|
|
February 2008 © 2008 ChicagoBluesBeat.com Friday February 29, 2008 Coming Soon! Byther Smith at Kingston Mines
Friday February 29, 2008 Déjà vu happens here, again. When you come to Chicago, of course you make your pilgrimage to one of our fine blues venues. It doesn’t really matter which one you choose, there is a good chance you will get to see Joanna Connor’s show. She holds down pretty regular gigs at venues around town, and is generally recognized by out of towners as a party machine. Kingston Mines was my last stop on this particular evening, and a great last stop it is. The music goes until 4 am. Some out of town revelers were telling me that “This chick rocks” and that “We seem to see her every time we come to Chicago”. Joanna’s scorching slide work alone qualifies her for the rocking chick label. Joanna taps and slides with her best rock diva scowl, which subtly becomes a smirk as the fans respond with their own guitars. Next she turns to her guitar player Nick Peraino for some sparring. She turns from the crown and squares off with Nick like a gunslinger at draw time. She squeezes out a slide riff, and he answers it with his Kort six string. Her rock and roll scowl is now a full-on blues smile. Bassist J.R. Fuller and drummer Lance Lewis provide the groove for this volley. Enough dueling? Well don’t they just move into some sweet harmonizing lead parts ala the Allmans? Everyone is on their feet on this, the last set of the morning. Joanna teases the party with introductory licks from the blues rock party book. Somehow she seems to know what the crowd’s favorites are. It’s almost as if they have been here before. I know at least the three guys from Akron who were standing near me were professing their love for Joanna. A booming loud voice from the right said “You’re the man Jo!” A quick glance to the woman who shouted that helped me agree to disagree. While Joanna is a girl, she takes some pleasure in showing the boys how it’s done. The emcee and the voice of Blues Alley, Mr. Frank Pellegrino steps up to add his pipes to All Along the Watchtower, and then after his last intro for the band members, he directs us to a safe and sober departure into the winter Chicago morning. Leaving the mines at 4 am and it feels as if it has already happened. In a previous life? No probably last night. Friday February 29, 2008 I may be mistaken, but I thought we had a date every February 29th to meet at B.L.U.E.S. on Halsted. If you were there I didn’t see you, but I did get to meet new blues friends and see a great show. I met Dr. Janice Monti who is working hard to present a symposium on the legacy of the blues at Dominican University. The event starts on Thursday May 22, 2008 and runs through that Sunday. I also met author David Whiteis. I have been reading his articles for some time, and also noticed how many times his book Chicago Blues Portraits and Stories is referenced in the blues community. Dave Doppelt from The American Live Blues Society was there as well. What a video archive this man has! The Chicago Blues Beat website has links to these friends of the blues. I’ve already shared with you how I get intimidated when real photographers are in attendance. Well I’m even more self-conscious of my writing in front of real writers. I only get over it because I do this out of my love for live Chicago blues.
The reason we were supposed to meet there was Sharon Lewis & Texas Fire. Texas Fire is Tony Dale (drums), Bruce James (guitar) and C.C. Copeland (bass). When they warmed us up I noticed a potential logistical problem. To say that C.C. the bass player is animated is an understatement. All bands carry duct tape, so I was sure they were going to have to contain him with tape to allow the diva Sharon Lewis on stage. When announced, she had the crowd from hello. From blues purists to white boys doing rebel yells they stayed on the ride for three sets. Ms. Lewis brings her songs to life. Even standards sound like she is telling you her story. My personal favorite was Baby I Love You (Aretha) done with three part harmony. Her self-penned Angel is a goose bump song, and you know it comes from a deep place in her soul. I didn’t think the song Proud Mary could be interesting anymore. I was wrong. Bruce James, Tony Dale and C.C. Copeland are each good singers as well as instrumentalists. Bruce James threw in a Chuck Berry song. As you know that means he had to sing six pounds of words in a four pound song. If you hadn’t stood me up you would have seen very tall, very thin Bruce James on Sharon’s right, rock-solid Tony Dale behind her and hyperactive Copeland on her left. The Diva however commanded center stage, and all eyes were on her. Write this down please. Go with Lordy to B.L.U.E.S. next February 29th.
Saturday February 23, 2008 I think Mr. G is on to something. He plays harp, writes good blues songs and has a good singing voice. Then he uses The Mystery Band to round out a solid night of live music entertainment.
The Mystery Band is no mystery to those familiar with great Chicago blues magicians (musicians). Tony Palmer was on guitar, James Carter on drums, E.G. McDaniel on bass and the great Osee Anderson on the other guitar. I feel some mysterious providence was involved because I was originally headed for a different venue (gasp).
As the mystery unfolds I found myself at The Harlem Avenue Lounge for three sets of great live blues.
Mr. G started with Divin’ Duck but eased into some Mystery Band originals seamlessly. My Dog and Me was a good example. A syncopated Man or Mouse was E.G.’s platform for a fun funked up bass solo. Tony Palmer and Osee worked very well off each other. They were fun to watch and listen to as they took turns leading. I guess that’s one of the great things about live music. Tony relates this to being from the same generation. Tony takes rhythm guitar to a higher level and it’s fun to watch him comping. On lead he can live up to his “Fret Burner” nickname or make his six string sound like an organ. Osee is not afraid to get out of the box when he solos either. I think Osee could play a lead solo to Gregorian Chant, or maybe even traffic noise. The interplay within the rhythm section was another show within a show. Carter and McDaniel frequently exchanged big grins as they volleyed with the counts.
Mr. G covered George Harmonica Smith, who he considers King of the Chromatic. Speaking of which Mr. G. has an interesting collection of harps. I think my favorite song was I’m Gonna Go it Alone. It is a Mr. G. original. Of course I asked him which CD might have that song on it.
This is a problem. Mr. G. had not been in the recording studio yet. One issue of course is that his band is a mystery from gig to gig.
Another is that the band members have other gigs. For example, three of tonight’s players are also the Jimmy Burns Band. Whether or not Mr. G and his Mystery Band ever get recorded, and I think they should, it will always be better live. I can’t get too exercised about you not being in attendance because I almost wasn’t myself, but it would be a mystery to me why you wouldn’t look out for them to catch there next show.
Friday February 22, 2008 Frank Bang went from managing Buddy Guy’s Legends club, to becoming Buddy’s guitar player. He now fronts his own band Frank Bang & His Secret Stash. Like his former boss, Frank can stretch the sonic limits of the instrument. He switched between lap steel, six string slide and good old rock and roll guitar. Frank Bang has pedals, and is not afraid to use them. His sets included many originals from CDs he as available and went from blues, to blues-rock to pure rock. The Secret Stash is the rhythm section of Bob Spelbring on drums and Ryan Fitzgerald on bass. A very young looking Ryan held steady on bass and pretty much stayed still doing it. Bob Spelbring on the other hand, and with both hands, was a blur. The vocals were led by Frank Bang with occasional backup from Ryan and Bob. Frank has a lot to say with his guitar and stays pretty animated in the process. It was energetic and loud and the crowd at Harlem Avenue Lounge enjoyed it. Look for Frank Bangs recordings on the indie label, Sacred Lilly.
Thursday February 21, 2008 Gruben's Uptown Tap Jam Please feel free to leave comments on the gallery, even if it's only identifying yourself. Enjoy! Friday February 15, 2008 Studebaker John & The Hawks made their first appearance at The Blues Island Pub, in (of course) Blue Island. This place is easy to get to off I-57 and is a great venue for live blues music. Studebaker John Grimaldi (I just knew it would be a cool Italian name) is well recorded on Blind Pig records and most recently on the Evidence label. He is a prolific writer and manages to keep songs pertinent and fresh within the blues idiom. I sure would like if you came with me to one of Chicago’s great venues to see the Hawks, but you don’t have to because John travels…a lot. You can find him all over our great country and we also share him with Europe where he has another strong fan base. Additionally if you’re a label reader like I am, you will see his credits for bringing life to the recordings of others.
His guitar work is mostly slide. Not being a player I found it interesting that he fingers the board so much during the slide that I thought he may have had a standard tuning. Actually it was a bare bones Danelectro in an open E tuning through a Musicman amp. I wanted to ask him to teach me how to play guitar over the first break, but it took him that long for him to tell me who Dan Electro was. Bob Halat was on bass and knows John’s catalog cold. Studebaker sometimes steps out of the purist progression and Bob is right there with him. Mr. Paul Ashford seemed to me to be a perfect trio drummer. The word backbeat comes to mind. His rig was set up in a different low-rider look. I know who cares how it looked because it sounded great. Studebaker John & The Hawks held us in place all night with original after original. I have been following John long enough to recognize some of them as his standards and my favorites.
Look through his catalog for songs like Ride, We Were So Happy Together, and If I Had a Nickel. Better yet, check to see when Studebaker John & The Hawks come to your burgh. I don’t remember my favorite song of the night, but I do remember my favorite note. It was a long, slow three step bend that John sucked through his harp. John has made quite a reputation in our genre, and has done it by doing his thing, his way. You have to respect that.
Besides he actually does have a Studebaker Hawk. How cool is that?
Saturday February 9, 2008 I was witness to another Marty-party at Harlem Avenue Lounge. Every once in a while I drag my non-blues siblings to hear a show that I know will wow them, blues fans or not. When Harlem Avenue’s Kenny Zimmerman sent me the February lineup, I pulled big brother rank on my siblings and told them they had to be there for the Marty Sammon Band. After all, he is usually on the road playing piano for Buddy Guy, so they had better catch the act now. They are still raving about it. Sammon could carry a show by himself, but on this weekend gig he surrounded himself with an elite bunch of music men. Daryl Wright on bass follows Marty’s music from Chicago, to New Orleans and back without missing a step. Percussionist Rick King and Sax man Jay Moynihan frequently share the stage with Marty Sammon, and I think they now breathe in unison.
Special guest, the great Doug McDonald held center stage with a microphone and a seemingly magic six string. I think the Razorback never plays the same solo once. He coaxes Marty, and Marty tries to test Doug. The result is a great live show. Doug McDonald seems to have a deep well of music within him that he can summon and fit to any song you throw at him. Doug doesn’t just fit and fill the song he brings it to life.
Like Marty’s, Doug’s playing is always interesting. I can’t look away to take good notes when Jay or Rick take over either. They are all that good. I had many notes about this night’s performance, none of which are legible. Sure alcohol may have something to do with that, but if you look away too long you miss something worthwhile. For example, you might have wanted to see Marty play piano with his feet or his goatee. He doesn’t give you a break between songs either, but just calls the next song and keeps the show going. Marty Sammon is an entertainer, it would seem. But enough about Martin J.Sammon and company, let’s talk about me. I have new found validity with my family. I already know what they are getting for their 2008 birthdays. Sammon and Tom Holland (James Cotton, Shuffle Kings) have completed a CD and when it is released I will grab my copies. It kind of sucks that my family is so big. Finally, now that you know what a great big brother I am, pretend I am yours. In my own brotherly, supportive (obnoxious) way, I am strongly recommending that you see Marty Sammon play with his band, or even with Buddy Guy’s when they come to your town. Don’t even ask, because I already know that I can’t buy all of you the Sammon/Holland CD, so you had better get it yourself.
Friday February 8, 2008 I went to hear a singer the other night at Harlem Avenue Lounge. There is a whole lot to notice about The Mike Wheeler Band from their onstage energy, to their great sound, but I would like to point out that Mike Wheeler is a very good singer. Of course you all know Mike Wheeler is a Chicago bluesman, and his band is a very tight Chicago blues ensemble. Mike plays some serious blues guitar, but never overplays. He teases you with hints of the power underneath, but, like his vocals, his notes are all meaningful.
Keyboardist Joe Blocker brings a rig that surely could render full movie soundtrack orchestrations, but he also bows to the song at hand. The other half of this quartet is the rhythm section of Cleo Cole on drums and Larry Williams on the upside down six string bass. He’s a lefty, but learned and still plays on an upside down right-handed instrument. These two guys put you in a pocket you just can’t get out of. I defy you to listen to them live and sit still. Wheeler introduces a song by saying this is the way we play this on the South side, and this summons Larry Williams to add sweet soul harmonies to the tune. I am a very impressionable (fifty) eight year old and when I grow up I want to play the bass like Williams. I can’t recall a player who made the bass look like so much fun to play. Between Mike Wheeler and Larry William’s stereo electric smiles, the fun is contagious. I could swear I heard some Cold Shot with scat. I know for a fact, I heard their take on Tyrone and Bobby Blue Bland. I need you to come out and hear this kind of music live. For example, you need to hear a band this tight, with musicians as talented as these do Superstition. Don’t tell me that you heard the recording. This quartet is two thirds of Big James & The Chicago Playboys, so I know they can get bigger, but I just don’t see how they can get better.
The Pictures
Thursday February 7, 2008 Harlem Avenue Lounge Jam. Please feel free to leave comments on the gallery, even if it's only identifying yourself. Enjoy!
Friday February 1, 2008 The Marty Sammon Band at Vino Tinto with Jay Moynahan and Rick King. |
|