Experience Hendrix
Bill
Watrous/NJO
Bob Dylan
Sutton's Pianorama
George Whitesell and the All
Stars
David Lindley/Bruce Katz at the Zoo
Bar
|
January
2009
Performances
Concert reviews |
Concert Review
Fans experience Hendrix vicariously in tribute
By Tom Ineck
OMAHA,
Neb.—Experience Hendrix is not just a clever name for the family-owned
corporation that controls the rights to the transcendent music and
iconic image of legendary guitarist Jimi Hendrix. It is a traveling
tribute to the evolution of the blues and the immense role that Hendrix
played in furthering that evolution.
The 2008
Experience Hendrix tour stopped at the venerable Orpheum Theater in
Omaha for an Oct. 29 performance featuring such well-known Hendrixian
guitar slingers as Kenny Wayne Shepherd, Jonny Lang, and Eric Johnson,
along with more obscure players Eric Gales and Mato Nanji. Blues legends
Buddy Guy and Hubert Sumlin reminded listeners that Hendrix also had his
influences—up to a point.
Headlining
the event were the two surviving members of The Jimi Hendrix Experience,
bassist Billy Cox—best known for his important contribution to the live
Band of Gypsys recording of New Year’s Eve 1969—and drummer Mitch
Mitchell, who was just 19 when he joined Hendrix and bassist Noel
Redding to become perhaps the most influential band in rock history.
Mitchell
was a shadow of his former self during the Omaha show, playing
lackluster licks and occasionally mumbling incoherently into the
microphone. Sadly, it may have been an omen of things to come. Mitchell,
61, died Nov. 12 in Portland, Ore., shortly after completing the 19-city
tour.
In
retrospect, the Experience Hendrix tour was also a fitting tribute to
Mitchell, whose top billing was a testament to his significance as
Hendrix’s timekeeper of choice. In just four years, the Experience
turned the rock music world on its ear, and its influence continues to
this day. Mitchell was little more than a figurehead during the Omaha
appearance, but his legacy was apparent throughout the performance.
The lion’s
share of the percussion duties was ably handled by Chris “Whipper”
Layton, Stevie Ray Vaughan’s drummer of choice from 1978 until Vaughan’s
death in 1990. Layton proved an excellent substitute for Mitchell,
moving easily between the blues and blues rock styles that formed the
foundation of Hendrix’s sound. His crackling snare technique and
effortless fills never got in the way, but were always essential
ingredients, tastefully executed.
It was
Gales who unexpectedly set the mood for the night, opening with an aptly
outrageous rendition of “Purple Haze,” accompanied by Cox and Layton. A
left-handed guitarist, Gales also proved an excellent singer in the
soulful tradition of Hendrix. Guitarist Mato Nanji of the group
Indigenous joined the trio for “Foxey Lady,” then Cox belted out “Stone
Free.” Nanji sang and played lead on the bluesy “Hear My Train a Comin’.”
Eric
Johnson was undoubtedly the technical master of the evening, tearing it
up on “Love or Confusion.” With Cox on bass and Mitchell added on drums,
he did a jazzy take on “Up From the Skies.” Johnson and Gales traded
solos on an astounding version of “May This Be Love.” Johnson also
performed memorable versions of “Bold as Love” and—the best of all—“Are
You Experienced?” Three drummers kept the ominous march time going as
Johnson convincingly mimicked the backward-looped guitar sounds that
made the original 1967 recording so ground-breaking.
Despite his
technical proficiency, Johnson tended to push the tempo, contrary to the
laid-back, hesitation beat of the blues or the relaxed pulse of soul
that influenced Hendrix. Johnson’s thin, high-pitched voice is also a
far cry from the Hendrix model of sexy cool.
Johnny
Lang, now 27, released his first recording while still in his mid-teens,
but there’s little in his playing to set him apart from dozens of other
Hendrix-influenced pickers, and his voice is even more limited that
Johnson’s. He did a credible job on “Fire,” with help from Aerosmith’s
Brad Whitford, a fine guitarist who usually plays second fiddle to Joe
Perry. Lang and Whitford also delivered “The Wind Cries Mary,” with
Mitchell joining Layton on drums, and “Spanish Castle Magic,” with
Layton only. By the way, Scott Nelson did a great job on bass whenever
Cox wasn’t on stage.
Kenny Wayne
Shepherd played the role of rock “guitar god,” striking flamboyant stage
poses for dramatic effect on “Come On,” “I Don’t Live Today,” “Voodoo
Chile” and “Voodoo Child (Slight Return).” Outstanding singer Noah Hunt
added a professional sheen to the Shepherd set, despite an occasional
lapse into hyper-blues pretentiousness.
Guitarists
David Hidalgo and Cesar Rosas of Los Lobos fame seemed out of place amid
the blues-rock pyrotechnics of the other string virtuosi, but they
delivered soulful versions of “Can You See Me,” “Little Wing,” with
Mitchell and Cox added, and “Them Changes,” which was dedicated to the
late Buddy Miles, the tune’s composer and Omaha’s native son. Mato Nanji
joined the group for a solo on the last tune.
Oddly, the
show ended with the evening’s weakest set. Rather than begin
chronologically with the blues and track the evolution to Hendrix’s
jazzy, audacious rethinking of the blues, the program’s order was
reversed.
It came to
a close with 76-year-old Hubert Sumlin hobbling on stage to perform “You
Should Have Quit Me,” followed by Buddy Guy and “The Best Damn Fool You
Ever Saw.” Guy’s a fine guitar player, but he also possesses a huge ego,
making it difficult for him to share the stage with others. That was
apparent on “Red House,” where he was joined by Brad Whitford, Billy Cox
and Mitch Mitchell, and on “Hey Joe,” with Hidalgo and Rosas. Among the
under-recognized standout players were guitarist Ric Hall, keyboardist
Marty Sammon, and drummer Tim Austin.
Everyone
played with obvious respect, even adoration, for the music and legacy of
Jimi Hendrix. But even after three hours of familiar riffs delivered
with mind-boggling technique, the listener was left with a feeling of
inadequacy. None of these skilled performers could match the musical
audacity, the revolutionary guitar style, the lyrical experimentation,
the soulful intensity or the cosmic humor of the original. That’s what
makes Hendrix so great, and so greatly missed.
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Concert Review
Watrous in spotlight with challenging program
|
By Tom
Ineck
LINCOLN, Neb.—The Nebraska Jazz Orchestra opened its 2008-2009
season with a zinger Nov. 7 at The Cornhusker, putting legendary
trombonist Bill Watrous squarely in the spotlight in a program of tunes
that continually challenged the big band throughout the evening.
Justifiably
billed as an “L.A. Legend,” Watrous claimed his fame more than 30 years
ago with a pair of classic jazz recordings on Columbia, 1974’s
“Manhattan Wildlife Refuge” and 1975’s “The Tiger of San Pedro.”
As a West
Coast studio musician and guest artist on dozens of recordings, he has
maintained his standing among the greats on his instrument, a standing
he confirmed with his latest NJO appearance. His association with the
NJO actually goes back 30 years, to a 1978 concert with the band, then
known as the Neoclassic Jazz Orchestra.
The band
kicked things off with the provocatively titled “I’ve Got the #@4++$?%
Blues,” by Rex Cadwallader, a longtime contributor to the NJO songbook.
Watrous
joined them for a clever up-tempo reworking of “After You’ve Gone”
called “Before You Left,” composed by Tom Kubis, an obvious favorite of
the trombonist’s. The sax section got its first of many workouts, with
Ed Love on
soprano and Paul Haar taking a brawny solo on tenor. Watrous
displayed his gorgeous honey tone and faultless facility during his solo
statement.
Perfectly
at ease in the role of master of ceremonies, Watrous told the story of
his minor league baseball career being cut short by a draft notice from
the Selective Service System. He then surprised the audience of 300 by
displaying a versatile voice on a Kubis arrangement of “When You’re
Smiling.” After singing the refrain, he dove into a horn solo of leaping
octaves and intricately articulated lines.
An
easy-swinging Kubis arrangement of “Who Can I Turn To?” had the sax
section playing a beautiful group solo before turning it over to Haar
and Darren Pettit for individual tenor sax solos and a series of
four-bar trades. Watrous settled into the familiar changes with lilting
trombone phrases and a lush tone.
Humorously
giving fair warning to musicians and audience alike, Watrous introduced
the tricky Gordon Goodwin tune “I Got the ZZZ’s” by saying “Gordon’s
charts are the great sobriety tests of all time.” The devilishly
difficult changes again had the saxes playing in unison, followed by a
pairing-off of Haar on tenor and Love on soprano.
After the
break, the band returned with Duke Ellington’s “Blues for New Orleans,”
arranged by NJO alumnus Dave Sharp.
Tom Kubis’
“Space Available” was a snappy, up-tempo swinger, but Haar stayed on top
of it with a scintillating tenor solo. Watrous again showed his prowess
with a brilliantly articulated solo.
Guitarist
Peter Bouffard delivered an imaginative solo on the Basie-style bluesy
swinger “It’ll Count If it Goes,” also by Goodwin. The entire brass
section got a workout on this one. “Exactly Like This,” a Tom Kubis take
on “Exactly Like You,” featured Brad Obbink on a Harmon-muted trumpet
solo and Love on a fluid flute statement.
But the
crowning glory of the evening was the driving, funky “Mama Llama Samba,”
with snaking modulations and infectious rhythms boiling underneath as
soloists Pettit, Bouffard and Watrous negotiated intricate solos.
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Concert Review
Dylan returns home for historic Nov. 4 concert
|
By Tanner Gruba
BMF
Minnesota
Correspondent
MINNEAPOLIS—On the eve of a historic
presidential election, the be-all and end-all, Bob Dylan, returned to
his native Minnesota to put on nothing short of an epic show. Dylan and
his band played at the University of Minnesota’s Northrop Auditorium to
a near-packed house of roughly 4,000 long-time fans, students, and
everyone in between.
The Nov. 4 show consisted of a diverse
collection of his songs, from albums old and new. The majority were
drastically altered from their original sound, with altered styles, time
signatures, and tempos. As many would have expected, the concert had a
politically centered theme.
Dylan kicked off the show with his
now-common, steel guitar-driven opener “Cat’s in the Well,” something of
a lesser-known song from his 1990 album “Under the Red Sky.” He moved
into a not instantly-recognizable “The Times They Are a-Changin’.” The
crowd’s roar reached a peak during each refrain of the Dylan classic.
He brought the crowd back to various
earlier albums with songs like “Tangled Up in Blue,” “Stuck Inside of
Mobile with the Memphis Blues Again,” and “Highway 61 Revisited.”
“Masters of War” was played as a brooding, dark ballad, a contrast with
the original acoustic recording. “It’s Alright, Ma (I’m Only Bleeding)”
on the other hand, was turned completely upside down, recognizable only
by its masterful lyrics.
Dylan played primarily keyboard for the
entire evening, a consistent practice of his in recent shows. His band
was tight, with Tony Garnier providing sonorous and driving bass lines.
Stu Kimball provided solid rhythm guitar, and Denny Freeman played the
lead guitar parts. George Recile held down the tempo with precision on
drums, and Donnie Heron displayed multiple talents in violin, viola,
banjo, and steel guitar.
As the 17-song set list continued into
the night, Bob played more songs from his new album, “Modern Times.” He
also included the touching “Shooting Star” from “Oh Mercy,” in which
halfway through, he strapped on an electric guitar for the only time
during the show. For the rest, Dylan stuck to keyboard, which was quite
prominent in the mix. He even soloed a couple times on the organ-voiced
keys.
Dylan played the somber “Ain’t Talkin’”
before leaving the stage. While the crowd was cheering for an encore,
many people were eagerly checking their phones for election data. Bob
finally returned to the stage for the inevitable “Like a Rolling Stone.”
Before his final song, he had a few words to say regarding the special
circumstances of the evening.
“I was born in 1941, the year they
bombed Pearl Harbor,” he said. “I’ve been living in a world of darkness
ever since, but it looks like things are going to change now.” The song
“Blowin’ in the Wind” then filled the auditorium, a perfectly
appropriate end to an incredible show.
As the audience proceeded out of the
auditorium into the entrance hall, a titanic TV was projecting the
results of the presidential election. The hall erupted into a euphoric
cavalcade. There were people crying, couples embracing, and a wave of
incessant noise. A massive congregation soon followed outside the hall
in the middle of the campus square to conclude the concert aftermath.
Dylan played a fantastic and charged set
that evening, making it a concert like no other. The fact that he had
returned to his old college on such an important occasion made the show
memorable beyond mortal dream.
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Concert Review
"Sutton's
Pianorama" lives up to its billing
|
By Dan
DeMuth
BMF
Colorado Correspondent
DENVER—The weekend
of Oct. 18-19 in Denver provided beautiful weather and music as Sunnie
Sutton hosted the 9th annual Rocky Mountain Jazz Party at the
downtown Denver Marriott Center.
This series
actually dates to 1989 at the Jerome Hotel in Aspen, with Sunnie and her
now deceased husband Ralph taking over the baton in 2000. This year’s
party, dubbed “Sutton’s Pianorama,” lived up to its billing with Dick
Hyman and Derek Smith, sharing the stage with two pianists perhaps not
so well known in the states as in Europe, Rossano Sportiello and Louis
Mazetier.
Chuck
Berghofer, Jay Leonhart, Frank Capp, Jake Hanna, Bucky Pizzarelli, John
Allred, Ken Peplowski, Houston Person, Warren Vache—all names that
individually and certainly collectively wouldn’t ordinarily be
considered supporting players occasionally filled that role as the
pianists put on a memorable performance. With seating limited to 250,
these parties lend an intimacy to the musician’s relationship with the
approving audience, much as a club setting allows. Alternating from solo
performances through duets, trios and on up to the full-blown monte, we
jazz aficionados were treated to one of those events permanently encoded
in our grey matter.
Hyman is a
master of virtually all keyboard styles and able to play imperturbably
while doing so. He simply makes everything look too easy. Smith counters
with a display of great enthusiasm which doesn’t detract from his
equally great versatility. And, even after coming to the states over 50
years ago he still speaks with that beautiful British accent. Sportiello
and Mazetier, generally recognized as being the best in their craft in
perhaps all of Europe, are now spreading the word here in the U.S.
Simply as a matter of comparison, their techniques fall somewhere
between Hyman and Smith.
The
multitude of piano performances ranged from ballads to boogie, with such
tunes as “Exactly Like You,” “Can’t We Be Friends,” “Just You, Just Me,”
“After You’ve Gone,” “St. Louis Blues,” “Drop Me Off In Harlem,” and
“Diga Diga Doo” as a sampling. For me, the high points involved the four
pianists playing simultaneously on two facing concert grand pianos (I’ll
do the math, that’s eight hands or forty fingers) while rotating one at
a time to the next bench without missing a beat. I must add they were
able to do this on everything from a Gershwin ballad to a raucous
10-minute improvised version of something they called “Eight-Hand Boogie
Woogie.”
I asked
Dick Hyman his opinion of these two young lions and he responded saying
they were more than ready to take over and assume any mantle he and
Smith might eventually leave behind. The respect these four pianists had
for each other would have been obvious to anyone who could hear, sight
not being a requirement.
There were
the usual mixed pairings in virtually every possible configuration
throughout, and while some of these artists seem to have been on the
scene forever their talent has not waned. Bucky ripped off some amazing
guitar runs both as a soloist and providing rhythm. And he still has
that great smile. While cornetist Warren Vache doesn’t dote on making
happy faces, the occasional impish grin sneaks out, belying the fact he
enjoys playing the curmudgeon role. With a career that now spans about
35 years, listening to him play in the high altitude of Denver and
requiring the assistance of a cane because of hip issues that force him
to play sitting down, he still has the beautiful, clear forceful tones.
He told me he is able to do this simply because one doesn’t play his
horn with his face; it’s all in controlling the breathing.
Jay
Leonhart—great bassist, fertile mind. Over the years a virtual who’s who
of more than 80 artists has appeared at these parties without any
vocalists, unless one includes the inimitable Jay. He had just penned
and performed a new composition about the failure of Dutch tulips in the
securities markets, a takeoff on our financial fiascos. You’d have to
hear it to understand and then walk away shaking your head.
Ken
Peplowski continues to be the clarinetist with the mostest on the jazz
circuits and also blows a pretty sax, as well as displaying the “let’s
have a good time up here” mindset. Tenor man Houston Person performed
mainly with rhythm backing, which is obvious given his style, except for
the finale, which we’ll get to shortly. He told me that despite the
breathy tones he is so well noted for, he was influenced as a youth by
some of the honkers such as Big Jay McNeely, Joe Houston and Earl
Bostic.
Trombonist
John Allred plays comfortably in any style and left a few wet eyes with
a solo rendition of Dorsey’s “I’m Getting Sentimental Over You,”
dedicated to the attending family of the recently deceased Tom Dorsey
(Tommy’s son), a longtime Denver resident and faithful attendee at these
jazz
parties. This was my first exposure and good fortune to hear
bassist Chuck Berghofer, who started with bandleader Skinnay Ennis and
has among his many credits touring and recording with Sinatra.
Drummers
Frankie Capp and Jake Hanna are ageless. Neither is prone to bombastic
solos, content in the rhythm backup role or occasionally driving the
assemblage when required. In a lighter moment, when asked to solo, Capp
did a very short interlude with tom toms in no particular meter and said
“that’s what I think about drum solos.” Artie Shaw would have loved it.
The final
set of the last night started with a tongue-in-cheek performance by the
four pianists, with everyone else on stage except, unaccountably, Bucky.
It was allegedly “O Sole Mio,” which quickly segued into some stride and
boogie woogie and then was transmuted into a no-holds-barred version of
“The Saints.” This again had the four pianists doing their rotation,
Berghofer and Leonhart sharing the bass and Capp and Hanna sharing
drums. And yes, here was the cool Houston Person blowing on one of the
oldest tunes in the book in a front line that also featured Peplowski on
clarinet along with Allred and Vache.
As Butch
Berman used to say, “Life is a gas. You just have to inhale once in
awhile.”
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Concert Review
Whitesell and All Stars have
the joint jumpin' |
By Dan
DeMuth
BMF
Colorado Correspondent
BOULDER,
Colo.—Oct. 25 found us in Boulder, catching up with the
hottest jump blues band this side of the North Pole. Yes, jump blues, as
epitomized by such artists as Louis Jordan, Big Joe Turner, Johnny Otis,
Joe Liggins, Roy Brown and Omaha’s own Wynonie Harris.
George
Whitesell’s All Stars is a Colorado Springs-based group that has been
playing selected gigs up and down the Front Range for about two years.
Members are comprised of musicians who often front their own groups,
both blues and jazz, a true all-star group with George providing the
guitar licks, male vocals and occasionally blowing some alto sax.
This type
of music requires a sax section supremo, and they don’t disappoint. Brad
Eastin, whose resume’ includes such diverse names as Frankie Laine, Cab
Calloway, Rosie Clooney and the USAF Falconaires arranges for the band
and holds court on tenor, much as he does in several local jazz groups.
Relative newcomer Marty Sarlette, another graduate of the USAF bands,
also blows a mean tenor and has added some, shall we say, "choreography"
to the reed section circa the Louis Jordan era, which adds to the
authenticity and general good feeling this band exudes.
Providing
a contrast to the tenors, while proving a baritone can also honk, is
Chris Wojtecki. His folio also includes working with such luminaries as
Lesley Gore and Sam The Sham and the Pharaohs and playing with many
excellent local groups. Drummer Dave Deason gives a 3D performance
without too much panache–a noble trait. The same can be said of bassist
Santi Guarnera and keyboardist Tim Zahn–drivin’ the bus and makin’ no
fuss.
Ah, but
they haven’t forgotten the great female artists during this late ‘40s
and early '50s era. Talented Jill Watkins, who has fronted her own
group, as well as
performing
with others, handles this end with all of the embodiment and
embellishment one would expect with this group. Jill has a voice that
can nail the shingles to the roof or coax the fuzz off a peach. Whether
providing countenance to the likes of Ruth Brown, Etta James, Camille
Howard or LaVern Baker in the "mean mamas" mode, or enticing the
aforementioned peach fuzz in the manner of Sylvia Robinson of the Mickey
and Sylvia duo on the classic “Love Is Strange” (Reviewer's note:
George, you need to get this in your repertoire!), Jill brings talent
along with personality.
Space
doesn’t allow me to list the roster of songs they put into the too-short
two hours on stage, but I want to list just a
few.
George handled the vocals on Berry’s "You Never Can Tell," Little
Richard’s "Baby," Joe Turner’s "Oke She Moke She Pop," and
Cleanhead Vinson’s "Kidney Stew," while Jill ably took care of
Etta’s "At Last" and "Tell Mama." Her renditions of "I
need A Young Man" and "Dr. Feelgood" had all of the ladies
feeling good about whatever it is the good doctor does. Intersperse all
of this with some great instrumentals by a band really digging what
they’re doing, and it’s a great revue. A short clip of the band is at
http://www.myspace.com/georgewhitesel
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Concert Review
Lindley and Katz continue
grand Zoo tradition |
By Tom Ineck
LINCOLN,
Neb.—I am frequently reminded how precious a homegrown, hometown
live-music club can be, especially one with an eclectic booking policy
and a loyal clientele. Such is the Zoo Bar, Lincoln’s most intimate
and—for the adventurous music fan—most consistently satisfying venue
since it opened its doors in 1973.
Two
recent visits perfectly illustrate the reasons for the Zoo’s excellent
reputation and my continued patronage. Multi-instrumentalist and
storyteller par excellence David Lindley returned for a Sept. 21 solo
performance, and on Oct. 24 jazz and blues organist and piano player
Bruce Katz brought his band back to the Zoo for a spectacular show.
Lindley,
perhaps best known for his many years playing guitar and recording with
Warren Zevon and Jackson Browne, has hammered out a solo career over
many arduous years of one-night stands at small clubs just like the Zoo.
Already on the road for six weeks before his Lincoln appearance, the
64-year-old road veteran seemed a little weary, but neither his
musicianship nor his sense of humor seemed to suffer.
Utilizing
at least seven acoustic, stringed instruments over the course of the
evening, Lindley performed Zevon’s “Seminole Bingo,” Bruce Springsteen’s
“Brothers Under the Bridge” and Steve Earle’s “Copperhead Road,” in
addition to the traditional gospel tune “What is the Soul of a Man?” and
the Eastern exotica “Tasin,” on which he demonstrated improvised scales
on the oud. In describing the challenges of the fretless instrument, he
said, “You gotta play it like an ant.”
Reprising
his popular novelty “Backstage Food,” Lindley added a new chapter to the
continuing saga about the often-unappetizing meals served to traveling
musicians who are at the mercy of their employers. While strumming a
slide guitar on his lap, he told of “driving 600 miles for a 45-minute
show,” then related a story from bassist Leland Sklar about a cooking
trip to China, where he was offered a burlap bag full of human feet,
“gray with yellow toenails.”
“Disgusting!”
you may say, but the way Lindley tells a story, it was also delightful
fun, like a roomful of kids having a “gross out” contest.
The Bruce
Katz Band, on the other hand, was all business. Katz earned his stripes
playing with Ronnie Earl and the Broadcasters, as well as early stints
with Barrence Whitfield and the Savages, Bo Diddley, Chuck Berry, and
Jimmy Witherspoon. At 56, he has half a dozen recordings under his own
name and a touring band that always tears it up.
Katz was
cooking that night at the Zoo, switching easily from funky jazz organ to
boogie-woogie piano to bluesy accompaniment for an equally versatile
guitarist. Among the many favorites performed were blistering renditions
of “Hep-ology,” “Norton’s Boogie,” Mississippi Moan,” “Jackalope
Bar-B-Q,” “Elmore’s Glue,” and the classic cover version of “Compared to
What.”
It’s a
testament to the Zoo Bar’s staying power that both of these shows were
very well attended. Here’s hoping that the Zoo continues to stake its
reputation on musical diversity and the relatively small, but very hip
fan base that has nurtured it for so many years.
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