The daily mix:
1) Kip Anderson: "20 Room House"
2) Charlie Musselwhite: "Everybody Needs Somebody"
3) Ray Wylie Hubbard: "Kilowatts"
4) Bruce Springsteen: "It's Hard to be a Saint in the City"
5) The Flamin' Groovies: "Yes, It's True"
6) Mary Wells: "You Beat me to the Punch"
7) Mark Knopfler: "Boom, Like That"
8) The Preachers: "Who Do You Love?"
9) Traffic: "Light Up or Leave me Alone"
10) Mary Weiss: "Stop and Think It Over"
Friday, August 31, 2007
Soul Singer Kip Anderson Dies
Kip Anderson, a singer with one of the smoothest voices in soul, died Wednesday. he was 69.
"She Called Me Baby," a tune from Anderson's "A Dog Don't Wear No Shoes" album released in 1992, is what I call classic sway music. It's a steamy ballad with instrumentals and vocals that sound like they're straight out of the church. "Wonderful," a tune from the same album, is a more upbeat R&B tune that reminds me of some of Otis Clay's later recordings.
Check out his work if you don't know it already. Anderson was one of a legion of unheralded musicians who deserve to be heard.
"She Called Me Baby," a tune from Anderson's "A Dog Don't Wear No Shoes" album released in 1992, is what I call classic sway music. It's a steamy ballad with instrumentals and vocals that sound like they're straight out of the church. "Wonderful," a tune from the same album, is a more upbeat R&B tune that reminds me of some of Otis Clay's later recordings.
Check out his work if you don't know it already. Anderson was one of a legion of unheralded musicians who deserve to be heard.
Thursday, August 30, 2007
Cahl's Jukebox, 8-30-07
The daily mix:
1) T Rex: "Bang a Gong"
2) Bush Tetras: "Stand Up and Fight"
3) The Lyrics: "They Can't Hurt Me"
4) Jet.Sons: "I Bet Not"
5) The Fleshtones: "You Don't Know"
6) Dropkick Murphys: "Walk Away"
7) The Supersuckers: "Kid's Got It Comin'"
8) Sebadoh: "Crisis"
9) Mono Men: "Mystery Girl"
10) The Gizmos: "Just a Little Insane"
1) T Rex: "Bang a Gong"
2) Bush Tetras: "Stand Up and Fight"
3) The Lyrics: "They Can't Hurt Me"
4) Jet.Sons: "I Bet Not"
5) The Fleshtones: "You Don't Know"
6) Dropkick Murphys: "Walk Away"
7) The Supersuckers: "Kid's Got It Comin'"
8) Sebadoh: "Crisis"
9) Mono Men: "Mystery Girl"
10) The Gizmos: "Just a Little Insane"
Jazz Blog Special: James Clay, 'A Double Dose of Soul'
James Clay’s tenor saxophone battles with David “Fathead” Newman on “The Sound of Wide Open Spaces” have been staged on my stereos regularly since I bought the album in the ‘80s. I think the album, first released in 1960, compares favorably to Clifford Jordan and John Gilmore’s “Blowin’ in from Chicago” and to some of the extraordinary tenor duels between Gene Ammons and Sonny Stitt.
Clay’s solo debut, “A Double Dose of Soul,” which was also released in 1960, took longer to capture my heart, probably because Clay plays flute on four of the album’s nine tracks. In general, I’m not a big fan of the jazz flute unless Yusef Lateef is doing something freaky with it. Lately, though, I’ve been warming to Clay’s tracks with a flute because he sounds so carefree on them. It doesn’t hurt that he’s dancing around the bluesy riffs laid down by pianist Gene Harris and vibraphonist Victor Feldman.
Still, Clay’s tenor tracks, on which cornetist Nat Adderley replaces Feldman, are the money cuts, at least for me. Clay played feverishly when he was pitted against Newman. Clay finds a slow, soulful groove when he’s paired with Adderley, Harris, bassist Sam Jones and drummer Louis Hayes. And that fit Clay’s fat tone perfectly, especially on an exceptionally bluesy rendition of “Come Rain or Come Shine.”
It’s a shame that Clay didn’t record as a leader again for almost 30 years — he toured with Ray Charles for about 10 years, then disappeared before surfacing again in the late ‘80s — but at least he left “The Sound of Wide Open Spaces” and “A Double Dose of Soul” to help jazz fans remember him in the interim. Then again, it's hard to forget Clay once you've heard him play.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Clay’s solo debut, “A Double Dose of Soul,” which was also released in 1960, took longer to capture my heart, probably because Clay plays flute on four of the album’s nine tracks. In general, I’m not a big fan of the jazz flute unless Yusef Lateef is doing something freaky with it. Lately, though, I’ve been warming to Clay’s tracks with a flute because he sounds so carefree on them. It doesn’t hurt that he’s dancing around the bluesy riffs laid down by pianist Gene Harris and vibraphonist Victor Feldman.
Still, Clay’s tenor tracks, on which cornetist Nat Adderley replaces Feldman, are the money cuts, at least for me. Clay played feverishly when he was pitted against Newman. Clay finds a slow, soulful groove when he’s paired with Adderley, Harris, bassist Sam Jones and drummer Louis Hayes. And that fit Clay’s fat tone perfectly, especially on an exceptionally bluesy rendition of “Come Rain or Come Shine.”
It’s a shame that Clay didn’t record as a leader again for almost 30 years — he toured with Ray Charles for about 10 years, then disappeared before surfacing again in the late ‘80s — but at least he left “The Sound of Wide Open Spaces” and “A Double Dose of Soul” to help jazz fans remember him in the interim. Then again, it's hard to forget Clay once you've heard him play.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Wednesday, August 29, 2007
Cahl's Jukebox, 8-29-07
Wednesday morning jazz:
1) Dizzy Reece: "Just a Penny"
2) Edmond Hall: "Smooth Sailing"
3) Chico Hamilton: "PJ"
4) James Spaulding: "Madeline"
5) Cannonball Adderley and John Coltrane: "Grand Central"
6) Charles Mingus: "Boogie Stop Shuffle"
7) Jack Costanza: "Bemba Colora"
8) Les McCann: "Burnin' Coal"
9) Rhoda Scott: "Dearly Beloved"
10) Sonny Stitt and Brother Jack McDuff: "Pam Ain't Blue"
1) Dizzy Reece: "Just a Penny"
2) Edmond Hall: "Smooth Sailing"
3) Chico Hamilton: "PJ"
4) James Spaulding: "Madeline"
5) Cannonball Adderley and John Coltrane: "Grand Central"
6) Charles Mingus: "Boogie Stop Shuffle"
7) Jack Costanza: "Bemba Colora"
8) Les McCann: "Burnin' Coal"
9) Rhoda Scott: "Dearly Beloved"
10) Sonny Stitt and Brother Jack McDuff: "Pam Ain't Blue"
Dreaming of Farm Aid
This is my busiest time of year. Next week, I start training about 100 student journalists for the college newspaper where I'm the news adviser. The following week I head to my third straight Austin City Limits Music Festival.
But if Farm Aid were in the Midwest instead of in New York this year I'd be heading to it, too, especially after learning that Ray Price and Merle Haggard have been added to the lineup. They'll join Neil Young, John Mellencamp, the Counting Crows, Willie Nelson, The Ditty Bops,Dave Matthews, Derek Trucks, Gregg Allman, The Supersuckers and a number of other acts.
New York is bound to be cooler than Austin this time of year and I've always wanted to see Haggard and Price in concert. Maybe next year.
But if Farm Aid were in the Midwest instead of in New York this year I'd be heading to it, too, especially after learning that Ray Price and Merle Haggard have been added to the lineup. They'll join Neil Young, John Mellencamp, the Counting Crows, Willie Nelson, The Ditty Bops,Dave Matthews, Derek Trucks, Gregg Allman, The Supersuckers and a number of other acts.
New York is bound to be cooler than Austin this time of year and I've always wanted to see Haggard and Price in concert. Maybe next year.
Tuesday, August 28, 2007
Cahl's Jukebox, 8-28-07
The daily mix:
1) Townes Van Zandt: "Black Crow Blues"
2) Blind Willie McTell: "Salty Dog"
3) Jimmy Martin: "Stormy Waters"
4) Steve Young: "Montgomery in the Rain"
5) Bukka White: "Shake 'em on Down"
6) Guy Clark: "Black Haired Boy"
7) Little Cooper: "Pinto Beans"
8) Chuck Willis: "I Don't Mind if I Do"
9) Otis Spann: "Straighten' Up Baby"
10) Johnny Cash: "That's One You Owe Me"
1) Townes Van Zandt: "Black Crow Blues"
2) Blind Willie McTell: "Salty Dog"
3) Jimmy Martin: "Stormy Waters"
4) Steve Young: "Montgomery in the Rain"
5) Bukka White: "Shake 'em on Down"
6) Guy Clark: "Black Haired Boy"
7) Little Cooper: "Pinto Beans"
8) Chuck Willis: "I Don't Mind if I Do"
9) Otis Spann: "Straighten' Up Baby"
10) Johnny Cash: "That's One You Owe Me"
ACL Schedule Changes
I see that Austin City Limits Music Festival officials have tapped The Cold War Kids to replace Amy Winehouse, who's canceled her North American tour in September.
I don't know a lot about the Cold War Kids, but I sort of like the few things I've heard. Even so, they're competing in a 3:30 p.m. Saturday time slot that overlaps with shows by Steve Earle and Jon Dee Graham, so I doubt I'll see The Cold War Kids live. I might, however, get to see Andrew Bird, who got bumped to Winehouse's 5:30 p.m. Saturday slot and I think that might be a really interesting show.
I don't know a lot about the Cold War Kids, but I sort of like the few things I've heard. Even so, they're competing in a 3:30 p.m. Saturday time slot that overlaps with shows by Steve Earle and Jon Dee Graham, so I doubt I'll see The Cold War Kids live. I might, however, get to see Andrew Bird, who got bumped to Winehouse's 5:30 p.m. Saturday slot and I think that might be a really interesting show.
Cahl's Jukebox, 8-27-07
The daily mix:
1) The Mekons: "Dickie, Chalkie and Nobby"
2) Great Lakes Myth Society: "Big Jim Hawkins"
3) John Mellencamp: "Jim Crow"
4) The Band: "Loving You is Sweeter Than Ever"
5) Roxy Music: "The Thrill of It All"
6) The Chocolate Watchband: "Are You Going to Be There (at the Love-in)"
7) Brian Jonestown Masacre: "A New Low in Getting High"
8) John Wesley Harding: "Spaced Cowgirl"
9) The Decemberists: "The Bagman's Gambit"
10) Eels: "Rock Hard Times"
1) The Mekons: "Dickie, Chalkie and Nobby"
2) Great Lakes Myth Society: "Big Jim Hawkins"
3) John Mellencamp: "Jim Crow"
4) The Band: "Loving You is Sweeter Than Ever"
5) Roxy Music: "The Thrill of It All"
6) The Chocolate Watchband: "Are You Going to Be There (at the Love-in)"
7) Brian Jonestown Masacre: "A New Low in Getting High"
8) John Wesley Harding: "Spaced Cowgirl"
9) The Decemberists: "The Bagman's Gambit"
10) Eels: "Rock Hard Times"
Lula Reed: 'Blue and Moody'
Lula Reed’s voice seemed to tremor whenever she sang. As a result, it’s easy to believe every word of both her songs of love and of heartache.
On “Blue and Moody,” she sounds a bit like a cross between Lavern Baker and Billie Holiday. Her high-pitched voice isn’t perfect, but every song on the album is drop-dead sexy ‘50s R&B.
Reed’s version of “I’ll Drown In My Tears,” which Ray Charles co-opted a few years later and renamed “Drown in My Own Tears,” is good, but she sounds a lot more vulnerable on “Last Night,” “My Poor Heart” and “Jealous Love.” The songs sound like she opened a vein and poured her blood into the microphone. What more could you ask of a singer?
On “Blue and Moody,” she sounds a bit like a cross between Lavern Baker and Billie Holiday. Her high-pitched voice isn’t perfect, but every song on the album is drop-dead sexy ‘50s R&B.
Reed’s version of “I’ll Drown In My Tears,” which Ray Charles co-opted a few years later and renamed “Drown in My Own Tears,” is good, but she sounds a lot more vulnerable on “Last Night,” “My Poor Heart” and “Jealous Love.” The songs sound like she opened a vein and poured her blood into the microphone. What more could you ask of a singer?
Sunday, August 26, 2007
Cahl's Jukebox, 8-26-07
Sunday morning jazz:
1) Bobby Timmons: "Born to Be Blue"
2) Jaki Byard: "Hazy Eyes"
3) Art Farmer: "Is That So"
4) Jimmy Smith: "Simple Soul Song"
5) Milt Jackson: "For Someone I Love"
6) Billy Mitchell: "Slam"
7) Mort Weiss: "Falling in Love with Love"
8) Serge Chaloff: "Sherry"
9) Paul Desmond and Gerry Mulligan: "Fall Out"
10) Nat Adderley: "Arriving Soon"
1) Bobby Timmons: "Born to Be Blue"
2) Jaki Byard: "Hazy Eyes"
3) Art Farmer: "Is That So"
4) Jimmy Smith: "Simple Soul Song"
5) Milt Jackson: "For Someone I Love"
6) Billy Mitchell: "Slam"
7) Mort Weiss: "Falling in Love with Love"
8) Serge Chaloff: "Sherry"
9) Paul Desmond and Gerry Mulligan: "Fall Out"
10) Nat Adderley: "Arriving Soon"
Saturday, August 25, 2007
Curtis Amy's Mosaic Select Set
My friend Greg Kline and I both recently acquired Mosaic’s Curtis Amy three-CD set and I think it’s safe to say there’s a new sheriff of soul jazz in our houses.
There’s nothing fancy about the way Amy plays, but the notes that come out of his saxophone are big, fat and greasy. I was hooked from the set’s first song, “Searchin’,” which features Paul Bryant on organ. I first heard Bryant on “Johnny Griffin’s “Grab This!” and made a mental note to look for more of his work. But I still wasn’t prepared for the groove Bryant lays down at the opening of “Searchin’.” Three and a half minutes in, Amy starts laying down his own licks that are every bit as thick as Bryant’s.
Amy is joined by a lot of great musicians on the Mosaic set, perhaps most notably by Roy Brewster on valve trombone. Together, Amy and Brewster make up one of most soulful horn combos I’ve ever heard. Vibraphonists Roy Ayers and Bobby Hutcherson are great, too. They cool the tempo of the songs on which they play, but Amy still blows hot.
You’ve heard Amy wailing away on his tenor saxophone on songs by The Rolling Stones, The Doors and Ray Charles, but those were cameo appearances. Amy's recordings as a leader will lock away your heart.
There’s nothing fancy about the way Amy plays, but the notes that come out of his saxophone are big, fat and greasy. I was hooked from the set’s first song, “Searchin’,” which features Paul Bryant on organ. I first heard Bryant on “Johnny Griffin’s “Grab This!” and made a mental note to look for more of his work. But I still wasn’t prepared for the groove Bryant lays down at the opening of “Searchin’.” Three and a half minutes in, Amy starts laying down his own licks that are every bit as thick as Bryant’s.
Amy is joined by a lot of great musicians on the Mosaic set, perhaps most notably by Roy Brewster on valve trombone. Together, Amy and Brewster make up one of most soulful horn combos I’ve ever heard. Vibraphonists Roy Ayers and Bobby Hutcherson are great, too. They cool the tempo of the songs on which they play, but Amy still blows hot.
You’ve heard Amy wailing away on his tenor saxophone on songs by The Rolling Stones, The Doors and Ray Charles, but those were cameo appearances. Amy's recordings as a leader will lock away your heart.
Cahl's Jukebox, 8-25-07
The daily mix:
1) Shirley Scott: "The Kerry Dance"
2) T-Bone Walker: "Call It Stomy Monday"
3) Johnny "Guitar" Watson: "Three Hours Past Midnight"
4) Bobby "Blue" Bland: "Sweet Woman's Blues"
5) Delbert McClinton: "Kiss Her Once for Me"
6) Bob Dylan: "Wedding Song"
7) Alejandro Escovedo: "The Ladder"
8) Damien Dempsey: "It's All Good"
9) Randy Newman: "The World Isn't Fair"
10) Jim Lauderdale: "Grace's Song"
1) Shirley Scott: "The Kerry Dance"
2) T-Bone Walker: "Call It Stomy Monday"
3) Johnny "Guitar" Watson: "Three Hours Past Midnight"
4) Bobby "Blue" Bland: "Sweet Woman's Blues"
5) Delbert McClinton: "Kiss Her Once for Me"
6) Bob Dylan: "Wedding Song"
7) Alejandro Escovedo: "The Ladder"
8) Damien Dempsey: "It's All Good"
9) Randy Newman: "The World Isn't Fair"
10) Jim Lauderdale: "Grace's Song"
Friday, August 24, 2007
M'Boom: 'Live at S.O.B.'s–New York'
I picked up a copy of M'Boom's "Live at S.O.B.'s–New York" after Max Roach died last week and I'm having a hard time taking it off my CD player.
M'Boom, Roach's percussion collective, features Roach, Ray Mantilla, Omar Clay, Eli Fountain, Roy Brooks, Warren Smith, Fred King and Joe Chambers on drums, steel drums, timbales, tympanis, vibes, marimbas, congas, cowbells, chimes, claves and xylophones. Their music is like nothing I've ever heard. As percussionists, these dudes understand time and space better than anyone. Nothing's ever rushed and their notes linger in a mystical blend that reminds me of the views from the top of the mountains I climbed in my youth.
There's jazz, mixed with calypso and everything else they ever heard. I'm saddened about Roach's passing every time I listen to the album but it's hard to stay down because the music's so joyous. Get a copy of "Live at S.O.B.'s–New York" while you can; you'll be transfixed, too.
M'Boom, Roach's percussion collective, features Roach, Ray Mantilla, Omar Clay, Eli Fountain, Roy Brooks, Warren Smith, Fred King and Joe Chambers on drums, steel drums, timbales, tympanis, vibes, marimbas, congas, cowbells, chimes, claves and xylophones. Their music is like nothing I've ever heard. As percussionists, these dudes understand time and space better than anyone. Nothing's ever rushed and their notes linger in a mystical blend that reminds me of the views from the top of the mountains I climbed in my youth.
There's jazz, mixed with calypso and everything else they ever heard. I'm saddened about Roach's passing every time I listen to the album but it's hard to stay down because the music's so joyous. Get a copy of "Live at S.O.B.'s–New York" while you can; you'll be transfixed, too.
Cahl's Jukebox, 8-24-07
Friday morning jazz:
1) Curtis Amy: "Groovin' Blue"
2) Cornell Dupree: "Love Letter"
3) Gene Ammons: "We'll Be Together Again"
4) Stanley Clarke: "Hot Fun"
5) Charlie Rouse: "When Sunny Gets Blue"
6) George Wallington: "But George"
7) Jimmy Heath: "My Ideal"
8) Cecil Bridgewater: "Sophisticated Lady"
9) JJ. Johnson: "Cry Me a River"
10) Oscar Peterson: "I Got Plenty O' Nuttin'"
1) Curtis Amy: "Groovin' Blue"
2) Cornell Dupree: "Love Letter"
3) Gene Ammons: "We'll Be Together Again"
4) Stanley Clarke: "Hot Fun"
5) Charlie Rouse: "When Sunny Gets Blue"
6) George Wallington: "But George"
7) Jimmy Heath: "My Ideal"
8) Cecil Bridgewater: "Sophisticated Lady"
9) JJ. Johnson: "Cry Me a River"
10) Oscar Peterson: "I Got Plenty O' Nuttin'"
Thursday, August 23, 2007
Mable John Replaces Ruth Brown in 'Honeydripper'
Maggie Renzie, the producer of John Sayles' new blues movie, "Honeydripper," wrote to tell me that Ruth Brown isn't featured in the film. Ms. Brown went to the hospital 10 days before she was due to start filming and she never recovered. Luckily, Mable John, one of my favorite soul singers, took over the role of Bertha Mae.
In addition to Ms. John, the film feaures Danny Glover, Gary Clark Jr and Keb' Mo' and the music promises to be spectacular. The film's Honeydripper All-Star Band will be playing at this fall's Bumbershoot and Long Beach Blues Festival and at the Toronto International Film Festival, where the film will premiere.
For a sneak preview, check out these clips of the band at last month's River to River Festival in New York.
In addition to Ms. John, the film feaures Danny Glover, Gary Clark Jr and Keb' Mo' and the music promises to be spectacular. The film's Honeydripper All-Star Band will be playing at this fall's Bumbershoot and Long Beach Blues Festival and at the Toronto International Film Festival, where the film will premiere.
For a sneak preview, check out these clips of the band at last month's River to River Festival in New York.
Cahl's Jukebox, 8-23-07
Thursday morning soul:
1) Betty Harris: "I Don't Want to Hear It"
2) Wilson Pickett: "Something You Got"
3) Al Wilson: "Now I Know What Love Is"
4) The Four Tops: "Loving You is Sweeter Than Ever"
5) The Double Soul: "Blue Diamonds"
6) William Bell: "Eloise (Hang on in There)"
7) Mable John: "Catch That Man"
8) Clenest Gant & Don Q: "I Can't Stand to See You Go"
9) Cookin' Bag: "The Song I Sing"
10) James Brown: "Fine Old Foxy Self"
1) Betty Harris: "I Don't Want to Hear It"
2) Wilson Pickett: "Something You Got"
3) Al Wilson: "Now I Know What Love Is"
4) The Four Tops: "Loving You is Sweeter Than Ever"
5) The Double Soul: "Blue Diamonds"
6) William Bell: "Eloise (Hang on in There)"
7) Mable John: "Catch That Man"
8) Clenest Gant & Don Q: "I Can't Stand to See You Go"
9) Cookin' Bag: "The Song I Sing"
10) James Brown: "Fine Old Foxy Self"
Wednesday, August 22, 2007
Blues Blog Special: Percy Strother, 'A Good Woman is Hard to Find'
No matter what’s happening in your love life, you’ll find a song that applies on Percy Strother’s “A Good Woman is Hard to Find.”
Strother, a smoky blues singer in the tradition of Z.Z. Hill, Johnnie Taylor and Little Milton, certainly knows about the upside of love. Tunes such as “Givin’ It Up for Love,” “I’m Falling in Love with You, Baby” and “She Keeps Me Satisfied” are convincing enough to make even the most heartbroken venture into the murky waters of love again. But be careful. “Your Fool Done Woke Up,” “Someday I Will Be Over You” and “Love is Growing Cold” are pretty strong reminders that the fall from love’s peaks can be hard.
Even if you’re been burned by love, you’ll feel better after listening to “A Good Woman is Hard to Find” because the music’s so strong. Strother is backed by a small army of stinging blues guitarists, Muscle Shoals-like horn players, soulful keyboard players and bewitching backup singers. They perform old-school electric blues with a heavy dose of soul that’s just what Dr. Love prescribed.
(Blues Blog Special is a regular features that examines older blues albums worth checking out.)
Strother, a smoky blues singer in the tradition of Z.Z. Hill, Johnnie Taylor and Little Milton, certainly knows about the upside of love. Tunes such as “Givin’ It Up for Love,” “I’m Falling in Love with You, Baby” and “She Keeps Me Satisfied” are convincing enough to make even the most heartbroken venture into the murky waters of love again. But be careful. “Your Fool Done Woke Up,” “Someday I Will Be Over You” and “Love is Growing Cold” are pretty strong reminders that the fall from love’s peaks can be hard.
Even if you’re been burned by love, you’ll feel better after listening to “A Good Woman is Hard to Find” because the music’s so strong. Strother is backed by a small army of stinging blues guitarists, Muscle Shoals-like horn players, soulful keyboard players and bewitching backup singers. They perform old-school electric blues with a heavy dose of soul that’s just what Dr. Love prescribed.
(Blues Blog Special is a regular features that examines older blues albums worth checking out.)
Cahl's Jukebox, 8-22-07
The daily mix:
1) Billie Holiday: "Some Other Spring"
2) Chick Corea: "I'll Keep Loving You"
3) Esther Phillips: "From a Whisper to a Scream"
4) Jackie McLean: "Sentimental Journey"
5) Lorez Alexander: "I'm Through with Love"
6) Lucky Thompson: "Back Home from Yesterday"
7) Dinah Washington: "Somewhere Along the Line"
8) Terence Blanchard: "Nocturna"
9) Shirley Horn: "I Fall in Love too Easily"
10) Duke Pearson: "Gaslight"
1) Billie Holiday: "Some Other Spring"
2) Chick Corea: "I'll Keep Loving You"
3) Esther Phillips: "From a Whisper to a Scream"
4) Jackie McLean: "Sentimental Journey"
5) Lorez Alexander: "I'm Through with Love"
6) Lucky Thompson: "Back Home from Yesterday"
7) Dinah Washington: "Somewhere Along the Line"
8) Terence Blanchard: "Nocturna"
9) Shirley Horn: "I Fall in Love too Easily"
10) Duke Pearson: "Gaslight"
Tuesday, August 21, 2007
Amy Winehouse Cancels U.S. Tour
I see that Amy Winehouse has canceled her U.S. tour, which means she won't be playing at this year's Austin City Limits Music Festival.
I don't mind Winehouse's music, but, let's face it, she's not really the soul singer the media make her out to be. In a perfect world, ACL officials would replace her with a real soul diva; Irma Thomas, Mable John, Aretha Franklin or Mavis Staples would work for me.
I don't mind Winehouse's music, but, let's face it, she's not really the soul singer the media make her out to be. In a perfect world, ACL officials would replace her with a real soul diva; Irma Thomas, Mable John, Aretha Franklin or Mavis Staples would work for me.
Cahl's Jukebox, 8-21-07
The daily mix:
1) Grace Potter and the Nocturnals: "Mr. Columbus"
2) Kathleen Edwards: "Hockey Skates"
3) Julie Miller: "Ride the Wind to Me"
4) Kirsty MacColl: "You Just Haven't Earned It Yet, Baby"
5) Shane MacGowan & the Popes: "St. John of the Gods"
6) Steve Earle: "Telephone Road"
7) Dave Alvin: "Look Out (It Must be Love)"
8) Manfred Mann: "I'm Your Kingpen"
9) Bonnie Raitt: "Under the Falling Sky"
10) Angela Strehli: "Take It from Me"
1) Grace Potter and the Nocturnals: "Mr. Columbus"
2) Kathleen Edwards: "Hockey Skates"
3) Julie Miller: "Ride the Wind to Me"
4) Kirsty MacColl: "You Just Haven't Earned It Yet, Baby"
5) Shane MacGowan & the Popes: "St. John of the Gods"
6) Steve Earle: "Telephone Road"
7) Dave Alvin: "Look Out (It Must be Love)"
8) Manfred Mann: "I'm Your Kingpen"
9) Bonnie Raitt: "Under the Falling Sky"
10) Angela Strehli: "Take It from Me"
Grace Potter & the Nocturnals: 'This is Somewhere'
I’m going to have to revise my Austin City Limits Music Festival schedule after listening to Grace Potter’s new album, “This is Somewhere,” for a couple weeks now. Potter and her band, the Nocturnals, play perky pop steeped in blues that makes me smile every time I listen to the album.
“Ah Mary,”the album’s first track, sounds almost like a Suzanne Vega tune at first, then Potter breaks loose, reminding me of a modern-day Janis Joplin with a prettier voice. And Potter is at her best when she’s rockin’. But I like her ballads, too, especially the ones that combine blues riffs with melancholy lyrics and gorgeous vocals.
When I first looked at the Sunday afternoon ACL schedule, I thought I’d be choosing between Robert Earl Keen’s and Ben Kweller’s shows. Now I’m committed to seeing Grace Potter and the Nocturnals because I think their set might be the sleeper hit of the festival.
“Ah Mary,”the album’s first track, sounds almost like a Suzanne Vega tune at first, then Potter breaks loose, reminding me of a modern-day Janis Joplin with a prettier voice. And Potter is at her best when she’s rockin’. But I like her ballads, too, especially the ones that combine blues riffs with melancholy lyrics and gorgeous vocals.
When I first looked at the Sunday afternoon ACL schedule, I thought I’d be choosing between Robert Earl Keen’s and Ben Kweller’s shows. Now I’m committed to seeing Grace Potter and the Nocturnals because I think their set might be the sleeper hit of the festival.
Monday, August 20, 2007
Cahl's Jukebox, 8-20-07
The daily mix:
1) The Velvet Crush: "Heaven Knows"
2) Evan Dando: "It Looks Like You"
3) Peter Bruntnell: "World Won't Wait"
4) Aimee Mann: "Going Through the Motions"
5) Syd Straw: "Love and the Lack of It"
6) fIREHOSE: "Honey, Please"
6) David Bowie: "See Emily Play"
7) Joe Jackson: "Go for It"
8) PJ Harvey: "Naked Cousin"
9) Joan Jett & the Blackhearts: "Five"
10) The Clash: "Ghetto Defendant"
1) The Velvet Crush: "Heaven Knows"
2) Evan Dando: "It Looks Like You"
3) Peter Bruntnell: "World Won't Wait"
4) Aimee Mann: "Going Through the Motions"
5) Syd Straw: "Love and the Lack of It"
6) fIREHOSE: "Honey, Please"
6) David Bowie: "See Emily Play"
7) Joe Jackson: "Go for It"
8) PJ Harvey: "Naked Cousin"
9) Joan Jett & the Blackhearts: "Five"
10) The Clash: "Ghetto Defendant"
Dr. Lonnie Smith Grooves in Indianapolis
At the end of his first set at the Jazz Kitchen in Indianapolis Sunday night Dr. Lonnie Smith promised something special for the folks who stuck around for the second set. I should have listened, but I had an hour and a half drive and the first day of the fall semester looming.
A few minutes after I headed for home, I hit Indiana’s version of a monsoon. Luckily, I made it home OK. Besides, the first set, highlighted by an extended funk rendition of The Beatles’ “Come Together,” was special enough to keep me going for several weeks.
Smith said he’ll be including “Come Together” on his next album and I, for one, will be waiting in line to get it. I think “Come Together” is one of The Beatles’ best tunes, but Smith’s version grooves far harder. If I hadn’t been listening to his albums for 30 years, I’d swear the legendary organist was on steroids.
Everything Smith played was funky, even the first tune, which sounded like it belonged on a freaky soundtrack for a science fiction movie. The rest of the first set included free jazz licks as wild as anything Larry Young ever played and straight-up funk that made “Shaft” sound like a lullaby.
For me, the music wasn’t the only highlight of the show; Smith’s the most animated performer I’ve ever seen. His facial expressions matched every note he played. At times, he’d contort his face like he was mimicking the dude in Edvard Munch’s painting “The Scream.” Then he’d grin and point at the crowd.
Before the set started, Smith hobbled to the stage using a cane and several times he said he was too old to be playing. I don’t think so. Smith’s still a monster on the Hammond B3 organ and he obviously still delights in turning his audiences into an army of funky zombies.
Below is a Youtube clip of Smith’s version of “Come Together” from another show. Don’t miss the opportunity to see him if you ever get a chance. And please stay for the second set; I wish I had.
A few minutes after I headed for home, I hit Indiana’s version of a monsoon. Luckily, I made it home OK. Besides, the first set, highlighted by an extended funk rendition of The Beatles’ “Come Together,” was special enough to keep me going for several weeks.
Smith said he’ll be including “Come Together” on his next album and I, for one, will be waiting in line to get it. I think “Come Together” is one of The Beatles’ best tunes, but Smith’s version grooves far harder. If I hadn’t been listening to his albums for 30 years, I’d swear the legendary organist was on steroids.
Everything Smith played was funky, even the first tune, which sounded like it belonged on a freaky soundtrack for a science fiction movie. The rest of the first set included free jazz licks as wild as anything Larry Young ever played and straight-up funk that made “Shaft” sound like a lullaby.
For me, the music wasn’t the only highlight of the show; Smith’s the most animated performer I’ve ever seen. His facial expressions matched every note he played. At times, he’d contort his face like he was mimicking the dude in Edvard Munch’s painting “The Scream.” Then he’d grin and point at the crowd.
Before the set started, Smith hobbled to the stage using a cane and several times he said he was too old to be playing. I don’t think so. Smith’s still a monster on the Hammond B3 organ and he obviously still delights in turning his audiences into an army of funky zombies.
Below is a Youtube clip of Smith’s version of “Come Together” from another show. Don’t miss the opportunity to see him if you ever get a chance. And please stay for the second set; I wish I had.
Sunday, August 19, 2007
Jazz Blog Special: Don Friedman, 'Metamorphosis'
Jazz pianist Don Friedman’s “Metamorphosis” starts with a jaunty waltz through Friedman’s “Wakin’ Up.” Guitarist Atila Zoller skips through the tune, making me wish Charles Schulz had featured it in one of his Charlie Brown cartoons.
“Spring Sign” might have been used in the cartoon, too, perhaps in a scene in which Charlie Brown is trying to work up his courage to ask out the little red-haired girl, because Friedman and Zoller’s wild interplay is the sound of someone conflicted. And Richard Davis sets the mood with some of the most brooding bass lines you’ll ever hear.
In short, “Metamorphosis” is one of the most animated jazz albums I own. Friedman combines elements of classical music with free jazz riffs. His quartet, which features drummer Joe Chambers as well as Zoller and Davis, backs Friedman with sensitivity and unpredictability.
Sadly, “Metamorphosis” seems to be out of print, but I see it is available for download on emusic. Find a copy of this classic album from 1966 in whatever form you can; the little red-haired girl will be waiting.
(Jazz Blog Special is a regular feature that looks at older jazz albums worth checking out.)
“Spring Sign” might have been used in the cartoon, too, perhaps in a scene in which Charlie Brown is trying to work up his courage to ask out the little red-haired girl, because Friedman and Zoller’s wild interplay is the sound of someone conflicted. And Richard Davis sets the mood with some of the most brooding bass lines you’ll ever hear.
In short, “Metamorphosis” is one of the most animated jazz albums I own. Friedman combines elements of classical music with free jazz riffs. His quartet, which features drummer Joe Chambers as well as Zoller and Davis, backs Friedman with sensitivity and unpredictability.
Sadly, “Metamorphosis” seems to be out of print, but I see it is available for download on emusic. Find a copy of this classic album from 1966 in whatever form you can; the little red-haired girl will be waiting.
(Jazz Blog Special is a regular feature that looks at older jazz albums worth checking out.)
Cahl's Jukebox, 8-19-07
The daily mix:
1) Bettye LaVette: "How Am I Different"
2) Mavis Staples: "A Dying Man's Plea"
3) Billy Preston: "Hey Brother"
4) O.V. Wright: "The Bottom Line"
5) Percy Strother: "Somebody Else is Steppin' In"
6) James "Thunderbird" Davis: "It's Your Turn to Cry"
7) Shemekia Copeland: "Have Mercy"
8) Eddie Floyd: "Don't Tell Your Mama"
9) Little Willie Littlefield: "Hurry Baby"
10) Ted Taylor: "Be Ever Wonderful"
1) Bettye LaVette: "How Am I Different"
2) Mavis Staples: "A Dying Man's Plea"
3) Billy Preston: "Hey Brother"
4) O.V. Wright: "The Bottom Line"
5) Percy Strother: "Somebody Else is Steppin' In"
6) James "Thunderbird" Davis: "It's Your Turn to Cry"
7) Shemekia Copeland: "Have Mercy"
8) Eddie Floyd: "Don't Tell Your Mama"
9) Little Willie Littlefield: "Hurry Baby"
10) Ted Taylor: "Be Ever Wonderful"
Bettye LaVette to Release New Album
I'm pretty excited about Bettye LaVette's new album, "Scene of the Crime," which will be released Sept. 25. The veteran soul singer's voice has deepened as she's aged, but that's just made her sound sexier.
I thought her "I've Got My Own Hell to Raise" album was one of the best releases of 2005. "Scene of the Crime" might be even more interesting because she's backed on it by alt-country rockers The Drive-By Truckers. If "You Don't Know Me at All," a song from the new album, is any indication, the combination works just fine. Check out the song on LaVette's myspace page.
And if you get a chance to see her live, take it. LaVette's concert at Chicago's Old Town School of Folk Music last year was one of the best shows I've seen in a long time.
I thought her "I've Got My Own Hell to Raise" album was one of the best releases of 2005. "Scene of the Crime" might be even more interesting because she's backed on it by alt-country rockers The Drive-By Truckers. If "You Don't Know Me at All," a song from the new album, is any indication, the combination works just fine. Check out the song on LaVette's myspace page.
And if you get a chance to see her live, take it. LaVette's concert at Chicago's Old Town School of Folk Music last year was one of the best shows I've seen in a long time.
Saturday, August 18, 2007
Cahl's Jukebox, 8-18-07
Saturday afternoon jazz:
1) Lonnie Smith: "Sunshine Superman"
2) Shirley Scott: "Mean, Angry, Nasty and Lowdown"
3) Andrew Cyrille Quintet: "Mr. P.C."
4) James Moody: "Savannah Calling"
5) Billy Mitchell: "You Turned the Tables on Me"
6) Ornette Coleman Quartet: "Blues Connotation"
7) Don Friedman: "Troubadoors Groovedour"
8) Dewey Redman: "Venus and Mars"
9) Bobby Hutcherson: "Black Circle"
10) Joe Lovano: "Rush Hour On"
1) Lonnie Smith: "Sunshine Superman"
2) Shirley Scott: "Mean, Angry, Nasty and Lowdown"
3) Andrew Cyrille Quintet: "Mr. P.C."
4) James Moody: "Savannah Calling"
5) Billy Mitchell: "You Turned the Tables on Me"
6) Ornette Coleman Quartet: "Blues Connotation"
7) Don Friedman: "Troubadoors Groovedour"
8) Dewey Redman: "Venus and Mars"
9) Bobby Hutcherson: "Black Circle"
10) Joe Lovano: "Rush Hour On"
Dr. Lonnie Smith: 'Move Your Hand'
I'm jacked up for Dr. Lonnie Smith's show at The Jazz Kitchen in Indianapolis Sunday night after pulling out the great jazz organist's "Move Your Hand" album this afternoon. "Move Your Hand" might not be Smith's best album, but I'd argue that it's his funkiest, which would make it one of the great soul-jazz albums of all time.
On Donovan's "Sunshine Superman." Smith's organ licks are short and powerful enough to bring a superhero down. For much of "Layin' in the Cut," Smith lets tenor saxophonist Rudy Jones, baritone saxophonist Ronnie Cuber and guitarist Larry McGee spar. Then he steps in to pound listeners with some of the nastiest funk you've ever heard. "Move Your Hand," the album's title track, is even funkier. Smith sings as well as plays his organ and though his voice isn't perfect, it's mighty cool. And you know his organ licks are hot.
I don't know who Smith will have with him at The Jazz Kitchen Sunday night, but I am willing to bet that I'll be in the mood to boogaloo when I drive home. School starts Monday and I can't think of a better way to kick off the year.
On Donovan's "Sunshine Superman." Smith's organ licks are short and powerful enough to bring a superhero down. For much of "Layin' in the Cut," Smith lets tenor saxophonist Rudy Jones, baritone saxophonist Ronnie Cuber and guitarist Larry McGee spar. Then he steps in to pound listeners with some of the nastiest funk you've ever heard. "Move Your Hand," the album's title track, is even funkier. Smith sings as well as plays his organ and though his voice isn't perfect, it's mighty cool. And you know his organ licks are hot.
I don't know who Smith will have with him at The Jazz Kitchen Sunday night, but I am willing to bet that I'll be in the mood to boogaloo when I drive home. School starts Monday and I can't think of a better way to kick off the year.
Cahl's Jukebox, 8-17-07
The daily mix:
1) Laura Love: "A Ha Me a Riddle I Day"
2) Buckwheat Zydeco: "Hot Tamale Baby"
3) Mutabaruka: "Skins"
4) The Brogues: "I Ain't No Miracle Worker"
5) The Detroit Cobras: "99 and a Half Just Won't Do
6) The International Noise Conspiracy: "Captialism Stole My Virginity"
7) The Minutemen: "The Tin Roof"
8) Jimi Hendrix: "Foxy Lady"
9) Magic Slim & the Teardrops: "I Need Lovin'"
10) Jimmy Dawkins: "Sad and Blues"
1) Laura Love: "A Ha Me a Riddle I Day"
2) Buckwheat Zydeco: "Hot Tamale Baby"
3) Mutabaruka: "Skins"
4) The Brogues: "I Ain't No Miracle Worker"
5) The Detroit Cobras: "99 and a Half Just Won't Do
6) The International Noise Conspiracy: "Captialism Stole My Virginity"
7) The Minutemen: "The Tin Roof"
8) Jimi Hendrix: "Foxy Lady"
9) Magic Slim & the Teardrops: "I Need Lovin'"
10) Jimmy Dawkins: "Sad and Blues"
Friday, August 17, 2007
Linda Thompson, 'Versatile Heart'
Linda Thompson's new album, "Versatile Heart," sounds like a long lullaby for sad sacks. Happy folks can enjoy it, too, because the album rivals Patty Griffin's "Children Running Through" as the loveliest album of the year.
"Versatile Heart" is filled with guest stars, including two of Thompson's children, Teddy and Kamila, and Thompson's voice blends beautifully with them all. I'm particularly fond of her duet with Antony on "Beauty," which was written for her by Rufus Wainwright.
Thompson doesn't rock hard, even on "Do Your Best for Rock and Roll," but if you're looking for a nice summer chill album, "Versatile Heart" is a fine pick.
"Versatile Heart" is filled with guest stars, including two of Thompson's children, Teddy and Kamila, and Thompson's voice blends beautifully with them all. I'm particularly fond of her duet with Antony on "Beauty," which was written for her by Rufus Wainwright.
Thompson doesn't rock hard, even on "Do Your Best for Rock and Roll," but if you're looking for a nice summer chill album, "Versatile Heart" is a fine pick.
Thursday, August 16, 2007
Cahl's Jukebox, 8-16-07
Thursday night blues:
1) John Moody: "Travelin' Riverside Blues"
2) Angela Strehli: "Take It from Me"
3) Floyd McDaniel: "Route 66"
4) Memphis Minnie: "My Baby Don't Want Me No More"
5) Sweet Betty: "Your Tears Become My Tears"
6) Magic Sam: "Magic Rocker"
7) Elmore James: "Crossroads"
8) Bumblebee Slim: "Policy Dream Blues"
9) David "Honeyboy" Edwards: "West Memphis Blues"
10) Roosevelt Sykes: "Boot That Thing"
1) John Moody: "Travelin' Riverside Blues"
2) Angela Strehli: "Take It from Me"
3) Floyd McDaniel: "Route 66"
4) Memphis Minnie: "My Baby Don't Want Me No More"
5) Sweet Betty: "Your Tears Become My Tears"
6) Magic Sam: "Magic Rocker"
7) Elmore James: "Crossroads"
8) Bumblebee Slim: "Policy Dream Blues"
9) David "Honeyboy" Edwards: "West Memphis Blues"
10) Roosevelt Sykes: "Boot That Thing"
Max Roach Dies
Max Roach’s solo on “Jor-Du,” which he recorded with trumpeter Clifford Brown, is the centerpiece of a mix CD I made last week for a young drummer I know. Roach’s drumming displays an intoxicating mix of power and subtlety. Roach died Wednesday at age 83 and jazz lost one of its last titans.
Roach provided the beat for many of the best jazz albums ever recorded, including records with Benny Carter, Coleman Hawkins, Charlie Parker, Don Byas, Bud Powell, Thelonious Monk, Dizzy Gillespie, Sonny Rollins, Thad Jones, Abbey Lincoln, Dinah Washington, Johnny Griffin, Sonny Clark, Booker Little and Brown. Young folks just getting into jazz could assemble an extraordinary collection if they did nothing but look for albums that credit Roach.
The young drummer I know is a rock 'n' roll buff, but if he listens to enough of Max Roach's music I'll bet he'll become a jazz fan, too. Godspeed, Mr. Roach.
Roach provided the beat for many of the best jazz albums ever recorded, including records with Benny Carter, Coleman Hawkins, Charlie Parker, Don Byas, Bud Powell, Thelonious Monk, Dizzy Gillespie, Sonny Rollins, Thad Jones, Abbey Lincoln, Dinah Washington, Johnny Griffin, Sonny Clark, Booker Little and Brown. Young folks just getting into jazz could assemble an extraordinary collection if they did nothing but look for albums that credit Roach.
The young drummer I know is a rock 'n' roll buff, but if he listens to enough of Max Roach's music I'll bet he'll become a jazz fan, too. Godspeed, Mr. Roach.
Wednesday, August 15, 2007
Cahl's Jukebox, 8-15-07
It's jazz piano day:
1) Albert Dailey Trio: "Music That Makes Me Dance"
2) Erroll Garner: "When Johnny Comes Marching Home"
3) Jackie Terrasson: "The Rat Race"
4) Kenny Drew Jr. Trio: "Blame It on My Youth"
5) Dave Burrell Full-Blown Trio: "They Say It's Wonderful"
6) Duke Jordan: "Rosetta"
7) Herbie Hancock: "A Jump Ahead"
8) Keith Jarrett: "Little Girl Blue"
9) Ray Bryant: "C-Jam Blues"
10) Aaron Choulai: "Tic Toc"
1) Albert Dailey Trio: "Music That Makes Me Dance"
2) Erroll Garner: "When Johnny Comes Marching Home"
3) Jackie Terrasson: "The Rat Race"
4) Kenny Drew Jr. Trio: "Blame It on My Youth"
5) Dave Burrell Full-Blown Trio: "They Say It's Wonderful"
6) Duke Jordan: "Rosetta"
7) Herbie Hancock: "A Jump Ahead"
8) Keith Jarrett: "Little Girl Blue"
9) Ray Bryant: "C-Jam Blues"
10) Aaron Choulai: "Tic Toc"
Jazz Blog Special: Tete Montoliu, 'Lunch in L.A.'
On “Put Your Little Foot Right Out,” jazz pianists Tete Montoliu and Chick Corea play an exquisite game of musical tag. They take turns racing up and around the scales, trying to best each other with jazz riffs filled with chunks of discordant notes and snippets of classical music. I can’t think of another piano duet I’d rather listen to.
The rest of Montoliu’s “Lunch in L.A.” album features the Spanish pianist by himself. But at times it’s hard to believe there’s only one player because he creates such a full sound. It’s almost as if his left and his right hand are playing tag, with one ripping off Thelonious Monk-like runs and the other toying with Dixieland and swing themes.
I’d put this album at the top of your wish list if you love jazz pianists. The only bad thing about it is that Fantasy didn’t include liner notes with the CD, but that’s hardly a problem — the music speaks for itself.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
The rest of Montoliu’s “Lunch in L.A.” album features the Spanish pianist by himself. But at times it’s hard to believe there’s only one player because he creates such a full sound. It’s almost as if his left and his right hand are playing tag, with one ripping off Thelonious Monk-like runs and the other toying with Dixieland and swing themes.
I’d put this album at the top of your wish list if you love jazz pianists. The only bad thing about it is that Fantasy didn’t include liner notes with the CD, but that’s hardly a problem — the music speaks for itself.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Tuesday, August 14, 2007
Cahl's Jukebox, 8-14-07
The daily mix:
1) Ray Wylie Hubbard: "Dallas After Midnight"
2) Paul Thorn: "A Lot of Good Reasons"
3) Jackson Browne and Bonnie Raitt: "Poor Poor Pitiful Me"
4) Guy Clark: "Don't Let the Sunshine Fool You"
5) Alejandro Escovedo: "I Died a Little Today"
6) Kasey Chambers: "Barricades and Brick Walls"
7) Grey Delisle: "Sweet Little Bluebird"
8) Ryan Adams: "Now That You're Gone"
9) Shelby Lynne: "Where I'm From"
10) John Wesley Harding: "Ordinary Weekend"
1) Ray Wylie Hubbard: "Dallas After Midnight"
2) Paul Thorn: "A Lot of Good Reasons"
3) Jackson Browne and Bonnie Raitt: "Poor Poor Pitiful Me"
4) Guy Clark: "Don't Let the Sunshine Fool You"
5) Alejandro Escovedo: "I Died a Little Today"
6) Kasey Chambers: "Barricades and Brick Walls"
7) Grey Delisle: "Sweet Little Bluebird"
8) Ryan Adams: "Now That You're Gone"
9) Shelby Lynne: "Where I'm From"
10) John Wesley Harding: "Ordinary Weekend"
Blue Notes' Web Site Makeover
Blue Note Records is targeting Baby Boomers when it revamps its Web page later this month. It will reportedly be similar to myspace's music pages and will serve as a digital music store and social networking site.
As an aging Baby Boomer, I think it's a good idea. I still buy more CDs than digital music, but I'll bet I spent a couple hundred dollars more on digital music than any of my college students did last year. And I know I'm not alone. Most of my middle-aged friends buy digital music, too. I'm excited about the prospect of being able to purchase digital copies of long out of print jazz albums and I hope other labels are paying attention.
As an aging Baby Boomer, I think it's a good idea. I still buy more CDs than digital music, but I'll bet I spent a couple hundred dollars more on digital music than any of my college students did last year. And I know I'm not alone. Most of my middle-aged friends buy digital music, too. I'm excited about the prospect of being able to purchase digital copies of long out of print jazz albums and I hope other labels are paying attention.
Monday, August 13, 2007
Cahl's Jukebox, 8-13-07
Monday morning twang:
1) Hank Williams III: "Pills I Took"
2) Dale Watson: "No Help Wanted"
3) Johnny Cash: "I Don't Know Where I'm Bound"
4) Patsy Cline: "Love Me, Love Me, Honey Do"
5) Laura Cantrell: "Poor Ellen Smith"
6) Hank Snow: "The Golden Rocket"
7) Ernest Tubb and Loretta Lynn: "Sweet Thang"
8) Conway Twitty: "I Never Once Stopped Loving You"
9) Webb Pierce: "More and More"
10) Wayne Hancock: "Life on the Road"
1) Hank Williams III: "Pills I Took"
2) Dale Watson: "No Help Wanted"
3) Johnny Cash: "I Don't Know Where I'm Bound"
4) Patsy Cline: "Love Me, Love Me, Honey Do"
5) Laura Cantrell: "Poor Ellen Smith"
6) Hank Snow: "The Golden Rocket"
7) Ernest Tubb and Loretta Lynn: "Sweet Thang"
8) Conway Twitty: "I Never Once Stopped Loving You"
9) Webb Pierce: "More and More"
10) Wayne Hancock: "Life on the Road"
Hank Williams III's Concert in Indianapolis
Hank Williams III is pissed off. Sunday night at The Vogue in Indianapolis, Hank III blasted the Grand Ole Opry for failing to reinstate his famous grandfather, Hank Williams, who was banned for excessive drinking, and asked audience members to sign sign a petition urging the Opry to right a wrong. Then Hank III skewered the Opry the best way he knows how … a profanity-laden song.
The overflow crowd went wild, but that happed on damn near every song in his country set. It’s been a long time since I’ve been to a concert at which audience members had a better time. Hank III’s lyrics, which deal almost exclusively with getting drunk, stoned and laid, had a lot to do with that — the folks around me screamed just about every lyric back at Hank III as they pogoed across the bar floor.
But Hank III has a lot more to offer than titillating lyrics. His songs are steeped in the tradition of his grandfather, his father (Hank Williams Jr.) and all the country outlaws who came before him. And no one carries the standard for classic country music with more attitude than Hank III.
In concert, Hank III burns, and despite his antipathy toward the Grand Ole Opry, he obviously loves the music. Midway through the set, he sang a series of songs by some of his heroes such as David Allan Coe, Johnny Cash and Hank Williams. It was a little eerie hearing Hank III sing a song by his grandfather because they sound so much alike, but I didn’t hear anyone complaining.
About an hour and a half into the show, Hank III and Assjack launched into their metal set and I swear a few audience members almost spontaneously combusted with excitement. I appreciate the energy and passion with which Hank II and Assjack played, but I thought it sounded like the car wreck I saw in front of the theater before the concert, so I hit the road.
Two and a half hours later, I’m still jacked about the concert, though. And you can bet I’ll sign the petition to get Hank Williams reinstated to the Grand Ole Opry.
The overflow crowd went wild, but that happed on damn near every song in his country set. It’s been a long time since I’ve been to a concert at which audience members had a better time. Hank III’s lyrics, which deal almost exclusively with getting drunk, stoned and laid, had a lot to do with that — the folks around me screamed just about every lyric back at Hank III as they pogoed across the bar floor.
But Hank III has a lot more to offer than titillating lyrics. His songs are steeped in the tradition of his grandfather, his father (Hank Williams Jr.) and all the country outlaws who came before him. And no one carries the standard for classic country music with more attitude than Hank III.
In concert, Hank III burns, and despite his antipathy toward the Grand Ole Opry, he obviously loves the music. Midway through the set, he sang a series of songs by some of his heroes such as David Allan Coe, Johnny Cash and Hank Williams. It was a little eerie hearing Hank III sing a song by his grandfather because they sound so much alike, but I didn’t hear anyone complaining.
About an hour and a half into the show, Hank III and Assjack launched into their metal set and I swear a few audience members almost spontaneously combusted with excitement. I appreciate the energy and passion with which Hank II and Assjack played, but I thought it sounded like the car wreck I saw in front of the theater before the concert, so I hit the road.
Two and a half hours later, I’m still jacked about the concert, though. And you can bet I’ll sign the petition to get Hank Williams reinstated to the Grand Ole Opry.
Saturday, August 11, 2007
Cahl's Jukebox, 8-11-07
Saturday morning jazz:
1) Pee Wee Russell: "How About Me?"
2) Dave Brubeck: "Let's Get Away from It All"
3) John La Porta: "Small Blue Opus"
4) Dewey Redman: "Mr. Sandman"
5) Cannonball Adderley: "Gemini"
6) Eric Kloss: "Sunshine Superman"
7) Bobby Watson: "Bush Song"
8) Danilo Perez: "Cosa Linda"
9) Ronnie Cuber: "Misty"
10) Arthur Taylor: "Cubano Chant"
1) Pee Wee Russell: "How About Me?"
2) Dave Brubeck: "Let's Get Away from It All"
3) John La Porta: "Small Blue Opus"
4) Dewey Redman: "Mr. Sandman"
5) Cannonball Adderley: "Gemini"
6) Eric Kloss: "Sunshine Superman"
7) Bobby Watson: "Bush Song"
8) Danilo Perez: "Cosa Linda"
9) Ronnie Cuber: "Misty"
10) Arthur Taylor: "Cubano Chant"
Jazz Blog Special: Stefano Di Battista, 'A Prima Vista'
A couple of years ago I bought Italian saxophonist Stefano Di Battista’s “Parker’s Mood” on a whim and fell in love with his sweet, high tone. Charlie Parker’s influence drove the album, which was dedicated to Bird’s music, but I thought Di Battista sounded more like Art Pepper.
The ghosts of Parker and Pepper are present on Di Battista’s 1998 “A Prima Vista” album, too. Even so, Di Battista, who plays alto and soprano, sounds like one of the most original young artists in jazz. On the uptempo songs, Di Battista gently ricochets from note to note with the unpredictability of Sonny Rollins and the coolness of Lester Young. His ballads are beautiful but edgy; in some ways, they remind me of the looming cadence of ocean waves riding toward shore the day before a storm.
The band Di Battista assembled for the album is one of the best I’ve heard in a long time. Flavio Boltro on trumpet and flugelhorn is particularly good. I’d also ike to hear a lot more from pianist Eric Legnini, bassist Rosario Bonaccorso and drummer Benjamin Henocq.
It’s a shame that “A Prima Vista” isn’t more readily available in the States. Pick up a copy if you can.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
The ghosts of Parker and Pepper are present on Di Battista’s 1998 “A Prima Vista” album, too. Even so, Di Battista, who plays alto and soprano, sounds like one of the most original young artists in jazz. On the uptempo songs, Di Battista gently ricochets from note to note with the unpredictability of Sonny Rollins and the coolness of Lester Young. His ballads are beautiful but edgy; in some ways, they remind me of the looming cadence of ocean waves riding toward shore the day before a storm.
The band Di Battista assembled for the album is one of the best I’ve heard in a long time. Flavio Boltro on trumpet and flugelhorn is particularly good. I’d also ike to hear a lot more from pianist Eric Legnini, bassist Rosario Bonaccorso and drummer Benjamin Henocq.
It’s a shame that “A Prima Vista” isn’t more readily available in the States. Pick up a copy if you can.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Thursday, August 09, 2007
Cahl's Jukebox, 8-9-07
The daily mix:
1) The Pogues: “5 Green Queens and Jean”
2) Ofer Golany: “A Leaf”
3) Billy Bragg: “Never Had No One Ever”
4) Nikki Sudden: “When the Lord”
5) Syd Straw: “Sphinx”
6) Sarah Harmer: “Don’t Get Your Back Up”
7) Aimee Mann: “Par for the Course”
8) Bob Dylan: “True Love Tends to Forget”
9) Ray LaMontagne: “How Come”
10) Charlie Sexton: “Gospel”
1) The Pogues: “5 Green Queens and Jean”
2) Ofer Golany: “A Leaf”
3) Billy Bragg: “Never Had No One Ever”
4) Nikki Sudden: “When the Lord”
5) Syd Straw: “Sphinx”
6) Sarah Harmer: “Don’t Get Your Back Up”
7) Aimee Mann: “Par for the Course”
8) Bob Dylan: “True Love Tends to Forget”
9) Ray LaMontagne: “How Come”
10) Charlie Sexton: “Gospel”
John Sayles' 'Honeydripper'
I haven’t seen a movie in a theater for several years, but John Sayles' “Honeydripper,” which stars Danny Glover, might change that when it comes out in a few months.
Glover plays the owner of a struggling juke joint who hires a young blues musician to save his business. The story sounds interesting, especially the part about the time when blues met rock ‘n’ roll, but the kicker for me is that film also features Gary Clark Jr., Keb Mo’ and Mable John.
I might even splurge and buy a box of popcorn when I go; it’s been 30 years since I’ve done that.
Here’s a clip from the movie:
Glover plays the owner of a struggling juke joint who hires a young blues musician to save his business. The story sounds interesting, especially the part about the time when blues met rock ‘n’ roll, but the kicker for me is that film also features Gary Clark Jr., Keb Mo’ and Mable John.
I might even splurge and buy a box of popcorn when I go; it’s been 30 years since I’ve done that.
Here’s a clip from the movie:
Wednesday, August 08, 2007
Cahl's Jukebox, 8-9-07
Wednesday morning soul:
1) Rufus and Carla Thomas: "Steal a Little"
2) Marvin Gaye and Diana Ross: "My Mistake (Was to Love You)"
3) Arthur Conley: "Let Nothing Separate Us"
4) Doris Duke: "How Was I to Know You Cared"
5) Bettye Swann: "Then You Can Tell Me Goodbye"
6) The Flirtations: "Stronger Than Her Love"
7) Garnet Mimms: "There Goes My Baby"
8) James Carr: "I Gotta Go"
9) Don Covay: "See About Me"
10) Irma Thomas: "A Woman Will Do Wrong"
1) Rufus and Carla Thomas: "Steal a Little"
2) Marvin Gaye and Diana Ross: "My Mistake (Was to Love You)"
3) Arthur Conley: "Let Nothing Separate Us"
4) Doris Duke: "How Was I to Know You Cared"
5) Bettye Swann: "Then You Can Tell Me Goodbye"
6) The Flirtations: "Stronger Than Her Love"
7) Garnet Mimms: "There Goes My Baby"
8) James Carr: "I Gotta Go"
9) Don Covay: "See About Me"
10) Irma Thomas: "A Woman Will Do Wrong"
Rufus Thomas: "Did You Heard Me/Crown Prince of Dance'
I was too young to understand the not so subtle meaning of Rufus Thomas’ lyrics on “(Do the) Push and Pull” when I bought the 45 in the early ‘70s. Luckily, my mother didn’t understand either or that record would have disappeared in the night like a married lover.
Now well into middle age, I chuckle just about every time I listen to a song by Thomas, the late Memphis disc jockey and funk legend. The man was the funniest songwriter who ever cut a soul record. And, with apologies to James Brown, you won’t get many arguments from me when Thomas tells listeners he’s the “Funkiest Man Alive.” Thomas is the only singer I’ve ever heard who threatened to take “Tutti Fruitti” away from Little Richard and you have to be more than a jokester to do that.
You can find “(Do the) Push and Pull,” “Funkiest Man Alive,” “Do the Funky Penguin (Parts 1 & 2),” “Tutti Fruitti” and a lot of other outstanding funk tunes on “Did You Heard Me?/Crown Prince of Dance,” which compiles two of Thomas’ best albums. It’s true that many of Thomas’ funk tunes sound a lot alike, but his wit made every song sound fresh and his monstrous grooves sent legions of kids to the dance floor.
Besides, Thomas was hardly one-dimensional. For example, Thomas locked into the classic Stax sound on “I’m Still in Love with You,” which rivals the label’s best tunes. His reading of Nat King Cole’s “(I Love You) for Sentimental Reasons,” bolstered by James Mitchell’s sexy baritone saxophone, belongs on every Valentine’s Day mix disc. And the gospel-tinged “ballad “Baby, It's Real,” which Thomas sings with his daughter, Carla, is one of my favorite soul duets. I’m willing to bet my mother would even love that tune. She doesn’t need to know about the other stuff.
Now well into middle age, I chuckle just about every time I listen to a song by Thomas, the late Memphis disc jockey and funk legend. The man was the funniest songwriter who ever cut a soul record. And, with apologies to James Brown, you won’t get many arguments from me when Thomas tells listeners he’s the “Funkiest Man Alive.” Thomas is the only singer I’ve ever heard who threatened to take “Tutti Fruitti” away from Little Richard and you have to be more than a jokester to do that.
You can find “(Do the) Push and Pull,” “Funkiest Man Alive,” “Do the Funky Penguin (Parts 1 & 2),” “Tutti Fruitti” and a lot of other outstanding funk tunes on “Did You Heard Me?/Crown Prince of Dance,” which compiles two of Thomas’ best albums. It’s true that many of Thomas’ funk tunes sound a lot alike, but his wit made every song sound fresh and his monstrous grooves sent legions of kids to the dance floor.
Besides, Thomas was hardly one-dimensional. For example, Thomas locked into the classic Stax sound on “I’m Still in Love with You,” which rivals the label’s best tunes. His reading of Nat King Cole’s “(I Love You) for Sentimental Reasons,” bolstered by James Mitchell’s sexy baritone saxophone, belongs on every Valentine’s Day mix disc. And the gospel-tinged “ballad “Baby, It's Real,” which Thomas sings with his daughter, Carla, is one of my favorite soul duets. I’m willing to bet my mother would even love that tune. She doesn’t need to know about the other stuff.
Cahl's Jukebox, 8-8-07
The daily mix:
1) Ruth Brown: "St. Louis Blues"
2) Lula Reed: "Let's Call It a Day"
3) Maxine Sullivan: "Say It with a Kiss"
4) June Christy: "Pete Kelly's Blues"
5) Dinah Washington: "Show Time"
6) Annie Ross and Zoot Sims: "Invitation to the Blues"
7) Billie Holiday: "Good Morning Heartache"
8) Lena Horne: "I Gotta Right to Sing the Blues"
9) Pearl Bailey: "Mamie is a Mimi"
10) Eartha Kitt: "Champagne Taste"
1) Ruth Brown: "St. Louis Blues"
2) Lula Reed: "Let's Call It a Day"
3) Maxine Sullivan: "Say It with a Kiss"
4) June Christy: "Pete Kelly's Blues"
5) Dinah Washington: "Show Time"
6) Annie Ross and Zoot Sims: "Invitation to the Blues"
7) Billie Holiday: "Good Morning Heartache"
8) Lena Horne: "I Gotta Right to Sing the Blues"
9) Pearl Bailey: "Mamie is a Mimi"
10) Eartha Kitt: "Champagne Taste"
A Young Jazz Fan Gets the Blues
My best friend told me that her 17-year-old son, who’s been a jazz fan since he was little, announced the other day that he's startig to like the blues, too. I’m ecstatic, but I’m not taking any chances. I’m making him a CD that alternates between bluesy jazz and jazzy blues.
I’ll probably include jazz tunes such as Stanley Turrentine’s “Blue Riff,” Count Basie and Dizzy Gillespie’s “St. James Infirmary” and Mary Lou Williams’ “Rosa Mae.” I’m sure I’ll find spots for some Gene Ammons, Sonny Criss, Ben Webster, Gene Harris and Tommy Flanagan, too.
For the blues cuts I’ll probably include Big Joe Turner’s “Roll ‘em Pete,” Taj Mahal’s “Senor Blues,” Jimmy Johnson’s “Take Five” and Sunnyland Slim’s “Harlem Can’t Be Heaven.” Undoubtedly, Eddie “Cleanhead” Vinson, Bobby “Blue” Bland, Lou Rawls, Ruth Brown and Jimmy Witherspoon will land on the CD, too.
The two tracks I know will be on my compilation are “Birth of the Blues” from Ray Charles’ “Genius+Soul=Jazz” album and “Blues for New Orleans” from Duke Ellington’s “New Orleans Suite” album. Those songs blur the lines between jazz and blues as well as any I know.
“Genius+Soul=Jazz” is really a jazz album pairing Charles with Count Basie’s orchestra. And Charles laid down some of the most soulful organ licks he ever recorded.
“Blues for New Orleans” might be Ellington’s most underrated album. Organist Wild Bill Davis joined Ellington and his band on “Blues for New Orleans” and he tore the song up. Saxophonist Johnny Hodges, who died just a few days after recording the track, added the song’s soul, playing sweet, fat notes filled with sadness.
My young friend already loves Ellington. I’m hoping that with time he’ll develop the same affection for Muddy Waters, Robert Johnson and Lightnin' Hopkins.
I’ll probably include jazz tunes such as Stanley Turrentine’s “Blue Riff,” Count Basie and Dizzy Gillespie’s “St. James Infirmary” and Mary Lou Williams’ “Rosa Mae.” I’m sure I’ll find spots for some Gene Ammons, Sonny Criss, Ben Webster, Gene Harris and Tommy Flanagan, too.
For the blues cuts I’ll probably include Big Joe Turner’s “Roll ‘em Pete,” Taj Mahal’s “Senor Blues,” Jimmy Johnson’s “Take Five” and Sunnyland Slim’s “Harlem Can’t Be Heaven.” Undoubtedly, Eddie “Cleanhead” Vinson, Bobby “Blue” Bland, Lou Rawls, Ruth Brown and Jimmy Witherspoon will land on the CD, too.
The two tracks I know will be on my compilation are “Birth of the Blues” from Ray Charles’ “Genius+Soul=Jazz” album and “Blues for New Orleans” from Duke Ellington’s “New Orleans Suite” album. Those songs blur the lines between jazz and blues as well as any I know.
“Genius+Soul=Jazz” is really a jazz album pairing Charles with Count Basie’s orchestra. And Charles laid down some of the most soulful organ licks he ever recorded.
“Blues for New Orleans” might be Ellington’s most underrated album. Organist Wild Bill Davis joined Ellington and his band on “Blues for New Orleans” and he tore the song up. Saxophonist Johnny Hodges, who died just a few days after recording the track, added the song’s soul, playing sweet, fat notes filled with sadness.
My young friend already loves Ellington. I’m hoping that with time he’ll develop the same affection for Muddy Waters, Robert Johnson and Lightnin' Hopkins.
Tuesday, August 07, 2007
Cahl's Jukebox, 8-7-07
It's reggae day:
1) Derrick Morgan: "It's All Right"
2) The Pinchers: "Pot of Coffee"
3) Black Uhuru: "Darkness"
4) Jimmy Cliff: "Under the Sun, Moon and Stars"
5) Alton Ellis: "Ain't That Loving You"
6) Joe Higgs: "She Was the One"
7) Johnnie Osbourne: "African Wake"
8) Ken Boothe: "Everything I Own"
9) Majek Fashek: "Let Righteousness Cover the Earth"
10) Harold Butler: "Lazy Bones"
1) Derrick Morgan: "It's All Right"
2) The Pinchers: "Pot of Coffee"
3) Black Uhuru: "Darkness"
4) Jimmy Cliff: "Under the Sun, Moon and Stars"
5) Alton Ellis: "Ain't That Loving You"
6) Joe Higgs: "She Was the One"
7) Johnnie Osbourne: "African Wake"
8) Ken Boothe: "Everything I Own"
9) Majek Fashek: "Let Righteousness Cover the Earth"
10) Harold Butler: "Lazy Bones"
Janis Martin: "Masters and Studio Outtakes'
I don't know why Janis Martin wasn't a bigger star. She sounds like a nice girl with a bad streak ... and that's every young guy's dream.
Martin was billed as the female Elvis. She even sang a song about the King called "My Boy Elvis." But really, Martin sounds more like Doris Day would have if someone had lit a fire under her ass.
Wanda Jackson might have been the only woman who rocked harder in the late '50s. Jackson's music was more primal, perhaps, but only by a little. Guitarists George Barnes, Al Chernet and Chet Atkins saw to that. Piano players Floyd Cramer, Shorty Long and Andy Ackers knew how to rock, too.
"Drugstore Rock and Roll," "Barefoot Baby" and "All Right Baby" should be considered rock classics. You'll find those tracks and 26 others on "Masters and Studio Outtakes." But this collection should come with a parental warning. Young guys (and more than a few old dudes) are sure to develop a crush on Ms. Martin.
Martin was billed as the female Elvis. She even sang a song about the King called "My Boy Elvis." But really, Martin sounds more like Doris Day would have if someone had lit a fire under her ass.
Wanda Jackson might have been the only woman who rocked harder in the late '50s. Jackson's music was more primal, perhaps, but only by a little. Guitarists George Barnes, Al Chernet and Chet Atkins saw to that. Piano players Floyd Cramer, Shorty Long and Andy Ackers knew how to rock, too.
"Drugstore Rock and Roll," "Barefoot Baby" and "All Right Baby" should be considered rock classics. You'll find those tracks and 26 others on "Masters and Studio Outtakes." But this collection should come with a parental warning. Young guys (and more than a few old dudes) are sure to develop a crush on Ms. Martin.
Cahl's Jukebox, 8-6-07
The daily mix:
1) Santana: "Somewhere in Heaven"
2) J.J. Cale: "Magnolia"
3) James Hunter: "Mollena"
4) Sam Cooke: "I Lost Everything"
5) Lou Rawls: "This Bitter Earth"
6) Janiva Magness: "I Can't Stop Crying"
7) Elvis Costello: "Favourite Hour"
8) Dion: "Lovers Who Wander"
9) Elvis Presley: "Mystery Train"
10) Ian Hunter: "Soul of America"
1) Santana: "Somewhere in Heaven"
2) J.J. Cale: "Magnolia"
3) James Hunter: "Mollena"
4) Sam Cooke: "I Lost Everything"
5) Lou Rawls: "This Bitter Earth"
6) Janiva Magness: "I Can't Stop Crying"
7) Elvis Costello: "Favourite Hour"
8) Dion: "Lovers Who Wander"
9) Elvis Presley: "Mystery Train"
10) Ian Hunter: "Soul of America"
Monday, August 06, 2007
Alexander Von Schlippenbach: 'Monk's Casino'
When I listen to Thelonious Monk’s music I sometimes imagine the rustle of a jagged curtain that separates reality and fantasy. Pianist Alexander Von Schlippenbach and his quintet step through that curtain and explore every cranny of Thelonious’s Wonderland on a live three-disc set called “Monk’s Casino.”
Von Schlippenbach and his pals play every song Monk ever wrote, including some I’d never heard before. Some of the music on the album is pretty straight-forward, assuming, of course, that you think Monk ever wrote anything that could be called straight. But Von Schlippenbach, one of Europe’s top free jazz musicians, didn’t want to copy Monk, an artist he obviously idolized.
For starters, Von Schlippenbach used a bass clarinet instead of a saxophone. And Rudi Mahall, who plays the instrument on the album, makes unusual colors pop out of Monk’s compositions. Trumpeter Axel Dorner often stays close to the melodies, unusual as they are, allowing Von Schlippenbach, Mahall, bassist Jan Roder and drummer Uli Jennessen to romp around.
Von Schlippenbach frantically connects the dots in Monk’s masterpieces, and in the end, listeners see a picture that looks like a fantasy land that’s been painted by a group of munchkins who spent the weekend in a poppy field.
Not everyone will call “Monk’s Casino” art. But every once in a while, I get tired of my own reality and this album allows me to walk through a curtain into what I imagine Thelonious Monk’s mind must have been like. That’s a great fantasy.
Von Schlippenbach and his pals play every song Monk ever wrote, including some I’d never heard before. Some of the music on the album is pretty straight-forward, assuming, of course, that you think Monk ever wrote anything that could be called straight. But Von Schlippenbach, one of Europe’s top free jazz musicians, didn’t want to copy Monk, an artist he obviously idolized.
For starters, Von Schlippenbach used a bass clarinet instead of a saxophone. And Rudi Mahall, who plays the instrument on the album, makes unusual colors pop out of Monk’s compositions. Trumpeter Axel Dorner often stays close to the melodies, unusual as they are, allowing Von Schlippenbach, Mahall, bassist Jan Roder and drummer Uli Jennessen to romp around.
Von Schlippenbach frantically connects the dots in Monk’s masterpieces, and in the end, listeners see a picture that looks like a fantasy land that’s been painted by a group of munchkins who spent the weekend in a poppy field.
Not everyone will call “Monk’s Casino” art. But every once in a while, I get tired of my own reality and this album allows me to walk through a curtain into what I imagine Thelonious Monk’s mind must have been like. That’s a great fantasy.
Sunday, August 05, 2007
Cahl's Jukebox, 8-5-07
Sunday morning jazz:
1) Albert Ayler: "Bells"
2) Steve Lacy and Gil Evans: "Reincarnation of a Lovebird"
3) Jackie McLean: "Mean to Me"
4) Ernie Henry: "Checkmate"
5) Mal Waldron: "Dakar"
6) Don Byron: "Tuskeegee Strutter's Ball"
7) David Murray: "Cuttin' Corners"
8) John Blum Astrogeny Quartet: "Encomia"
9) Lennie Tristano: "Turkish Mambo"
10) Prince Lasha Quintet: "Ghost of the Past"
1) Albert Ayler: "Bells"
2) Steve Lacy and Gil Evans: "Reincarnation of a Lovebird"
3) Jackie McLean: "Mean to Me"
4) Ernie Henry: "Checkmate"
5) Mal Waldron: "Dakar"
6) Don Byron: "Tuskeegee Strutter's Ball"
7) David Murray: "Cuttin' Corners"
8) John Blum Astrogeny Quartet: "Encomia"
9) Lennie Tristano: "Turkish Mambo"
10) Prince Lasha Quintet: "Ghost of the Past"
Saturday, August 04, 2007
Robert Nighthawk: 'Live on Maxwell Street'
I have a whole stack of new CDs I'd planned to listen this weekend, but I slipped Robert Nighthawk's 1964 live blues classic, "Live on Maxwell Street," in my CD player this morning and I've been playing it all day. I'm not sure anyone's ever played a nastier slide guitar. His vocals were raw and powerful, too.
Nighthawk's like a musical street preacher who knows how to work a crowd. At one point on "All I Want for Breakfast/Them Kind of People," you hear a man in the crowd shout "tell it like it is." Nighthawk responded with some fire and brimstone. Amen.
Nighthawk's like a musical street preacher who knows how to work a crowd. At one point on "All I Want for Breakfast/Them Kind of People," you hear a man in the crowd shout "tell it like it is." Nighthawk responded with some fire and brimstone. Amen.
'Buck Owens & His Buckaroos in Japan!'
Most folks my age remember Buck Owens only as the singing rube on “Hee Haw.” Most of my students have never heard of him. But even if you hate anything with a hint of twang, it’s hard not to appreciate the musicianship of Owens and his band, The Buckaroos.
I don’t think you can go wrong with any of Owens’ albums, but if you’re looking for an introductory disc, I’d suggest you start with “Buck Owens and His Buckaroos in Japan!”
Take “Tokyo Polka,” a tune written especially for the band’s trip to Japan. It’s an extraordinary instrumental song that combines elements of Oriental music with polka, country and bluegrass. I’ll always treasure the fiddle work by Don Rich on “Fiddle Polka” because it triggers memories of the Virginia and north Georgia mountains where I spent most of my youth. I love the steel guitar, too, and you won’t find many folks who’ve mastered the instrument better than Tom Brumley. Check out “Steel Guitar Polka.” “Fishin’ on the Mississippi Banks” is a tour de force of Cajun and country. And if it weren’t for bassist Wayne Wilson’s twangy vocals, which are excellent, you’d swear that “Don’t Wipe the Tears that You Cry for Him on My Good White Shirt” was an early rock classic.
Owens and Rich share lead guitar duties and both burn through every song they play. This weekend, Rolling Stone magazine posted a list of what they consider the coolest guitar solos in rock and I assure you there’s not a musician on the list who could hang with Owens and Rich.
Owens was one of the best singers in country history, too. On “I Was Born to Be in Love With You,” his vocals almost match the lonesome whine of Brumley’s pedal steel guitar. And he sounds as wistful as anyone you’ll ever hear when he sings “Where Does the Good Times Go.” I’ll even forgive his grammar because Owens is one of my heroes. And, just for the record, I really miss “Hee Haw.”
I don’t think you can go wrong with any of Owens’ albums, but if you’re looking for an introductory disc, I’d suggest you start with “Buck Owens and His Buckaroos in Japan!”
Take “Tokyo Polka,” a tune written especially for the band’s trip to Japan. It’s an extraordinary instrumental song that combines elements of Oriental music with polka, country and bluegrass. I’ll always treasure the fiddle work by Don Rich on “Fiddle Polka” because it triggers memories of the Virginia and north Georgia mountains where I spent most of my youth. I love the steel guitar, too, and you won’t find many folks who’ve mastered the instrument better than Tom Brumley. Check out “Steel Guitar Polka.” “Fishin’ on the Mississippi Banks” is a tour de force of Cajun and country. And if it weren’t for bassist Wayne Wilson’s twangy vocals, which are excellent, you’d swear that “Don’t Wipe the Tears that You Cry for Him on My Good White Shirt” was an early rock classic.
Owens and Rich share lead guitar duties and both burn through every song they play. This weekend, Rolling Stone magazine posted a list of what they consider the coolest guitar solos in rock and I assure you there’s not a musician on the list who could hang with Owens and Rich.
Owens was one of the best singers in country history, too. On “I Was Born to Be in Love With You,” his vocals almost match the lonesome whine of Brumley’s pedal steel guitar. And he sounds as wistful as anyone you’ll ever hear when he sings “Where Does the Good Times Go.” I’ll even forgive his grammar because Owens is one of my heroes. And, just for the record, I really miss “Hee Haw.”
Cahl's Jukebox, 8-4-07
Saturday morning soul:
1) The Marvelettes: "I'll Keep Holding On"
2) The Casanovas: "Please Be My Love"
3) Eddie and Ernie: "Hiding in the Shadows"
4) Jean Knight: "Think It Over"
5) Sam Cooke: "Please Don't Drive Me Away"
6) Gable Reed: "Who's Been Warming My Oven"
7) Mable John: "I Love You More Than Words Can Say"
8) Shirley Brown: "Passion"
9) Tammi Terrell: "Too Much to Hope For"
10) The Sweet Inspirations: "Wishes and Dishes"
1) The Marvelettes: "I'll Keep Holding On"
2) The Casanovas: "Please Be My Love"
3) Eddie and Ernie: "Hiding in the Shadows"
4) Jean Knight: "Think It Over"
5) Sam Cooke: "Please Don't Drive Me Away"
6) Gable Reed: "Who's Been Warming My Oven"
7) Mable John: "I Love You More Than Words Can Say"
8) Shirley Brown: "Passion"
9) Tammi Terrell: "Too Much to Hope For"
10) The Sweet Inspirations: "Wishes and Dishes"
Bassist Art Davis Dies
I checked my CD collection tonight after learning that bassist Art Davis had died and found his imprint all over it. Davis contributed to albums by John Coltrane, Booker Little, Dizzy Gillespie, Freddie Hubbard, Eric Dolphy, Shirley Scott, Pharoah Sanders and many other jazz greats. I see he even played with soul singer Solomon Burke. Davis was one of the great timekeepers in jazz and every album he ever played on was better for his presence.
Friday, August 03, 2007
Cahl's Jukebox, 8-3-07
Friday morning blues:
1) Bertha “Chippie” Hill: “Weary Money Blues”
2) Ma Rainey: “Prove It On Me Blues”
3) Sippie Wallace: “Murder’s Gonna Be My Crime”
4) Charley Patton: ‘Moon Going Down”
5) Frank Stokes: “Nehi Mama”
6) Son House: “Sundown”
7) Mississippi John Hurt: “Hot Time in the Old Town Tonight”
8) Eric Bibb: “I Heard the Angels Singing”
9) Rory Block: “M & O Blues”
10) Georgia White: “Beggin’ My Daddy
1) Bertha “Chippie” Hill: “Weary Money Blues”
2) Ma Rainey: “Prove It On Me Blues”
3) Sippie Wallace: “Murder’s Gonna Be My Crime”
4) Charley Patton: ‘Moon Going Down”
5) Frank Stokes: “Nehi Mama”
6) Son House: “Sundown”
7) Mississippi John Hurt: “Hot Time in the Old Town Tonight”
8) Eric Bibb: “I Heard the Angels Singing”
9) Rory Block: “M & O Blues”
10) Georgia White: “Beggin’ My Daddy
Jazz Blog Special: John Wright, 'South Side Soul'
John Wright recorded “South Side Soul” when he was just 26, but the young jazz pianist learned his lessons well while growing up in the blues capital of the world.
Wright played jazz with the same bluesy feel as jazz pianists such as Gene Harris, Bobby Timmons and Junior Mance. Wright’s style was gentler, though, almost like a soft summer breeze blowing off Lake Michigan into Chicago. There’s also bounce in his play, which I imagine he got from listening to great Chicago blues pianists like Big Maceo and Roosevelt Sykes. He probably heard a healthy dose of stride pianist Albert Ammons, too, because Wright strutted a bit when he played.
Bassist Wendell Roberts and drummer Walter McCants knew how to swing, too, helping to make “South Side Soul” an album that every soul jazz fan should own. My only complaint is that the album is only 36 minutes long. I could listen to Wright play for several hours without getting bored.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Wright played jazz with the same bluesy feel as jazz pianists such as Gene Harris, Bobby Timmons and Junior Mance. Wright’s style was gentler, though, almost like a soft summer breeze blowing off Lake Michigan into Chicago. There’s also bounce in his play, which I imagine he got from listening to great Chicago blues pianists like Big Maceo and Roosevelt Sykes. He probably heard a healthy dose of stride pianist Albert Ammons, too, because Wright strutted a bit when he played.
Bassist Wendell Roberts and drummer Walter McCants knew how to swing, too, helping to make “South Side Soul” an album that every soul jazz fan should own. My only complaint is that the album is only 36 minutes long. I could listen to Wright play for several hours without getting bored.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Thursday, August 02, 2007
Femi Kuti on NPR
This concert by Femi Kuti, the son of the late Fela Kuti and an Afro-beat master himself, is one of the best shows NPR has offered.
Cahl's Jukebox, 8-2-07
The daily mix:
1) The Four Tops: “You Keep Burning Away”
2) James Brown: “Down and Out in New York City”
3) Angela Strehli: “Neighbor, Neighbor”
4) The Band: “Stage Fright”
5) Alejandro Escovedo: “Sacramento and Polk”
6) Gene Vincent: “Race with the Devil”
7) Jimmy Johnson: “Take Five”
8) Dave Brubeck: “Night and Day”
9) Bobby Hackett: “Davenport Blues”
10) Duke Ellington: “Sister Suffragette”
1) The Four Tops: “You Keep Burning Away”
2) James Brown: “Down and Out in New York City”
3) Angela Strehli: “Neighbor, Neighbor”
4) The Band: “Stage Fright”
5) Alejandro Escovedo: “Sacramento and Polk”
6) Gene Vincent: “Race with the Devil”
7) Jimmy Johnson: “Take Five”
8) Dave Brubeck: “Night and Day”
9) Bobby Hackett: “Davenport Blues”
10) Duke Ellington: “Sister Suffragette”
Wednesday, August 01, 2007
'A Tribute to Curtis Mayfield'
If I were to rank my favorite musicians, Curtis Mayfield would hover right below Charles Mingus. So I bought “A Tribute to Curtis Mayfield" in 1993 with a mixture of excitement and trepidation because most tribute albums are crap.
The album has a few dogs — why, for God’s sake, would someone ask Whitney Houston and Phil Collins to cover Curtis Mayfield tunes? That’s musical blasphemy, as far as I’m concerned. And I wish The Sounds of Blackness had recorded “Amen” without Elton John. Even so, I’ve listened to the album frequently over the years.
Gladys Knight leads the album with a spirited rendition of “Choice of Colors.” A few tracks later, Bruce Springsteen delivers the freshest interpretation of a Mayfield song with his cover of “Gypsy Woman.” It’s slow and dead sexy.
Lenny Kravitz sounds eerily like Mayfield on “Billy Jack” and The Isley Brothers would have had a hit with “I’m So Proud” if they’d gotten to the tune first. “People Get Ready” is probably the last decent tune Rod Stewart recorded. And Steve Winwood’s cover of “It’s All Right” is pretty good.
The most interesting tune on the album is “Fool for You,” which pairs jazz saxophonist Brandford Marsalis with The Impressions, Mayfield’s old group. The vocals are extraordinary, of course, and Marsalis and his band get funky, man. B.B. King grooves pretty hard, too, on his version of “Woman Got Soul.”
I love Stevie Wonder’s take on “I’m the One Who Loves You” and I think Aretha Franklin’s rendition of “The Makings of You” is pretty. But I can’t help wishing that they’d covered “Superfly” and “Pusherman.” The album could use a good dose of nasty funk and I can’t think of two artists more capable of delivering it.
The coolest thing about the album is that Curtis Mayfield is on it, performing “Let’s Do It Again” with The Repercussions. His terrible accident on stage in 1990 kept him from playing his guitar, one of the most distinctive instruments in history, but his voice is as hypnotic as ever.
I’ll always turn to Mayfield’s own albums first, but as far as tribute albums go, this is a good one and I’m glad to have it.
The album has a few dogs — why, for God’s sake, would someone ask Whitney Houston and Phil Collins to cover Curtis Mayfield tunes? That’s musical blasphemy, as far as I’m concerned. And I wish The Sounds of Blackness had recorded “Amen” without Elton John. Even so, I’ve listened to the album frequently over the years.
Gladys Knight leads the album with a spirited rendition of “Choice of Colors.” A few tracks later, Bruce Springsteen delivers the freshest interpretation of a Mayfield song with his cover of “Gypsy Woman.” It’s slow and dead sexy.
Lenny Kravitz sounds eerily like Mayfield on “Billy Jack” and The Isley Brothers would have had a hit with “I’m So Proud” if they’d gotten to the tune first. “People Get Ready” is probably the last decent tune Rod Stewart recorded. And Steve Winwood’s cover of “It’s All Right” is pretty good.
The most interesting tune on the album is “Fool for You,” which pairs jazz saxophonist Brandford Marsalis with The Impressions, Mayfield’s old group. The vocals are extraordinary, of course, and Marsalis and his band get funky, man. B.B. King grooves pretty hard, too, on his version of “Woman Got Soul.”
I love Stevie Wonder’s take on “I’m the One Who Loves You” and I think Aretha Franklin’s rendition of “The Makings of You” is pretty. But I can’t help wishing that they’d covered “Superfly” and “Pusherman.” The album could use a good dose of nasty funk and I can’t think of two artists more capable of delivering it.
The coolest thing about the album is that Curtis Mayfield is on it, performing “Let’s Do It Again” with The Repercussions. His terrible accident on stage in 1990 kept him from playing his guitar, one of the most distinctive instruments in history, but his voice is as hypnotic as ever.
I’ll always turn to Mayfield’s own albums first, but as far as tribute albums go, this is a good one and I’m glad to have it.
Cahl's Jukebox, 8-1-07
Wednesday morning jazz:
1) Miles Davis: “Autumn Leaves”
2) Carmell Jones: “That’s Good”
3) Sonny Criss: “Calidad”
4) Dave Pike: “Cheryl”
5) Milt Jackson: “For Someone I Love”
6) Ron Carter: “Sheila’s Song (Hasta Luega, Mi Amiga)”
7) McCoy Tyner: “Contemplation”
8) Gigi Gryce: “Blues in the Jungle”
9) Mary Lou Williams: “Praise the Lord”
10) Phineas Newborn: “What’s New”
1) Miles Davis: “Autumn Leaves”
2) Carmell Jones: “That’s Good”
3) Sonny Criss: “Calidad”
4) Dave Pike: “Cheryl”
5) Milt Jackson: “For Someone I Love”
6) Ron Carter: “Sheila’s Song (Hasta Luega, Mi Amiga)”
7) McCoy Tyner: “Contemplation”
8) Gigi Gryce: “Blues in the Jungle”
9) Mary Lou Williams: “Praise the Lord”
10) Phineas Newborn: “What’s New”
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