT. 12 7 PMMIKE PETRONE TRIOJOHN PETRONE TRIO

Cleveland legends. Father & Son pianists meet for the first time.

TUES SEPT 23 7 PMRACHEL Z TRIOBack from tour with Peter Gabriel’sband. Stunning pianist.

WED & THURS OCT 8-9 7 & 9 PMLAVAY SMITH& RED HOT SKILLET LICKERSSultry San Francisco vocalist withher all-star 8-piece band.

MON OCT 13 7 PMTRIO DE PAZFrom Brazil. Malandro rec.artists. Featuring RomeroLubambo, Nilson Matta &Duduka Da Fonseca.

10/5 . . . . . . . . . . JACKIE WARREN & LARRY MUEHLING

10/19 . . . . . . . . . . . HOWARD LEVY& ANTHONY MOLINARO

10/21-22 . . MASTERS OF GROOVE11/2-3 . . . . . . . . . . . JIMMY SCOTT11/6 . . . . . . . . BATTLEFIELD BAND11/17-18 . . . . . . . . BILLY COBHAM

Only may frame that sound in asmoother, less frenetic setting than thatof last decade’s revivalists. In addition,jazz fans may figure out how many asolid post-WW II jazzman made a livingplaying for dance crowds in between“real” jazz gigs. There’s plenty of qualityblowing from the likes of Illinois Jacquet,Arnett Cobb and others. The eventualtransit of jump to r&b is indicated onvocalist Erline Harris’s track.

The second full generation ofChicago blues flourished on that town’sWest Side in the 1960’s and Delmarkwas well-represented with the likes of thesplendid late guitarist/vocalists MagicSam and Luther Allison. Also notable onWest Side Chicago Blues is a raucouslive track from Otis Rush and some no-nonsense instrumental work from gui-tarist Jimmy Dawkins.

Blues From Up The Country fea-tures nice sides by Robert Nighthawkand Big Joe Williams and a couple ofspirited takes from the trio of SleepyJohn Estes, mandolinist Yank Rachelland harmonica player Hammie Nixon.While not definitive anthologies of thesediverse styles, these discs are great sam-plers and, perhaps most importantly,very listenable stand-alone sets.

Duane Verh

PAT METHENYOne Quiet Night

Solo Baritone GuitarWARNER BROS.

Elements.... There are two;Element 1, the baritone guitar, origi-

nally made in the late 50s by Danelectro.It differs from a standard guitar in that itis tuned a fifth lower,. This allows you toplay bass and chords on the same instru-ment giving the player a wide range ofharmonic possibilities.

Element 2, Pat Metheny, made inthe early 50s by Dave and Lois. He dif-fers from the standard guitar player inthat he possess superior skills, imagina-tion, and knows how to make use of awide range of harmonic possibilities.

It all happened in late November of2002 in his home studio in New York.The recording, not intended for release,was just an evening of playing for himselfand experimenting around.Remembering a low Nashville tuning thathe had worked with years ago on thetune “The Search”, and his newlyacquired baritone guitar, made byCanadian luthier Linda Manzer. The

recording was simply one of those... geeI wonder what this will do. So with onemic, one guitar and one guitar player,and little-to-no studio effects or process-ing, One Quiet Night Solo BaritoneGuitar was born, and is quite the peace-ful journey exploring the rich, naturaltones and subtones of the instrument.

Consisting of some new composi-tions and familiar Metheny tunes includ-ing a cool version of Last Train Home, healso includes the Keith Jarrett tune MySong, the very popular Don’t Know Whywritten by Jesse Harris and popularizedby Norah Jones, as well a classic goldenoldie of Gerry and the Pacemakers,Ferry Cross the Mersey – probably myfavorite on the disc.

Metheny said “There are occasionalflaws in the tuning and the recording itself- it was intended for nothing more thanmy own research and the pleasure ofplaying at home one night,” which is kindof one of the things I like about it. You canhear him working through the tunes andget a bit if a glimpse into the musicalthought process. It’s also like having yourfriend Pat come over to your house andjust start noodling around on his guitar,and you just sit there and drift away.......

Jim Martin

ANSON FUNDERBURGHAND THE ROCKETS

Which Way Is Texas?BULLSEYE BLUES AND JAZZAfter a four year recording hiatis,

Anson Funderburg and crew deliver theraw boned Texas blues and fifties stylerock that have kept them on the road fortwenty five.years. True to form, the bandrelies on substance and finesse ratherthan instrumental flash to make its point.

While Funderburgh can bend thestrings with the best of them he’s contentto fill in the spaces around vocalist SamMyers’ harmonica, Gentleman JohnStreet’s stinging piano and the brassyhorn charts laid down by The TexasHorns (Mark Kazanoff on tenor and altosax, John Mills on baritone sax and GarySlechta on trumpet). That’s not to saythat he’s a mere rhythm player here- cutslike Can We Get Together and Toss andTurn prove to the contrary.

It’s simply that that this is a band,not a guitar solo project where the othermusicians simply provide a backdrop forendless soloing. With echos of MuddyWaters and John Lee Hooker fuelingmuch of the sound, Myers regales listen-

PAGE TEN September • October 2003 • Issue 264 Jazz & Blues Report

ers with tales about getting rid of a nogood woman, Some Sunny Day whichfeatures some fine single string soloingby Funderburg, the celebration the ladiesthrow when he’s back in town, HoodooParty, which is driven by New Orleansstyle piano, and the time that is wasted ifgrowing up means all you have left to dois get old, Don’t Turn the Child awayfrom Heaven.

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September

October TUESDAYS ERNIE KRIVDA & THE FAT TUESDAY BIG BAND

WEDNESDAYS MY THREE SONS

THURSDAYS THE SAVANNAH JAM WITHBAD BOYS OF BLUES

MONDAY EDDIE & THE EDSELS

SPECIAL EVENTSTACEY MITCHHART

SUNDAY OCTOBER 12TH

OCTOBER 17TH HALFWAY TO ST. PATRICK’S DAY PARTYMORRISON & MCCARTHY 5 TO 8PM

NASHVILLE’S

2002 MALE BLUES

GUITAR & VOCALIST OF THE YEAR & BLUES U CAN-USE BAND

the disc features Funderburgh’s firstrecorded vocals on one Woman I Needand Toss and Turn both of which revealthat he could keep the Rockets in flightshould Myers be unable to suit up for agig.

Overall, another fine release fromthis veteran band. Mark Smith

SHIRLEY HORNMay the Music Never End

VERVEVocalist/pianist Shirley Horn recent-

ly faced major surgery that prevents herfrom playing the piano on this (her sev-enth) Verve recording. Hence, Hornfocuses on singing with piano supportfrom George Mesterhazy (9 tracks) andguest Ahmad Jamal (2 tracks). BassistEd Howard and drummer Steve Williamsround out the rhythm team and RoyHargrove guests on flugelhorn on twotracks.

Horn has a distinctive vocal stylethat’s been lauded by critics and othervocalists as “the personification of theword ‘cool’,” “the preeminent jazz vocal-ist of her generation,” and “the sexiestvoice alive.” Indeed, whether Horn’ssinging a ballad or a swinging bluesnumber, she delicately shapes each songfor peak emotional impact.

Spanning the decades, she’s select-

ed all-time favorites such as JohnLennon’s “Yesterday,” Duke Ellington’s“Take Love Easy,” the Ray Evans-JayLivingston standard, “Never Let Me Go,”and more. Alone worth the album priceis her near-whispered, impassionedinterpretation of the familiar JacquesBrel tune, “If You Go Away.” Horn totallyreinvents the standard, “Everything MustChange,” which features her nearly spo-ken lyrics against pulsing rhythms.Hargrove’s warm flugelhorn fills and soloon Harold Arlen’s “Ill Wind” add beauti-fully to Horn’s heartfelt lyrics.

Horn and colleagues turn each songinto a treasure. These musicians are proswho never disturb the steamy, torchymoods of Horn’s songs, especiallyMesterhazy who plays softly and sensi-tively (as Horn would have supportedherself). This is a gorgeous, laid-backalbum. Nancy Ann Lee

CHRIS CAINHall Of Shame

BLUE ROCKITLike Robben Ford, Chris Cain is a

guitarist that successfully straddlesbetween blues and fusion music. Cain,especially, has shown a knack for blend-ing both in the same tune both as playerand composer. Hall Of Shame findsCain at the top of his game. It might be

SEPTEMBERSun. 7 Whiskey Store Featuring

Jimmy Thackery & Tab Benoit

Wed. 10Little Charlie and the Nightcats..

The modern day Buddy Guy andJr.wells – West coast jump blues kings

Fri. 12 Dave Hole Alligator’s slide guitarist master

Sat. 13 Wallace ColemanCleveland’s Blues harp maestro’s

CD release party Thurs. 18 Bop City- featured

members of Robert Lockwood Jr.’s bandSun. 21 Mark Hummel

West Coast harp aceTues. 23 Flaco!-

Amazing hip-hip/jazz from DenverThur. 25 Larry Gardner- “riveting

and powerful live performances”–REAL BLUES MAGAZINE

Fri. 26 Chris Duarte Band in-your-face, Texas blues-rock

Sat. 27 Gary Primrichblues singer/songwriter and harmonica

master From Austin Texasw/special guest Colin Dussault

OCTOBERFri. 10

Little Ed & the Blues Imperials –genuine house-rocking mastersFri. 17 Lonnie Brooks (tentative)Sat. 18 John Mayall (tentative)

Sat. 25 Alvin Youngblood Hart & Rory BlockFairmont Music settlement Benefit show

Thurs. 30 Magic Slim and The Teardrops

“the last real Chicago blues band,” Thisis no-frills, unapologetic, straight-no-

chaser, bewitching blues for the ages

PAGE ELEVEN

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Jazz & Blues Report September • October 2003 • Issue 264

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his best solo effort to date.With a laid-back keys & rhythm trio

in tow, Cain consistently maintains abreezy groove while keeping the “blues”aspect credible with solid, inventive solochoruses. Anchoring the proceedingsalso are his savvy, usually “noir”-shadedlyrics. This is truly contemporary blues.

Cain’s voice has reached a nice,mature point as well. Strong tracks hereinclude the leadoff “First Time ForEverything”, a tribute to Albert King-“The World Got The Blues beforeSunrise” and the very Ray Charles-liketitle track, which also features nice pianofrom Tony Lufrano. Nice job.

Duane Verh

KURT ELLINGMan in the Air

BLUE NOTEVocalist Kurt Elling maintains his

edge of excellence, writing and singinglyrics to tunes by an array of jazz artists,and contributing one original. On hissixth Blue Note recording, he performswith Laurence Hobgood (piano, Rhodeselectric piano), Rob Amster (bass),Frank Parker, Jr. (drums, percussion)and guests Stefon Harris (vibes), JimGailloreto (soprano sax). Drummer PaulWertico and Brad Wheeler sit in on themood-shifting opener, “Minuano,” a PatMetheny/Lyle Mays tune.

Elling’s aim for this project was “toaddress a broad array ofexperiences...like a walk through anaural art gallery.” One of the best tunes isthe William Eaton piece, “In theWinelight,” a romantic numberenhanced by Harris’s solo and a funkybackbeat. Expressing spirituality, Ellingsings hornlike lines, meeting the chal-lenge of Coltrane’s powerful, windingtune, “Resolution,” which also spotlightsa fine piano solo from Hobgood. Elling’soriginal, “The More I Have You,” withvocalese sections, captures the essenceof his unique style.

There are plenty of highlights asElling adds flair to other delectable tunesby Josef Zawinul, Herbie Hancock,Courtney F. Pine, Bobby Watson, BobMintzer and others, including the titletune by Hobgood.

Elling’s a true poet and you’ll wantto absorb his lyrics through repeatedplay.

You may also want to check out hisofficial website, www.kurtelling.com, toread his lyrics. Nancy Ann Lee

CANDYE KANEWhole Lotta Love

RUF RECORDSOn her debut Ruf Records

release(after a long stint on the Bullseyelabel) blues belter Candye Kane rips androars her way through 13 cuts about thejoys of both quick carnal pleasure andlonger term emotional attachment. Aswith her prior efforts Kane uses blues,rock, gospel and soul as the musicalvehicles for her tales. While some of thetales have been told before such as theseemingly mandatory tale about thevirtues of her plus size Fit, Fat & Fine, andGoing Back Where I Belong, a quickreminder of her bi-sexuality, everythinghere is delivered with Kane’s typical pas-sion and wit.

What sets this disc apart from someof its predecessors is her inclusion of cutsthat stretch her stylistic boundaries evenmore than usual. Ragtime piano fuels I’mNot Getting Older with funk finding itsway into the mix on I Got A Secret, a taleabout one sided love driven by scratchguitar and horns.

What’s That I Smell is another wellexecuted excursion into new territorywith its piedmont style acoustic bluesabout cheatin’ delivered as a duet withCharlie Musselwhite. Kane even picks upthe late night torch on the slow, sultryWhen the Hangover Strikes whichsounds like something off a DinahWashington disc but with lyrics that onlyCandye would pen.. More typical of herprior discs are the rocking I’m A Suckerand the cheater’s tale, 27 Times, thestraight blues of A Lion In My House andthe slinky harmonica driven Put It All InThere, a song about males of, well, vari-ous sizes. The title cut is a straight outrock and roll reading of the Led Zeppelinclassic. Wrapping up the stylistic journeyare the wonderful Memphis gospel meetsPhilly soul of Wrap Around Joy andSomething’s Got a Hold on Me. Overall,this is another fine release by an artistthat deserves wider attention in the bluesworld. Mark Smith

ROSA PASSOS & RON CARTEREntre Amigos (Among Friends)

CHESKYSinger Rosa Passos, bassist Ron

Carter, guitarist Lula Galvao, percussion-ist Paulo Braga and Billy Drewes (tenorsax and clarinet) serve up 11 Brazilianjazz tunes for a mellow, intimate set rem-iniscent of Astrud Gilberto performanc-

PAGE TWELVE Jazz & Blues ReportSeptember • October 2003 • Issue 264

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es. Passos is the star and, with the

exception of Drewes who solos on a cou-ple of tracks, the other musicians mostlyprovide accompaniment on this recital-like performance featuring vocals, guitarand bass.

Compositions by Braziliansinger/songwriter Antonio Carlos Jobimpredominate and include all-timefavorites such as “Desafinado,”“Insensatez,” and “Garota de Ipanema.”Most tunes were arranged by Galvao, ashe’s the one who mainly takes themelody lead. Passos arranged foursongs. One of the prettiest Jobim num-bers, “Eu Sei Que Vou Te Amar,” isgracefully enhanced by Drewes’ clarinetplaying.

There’s not much new happeninghere yet Passos’s soft vocals, backedwith guitar, bass and percussion (andtenor sax or clarinet on some tracks),provide an alluring and pleasant listen.Liner notes by Chip Stern reveal no biog-raphical information about this lovelysinger or how the session came about.So you’ll have to just kick back, listen,and let the music speak for itself.

Nancy Ann Lee

BIG BILL MORGANFIELDBlues In The Blood

BLIND PIGBig Bill’s lineage must be both bless-

ing and curse. Being Muddy’s progenyobviously gained him attention, but theinevitable comparisons to his dad mustbe a load as well. If anything, Big Bill asa composer these days probably bearsmore similarity to John Lee Hooker thanMuddy. The single-riff motifs of most ofBlues In The Blood bear this out and,whatever his actual influences are, it’srefreshing to hear Big Bill reaching for hisown voice.

Much of the success of this disc, andit is a good one, is to the variety of back-drops Bill’s band provides. Thanks ingreat measure to multi-instrumentalistJimmy Vivino (guitar, keyboards andmandolin), the sound moves from clas-sic Chicago to Delta and back, whichkeeps things consistently fresh. Check itout. Duane Verh

GATO BARBIERITHE SHADOW OF THE CAT

PEAK/CONCORDReleased in 2002, this one slipped

through the cracks somehow and finallysurfaced. Oh well, it happens.

Gato certainly has changed since hisearly days playing avant-garde in thetradition of Pharoah and Coltrane. Unlessone is really into honking and screech-ing, his best work is still on the Impulse!and Flying Dutchman labels from theearly seventies. In 1976 he releasedCalienté, crossing over into commercialterritories. That album included his ver-sion of Carlos Santana’s “Europa,” whichthose who listen to Wave stations aroundthe country might think is the only songBarbieri ever recorded. He kept record-ing discs in the same vein, but couldnever really top Calienté for a crossoverventure. Many of his albums since, infact, have been downright lame.

The Shadow of the Cat is still mellowGato indeed, but it is very tastefully donewithout the overproduction we’vebecome accustomed to. You might call itLatin jazz for lovers (or those trying tohead in that direction on a particularnight) as most of the cuts are ballads andvery listenable. One is kind of R&B-ish,with Cassandra Reed singing vocals.Sheila E plays congas and percussion onmuch of the disc (that is a good thing)and you actually hear real drummersand percussionists throughout, except

for Last Tango (Theme from Last Tangoin Paris) which has the programmedmachine stuff, though I must admit - it iswell done. Gato is his passionate Latin-self throughout no matter what thegroove might be.

In short, still on the more commer-cial side of things, but a good listen forthe casual or light jazz fan and very nice-ly done. Bill Wahl

JANIVA MAGNESSUse What You Got

BLUES LEAF RECORDS3As on her prior release, West Coast

blues chanteuse, Janiva Magness, hasassembled an enjoyable collection oftunes that cover a broad range of styles.With a stellar band including husbandJeff Turmes on bass on saxophone, ZachZunis on guitar, David Kida on drums,Andy Kaulkin on piano and organ andDavid Woodford on saxophone, shetakes on fifties style rock and roll ballads,I’m Not Ashamed and Who Will the NextFool Be?, rumba, I’m Lost Without You,slow, seamy grinders, Stormy Blues,Memphis style R & B, All Night Worker,rocking blues, Find a Fool and Matchboxand horn drenched big band style blues,Who’s Gonna Help a Brother Get Further.

Her strong voice, which occasional-ly recalls Angela Strehli, is a fitting vehi-cle for this broad array of styles and shedelivers each cut with enough convictionto make the tunes her own. A fine releaseworthy of your attention. Mark Smith

JAMES BLOOD ULMERNo Escape From The Blues:The Electric Lady Sessions

HYENAIn late summer 2001, this one-time

Ornette Coleman sideman released oneof the most exciting blues records of thepast several years. Produced by LivingColour guitarist/bandleader Vernon Reid,Memphis Blood: The Sun Sessions wasa collection of vintage blues standardsrunning the spectrum from the Delta toChicago. The energy and intensity of thatset was nothing short of phenomenal,owing as much it seemed to freewheelingfree-jazz roots as blues; two genres thatshare more than a little attitudinal kin-ship.

Ulmer and Reid are back with a wor-thy follow-up. The earthy, hoodoo-richatmosphere of No Escape is sometimes

PAGE THIRTEENSeptember • October 2003 • Issue 264Jazz & Blues Report

Tickets: Box office,tickets.com locations,

www.playhousesquare.com,216-241-6000 or1-800-766-6048.

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Thursday, 8 PM$30 & $25

ROD PIAZZAModern Master

The Best Of Rod Piazza 1968-2003TONE COOL

To say that Rod Piazza knows his way around the harmonicais like saying that B.B. King is a pretty good blues guitarist. In bothcases the understatement is so far off the mark as to be insulting.Simply put, Piazza, like King, is one of the preeminent forces onhis instrument of choice and will long be cited as the inspirationfor the next several generations of players

. This two disc, 29 track, release traces Piazza’s developmentfrom early Chicago blues disciple to his present status as WestCoast blues legend. Those that are late to the game will find thecuts from his early releases with the Dirty Blues Band, Bacon Fatand the Chicago Flying Saucer Band, where he performed undernames like Lightnin’ Rod, Record Party Ron and Rod“Gingerman” Piazza, to be particularly interesting with their focuson the straight Chicago blues of Willie Dixon, Little Walter and

light, as on classics such as Jimmy Reed’s “Bright Lights, BigCity”, sometimes brooding, such as on Ulmer’s “Are You Glad ToBe In America?” and always most original in character. Ulmer isestablishing himself as a truly individual interpreter of blues, bothas a gritty vocalist and a roots-conscious guitar improviser.Collaborator Reid adds fiery instrumental contrast as does theedgy, ferocious work of electric fiddler Charlie Burnham. This isnot gimmicky stuff. In order to keep the genre from dissolvingentirely into blues-rock, Ulmer’s is the type of jolt blues can use.Run this one down. Duane Verh

RENEE ROSNES/DANISH RADIO BIG BANDBLUE NOTE

An exciting journey for listeners, this seems to be a giant leapfor Rosnes, the composer. Her piano chops have long been estab-lished in small groups and she possesses a confident style that’salways full of surprises. Throughout her career, Rosnes hasrecorded with small groups. Her most significant experience witha large band developed in the early 1990s when she became thepianist for the Carnegie Hall Jazz Band for the next decade.

Jim McNeely directs the Danish Radio Big Band on this first-rate recording featuring pianist Rosnes performing six of her owncompositions and two other tunes. Her eighth Blue Note release,the CD launches with “Ancestors,” an energetic foray for the fullorchestra as well as Rosnes’s gutsy improvisations spiked withthe driving percussive artistry of Ethan Weisgaard. The fun-filled“Bulldog Chicken Run,” a homage to bassist Ray Drummond(AKA “Bulldog”) known for his food runs during set breaks, wasoriginally a small group recording. These two pieces werearranged by Michael Mossman. McNeely arranged “Black Holes,”a piece that begins eerily then shifts to brisk bopping tempos.Recorded by Rosnes on her CD, As We Are Now, the tune is mas-tered beautifully here. Two other Rosnes compositions, “Orion’sBelt” and “The Quiet Earth” are equally enticing. “Lament” by J.J. Johnson is given a Latin flavor and “Early One Morning” is areinvented traditional English melody Rosnes heard while grow-ing up in Canada.

These are some of the most haunting and extraordinary bigband arrangements you’ll ever hear. McNeely evokes plenty ofemotion from the band musicians and Rosnes’s compositions willtouch your heart. Nancy Ann Lee

Sonny Boy Williamson. Given Piazza’s current rich catalog of self–penned numbers

it is interested in hear him breaking into the blues following thesame cover tune route as virtually every artist that has pickedup an instrument. Sentimental favorites from this early periodinclude his duets with mentor George “Harmonica” Smith whoappears on the Bacon Fat tune Up the Line, the ChicagoFlying Saucer Band tune, Talk to Your Daughter and on hisown release Help Me. Proving that Smith taught him well,Piazza soon found his way into the featured harmonica slot onrecordings by the likes of the legendary Jimmy Rogers, PeeWee Crayton and Shakey Jake some of which are includedhere.

Also of note from the early days are the cuts credited to theMighty Flyers including Shot From the Saddle, Blues ForHoney, P.S. I Love You and Texas Twister which feature JuniorWatson on guitar and show flashes of originality but with aharder Chicago edge than the swinging upbeat West Coastsound that would come to mark the work of the band after itwas renamed Rod Piazza and the Mighty Flyers. The seconddisc showcases the various incarnations of the Piazza ledMighty Flyers. Fans will rejoice at the inclusion of cuts from thehard to find Murray Brothers releases, Harpburn and So Gladto Have the Blues. Also included is an unreleased live cut fromthe W.C. Handy Awards as well as a smoking version ofChicken Shack Boogie recorded at the same show that pro-duced the band’s sadly out of print, Live at B.B. King’s.

Working through the striking original material on disc two,it is easy to see why Piazza individually and the Mighty Flyers

PAGE FOURTEEN Jazz & Blues ReportSeptember • October 2003 • Issue 264

as a band have won countless bluesawards over the past few years. Thetunes are well written and the band issimply top notch. While Piazza wouldsound great fronting anyone, the fact isthat he has always had one of the bestblues bands around including his wife,Honey Piazza, who channels Otis Spanninto her piano, rock steady bassist BillStuve and a host of first call guitarists anddrummers including Junior Watson,Hollywood Fats, Alex Schultz, RickHolmstrom, Jimi Bott and SteveMugalian.

This release is a must have for anyfan of harmonica blues. Mark Smith

GREG OSBYSt. Louis Shoes

BLUE NOTEOn his latest recording for Blue

Note, alto saxophonist Greg Osby rein-vents nine tunes by other composersrather than introducing originals as hehas in the past.

In the latter 1970s, then teenageOsby played after-hours weekend jobs inSt. Louis, and after the sets ended in thewee hours of the morning, they’d crossthe bridge into East St. Louis, Illinois andjam from 2 to 6 a.m. This period con-tributed to his education aboutMississippi River blues culture, fromwhich he draws minimally for this projectfeaturing performances with sidemenNicholas Payton (trumpet, flugelhorn),

Harold O’Neal (Piano), Robert Hurst(bass) and Rodney Green (drums).

Don’t be misled by the album title toexpect bluesy expressions and down-home beats. The leader has “heavilyrearranged” familiar tunes. Osby is amodernist whose interpretations lean to aheady, urban side despite selected tunesby Duke Ellington (“East St. LouisToodle-Oo”), Gillespie-Parker (“ShawNuff”) and others. Gershwin’s“Summertime” receives a restless, edgyre-invention that loses most of its originalflavor. The finale, “St. Louis Blues,” isgiven a slow, drawling treatment with anultra modern edge.

Osby’s talented and inventive, as arehis cohorts. Yet, there’s something miss-ing from this cerebral session – perhapswarm accessibility or a stronger essenceof the St. Louis spirit he claims as inspi-ration. Nancy Ann Lee

BLUES SHORTS

BY MARK A. COLE

Sonny LandrethThe Road We’re OnSugar Hill Records

The slide master, Sonny Landreth, isat it again. The Louisiana bluesman wasborn in Mississippi, but he’s called the“King of Slydeco”. The cd boasts specialguests, including Bonnie Raitt. The cajunsonglist is comprised of a bunch ofgems. “All About You” is a mover, so is“Gemini Blues.” You’ll enjoy this, espe-cially if you’re a slide fanatic.

WALKIN’ CANE702 UNION AVE.

LAZY-EYE RECORDS One of Cleveland’s classy blues-

men, Austin Charanghat /Walkin’ Caneis promoting one helluva album. Thedisc is acoustic, and the artist reallystretches the strings. On loan from hisband, the Cane plucks and oozes theblues. Songs are culled from RobertJohnson, Big Arthur Crudup, SnooksEaglin, and Walkin’ own. His baritonevoice will knock you out!

EDDIE PALMIERIRitmo Caliente

CONCORD PICANTEA master of Latin and Afro-cuban

jazz and salsa, pianist Eddie Palmieridelivers 11 tracks of “hot rhythms” on hissecond recording for Concord. Seven ofthe eleven tunes are written by Palmieriand most of the tracks are delightful, har-monious mambos. Palmieri leads fromthe piano and takes confident, sturdysolos. Some are old tunes revisited andperformed with a full complement of

musicians.Outstanding musicianship is really

what makes this album. Among nameplayers are Brian Lynch (first trumpet),Conrad Herwig and Chris Washburne(trombones). Flutists Karen Joseph andEddy Zervigon serve up appealing soloson some tunes. Lead vocals by HermanOlivera dress up “La Voz del Caribe,”“Lazaro y su Microfono,” “Ritmo CalienteII,” “Dime,” and “Lo Que Triago esSabroso II.” The rousing “Billie,” a hom-age to Billie Holiday, features horn-sec-tion layering much like the Tito Puenteband. One of the tunes that best demon-strates Palmieri’s breadth is “Tema paraRenee,” a strings-laced, languorouspiece dedicated to Palmieri’s eldestdaughter (who was named after com-poser Rene Hernandez, the genius ofMachito’s band). Another enterprisingshowpiece is Palmieri’s “Gigue (Bachgoes Bata)” which comfortably shiftsback and forth between European classi-cal and Afro-Cuban beats.

With the exception of a couple oftracks, this is a beat-driven party albumthat should have you up and dancing.

Nancy Ann Lee

PAGE FIFTEEN

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Jazz & Blues Report September • October 2003 • Issue 264

Lou PrideThe Memphis/El Paso Sessions

Severn Records The soulster Lou Pride is revised and

revived. Vibrant horns and the voice ofPride make a potent mix. These sessionsare subtitled; The Memphis/El PasoSessions 1970-73. Lou’s take on JamesBrown’s “It’s A Man’s Man’s Man’sWorld” is astounding,as is the following“Work For Love.” Kudos to SevernRecords for unearthing these treasures.

Phillip WalkerThe Best Of Phillip Walker

Hightone Records One of swingingest guitars that you

are gonna hear in blues, Phillip Walkerwas born in Louisiana and moved on toTexas. Phillip was employed by CliffordChenier and he’s been recorded bynumerous labels – to name a few;Playboy, Vault, Fantasy, Joliet, Rounder,and now Hightone. Betcha you don’tknow he wrote “Don’t Be Afraid Of TheDark,” popularized by Robert Cray; yep,Phillip Walker. Special guests includeJimmy Vaughan and the MemphisHorns.

Michael Hill’s Blues MobElectric Storyland Live

Ruf RecordsElectric Storyland Live is indeed

absolutely live. The Blues Mob is acrackin’ ensemble that is a trio now. Thiscd is a double threat in that it’s a doublecd. The successive shows were a week-end treat for the respective audiences.Many of Michael’s songs have becomeclassics before their time. You couldn’tforget “Monticello Night,” or “New YorkState Of The Blues.” Hill’s a contempo-rary bluesman that’s mowing down thecompetition.

Jessie Mae HemphillShake It Baby

Hightone RecordsWith musicologist Dr. David Evans

at the helm, Jesse Mae Hemphill had agreat release but it got lost by the way-side. These sessions are from 1980 to1988. The woo-ful “Shame On You”sparkles. Jessie Mae, Dr. Evans, andband recorded this at various locales inMississippi. Her music is almost hypnot-ic with a droning beat. See for yourself;rant and rave!

September • October 2003 • Issue 264PAGE SIXTEEN Jazz & Blues Report