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ROY ORBISON

The 2006 Rock and Roll

Hall of Fame & Museum

American Music

Masters Series

October 2006 • Issue 287PAGE TWO

Published by Martin WahlCommunications

Editor & Founder Bill Wahl

Layout & Design Bill Wahl

Operations Jim MartinPilar Martin

Contributors

Michael Braxton, Mark Cole,Dewey Forward, Steve Homick,Chris Hovan, Nancy Ann Lee,Peanuts, Mark Smith, DaveSunde, Duane Verh and RonWeinstock.Photos of Guitar Shortycourtesy of Alligator Records

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ROY ORBISON

It is time again for the Rock andRoll Hall of Fame and Museum’sannual American Music MastersSeries weeklong tribute. Thoughnot jazz or blues, Roy Orbisoncarved a niche all his own and be-came a true legend of Americanmusic.

The Rock and Roll Hall of Fameand Museum and Case WesternReserve University will celebratethe legacy of Roy Orbison duringthe Eleventh Annual American Mu-sic Masters Series this October 30through November 4. This 2006American Music Masters series,“Only the Lonely: The Life and Mu-sic of Roy Orbison,” will pay trib-ute to a performer who has beendescr ibed as “ rock and ro l l ’sCaruso.”

Orbison was a pioneer of the

dark, sophisticated and solitaryside of rock and roll. He possesseda three-octave range and sang ina soaring, operatic tenor. A ballad-eer with a timeless quality to hismusic, Orbison special ized inheartbreaking musical meditationson the subject of love. He was in-ducted into the Rock and Roll Hallof Fame in 1987 and would havebeen 70 on April 23, 2006.

Though the Texas-born singer/

guitarist briefly recorded for SunRecords where he had one mod-est hit, “Ooby Dooby,” Orbisonnever really fit in with the rowdyrockabilly crowd. Early on, he en-joyed success as a songwriter,placing songs with Jerry Lee Lewis,the Everly Brothers and BuddyHolly. After signing with Nashville-based Monument Records in 1960,

Rock and Roll Hall of Fame and Museum AnnouncesEleventh Annual American Music Masters Series

“Only the Lonely: The Life and Music of Roy Orbison”

American Music Masters Series

Weeklong tribute coincides with Sony/Legacy re-release of Orbison’s music, the performer’s 70th birthday

and the Museum’s “Haunting and Yearning” Exhibit

his own career took off. Orbison’ssumptuous, sophisticated pop hitsinclude “Only the Lonely,” “BlueBayou” and “It’s Over.” On the rockand roll side, he cut his biggest hit,“Oh, Pretty Woman,” in 1964.

The 11th Annual American Music

Masters week begins on October 30and extends through November 4. The schedule of events includes:

Monday October 30: Roy

Orbison on Film! A special screen-ing of Black and White Night, pre-ceded by a showing of rare televisionclips of Orbison performances. Thisevent will take place at 7 p.m. in theMuseum’s 4th Floor Theater and willbe open to the public. The eveningwill be introduced by the Rock Hall’sWarren Zanes, vice president of edu-cation and public programs. Thisevent is free with a reservation.Email education@rockhall.org or call216.515.8426 to RSVP.

Tuesday, October 31: An

Evening with Bill Dees. With RoyOrbison, Bill Dees co-wrote “It’sOver,” “Oh, Pretty Woman,” “RideAway” and more. Dees will be thesubject of an in-depth interview in theMuseum’s 4th Floor Theater at 7 p.m.This event is f ree wi th areservation.You can either Emaileducat ion@rockhal l .org or cal l216.515.8426 to RSVP.

Wednesday, November 1:

Orbison from Every Angle: Panel Dis-cussion with special guests in theMuseum’s 4th Floor Theater at 7:00p.m. This event is free with a reser-vat ion. Emai leducat ion@rockhal l .org or cal l216.515.8426 to RSVP.

October 2006 • Issue 287 PAGE THREE

Thursday, November 2: An Evening with Joe

Melson With Roy Orbison, Joe Melson wrote suchOrbison classics as “Uptown,” “Only the Lonely,”“Blue Angel,” “Crying,” “Blue Bayou” and many more. He will be will be the subject of an in-depth interviewin the Museum’s 4th Floor Theater at 7:00 p.m. Thisevent is f ree wi th a reservat ion. Emai leducation@rockhall.org or call 216.515.8426 toRSVP.

Friday, November 3: At Wilbert’s in Cleveland!

Live Interview at 8:00 p.m. with Fred Foster, producerof Roy Orbison’s Monument-era hits, followed by livemusic in honor of Roy Orbison. Music will be pro-vided by the Ryan Humbert Band and the Truly LoverTrio. Tickets are $5 and will be available at the dooror in advance at Wilbert’s.

Saturday, November 4: Daylong Conference at

Case Western Reserve University’s Ford Auditorium,9:00 a.m. – 5:00 p.m. Participants will include BillyPat Ellis of the Teen Kings (one of Roy’s first groups),Virgil Johnson of the Velvets, a vocal group discov-ered by Orbison, Grammy-winning author ColinEscott, former Sun Records engineer Cowboy JackClement, Sun Records guitar slinger Roland Janes,Fred Foster, former members of Orbison’s roadbands, including Buddy Buie, Rodney Justo, TerryWidlake, and Bucky Barrett, author Chet Flippo, andauthor Peter Lehman. Tickets are $30 will be avail-able to Museum members starting Friday, Septem-ber 21 through Ticketmaster and the Museum boxoffice. Tickets for the general public will go on saleWednesday, September 27 also throughTicketmaster and the Museum box office.

Saturday, November 4 - 8 p.m. at Playhouse

Square’s State Theater: A tribute concert, in honorof the great Roy Orbison. The concert will featureRaul Malo (formerly of the Mavericks), Ricky Skaggs,the Velvets, Patty Griffin, the Crickets (with SonnyCurtis), Mandy Barnett, Cowboy Jack Clement andBilly Burnette, who will serve as the bandleader forthe night. More surprise artists will be announcedover the coming weeks. Tickets are $30, $40 and$50. Museum members can purchase tickets for thetribute concert at 216.515.8427 starting Thursday,September 21. Tickets go on sale to the general pub-lic on Wednesday, September 27 through tickets.comand at Playhouse Square.

Roy Orbison Exhibit Currently Open at Rock

and Roll Hall of Fame and Museum:An exhibit, entitled “Haunting & Yearning: the Life

and Music of Roy Orbison,” opened to the public onApril 19, 2006 in the Museum’s Circular Gallery. Theexhibit includes handwritten lyrics and set lists, pro-duction notes, handbills, clothing, rare records, in-struments, pieces from Orbison’s model plane col-lection and other personal artifacts. It will remainopen through December 31, 2006.

The exhibit coincides with the release of Legacy

Records Roy Orbison Reissue Project. The firstLegacy releases are Black & White Night, the 1987

star-studded concert originally aired as an HBO-Cinemax special, and the long-awaited The EssentialRoy Orbison, the first-ever “best of” collection span-ning Orbison’s entire career. Black & White Night andThe Essential Roy Orbison are currently in stores.

During his remarkable career, Roy Orbison received

multiple Grammy awards including the prestigious Life-time Achievement award and is also a member of theRock and Roll Hall of Fame and the Songwriters Hallof Fame. In 1990, two years after his death, Roy re-ceived a Grammy for best male vocalist for his perfor-mance of “Oh! Pretty Woman” from Black & White Night.The love and respect for the writer and singer, RoyOrbison, didn’t end the day he died in December of1988, and it is still ongoing.

The singer was enjoying a successful comeback,

on his own and with the Traveling Wilburys, when hedied of a heart attack on December 6, 1988.

he American Music Masters series, a co-production

of the Rock and Roll Hall of Fame and Museum andthe College of Arts and Sciences at Case Western Re-serve University, celebrates the lives and careers ofartists who changed the shape and sound of Americanculture. Each year, the series explores the legacy ofone of those pioneering figures in a range of eventsthat includes Museum exhibits, lectures, films, a majorconference and a tribute concert benefiting the RockHall’s Education Department. Drawing together experts,artists, fans and friends, these events aim to providenew perspectives on some of the most beloved andinfluential musicians of the past century. The AmericanMusic Masters® series began in 1996 when the mu-seum paid tribute to Woody Guthrie with a 10-day cel-ebration of his life and legacy. Other American MusicMasters® series honorees have included: the father ofcountry music, J immie Rodgers in 1997; b lueslegend, Robert Johnson in 1998; rhythm and bluespioneer, Louis Jordan in 1999; the legendary MuddyWaters in 2000; the “Empress” Bessie Smith in2001; Hank Williams, the first country western super-star in 2002; Buddy Holly in 2003; folk-blues artist LeadBelly in 2004; and Sam Cooke in 2005.

The Rock and Roll Hall of Fame and Museum is

the nonprofit organization that exists to educate visi-tors, fans and scholars from around the world aboutthe history and continuing significance of rock and rollmusic. It carries out this mission both through its op-eration of a world-class museum that collects, pre-serves, exhibits and interprets this art form and throughits library and archives as well as its educational pro-grams.

The Museum is open seven days a week from 10:00

a.m. to 5:30 p.m. On Wednesdays the Museum is openuntil 9:00 p.m. Museum admission is $20.00 for adults,$14.00 for seniors (60+), $11 for children (9-12) andchildren under 8 and Museum members are free.

www.jazz-blues.com

October 2006 • Issue 287PAGE FOUR

Three-t ime Grammy winnerBruce Hornsby will appear in a spe-cial solo performance at the AllenTheatre, Playhouse Square Center,on Wednesday, October 11 at 8p.m.

With more than 10 mi l l ionrecords sold over his 20-year musi-cal career, Hornsby draws from awide array of musical influences, in-cluding jazz, pop, classical, blue-grass, and rock. His debut album,The Way It Is (recorded with hisband the Range), went triple plati-num and generated three Top 20 hitsin 1986. That same year, BruceHornsby and the Range took homethe Grammy for Best New Artist. Twomore Grammys would fol low: in1989, when the single “Valley Road”(from the Nitty Gritty Dirt Band’s WillThe Circle Be Unbroken, Volume11) earned Best Bluegrass Record-

Hornsby celebrates releaseof ‘Intersections: 1985-2005’Career Retrospective with SoloConcert and Boxed Set Giveaway

Bruce Hornsbyat Cleveland’sAllen Theatre

Monterey Jazz Festivalreceives grants for restorationof historic archive recordings

MONTEREY CA – Dizzy Gillespiebegan a storied history when heopened the first night of the firstMonterey Jazz Festival on October 3,1958, blowing the “Star Spangled Ban-ner” and introducing Louis Armstrongto the stage. In the 50 years since

ing; and in 1993, as “BarcelonaMona” (created wi th BranfordMarsalis for the Barcelona Olympics)took home the award for Best PopInstrumental.

In addition, Hornsby has playedon more than 100 records, with thelikes of Bob Dylan, Don Henley, BobSeger, the Grateful Dead, BelaFleck, Willie Nelson, and BonnieRaitt – just to name a few. His songshave been performed and/or re-corded by a variety of artists, includ-ing Willie Nelson, Don Henley, TupacShakur, Bob Dylan, Chaka Chan,Huey Lewis, Sara Evans and LeonRussell.

To celebrate his 20-year musiccareer, Hornsby is embarking on aspecial solo tour, which will come toPlayhouse Square Center ’s AllenTheatre on October 11.

Hornsby has also completed adeluxe box set collection, entitled In-tersections: 1985-2005, released viaRCA Legacy The diversity of mate-rial on Intersections reflects theadventurousness of Hornsby’s liveperformances, and this is where thebox set and the upcoming tour dateswill, well, “intersect” - as a specialgift to each of the fans who have sup-ported Hornsby’s musical journey,each ticket for the upcoming soloconcert includes a free copy of theIntersections box set (retail value$49.95) which will be distributed toconcert goers on the night of theconcert. Save your ticket stubs; theywill be used to redeem your box set!

To purchase tickets, ($40 & $35)you can visit the Playhouse SquareCenter Ticket Off ice, cal l216.241.6000 or go onl ine atwww.PlayhouseSquare.org. Forgroup sales, p lease cal l216.664.6050.

Photo of Bruce Hornsby byJimmy Ienner, Jr. courtesy of Sony/BMG Records.

then, the same caliber of talent hasgraced the stages in Monterey, andeach year’s performances have beenrecorded for future use. But while theMonterey Jazz Festival has retainedits vibrancy as it approaches its goldenanniversary in 2007, the festival’s ar-chival recordings have been deterio-rating. Efforts are well underway to re-store these historic records.

To help preserve the MontereyJazz Festival’s audio recordings, sev-eral significant grantors have steppedforward with support totaling over$350,000. The Monterey Jazz Festi-val is proud to announce that itsarchive collection has received a$225,000 award in funding from theFederal Save America’s TreasuresFund, in addition to $93,393 from theNational Historical Publications andRecords Commission and $40,000from the GRAMMY Foundation® in2005. These grants comprise the bulkof a half-million dollar, multi-year MJFArchive Preservation Project in part-nership with Stanford University todigitally reformat, catalogue, safelystore, and make accessible the half-century of analog tapes in long-termfacilities for future generations.

“I am excited about the grant sup-port we have received from SaveAmerica’s Treasures, the GRAMMYFoundation® and NHPRC,” said MJFGeneral Manager Tim Jackson.“These significant grants enable us toaccess our important jazz recordingsand provide a testament to both thelegacy of the Monterey Jazz Festivaland the great artists who have per-formed here.”

The collection of MJF recordingsis an American treasure of irreplace-able live recordings of the greatestjazz musicians from the past half-cen-tury. Within the first decade alone,festival archivists collected one hun-dred audio recordings that include the1960 debut of Jon Hendricks’ “Evolu-tion of the Blues” and Duke Ellington’s“Suite Thursday”; the 1962 perfor-mances of Louis Armstrong and HarryJames and the first appearance ofMiles Davis in 1963. Appearing along-side these legends were fellow jazzmasters Dave Brubeck, Max Roach,Sonny Rollins, Ben Webster, QuincyJones, the Modern Jazz Quartet,Woody Herman, Coleman Hawkins,Gerry Mulligan, Thelonious Monk, andJimmy Giuffre.

October 2006 • Issue 287 PAGE FIVE

The Monterey Jazz Festival Archive Collection hasbeen housed in the Stanford University Archive of Re-corded Sound (ARS) since 1985. The archives currentlyinclude over 1,200 sound recordings, 370 moving imagematerials, and paper-based records measuring a total of130 linear feet. The MJF archives have high research valueand will be accessible to the public as their condition im-proves.

Lauding the support from Save America’s Treasures,NHPRC and GRAMMY Foundation®, legendary pianistand 2006 MJF Commission Artist Dave Brubeck said, “It’sunfortunate that we have lost so many jazz greats overthe years . . . but it’s wonderful to know that their musiclives on in recordings. It’s exciting to me that the digitaltechnology now available will insure that future genera-tions may access, enjoy and learn from our musical his-tory.”

Noted pianist Shelly Berg – who works closely withthe Monterey Jazz Festival’s Education Programs andserves as Chair of Jazz Studies at USC’s Thornton Schoolof Music– agrees with Brubeck’s assessment. “TheMonterey Jazz Festival has been a beacon for jazz music,showcasing the world’s greatest artists to enthralled audi-ences for decades,” says Berg. “The recorded historyamassed by the festival is a priceless resource.”

The Monterey Jazz Festival thanks Save America’sTreasures Fund, the National Historical Publications andRecords Commission, and the GRAMMY Foundation® forits generous support and is proud to collaborate with theStanford University Archive of Recorded Sound on this his-toric endeavor.

Blue Note RecordsReleases Classic JazzTracks as Ringtones

NEW YORK – EMI Music’s legendary jazz label BlueNote Records has begun releasing ring tunes featuringriffs from some classic recordings by legendary artistsincluding Thelonious Monk, Herbie Hancock, Art Blakeyand Chet Baker. Part of a new program called “TheBest of Blue Tones”, this marks the first time these trackshave been made available for the mobile platform, andit will give jazz fans an opportunity to personalize theirmobile lives with the classic jazz tracks they know andlove.

“Jazz fans of any age can be part of the mobile mu-sic phenomenon now. ‘The Best of Blue Tones’ lets fansuse classic recordings like ‘Dat Dere’, ‘Straight noChaser’ or ‘My Funny Valentine‘ to jazz up their phoneand express their personality,” said Bruce Lundvall,President of EMI Jazz & Classics. “It’s also a great ex-ample of how we continually keep the Blue Note vaultrelevant.”

Lundvall worked closely with members of the BlueNote team to personally select the first installment ofringtones, even helping to identify the unique hook thatshould be used for each track.

“We’ve only just scratched the surface of the clas-sic Blue Note catalog with this first batch,” said JeffZakim, Director of New Media for Blue Note. “Jazz buffsare in for a real treat as this is just the first of manyringtones we plan to make available.”

October 2006 • Issue 287PAGE SIX

Founded in 1939, Blue Note built one of the mostdistinctive jazz catalogs throughout the 1950s and 60s,due to the impeccable A&R instincts of founder AlfredLion who signed many of the giants of the music whenthey were still unknowns, and the crystalline sound qual-ity engineered by the legendary Rudy Van Gelder.

Blue Note was consistently on the cutting edge ofjazz, starting with the label’s early bebop recordings ofThelonious Monk, Miles Davis and Clifford Brown, andgoing on to define the now-famous “Blue Note Sound”with the incomparable hard bop sessions of Art Blakeyand Horace Silver, the funky jazz hits of Lee Morganand Herbie Hancock, and the grooving soul jazz of or-ganists Jimmy Smith and Lonnie Smith. Blue Note alsonow oversees the great Pacific Jazz catalog, which ishome to classic cool jazz recordings by such west coastmusicians as Chet Baker and Gerry Mulligan.

The following classic Blue Note tunes are startingto be made available to major carriers in the US andwill be made available internationally shortly as part of“The Best of Blue Tones” program:

Art Blakey - Dat DereArt Blakey - Moanin’Clifford Brown - DaahoudClifford Brown - Joy SpringHerbie Hancock - Cantaloup IslandHerbie Hancock - Watermelon ManBlue Mitchell - Fungii MamaThelonious Monk - Straight No Chaser

THE WAY THINGS GO is a fresh take on traditional Blues from the veteran

Bluesman. CLEVELAND FATS once again shows that he is a master singer, guitarist,

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

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

and special guest BILLY BRANCH on harmonica.

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

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

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

Lou Donaldson - The Blues WalkLou Donaldson - Aligator BoogalooHank Mobley - The TurnaroundKenny Burrell - Chitlins Con CarneChet Baker - My Funny ValentineGerry Mulligan - Bernie’s TuneLee Morgan - The SidewinderMiles Davis - MoveOrnette Coleman - Broad Way BluesRonnie Laws - Always ThereJimmy Smith - Back at the Chicken ShackSonny Clark - Cool Struttin’Lonnie Smith - Son Of Ice BagBobby Hutcherson - UmmhFreddie Hubbard - CrisisHorace Silver - Song For My Father

Visit Blue Note Records at www.bluenote.com.

Have Your Songs Heard By Tom Waits, BrianWilson, Robert Smith (The Cure), Craig Morgan,

Cassandra Wilson, and Many More!

The deadline for ISC is quickly approaching, so enter your songs now!

Entries must be postmarked on or before October 16

One of the largest and most prestigious songwritingcompetitions in the world, ISC gives away over $150,000in cash and prizes to 56 winners. The Overall GrandPrize includes $25,000 (US) in cash - the largest cashGrand Prize of any songwriting competition in the world- and $20,000 in prizes. If that’s not enough, ISC alsogives away a full scholarship to Berklee College ofMusic’s Five-Week Summer Performance Program tothe First Place winner of the Teen category. ISC is opento both amateur and professional songwriters of everylevel, and all musicians, artists, and songwriters are in-vited to submit their original songs.

ISC provides the perfect opportunity for artists,bands, and songwriters looking to gain recognition andhave their songs heard by some of the most influentialmembers of the music industry, including the top ex-ecutives of 14 record labels and legendary artists suchas Tom Waits, Brian Wilson (Beach Boys), Robert Smith(the Cure), Jerry Lee Lewis, and Rosanne Cash, just toname a few.

“We’ve always been impressed with the talentedsongwriters who participate in the ISC. This is a great Asource to find new artists.” - Monte Lipman (President,Universal Records).

Pitchfork, one of the music industry’s leadingtastemakers, adds, “If ambushing your favorite bandswith UPS’d cassettes and CD-Rs tossed on stage hasn’tgotten your band noticed yet, the 2006 InternationalSongwrit ing Competit ion should be right up youralley...Hell, the ISC is parked in your alley giving awayfree ice cream...Sheesh, talk about the chance of a

2006 International SongwritingCompetition DeadlineQuickly Approaching

October 2006 • Issue 287 PAGE SEVEN

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

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

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

The Congregation, Johnny Griffin

Another Workout, Hank Mobley

Trompeta Toccata, Kenny DorhamRoyal Flush, Donald Byrd

THE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSTHE RUDY VAN GELDER EDITIONSFrom 1953 to 1967, Alfred Lion produced a body of work that ranks as the most innovative series of recordings in modern jazz.Almost all of these masterpieces were documented by the extraordinary Rudy Van Gelder; a self-taught engineer who morethan set a new standard. Devoid of caution or timidity, he captured the full power and rich sound of jazz ensembles withdazzling clarity. His contribution to the focused approach that Blue Note took at every stage of any album was immeasurable.Decades later, Rudy agreed to take a second look at the original recordings, bringing them into the digital domain with thesame skill and focus. More RVG Editions have just been released. If you think you’ve heard these gems before, listen again.

Plus...Six More RVG Titles Just Released September 12Plus...Six More RVG Titles Just Released September 12Plus...Six More RVG Titles Just Released September 12Plus...Six More RVG Titles Just Released September 12Plus...Six More RVG Titles Just Released September 12

Available In Stores & Online • www.bluenote.com

October 2006 • Issue 287PAGE EIGHT

lifetime.”In addi t ion to the cash and

prizes, ISC winners also benefitgreatly from the industry exposureand media attention of winning acompetition as prestigious as ISC.Over 450 publishing companies,record labels, and film and TV com-panies requested a copy of the re-cently released ISC 2005 Compila-tion CD (which included songs by theGrand Prize and First Place win-ners).

Many ISC entrants’ careers haveflourished since winning ISC: PatricePike (from CBS TV’s Rock Star: Su-pernova); Tara Slone (from CBS TV’sRock Star: INXS); Carbon Leaf(s igned to Vanguard Records);Amanda Palmer of Dresden Dolls(signed to Roadrunner Records);Tomi Swick (signed to Warner Mu-sic Canada); Andrew Bird (signed toAni DiFranco’s Righteous BabeRecords); Deb Talen and SteveTannan of The Weepies (signed toNetwerk Records); Chris Sernel ofEscape From Earth (Winner of theMTV/COKE “Make It Real” Contest);Michael Flynn (signed to J Records);Troy Verges, Blair Daily and GordieSampson (their song “Paris” is fea-tured on Faith Hill’s latest album);Dave Berg (he co-wrote recent hits ingles by Reba McEnt i re andRodney Atkins); and more.

The complete list of ISC 2006iudges includes:

Recording Artists: Brian Wil-son; Tom Waits; Rosanne Cash;Sean Paul; Mark Chesnutt; Jerry LeeLewis; Frank Black (Pixies); RobertSmith (The Cure); Cassandra Wil-son; Isaac Brock (Modest Mouse);Medeski Martin Wood; Craig Mor-gan; John Mayall; John Scofield;Amy Ray ( Indigo Gir ls) ; Darry lMcDaniels (Run DMC); MercyMe;Macy Gray; Charlie Musselwhite;Peter Hook (New Order); Blue ManGroup; Tiësto; and Jeff St inco(Simple Plan)

Music Industry Executives:Char l ie Walk (President , EpicRecords); Monte Lipman (President,Universal Records); Mona Scott-Young (President, Violator Records);Cameron Strang (President, NewWest Records); Steve Lillywhite (Sr.VP A, Columbia Records and Pro-ducer - credits include U2, The Roll-ing Stones, Dave Matthews Band,

Phish, Peter Gabriel, and more);Alexandra Patsavas (Owner, TheChop Shop Music Supervision -credits include The OC, Grey’sAnatomy, Without A Trace,Carnivale, Rescue Me); BarbaraSedun (VP Creative, EMI Music Pub-l ishing Canada); Bruce Ig lauer(Founder/President , Al l igatorRecords); Cory Robbins (Founder/President, Robbins Entertainment);Betty Pino (DJ, WAMR Miami, pio-neer of Latin radio); Angel Carrasco(President, 605 Discos and Sr. VPA, Sony BMG Latin America); Tho-mas Brooman (Co-Founder/ArtisticDirector, WOMAD); Dan Storper(President, Putumayo World Music);Danny Epstein (Music Supervisor,Sesame Street/Sesame Workshop);Tara Griggs-Magee (Executive VPGospel /Urban Music, SonyRecords); Emily Wittmann (VP, NickRecords); Leib Ostrow (CEO, MusicFor Little People); Larry Willoughby(VP A, Capitol Records Nashville)and Manolo Gonzalez (Sr VP Re-gional Mexican A and National Pro-motion, Univision Records)

Entrants may submit their songsinto any of the 18 categories: Pop/Top 40, AAA (Adult Album Alterna-tive), Rock, Country, Americana, R/Hip-Hop, Blues, Folk/Singer-Songwriter, Jazz, Gospel/Christian,Latin Music, Instrumental, Dance/Electronica, World Music, Children’sMusic, Lyrics Only, Teen (18 andyounger), and Performance.

ISC 2006 sponsors include:ASCAP, Epiphone, Berklee CollegeOf Music, F ishman, Sam Ash,Cakewalk, Shure, D’Addario, HearTechnologies, Disc Makers,Sonicbids, Music ian’s At las,Sibelius, Karian Studios, PlanetaryGroup, OnlineGigs, The Music Busi-ness Regist ry, Mediaguide,ArtistMonitor, Platinum Blue MusicIntelligence, Alphabet Arm Design,George Stein, Esq., SongU, Sleep-less Media, and Taxi

For an entry form or to enter, goto www.songwritingcompetition.comor call 615.251.4441 for more infor-mation.

www.jazz-blues.com

By Mark Smith

New Release blues.... The fall isyielding a bumper crop of new bluesreleases. Get out your checkbook fora few of these: Tony Joe White- Un-covered; The Robert Cray Band- LiveFrom Across the Pond; Rory Block-The Lady and Mr. Johnson; ChrisSmither- Leave the Light On; TabBenoit- Best of the Bayou Blues; RayCharles- Ray Sings, Basie Swings;Jeremy Spencer- Precious Little;Fiona Boyes- Lucky 13; AnthonyGomes- Music is the Medicine- MarkHummel- Ain’t Easy No More; Indig-enous- Chasing the Sun; Various Art-ists- American Music: HightoneRecords Story; Johnny Nicholas-Texas All-Star: Big Band Bash; TheKelly Richey Band- Speechless; JoeLouis Walker- Playin Dirty;Barrelhouse Chuck and the all StarBlues Band Featuring Kim Wilson-Got My Eyes on You; Canned Heat-Instrumentals 1967-1996; JulienKaspar Band- The New Imperial;Evie Sands- Estate of Mind; MarvinSease- Candy Licker: The Sex & Soulof Marvin Sease; Various Artists-Blind Pig Records 30th AnniversaryCollection; Calvin Owens- I Ain’tGonna Be Yo Dog No Mo, Vol.2;Downchild Blues Band- Blood RunHot; John Mayall- Picking the Blues:Boogie Woogie Pioneers; ClevelandFats- The Way Things Go; BernardAllison, Larry McCray, CarlWeathersby & Lucky Peterson-Triple Fret; Mitch Kashmar-Wake Up& Worry; Dirty Dozen Brass Band-What’s Going On?; Mitch Woods- BigEasy Boogie; Hans Theessink Band-Bridges; Jonny Lang- Turn Around;Deanna Bogart- Real Time; Dr. DukeTumatoe- You’ve Got the Problem... That’s it for this month. See ya!

October 2006 • Issue 287 PAGE NINE

FRI 6 .......MIKE LENZ BANDSAT 7 .......K.G. BLUESFRI 13 .....ARMSTRONG BEARCAT BANDSAT 14.....THE TONY KOUSSA JR. BANDFRI 20 .....THE CHOSEN FEWSAT 21.....THE TRAVIS HADDIX BANDFRI 27 .....AFTERTHOUGHTSAT 28.....KRISTINE JACKSON & BASICALLY BLUE

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SEPTEMBER3 THE GEEZECATS10 BRENT HOPPER

& BRITTANY REILLY ACOUSTIC ROOTS MUSIC

17 KING BAUMGARDT’S BLUES BAND FEATURING APRIL KING FROM GERMANY

31 ERNIE KRIVDA

& THE FAT TUESDAY BIG BAND

THURSDAYS THE SAVANNAH JAM WITH BAD BOYS OF BLUES

E D D I E & T H E E D S E L S

FEATURING SOME OF NORTHEAST OHIO’S BEST FEMALE PERFORMERS:SWAMP BOOGIE BAND, BECKY BOYD, FORTE, TRACY MARIE,

ALEXIS ANTES, ROBIN STONE

SUNDAY OCTOBER 8SPECIAL EVENT: CHICKS WITH PICKS & STIX

Jazz & Blues Report 2006 Gift Guide • Part 2For most of the past 30 years, we have featured our annual Holiday Gift Guide on the November-December issue.This year we are changing that. The 2006 Gift Guide begins with this issue and will carry over the next issuesthrough the end of the year. That would include the November-December print issue as well as the October andDecember web issues available for download at jazz-blues.com. We’ll probably wait until November to call it theHoliday Gift Guide. After all...it is still going to be warm, sunny and nice outside (or, so we hope) for quite sometime...so no need to rush things. We will also be featuring a stand alone Gift Guide on our site which will combinethe items covered in these columns along with boxed sets, DVDs and other goodies from previous issues, and evenearlier years, which we feel would make great gifts. You’ll also note that we go beyond jazz and blues to featureitems that would make great gift ideas for your friends or family who might not be jazz or blues fans at all. Keep inmind, these in our regular issues are all newly-reviewed titles, so although they appear in the gift guide, you’llprobably want to pick up some of these for yourself. You’ll see more next month, but it all starts now!

NINA SIMONELive At Montruex 1976

EAGLE EYE DVDNina Simone, known as the

“High Priestess of Soul,” was oneof the great singers in the his-tory of American music and wasalso an accomplished pianist.Nina, born Eunice Waymon in1933, first began singing gos-pel in church and later dreamedof one day being America’s firstblack classical pianist. Thoughshe studied at Julliard for a time,she was unable to continue for

financial reasons and began performing in nightclubs whereshe turned to jazz and blues. She changed her name to Nina(Spanish for little girl) Simone (after French actress SimoneSignoret) and the rest is American music history.

As the years went on, Nina also mixed R&B, soul, classi-cal, show tunes, world, pop music and more into her reper-toire as she shied away from classifications. She was a ma-jestic woman with a commanding presence and a deep,breathy voice. When she was on stage...she owned it.

This just-released DVD captures her in concert mostly ather 1976 Montreux Jazz Festival appearance, just after shehad been living in Africa. Elegantly dressed in black, she en-ters to thunderous applause, then stands tall and stares at theaudience until the room is quiet before she sits at the pianoand begins to play. No matter what the song, this concert wasmagnificent throughout. Her version of “Little Girl Blue” issimply outstanding, and she can even make the pop song ofthe time “Feelings” sound good.

The video aspect of this DVD is extremely well done. I amtold by a friend who knows some stuff about the subject that“it was probably filmed on U-matic video, the standard of thetime & a real dog of a media, and it is breathlessly transferredto 2006 digital media.” It is all Greek to me, but Greek isgood because the camera work is clear, focused and oftenoffers closeups of her face and hands at the piano. What elsedo we need?

After the seven songs (two are a medley) from 1976, thereare six more bonus tracks – two from her Montreux perfor-mance in 1987 and four from her final appearance at the SwissFestival in 1990. No question, they are very good as well, butit is the 1976 concert that makes this DVD a must-have forNina’s fans. Nina Simone retired in France after performinginto the 90s. She passed away in 2003 at the age of 70.

Bill Wahl

October 2006 • Issue 287PAGE TEN

FATS WALLERIf You Have to Ask, You Ain’t Got It

BLUEBIRD/LEGACY 3-CD SETThomas “Fats” Waller was one of the iconic figures of

the first quarter century of Jazz and has been heavily re-issued over the years. As a result of the Sony/BMG merger,Bluebird/Legacy is releasing a three CD retrospectiveeponymously titled after the famed singer-pianist-com-poser. Each disc has twenty-two selections and is the-matically organized.

A good many of the performances are by Fats Wallerand Rhythm, a celebrated sextet whose personnel included(over the years) guitarist Al Casey, clarinetist Gene Sedric,Bill Coleman and more celebrated Herman Autrey on trum-pet, Cedrick Wallace on bass and Yank Porter, Slick Jonesand Arthur Trappier on drums. Many of the selections onthese discs are in this format with Waller featured singingand on piano and the various horn players getting shortsolo space; and while a bit formula-based, Waller’s ebul-lient vocals and dazzling piano playing sustain thelistener’s interest. There are a number of selections fromthe forties that have Waller in a big and setting and somesolo instrumentals as well.

The first of the three discs is devoted to songs thatWaller composed, often in the company of Andy Razaf orothers. When going through the titles one is struck by thefact that he not only gave us such well known songs asso-ciated with him such as Honeysuckle Rose and Ain’tMisbehavin’, but also such classics as Our Love Was Meantto Be, Squeeze Me (with Clarence Williams), The Joint isJumpin’ (with J.C. Johnson), Bessie Bessie Bessie, Cashfor Your Trash and Up Jumped You With Love. Waller bringswit, humor and tenderness to these with his vocals whilethe numbers swing with considerable Èlan.

The Second Disc is all instrumental, opening with asolo pipe organ instrumental rendition of St. Louis Bluesalong with a couple other numbers on the pipe organ. Thenext ten performances are features that display his con-siderable mastery of the stride piano including such daz-zling Waller originals as Numb Fingers, Smashing Thirds,and African Ripples, along with renditions of HoagyCarmichael’s Star Dust and Ain’t Misbehavin’, conclud-ing with a stunning rendition of James P. Johnson’s clas-sic stride composition, Carolina Shout. After several groupinstrumentals, Waller then is heard on electric organ on acouple of originals, including Jitterbug Waltz, which showhis reflective side as a composer. The instrumental discconcludes with an all star group swinging on HoneysuckleRose.

The final disc is devoted to Waller’s performances ofsongs from Tin Pan Alley. Waller was celebrated for hisability to take some of the most dreadful songs and makemusical magic, all the while mocking the material, butnot everything he recorded from Tin Pan Alley would bedross in the hands of others. So while some of these tunesmay be remembered solely because of Waller, such asHold Tight (Want Some Seafood, Mama), many of the tuneshere are pretty well known including (I’ll Be Glad WhenYou’re Dead) You Rascal You (an All Star performancewith Waller on piano behind Jack Teagarden), I’m GonnaSit Right Down and Write Myself a Letter, Dinah, Christo-

pher Columbus, Darktown Strutters Ball, Your Feet’s TooBig, and T’aint Nobody’s Biz-Ness If I Do. Waller attacksthese with his usual mix of ebullient vocals, buoyant stridepiano with the strong swing backing of his Rhythm andthe other supporting musicians.

Although I worked off an advance copy of the discs to getthis done in time, the actual release (set for 9/26/06) willalso include a 100-page booklet with extensive liner notespenned by Dan Morganstern and scanned reproductions ofphotographs from the collection of Waller’s last manager, EdKirkeby. The three discs in this set provide a solid over-view of a legendary jazz performer and will serve as abasic Waller release for a well-rounded jazz collection.

Ron Weinstock

GARY BURTON AND MAKOTO OZONELive at Montreux 2002

EAGLE EYE DVDIn one of a series of DVDs documenting Montreux Jazz

Festival performances, vibraphonist Gary Burton and pia-nist Makoto Ozone deliver a scintillating and visually en-gaging 71-minute, 11-tune set in 2002.

Throughout, Burton announces tunes, initially explain-ing that the vibraphone was invented as recently as 1930and, two years before this performance, all the importantplayers were still living. Citing his four favorite vibists,Burton launches a lively, entertaining “history of jazz” seg-ment, featuring gems by Cal Tjader (“Afro Blue”), MiltJackson (“Bags’ Groove”), Red Norvo (“Hole In the Wall”)and Lionel Hampton (“Opus Half”).

Superb filming by six cameras captures Burton’s flow-ing four-mallet style, as well as Ozone’s two-handed key-board attack as he improvises in ragtime, stride, boogie-woogie and other piano styles. Both of these artists aretalented leaders who have performed and recorded on theirown as well as collaborating occasionally since first meet-ing in 1983 at Berklee College of Music. They are well-attuned to each other; their interactions are comfortable,seamless and reactive, making this a benchmark duo ses-sion and a more exciting performance than Burton’s 1997Montreux performance with Chick Corea.

The next segment of the Burton-Ozone performancefeatures tunes from their 2002 recording project, Virtuosi,featuring their improvisations on suitable Classical tunesby Maurice Ravel, Domenico Scarlatti, Samuel Barber andothers. Both instrumentalists are equally up to the taskand these pieces, as well as a tango, a Gershwin concertospotlighting Ozone, and the encore, round out their ex-tremely satisfying stage performance.

This is a marvelous concert in Montreux history, oneto be long-treasured and the informative liner notes addnicely to the package. Nancy Ann Lee

www.jazz-blues.com

Issues, Special Issues, BackIssues and Thousands of

CD & DVD Reviews

October 2006 • Issue 287 PAGE ELEVEN

Colin Dussualt’s Blues Project “Recorded Live at the MainStreet Cafe” - The 10th compact disc from the hardestworking band in northeast Ohio. Available October 2006!

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

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

Cleveland, Ohio 44107. (216) 221-5288

BRUCE HORNSBYIntersections

RCA/LEGACY CD/DVD BOXED SETThose who enjoy the music of pianist/singer/songwriter

Bruce Hornsby through the many songs heard on radio orhis CDs over the years will be thrilled with this new boxedset on RCA/Legacy. Inside the longbox you’ll find four CDsand one DVD covering Hornsby’s career from 1985 throughlate 2005. This is by no means a “greatest hits” set reissu-ing familiar versions of his many recordings. In fact, al-though his best-known songs are here, pretty much all ofthem are different versions, mostly live, making this setmuch more enjoyable for his fans old and new; as well asthose remotely familiar with him.

Hornsby is one of those songwriter/performers who re-fuses to stick with one genre, much like Van Morrison andBig Al Anderson. That aspect keeps things very interestingas the music flows from song to song, disc to disc. In fact,When I first popped Disc 1 in, I followed it with 2, 3 and 4.After a short break, I watched Disc 5, the DVD, while eat-ing dinner. I was sorry to see it all come to an end. Hornsbygets away with mixing rock, jazz, pop, bluegrass, countryand whatever else he feels like in such a way that they allseem to belong together. He even mixes in some classicalflavored songs on solo piano backed by an orchestra.

Of the 52 tracks on the CDs, 26 have never been re-leased on CD; and most of the ones that were previouslyreleased are not his better-known songs. The 5 discs in setare loaded with treats, whether he be playing solo, with hisband, with the Grateful Dead, the Nitty Gritty Dirt Band orthe members of the New York Philharmonic...or collabo-rating with Ornette Coleman, Branford Marsalis, BonnieRaitt, Pat Metheny, Chaka Kahn, Ricky Skaggs, Roger Wa-ters, Robbie Robertson and on...

While oftentimes a DVD included with a CD set issomething you might watch once, or twice at most...thatis not the case here. Though it starts out with his earlyvideos, which admittedly do seem hokey by today’s stan-dards, they start to improve greatly by track 6, the first ofthree Spike Lee directed videos. Mixed among the Leecontributions are videos featuring Robbie Roberston,Chaka Kahn and Branford Marsalis. Then things begin tobecome even more interesting. Some of the highlightsyou’ll get between tracks 13 and 23 are a studio perfor-mance of “Valley Road” with the Nitty Gritty Dirt Bandand a host of live performances, including Bob Dylan’s“The Mighty Quinn” with B.B. King and Lou Reed; a 1991live performance with the Grateful Dead; another 1991live show at the Legends of Guitar Festival in Spain withHornsby joining Pink Floyd’s Roger Waters for a versionof PF’s “Comfortably Numb;” a beautiful version of JohnLennon’s “Imagine” in Constitution Hall, Washington D.Cin ’93; a live trio performance of Hornsby’s “The Tide WillRise” with Bonnie Raitt and Pat Metheny and a real treatfor Clevelanders – a duo performance of “Star-SpangledBanner” with Branford Marsalis at the opening of the fifthgame of the World Series in 1997 at Cleveland’s Jacobs Field.

The enclosed 60-page booklet is loaded with infor-mation, mini posters and photos, plus some notes fromHornsby on the songs, most of them anyway, on all 5 discs.This would make an excellent gift for a rather wide range(no pun intended) of people. If you happen to read this intime, our Cleveland readers can get this boxed set for freeby attending Hornsby’s solo concert at the Allen Theatre,Playhouse Square on October 11. Visit brucehornsby.comfor other cities with the free boxed set deal for concertgoers.

Another excellent boxed set from the Legacy Recordsdivision of Sony-BMG. Bill Wahl

October 2006 • Issue 287PAGE TWELVE

We only bring you

the Cream of the Crop!

DIRTY DOZENBRASS BANDWhat’s Going OnSHOUT FACTORY

Like others from their home cityof New Orleans, the members of TheDirty Dozen Brass Band have beengreatly affected by the aftermath ofHurricane Katrina. They recorded thisnew album with some friends whichreinterprets the classic Marvin Gayealbum on a recording that is very rel-evant in light of the catastrophicevents of last year in which the bandmembers, like so many, lost theirhomes, and so much more.

More than their homes, they weredistressed about the loss of their com-munities and personal treasures;photo albums and mementos of theirtravels were all destroyed. “I’m nottalking about clothes and shoes andmaterial things, but family albums,”says Roger Lewis. “I have a 7-year-old daughter. I had pictures of myselfas a child, but I can’t share them withher because they were destroyed. Allshe’s really going to know is her dadas a 64-year-old man.”

The album opens with Chuck Drapping on the title track with a justi-fied bitterness as the Dozen providesa sobering backing with Rever tAndrews contributing a strong trom-bone solo. This is followed by a BettyLavette take on What’s HappeningBrother as she sings “Are things re-ally getting better like the newspapersays ... I just don’t understand what’sgoing on in this land ... will the Tigerswin the pennant, do they stand achance ...” with the tenor sax reach-ing to the higher registers behind her.Flyin’ High (In The Friendly Sky), istaken at a medium tempo with a rathernice rendering of it before the tempopicks up as the members chant “HelpMe Somebody,” with some nice spir-

ited playing as the tune rides out.Some nice trumpet leads Save theChildren which also includes somenice sax work including Roger Lewis’baritone, and original member KirkDouglas provides a foundation on thesousaphone and Jamie Mclean’s gui-tar br ings Afr ican f lavoring andrhythm. Ivan Neville guests on God IsLove, as Joseph and Lewis add thedeep bottom behind his vocal as thebrass punctuate the lyrics. G. Loveraps the lyrics Mercy Mercy Me (TheEcology) with the Dozen providing asharp funk groove before they get aanother groove going on Right On, asRevert Andrews takes the lead ontrombone prior to Kevin Harris’ tenorsax. The last instrumental, WholyHoly, is rendered almost as a funeraldirge before they conclude with Gururapping on Inner City Blues (Make MeWanna Holler), concluding a verythoughtful and moving recording.

A portion of the proceeds fromthis CD will be donated to the Tiptina’sFoundation, benefiting the musicalcommunity of New Orleans.

Ron Weinstock

MARK HUMMELAin’t Easy No MoreELECTRO-FI RECORDS

West Coast harmonica wizardMark Hummel has been increasing hisvisibility with his annual blues har-monica

packages, which have brought to-gether a number of harmonica legendsand led to several outstanding CDsdocumenting the tours. The shows areanchored around Hummel and his fineband of guitarist Charlie Wheal, bass-ist Steve Wolf and drummer MartyDodson. Electro-Fi has just issuedHummel’s Third album for the label,which will certainly delight his fansand blues harp fans as well.

With a mixture of Hummel’s origi-nals and some choice rearrangementsof previously recorded blues, Hummelimpresses most as a harp player andhis band (augmented by horns on sev-eral tracks) is terrific supporting him.Hummel also writes some strong origi-nals, including the topical Big Easy(Ain’t Easy No More), based on his re-action to the aftermath of HurricaneKatrina.

Hummel is a pleasant vocalist buthis delivery does not match the out-rage of the lyrics here nor does he

have the forcefulness to be completelyconvincing on Muddy Waters’ She’sGot It.

But on other tracks his deliveryworks better and there is really littleto fault whether listening to his re-working of a Ray Charles jump bluesGet on the Right Track, or a couple offine Eddie Boyd songs, You Got toReap and Blues is Here to Stay. Harpfeatures include his or iginalsHarpoventilating, and Bird Brain, andLittle Sonny’s The Creeper Returns, allof which showcase his driving, full-bodied playing.

Overall quite a fine album and myquibbles about his vocals on a coupletracks should not be taken too far ashis vocals are easy to take. Recom-mended highly. Ron Weinstock

MONTY ALEXANDERConcrete Jungle:

The Music of Bob MarleyTELARC

Seven years after making hisTelarc debut with the release of StirIt Up, Jamaican-born jazz pianistMonty Alexander, revisits his rootsagain with this 12-tune tribute to thereggae icon Bob Marley.

Recorded at Marley’s own TuffGong Studios in late summer 2005,tunes penned by Marley, Alexanderand others are reinterpreted byAlexander’s piano-oriented arrange-ments. Beats retain the feel of Marley’smusic, yet they’re more melodious-ness and colorful, and allow for theindividual musicianship of guitaristWendel Far raro, bassist HassonShakur, drummer Herlin Riley andguests: vocalist Luciano, trombonistDelfeayo Marsalis, reggae drummerRolando Wilson, bassist GlenroyBrowne, and other musicians (includ-ing some who played with Marley).

Highlights abound. Alexander’s“Nothing But Trouble” spotlightsMarsalis playing the melody head inthe New Orleans style before thecatchy reggae-blues beat is laid down.Marsalis shines again on “CrazyBaldheads,” a Marley tune with anappealing electric bass-reinforcedmelody. Marley’s “Simmer Down”again gives Marsalis space for somefine improvising and interactions withAlexander, with acoustic rhythm sup-port from the band.

Alexander is at his best, leading

October 2006 • Issue 287 PAGE THIRTEEN

from the keys. The tunes are a pleasing reggae mixture ofeverything from pretty ballads to nippy beats. Consider-ing the choice and diversity of the material, the engagingarrangements, and the all-around musicianship, there’splenty to like about this album. Nancy Ann Lee

RONNIE BAKER BROOKSThe TorchWATCHDOG

Purists will have a problem with this disc, but, whilethis son of Chicago guitar legend Lonnie Brooks takes onmultiple genres, his super-charged blues sense alwaysshows up at solo time. Embracing soul music both of vin-tage and more contemporary strains and funk and urban-rock flavors more akin to Parliament/Funkadelic andPrince than to sounds from the South Side, In addition tohis high-octane axe work, Brooks showcases his vocalprowess and versatility with the pen on a set that is noth-ing if not ambitious.

A power shuffle, “Born In Chicago” (NOT the NickGravenites-penned tune of Paul Butterfield fame), startsthings off and is the “purest” blues track here. But bluespervades lyrics of cuts such as “Half” and “Other Side OfLove” and the hip-hop/blues hybrid “If It Don’t Make Dol-lars Then It Don’t Make Sense”. Brooks’ core band is strongand production and arrangements are top-notch. For thosewho don’t have a problem with the broader definition be-stowed upon blues these days, The Torch is one of thisyear’s biggest treats. Duane Verh

PAULA LAMMERSBARBARA MORRISONJOEL PENNER SEXTET

MARY LOU WILLIAMS TRIBUTEJANE BUNNETT

Minnesota vocalist Paula Lammers is backed by atalented musician team on her first professional record-ing project, A Blanket of Blue (Nightingale Jazz). Hersweet, pleasant tone and warm, sincere delivery enhance11 American songbook standards such as “I ThoughtAbout You,” “Isn’t It Romantic?,” “In the Wee Small Hoursof the Morning,” “More,” and other gems. Lammers isdefinitely a talent to track.

Backed by Junior Mance (piano), Earl May (Bass),Jackie Williams (drums) and Houston Person (tenor sax),veteran vocalist Barbara Morrison shows a penchant forboisterous, bluesy swing and light, jazzy verve on herlive-recorded album, Live at the Dakota (Dakota Live!)as she refreshes 12 warhorse standards such as “ThingAin’t What They Used to Be,” “Please Send Me SomeoneTo Love,” “Take the ‘A’ Strain,” “Don’t Go to Strangers,”“All of Me,” and others. Williams’ inventivnesss, maturevoice and expert phrasing make this CD a listening trea-sure.

The Joel Penner Sextet delivers a variety of stan-dards by Cole Porter, Freddie Hubbard, David Raskin,Keith Jarrett, Richard Rodgers, on The Church of theLittle Black Dog (Sea Breeze Jazz), a California studiosession. Playing trumpet & flugelhorn, Penner is backedby a solid crew on alluring arrangements of “You’d Be

So Nice to Come Home To,” “Straight Life,” “Laura,” “MyFunny Valentine, and four more tunes. Penner excels withwarm, plump tonalities. Drummer Steve Pemberton keepstidy tempos. Other standout soloists are saxophonistMichael Rose and guitarist Doug MacDonald. Nice ses-sion.

The idea to visit the music of the late pianist-com-poser Mary Lou Williams with The Lady Who Swings theBand (Challenge Records) pays off for The Dutch JazzOrchestra. Playing 13 never-before-recorded Williamstunes, the band injects her sophisticated compositionswith passion, bluesy style and artistry, making for a to-tally engaging listen. This band was selected by Rev.Peter F. O’Brien, Executive Director of the Mary Lou Wil-liams Foundation. A 20-page liner booklet includes notesabout Williams and each composition.

With her core Spirits of Havana band, Canadian saxo-phonist Jane Bunnett explores Cuban Blues music onRadio Guantanamo: Guantanamo Blues Project Vol. 1(Blue Note). Recorded in Toronto and Guantanamo,Cuba, this is a puzzling mixture of 11 tunes merging NewOrleans music, straight-ahead jazz, authentic Cubanthemes and rhythms and more. With its pretty melody,the title tune stands out. Although the busy music mightbe a stretch of the ears for some listeners, individualmusicianship shines through—in part due to participa-tion of special guests Johnny Sansone (accordion, har-monica, vocals), Howard Johnson (tuba), Dewey Redman(sax) and others. Nancy Ann Lee

October 2006 • Issue 287PAGE FOURTEEN

APPEARING AT WILBERT’S IN DOWNTOWNCLEVELAND ON SATURDAY, OCTOBER 21

JEREMY SPENCERPrecious Little

BLIND PIGAs a member of Fleetwood Mac in its blues band days

when he was part of a three guitar attack alongside PeterGreen and Danny Kirwan, Jeremy Spencer laid down the slideguitar lines that burned such classics as “Black Magic Woman,”“Oh Well” and “Rattlesnake Shake” into your memory bank.

Having departed the band in the early 70’s, Spencer didn’tjoin his former band mates in their evolution into a rock andpop outfit. As a consequence, this effort sounds like a tele-gram from the band’s storied past. Spencer alternates be-tween acoustic and electric slide throughout this disc withnods to influences such as Elmore James, “It Hurts Me Too”and “Bleeding Heart.” Spencer’s slide skills shine brightlythroughout particularly on “Trouble and Woe” and “PsychicWaste” as he weaves around the accompanying guitar ofNorwegian Espen Liland.

Spencer steps outside of the straight blues form on thefolksy title cut and on the rootsy, vaguely latin, groove of “MariaDe Santiago.” He also throws in an Elvis drenched vocal onFabian’s “Please Don’t Stop” and takes a stab at earlyrockabilly on Slim Rhodes’s “Take and Give.” With a focus onsubtlety and craftsmanship this is a great display of slide gui-tar without the over-amped pyrotechnics that are so often theresult when someone sticks their finger into a slide and callsit the blues. Mark Smith

RANDY JOHNSTONLive at the Smithsonian Jazz Café

MEL BAY (DVD)Guitarist Randy Johnston has made numerous CD re-

cordings but this is his first DVD. He performs a diverse12-tune set of pop and jazz standards as well as four origi-nals at the Smithsonian Jazz Café with bassist TomPietrycha and drummer Tommy Leone.

Detroit-born Johnston is a skillful player with lots ofimagination and plenty of technique. His original composi-tions prove his ability to write pleasing tunes and his per-formances show off his dexterity and tunefulness at anytempo. Notable is his delivery of his speedball original,“Green Curry.” His catchy “Fringe Benefits” pulsates withvibrancy. One of his best performances is his gorgeous solorendering of the ballad standard “Here’s That Rainy Day.”Another beauty is his warmhearted interpretation of DonMilitello’s ballad, “Seems Like Times Are Changin’.” In-cluded among the tunes are John Coltrane’s “Impressions,”Charlie Parker’s “Billie’s Bounce,” and popular favoritessuch as “Secret Love,” “If Ever I Would Leave You,” and“Body and Soul.”

Johnston’s trio performs admirably but due to unimagi-native camera work, this 110-minute set seems to be moresedate than his live performances I’ve attended. While light-ing is ample, the three camera operators just don’t addmuch drama to the performance. They seem not to be fa-miliar with or to “feel” the jazz. For example, they fail tomove in for tight shots during creative solo improvisations(especially on the bassist) and move in at inappropriatetimes on Johnston. There are no liner notes and no specialfeatures such as illuminating interviews on the DVD. How-ever, if you’re a Johnston fan, you should be satisfied withthe high levels of his music, guitar mastery and ingenuity.

Nancy Ann Lee

BIG GEORGE BROCKRound Two

CAT HEADBluesman Big George Brock won acclaim for his de-

but disc, Club Caravan. Round Two (Cat Head Delta Blues& Folk Art, Inc.) is his follow-up and brings the gruff voicedbluesman with his band augmented by special guest gui-tarist Hubert Sumlin on two tracks.

Brock was born inGrenada, Mississippi (Magic Sam’s birthplace I be-

lieve) and spent many years in St. Louis before returningSouth. Nothing fancy about Brock’s singing or harp hereas he delivers straight ahead performances that echo leg-ends like Howlin’ Wolf and Muddy Waters. After a shortspoken intro, Brock opens with the lengthy So Long, wherehe tells his woman she is going to miss him when he’sgone, as he blows some simple but hard-edged harp asSumlin throws in his unpredictable twisting licks in sup-port, while No, No Baby, is a simple medium tempo rockerfollowed by another song associated with Wolf, Poor Boy,although with hints of Fred McDowell and RL Burnside inthe backing.

Rockin’ Chair sports a spare backing along withBrock’s tough downhome harp, while Mattson, MS is ashort instrumental with a groove not far removed from a

October 2006 • Issue 287 PAGE FIFTEEN

Cleveland Fats

The Schwartz Brothers

DC and theContinentals

For Bookings Contact

HONEYBEE ENTERTAINMENT

4786 Dressler Rd #145

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330-904-0454

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fife and drum band, whereas the feel ofMr. Wal Mart is pretty lowdown with itsbump and grind groove as he pleadsfor Mr. Wal Mart to send his baby home.Sumlin returns for Brock’s reprise ofWolf’s Shake For Me, an amiable it notriveting performance. Arkansas toMemphis has Brock backed by acous-tic guitar, which is followed by the titletrack, then a rendition of Sugar Mama,followed by Burden Down, the tradi-tional gospel number in a renditionlikely owing a bit to the legendary FredMcDowell. Brock ends the proceedingswith a short solo track, Call Me Lover,with a spoken intro before he launchesinto a buoyant performance.

This is an enjoyable collection ofdownhome Chicago-inspired blues witha heavy Howlin’ Wolf accent that maynot be the second coming of the Wolf,but makes for some nice listening. It hasnational distribution but is readily avail-able on cdbaby.com or the Cat Headwebsite, www.cathead.biz/index.html.

Ron Weinstock

TERRY BLAINE/MARK SHANE/ALLAN VACHÉ

Swingin’ The Benny GoodmanSongbook

JUKEBOX JAZZFrequent collaborators, this three-

some of vocalist Terry Blaine, pianistMark Shane and clarinetist Allan Vachédeliver a light, airy 17-tune set of old-fashioned Benny Goodman favoritesthat swing fans should enjoy.

Staying true to melody and lyrics,Blaine sings gems such as “After You’veGone,” “I Don’t Know Why,” “Body andSoul,” “More Than You Know,” and “Onthe Sunny Side of the Street,” as wellas lesser-known tunes such as “Junk

Man,” “You Turned the Tables On Me,”and others. Blaine’s sweet, lilting mid-range voice is complemented by Vachéand Shane who tidily accompany thesinger and serve up some fine solos,especially notable on their bouncy duoversion of “Sweet Leilani.”

From start to finish, this is a satis-fying, nostalgic album you’ll want tohum or sing along to. Nancy Ann Lee

CHRIS SMITHERLeave the Light OnSIGNATURE RECORDS

Listen closely to a Chris Smithers discand you’ll likely be left with that samenagging feeling you carried with you asyou walked out of Philosophy 101: “Whydidn’t I think of things that way before?”On this, his 12th disc, Smithers asks thequestions that make you ponder aboutsuch things as why the best ideas comewhen you stop thinking so hard, “Open

Up” or why we spend all our time runningfrom this goal to that when we’ll ultimatelyall end up at the same destination, “Leavethe Light On.” In “Origin of the Species.”he takes on intelligent design with somepointed questions about Noah’s Ark andcomes to his own conclusions about howDNA got mixed and matched.

He uses “Diplomacy” to sling a fewdisdainful barbs at those who define them-selves by those who hate them and whoinvite those who don’t agree to love it orleave it. Smither’s skill isn’t limited to thelyric sheet. His prowess on acoustic gui-tar keeps his musings interesting and of-ten surprising.

Some of the darkest tunes have anupbeat buoyancy to them that hooks youbefore you realize how deep you’re going.He also isn’t afraid to rework such reveredcuts as Dylan’s “Visions of Johanna” whichmakes an appearance in Waltz time. Over-all, this sits nicely along Smither’s earlierwork. Mark Smith

October 2006 • Issue 287PAGE SIXTEEN