Jazz

Being a first-wave boomer, my first exposure to 'jazz' was my parents watching the Lawrence Welk Show on Saturday nights, complete with the Lennon Sisters and Myron Floren, the featured accordianist. Not very stimulating stuff. I suppose I heard some big band music too, but I don't recall anything specific. During the sixties, I recall seeing Duke Ellington and Louis Armstrong occasionally on the Ed Sullivan Show, but I paid little attention to them.

In the late 70's, while working in West Hartford, I would tune my radio to University of Hartford FM radio station WWUH (history), where jazz was played every morning from 9-12. While I used it, at first, as background music (along with classical), I began to find it to be an interesting alternative to the declining quality of FM rock. WHCN had been an independent Hartford FM rock radio station to which I listened faithfully for years. It was hip, but professional, taking the best attributes of college radio and combining it with entreprenuerial spirit. They would often have in-studio interviews with touring artists and it would be common to hear them sing/play for 30-45 minutes at a time. No rigid format schedule reigning in the interview. But one day as I was listening, I experienced a strange sense that something was different. Alas, the station had been sold to a regional group and was slowly tweaking the format to be more mainstream, not blatant, but noticable.

So I discovered WWUH, probably with the help of the Hartford Advocate (now owned by the same company that owns the Hartford Courant, but then a fledgling underground rag), and it became my station of choice in the immediate Hartford area (it had a very limited broadcasting range). And I discovered that I found the jazz programs, weekday/saturday mornings, to be interesting and cool. And I discovered two major influences - Mort Fega and Integrity 'n Music.

Mort Fega, a transplanted NYC jazz DJ/record producer, had recently moved to West Hartford and become involved in the local jazz scene. He hosted a WWUH Saturday radio show, "Focus on Jazz", not only playing music that I had not heard before, but giving short personal anecdotes about the artists in a laid-back, hip-as-hell manner. A music style that seemed so dated to me previously suddenly became very cool. I began listening to more and more jazz, buying albums and finding jazz clubs to sample live jazz performances. Fega began producing Monday night concerts at the 880 Club on Maple Avenue in Hartford, using his extensive contacts to bring in big names. He also produced an album for Bobbie Rogers, a local vocalist associated with the Chic Chichetti Big Band.. In 1986, Fega moved to Florida. Mort Fega passed away on January 21, 2005 at the age of 84.

Saturdays with Mort (Fega) by Rob Mariani

Integrity 'n Music

to be continued.....

Jazz is in the Air (Hartford Advocate)

Hartford´s storied jazz scene will get a welcome blast of fresh air this Thursday when talented vocalist Lindsey Muir gives her pipes a workout at the grand opening of the Mezzanine, a glamorous 1940s-style jazz lounge in the renovated G. Fox Building.

Muir, a relative newcomer to the music world, made a splash in August during her performance at the acclaimed Litchfield Jazz Festival where she launched her debut album You´re Nearer - Love Songs of the ´30s & ´40s . Joining Muir will be Hartford-based musicians, Dezron Douglas, Craig Hartley, Ben Bilello and the New York-based tenor saxophonist, Albert Rivera. Doors open at 5 p.m. and the music will commence at 7:30 p.m.

The Mezzanine is located at 960 Main St., Hartford. (860) 524-9590. Free and open to the public. --A.B.

(note: you/we missed the date, but the venue seems promising enough to put it on your entertainment to-do list.)

Put me in, coach....

UPDATE: SHS lost to Xavier 44-30 CIAC recap

Good luck tonight to the Southington High School Blue Knights, who will be playing for their 2nd (1st in 1998) CT state LL football championship vs. Xavier High School at Ken Strong Stadium in West Haven.

Realizing there are not anywhere near as many football songs (excluding college fight songs)as baseball songs (Take Me Out to the Ballgame, Centerfield, etc.), I search:

All Revved Up And No Place to Go (Meatloaf) - "I was a varsity tackle and a hell of a block, When I played my guitar I made the canyons rock-but-, Every Saturday night I felt the fever grow, Do ya know what it's like, All revved up with no place to go" Football, Beer & You (Teter Jay) - "Cause when it's football time in Tennessee, A brewski hits the spot, The Titans take the gridiron, And their givin' all they've got, A pigskin and a cold one, Was all I thought I'd need, Until that day at Hooters, When you brought them wings to me."

Can I get an Amen! Any others?

Some people...

You might want to catch the White Stripes' appearance tonight on the Daily Show with Jon Stewart at 11pm EST on Comedy Central (that's 10pm CST and about 10:45 MST, I think). If you do, please stick around another half-hour for the Colbert Report with Stephen Colbert, my fav show on television these days (yes, even fav-er than Curb!). It took the former Daily Show reporter a couple weeks to get everything in place, but his deadpan delivery is funny, biting, topical and his mannerisms are right-on. Three thumbs up! - New Yorker review

Moths, I think....johnnykmusic readers are STILL waiting for the Andersons' report on their Vegas concert experience with the.......incredibly thin diva, Celine Dion. Hoping for some juicy after-party tidbits.

BUT, while you wait for Sharie's sure-to-be-blockbuster, you might peruse the blog of Bored Housewife, which Blogger plugged as a 'blog of note' yesterday, sending thousands scurrying to her site. Not sure if she wants the notoriety, but she'll have to deal with it for awhile. Pretty interesting stuff from a Ute mom of twin boys. And she's taking a rock n roll history class at U of Ute, so there IS a tie-in for you skeptics!

Some NOLA thanks to Mark G.

Have a Ho-Di-Ko-Di-Ya-La-Ma-La holiday 11/22/05 Chris Rose

I talked to Dr. John on the phone the other day. He said he's doing fine and will be coming to New Orleans in early December for the first time since the storm. At least, I think that's what he said. I mean, it was Dr. John; I don't even think his mama ever knew what the hell he was saying once he got started talking.

With Dr. John, you just kind of nod your head and every now and then, say: "Yeah you right, Mac. You bet." The Night Tripper speaks a language unique unto himself. And yet -- and this is the killer part -- his is perhaps our city's most recognizable voice, with that accent born of primordial stew and swamp gas, hoodoo and magic spells, incense and roux, known the world over and immediately associated with New Orleans. - complete article

ROXANNE......on second thought

Old prostitutes find work in rural Australia

CANBERRA (Reuters) - Prostitutes as old as 70 continue to work in rural Australia, pushed out of the cities due to strong competition from younger and more attractive sex workers, the author of a study said on Tuesday. Brothels are legal across most of Australia, but states have strict laws against soliciting and running brothels in residential areas, and near churches or schools. - complete story

Songs about prostitutes:
Elton John, "Island Girl"
AC/DC, "What Do You Do For Money Honey?"
Elton John, "Japanese Hands"
Elton John, "Sweet Painted Lady"
Digital Underground, "Good Thing We're Rappin'"
Janis Ian, "Pro Girl"
ZZ Top, "Mexican Blackbird"
Isaac Hayes, "Lady Of The Night"
Donna Summer, "Bad Girls"
Rick James, "P.I.M.P. The S.I.M.P.

THE ROCK AND ROLL HALL OF FAME FOUNDATION ANNOUNCES THE INDUCTEES FOR 21st ANNUAL INDUCTION CEREMONY

The list of 2006 nominations included Cat Stevens, Black Sabbath, John Mellencamp, Miles Davis, Sex Pistols, Grandmaster Flash and the Furious Five, the Patti Smith Group, Joe Tex, J. Geils Band, the Paul Butterfield Band, Dave Clark Five and the Sir Douglas Quintet.

From RRHOF website: The following artists will be inducted at the Twenty-First Annual Induction Ceremony, which will be held Monday, March 13th 2006 in New York at the Waldorf Astoria Hotel:

Black Sabbath, Blondie, Miles Davis, Lynyrd Skynyrd, Sex Pistols



Meanwhile:

I am, I said, to no one there......(actually, he is getting decent reviews on his 12 Songs CD, said to be a return to his songwriting roots.)

Also, not yet in:

The Singing Nun

Journey

1410 Fruitgum Company
Previous post at nomination date

Boston Folk Radio (on my laptop)

This may be old news to Beantown music lovers, but I just discovered a wonderful radio program, Highway 61 Revisited (Saturdays 7am - 11am), on WUMB Folk Radio, UMass-Boston.

For example: Richie Havens' version of She's Leaving Home from Sgt. Pepper; Bonnie Raitt doing a live version of John Prine's Angel From Montgomery; Greatful Dead's Box of Rain; Byrds' The Bells of Rhymney ; The Band 4% Pantomime (with Van Morrison sitting in) .

They will be doing a retrospective next Saturday morning on Rubber Soul.

The station recently polled its listeners about "what artists top their iPod playlist? Imagine you could fit only 10 artists (folk or any genre) on your iPod . . . who would they be?" - complete top 120 listing

Top 5 were: Bob Dylan Cheryl Wheeler Patty Griffin Dar Williams Richard Shindell

(Okay, I plead ignorant about the music of all except Dylan, although I've heard of Dar Williams and Patty Griffin.)

Rubber Soul's 40th anniversary

With the release in 1965 of this rushed-into-production-for-Christmas album, the Beatles began the change to more varied musical styles, complex arrangements, and sometimes-darker subject matter. Revolver gets top billing on many of the "best of" lists, but Rubber Soul has always been my favorite. It was such a hip change for them at the time that many in the Beatles' pop fan base began to abandon them. Interestingly, two songs, "Drive My Car" and "Nowhere Man," were not included on the USA release. They are on the CD version.

There will be lots of press hype surrounding the anniversary of the December 3rd release date (December 6 in the USA), but I found a potentially interesting tribute CD containing covers by Ben Harper, the Donnas, Cowboy Junkies on Daedalus' music website - This Bird Has Flown. The title refers to Norwegian Wood (This Bird Has Flown).

..."You can’t muck with greatness, but you can sometimes put together a dang good cover album. A case in point is this track-by-track recapitulation of a landmark Beatles disc by a gaggle of adult-alternative and indie rock artists. With banjos and mandolins, the Yonder Mountain String Band recasts “Think for Yourself” as a bluegrass tune, while Ben Harper infuses “Michelle” with a reggae flavor. Mindy Smith’s “The Word” is a little bit country, while Ted Leo's “I'm Looking Through You” is a little bit rock 'n' roll. One of the most exhilarating tracks is the Donnas’ “Drive My Car,” which mimics the original arrangement but takes on a sweetly distinctive flavor because of the female voices. Another nice reworking is Low's “Nowhere Man,” enhanced by the harmonies of husband and wife duo Mimi Parker and Alan Sparhawk. Other highlights are a folksy “You Won't See Me” by Dar Williams, a typically laconic “Run for Your Life” by the Cowboy Junkies, and an alluring deconstruction of “If I Needed Someone” by Nellie McKay."

Here comes Bonnie!

bonnieraitt.com

Bonnie received a lukewarm review of a recent concert in elay where the reviewer made some of the points I've voiced about her getting too mellow, too often....."the lyric and gently grooving arrangement remind that Raitt made the transition from blues belter to middle-of-the-road crooner long ago." When I last saw her about four years ago in Wallingford, CT (I've seen Bonnie in concert about ten times, including a strange pairing with her dad, Broadway legend John Raitt), I enjoyed Jon Cleary's opening set more than Bonnie. When she picks it up, she's still great and I'm not stuck in a time warp longing for just her old stuff, but there is WAY too much mid-tempo dirges these days. Hey, I don't blame her for going for the bucks; early on she put out SO much great music that never was commercially successful, so no need to apologize for finding the niche that makes her some cash. And it's not like her new material is bad, it's just not interesting enough for this old snob.
Bonnie plays Detroit 10/17/05

Update: Bought the CD (along with Sarah Borges' Silver City and Maria Muldaur's Sweet Lovin' Ol' Soul) and found that Bonnie is getting funky again, thanks, in part, to two John Cleary songs - Love On One Condition and Unnecessarily Mercenary.

Bonnie Raitt is about to release her new CD, Souls Alike, a set of songs from promising young songwriters. She is touring in support of the CD and, from all reports, these songs will be a little edgier than her more recent stuff. Here's hoping. Jon Cleary (who was great at the Maple Leaf Club in NOLA during JazzFest last Spring) will again be on keyboards, James Hutchinson on bass, Ricky Fataar on drums and George Marinelli on guitar. Bonnie will be at the Warner Theatre in Torrington, CT on October 22 (Saturday) with Maia Sharp and at Foxwoods Casino on December 16.

San Francisco Chronicle interview
Unofficial site
Rolling Stone review

Picked up on a quick trip to Borders with G-man

Music Aerial- (Kate Bush) Mountain Soul- (Patty Loveless) Exile on Main Street- (Rolling Stones) Blue Moon Swamp- (John Fogerty) The Alternative to Love- (Brendan Benson)

Books Teacher Man- (Frank McCourt) Vernon God Little- (DBC Pierre) John Henry Days- (Colson Whitehead)

I'm walkin' to New Orleans

Speculation abounds concerning the fate of NOLA in general and some of its major cultural festivities in particular. It seems that the mood is to do SOMETHING for each event to maintain continuity. But how it will play out is anyone's guess.

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Johnny Gumbo sent an email: New Orleans Blues- Not a very happy story. By the way, Happy Birthday, today to Dr. John...IKO....IKO! (and a post from Time Magazine)

New Orleans Today: It's Worse Than You Think. Neighborhoods are still dark, garbage piles up on the street, and bodies are still being found. The city's pain is a nation's shame By CATHY BOOTH THOMAS/NEW ORLEANS (Posted Sunday, Nov. 20, 2005)

On Bourbon Street in the French Quarter, the neon lights are flashing, the booze is flowing, and the demon demolition men of Hurricane Katrina are ogling a showgirl performing in a thong. The Bourbon House is shucking local oysters again, Daiquiri's is churning out its signature alcoholic slushies, and Mardi Gras masks are once again on sale. But drive north toward the hurricane-ravaged housing subdivisions off Lake Pontchartrain and the masks you see aren't made for Carnival. They are industrial-strength respirators, stark and white, the only things capable of stopping a stench that turns the stomach and dredges up bad memories... Time On-line

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New Orleans Planning Shorter Mardi Gras -here

Musicians fear New Orleans jazz traditions will die
By Russell McCulley (Reuters)

NEW ORLEANS (Reuters) - Philip Frazier, who leads the New Orleans jazz group ReBirth Brass, was one of the lucky ones. His house and tuba survived Hurricane Katrina mostly intact. But hundreds of his fellow musicians were not so fortunate. The floodwaters that swept through this city nearly three months ago destroyed not only homes but also the instruments local musicians use to make a living, and cast doubt on the future of New Orleans' vivid musical traditions.

"We were very blessed," Frazier said of ReBirth's revival after its members had relocated as far as Houston and Baltimore. "We were fortunate that we were able to regroup and go out and continue to make a living for ourselves." Katrina scattered musicians across the country, and shuttered many clubs and concert venues. More critically, perhaps, it halted the convention and tourism industries that supplied much of the audience.

........There are hopeful signs. The mammoth New Orleans Jazz and Heritage Festival says its 2006 event will take place on schedule, and some music clubs have reopened to enthusiastic crowds of mostly local fans. Tipitina's is hosting its first post-Katrina "fais-do-do," a Sunday afternoon ritual for Cajun dance aficionados, followed by a practice session for Mardi Gras Indians, the bead-and-feather bedecked troupes who parade during New Orleans' huge and famously decadent pre-Lenten festival. - complete article

2006 jazz fest

Me and Peter and Sarah Borges at the Narrows.....

It's to be a Fall River Saturday night with Peter McGowan and our new-best-friend, Sarah Borges and I wonder during the two-hour drive from CT whether the johnnykmusic-touted young lady will live up to the high expectations I have for her performance. Since purchasing her "Silver City" CD (Silver City being her hometown of Taunton, MA), I've given out a number of copies to friends to quite favorable responses. Could have waited for her return appearance to Cafe Nine in New Haven on Friday, January 6, but here I am.

Found the warehouse building (among many of same) down by the waterfront beneath the Braga Bridge in Fall River, parked and met Peter up in the third-floor lobby area of the Narrows Center for the Arts. We quickly checked out the concert venue, then scooted out for a bite to eat before showtime - Al Mac's Diner, right out of Barry Levinson's wonderful movie, Diner, set in Baltimore circa 1959. We were instructed to "take anything along the window," so we obediently slipped into one of the two available booths. Our hostess took our drink order for two Red Dogs (I think it's a Miller faux-grunge beer- unfortunately, not nearly as dangerous as it sounds), handed us a hand-written listing of specials and told us that our waitress would be with us shortly - she then reappeared momentarily AS said waitress! I guess she was playing both parts - ACTING! Okay, two bacon, cheddar, hurt-us-badly burgers, medium rare. Nope. No can do rarities here, you'll have to settle for the low end of medium. Okay, fine. You're the boss.

A quick trip to the packy for a six o' Bass (Narrows is a byob venue) and we're back to the warehouse. The art show reception in the lobby has ended and cleared out, we settle up on the tickets and enter. It's still pre-showtime and a few people are seated in the three sections of ten-deep church pews that face the stage. As we make our way along the back wall of artist cubicles (some open for viewing), we bump into a tall, thin long-haired girl who greets us with a friendly, "How're you doing tonight." It's Sarah! Mentioned that I was planning to catch her at Cafe Nine in January and she said how great they treated her when she played there in September.

We homestead a pew to the right of the stage awaiting the opening act that Peter has seen before and gave lukewarm review about, The Heygoods. Husband/wife duo with quirky style and some interesting subject matter. I didn't like them.

After a very brief intermission, Sarah and her band (members of Jake Brennan & the Confidence Men) take the stage and launch into about an hour of her Silver City songlist coupled with a few other artists' numbers (didn't catch the names) thrown in.

Sarah and her band at the Narrows Center for the Arts 11/19/05 (photo courtesy of Backstage at the Narrows).

She sounded great and has a wonderfully engaging stage presence. She has been compared with Lucinda Williams and Chrissie Hynde. I see more rock influences than blues; and I will refrain from describing her guitar playing as 'kick-ass' (she does have some pretty cool moves) because she defers to The Edge guy (Mike Castellana)for the guitar/pedal steel solos. I'd like to see Borges and the guys take some chances with their songs, not sticking to playing them just as a live version of the CD, but that will probably come in time. Very solid show. Looking forward to her Cafe Nine show. Be there, aloha.

Who IS she?
Portland Phoenix article

P.S. The Narrows Center for the Arts is a neat place for a concert and has some very good shows coming up. The MC is a likeable chap who writes a blog, Backstage at the Narrows, but telling us that he is divorcing and going through a mid-life crisis is a little more information than this cowboy wants to know.

Jim Kane's Road Trip Oldies Contest

Winners so far:

CD#1 - John Johnson (4 correct)

CD#2 - Paul Massey (5 correct)

CD#3 - Teresa Porter (9 correct)

CD#4 - Laura Landry - Paramus, NJ (6 correct)

CD#5 - Ed Thomas - Springfield, MA (8 correct)

CD#6 - Betty Franklin - Wildwood, NJ

CD#7 - Tony Proto - New Haven, CT

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Jim Kane, Bristol's Oldies Music Guru, has gotten involved with the "Save the Music project". With advice and help from some of the oldies artists, Jim has put together a collection called "ROAD TRIP", which contains 201 songs (7 CDs) from our era. It will be sold in many stores around the country. He is having a contest for the next seven weeks with the winner awarded one of the CDs. Go to the site and try your luck! Contest Site Jim Kane's Oldies Music CD Collection

Johnny Gumbo reunites with Willie Nelson at the Palace Theatre

a special report to johnnykmusic by Johnny Gumbo 11/13/05

Willie and family………

Got an opportunity to reconnect with an old musical friend on Sunday night at The Palace in Waterbury (a great venue, by the way, reminiscent of the of the way theaters used to be with the marble steps, high painted ceilings, gold flecked wood trim, and side balcony boxes…great acoustics). It almost seemed a little grandiose for a Willie concert. As we settled into our seats in the right lower mezzanine, I had some trepidation about seeing Willie live again after 15 years. I wondered if the magic would still be there. But I was happy to drag out my shit-kickers, black leather vest, western necktie and cowboy hat as I knew I would not stand out at a Willie concert (although most were dressed much more average-Joe like). Willie’s music has always had a blue-collar, down home quality that is universal in its appeal.

I first got interested in Willie back in the early ‘70’s just before his breakthrough album, Red Headed Stranger (wore that 8-track sucker out in my little Ford pick-up) and probably have more of his albums/CD’s than any other performer. Over the course of the next 20 years, got to see him in a number of venues from shit-kickin’ bars to big coliseums (even got to light up a fattie with him one night after a performance in the parking lot of an auditorium in Mobile, Alabama). I had just exited the Air Force and the “outlaw” image that he and the late Waylon Jennings portrayed fit right in to my mindset. So I wanted this night to be the same as I remembered many others. Willie’s concerts are foot tappin, do-your-own-thing happenings all wrapped up in warm fuzzies.

Didn’t have to wait long. No opening act, some brief promotional hype and then, as is his nature, Willie walked quietly on stage dressed in his usual garb…jeans, t-shirt, sneakers, hair in two long braids under a red bandana….waved a couple of times while the rest of the band got into place, picked up “Trigger” (his Martin N-20 nylon-string acoustic) and once again, as he has for every concert he’s ever done, launched into “Whiskey River” as a huge Texas state flag unfurled behind the band. AHH! I was back home. From there we were taken in rapid succession through many of the standards (my personal favorite, the medley “Crazy”, “Night Life” and “How Time Slips Away”). As usual the band and he were in complete sinc…his sister, Bonnie, on piano, Paul English (“Me and Paul”) on drums, Bea Spears on bass guitar, and Mickey Raphael on harmonica. Noticeably absent was Jody Payne, back-up guitar. Don’t know if he was just absent tonight or had stopped touring.

By the time we had worked our way through some of the oldies (Blue Eyes Crying In the Rain, Mama Don’t Let Your Babies Grow Up To Be Cowboys ) to “On the Road Again”, “Always on my Mind”, and “Poncho and Lefty”, I was ready for “Angel Flying Too Close to the Ground”. Willie is a master songwriter and his nasal tone has a way of just pulling you in and holding you there on every note. And you forget what a superb guitarist he is. When he and Bonnie get rolling on some instrumentals, like “Down Yonder”, it’s pure honky-tonk. By the time we got to “The City of New Orleans” I knew the evening was getting to the point of being over, but, like always, I didn’t want it to end.

As I thought about it, I realized that, even though the music was the same, there was a little less energy in his step, a little less zip in his on-stage presence. And then it hit me, the guys gettin’ old (72) and so are the band. Bea Spears was wearin’ a baseball hat and t-shirt (always had a big cowboy hat and western shirt), Paul was still dressed in black but just played a snare drum, and Bonnie had to be helped to and from the piano. And if they were gettin’ old, then “the gumbo” must be gettin’ old, too. Well, it ain’t true. Willie’s still the man, an American icon, and his music crosses every genre (his latest CD “Countryman” is a collection of reggae music) and, I’ll be back to see him, waiting for that flag to unfurl and those immortal words…”Whiskey River take my mind……”

Johnny Gumbo 11/13/05

willienelson.com
AMG biography

Clubbing the Cape with Reet, John & Judi

Saturday night at British Beer Company in Hyannis
Much younger crowd at this version of the BBC. Arrive from our 11 mile trip from Mashpee just as Rhode Island-based The Complaints are starting their first set of rock covers (U2, Counting Crows, Strokes, etc.) mixed in with original stuff from their two CDs, Fear/Criminal Mind. The place is packed, so we position ourselves along the rail to the right of the band for good listening and people-watching. Reet/Judi are not at all smitten with the LOUD music (perhaps a bit peeved at not being carded at the door), preferring the previous night's retro fare, but I enjoy The Complaints. Judi scores a free copy of their newest 3-song CD for me.

The Complaints: Dean Petrella - guitars, lead vocals Chris Cruz - bass, backing vocals Tony Marotti - drums (and dancing girlfriend) Update: not blown away by the 3 songs on the CD, but I recommend highly seeing the band live. thecomplaints.com

Reet & Judi wanted to dance with this guy, but he instead opted for the drummer's girlfriend (not pictured). Note - The Complaints take lots of photos of their fans at each show and post them to their website. -Pics of Saturday night

Friday night at British Beer Company in Falmouth
We hear The Dave Foley Band starting up with some Bob Dylan as we finish our meal and I coerce the group into staying for a set. Tasty song choices (Little Richard, old Elvis, Stray Cats, Johnny Cash, Eddie Cochran) played in a rockabilly style gets a table of young people near the band up and dancing. We tap our toes, sip and observe.

The Dave Foley Band: Dave Foley - Electric Guitar, Harmonica & Singing Rich Holbrook - Upright Bass & Singing Mal Shaw - Drums davefoleymusic

Kate Bush returns, purr and muse intact

By Greg Kot, Chicago Tribune music critic

Renaissance maiden, feminist homemaker, cosmic sensualist, idiosyncratic recluse, piano prodigy -- Kate Bush was an oddball even during her heyday in the '80s. Only two years ago, when her once luminous career had lapsed into a decade of silence, the British magazine Mojo commissioned a cover story on her titled "English Eccentric Weirdfest." Now she's back with her first album since 1993, the double-CD "Aerial" (Columbia).

Once again producing herself, writing all the music, and working with a trusted core of musicians, she has made no attempt to update her sound or reinvent her persona. "Aerial" sounds like it could have been made in 1985 as easily as '05. And why shouldn't it? Masterworks such as "Hounds of Love" (1985) and "The Sensual World" (1989) have aged far better than many albums of their time. "Aerial" affirms that the power of her strange muse has not dimmed. - complete article

Pitchfork review
Yahoo artist page
AMG biography

Hockey night in Hartford (Bobcat hockey, that is)

Scored some Quinnipiac v Harvard hockey tickets from Jimmyk and invited Johnny Gumbo to come along. Can't get there too early, so we parked along Bushnell Park and sauntered up Ann Street to Tapas for a pre-faceoff drink - Stella for me, Newcastle for Gumbo. Lots of construction around the Civic Center with the tearing down of the mall, replacing it with high-end, high-rise apartments and retail space. But we finally negotiate our way through the build-out maze up to the GMAC corporate box where our host is Ed Sweeney, '88 QU hockey captain, who played in the alumni contest earlier in the day. A very entertaining game before an enthusiastic crowd of about 5,000. The Bobcats (nee Braves) STUN the Crimson (was Tommy James from Harvard?) 5-2 in their virgin ECAC match!!!

What better way to celebrate such an IMPORTANT win than a walk down to Blackeyed Sally's for a nightcap and some good music. The doorguy, once he was able to unglue his eyes from the entering talent, informed us that the Savage Brothers Band, with complete horn section, would be going on presently. We, no fools, quickly added another half hour and felt it was still okay - we'd commit. The 'Bros finally take the stage and go non-stop for the next hour-plus until we decide to call it a night. No original material in the songlist, but a great selection of songs played in a tight, funky manner to a crowd that most likely has seen them quite often if we observe correctly. The list: Starting with two Stevie Wonder songs (we thought it might be a tribute concert for a moment) - Very Superstitious and (I forgot, must ask Gumbo), Sam & Dave's Hold On, Wild Cherry's Play That Funky Music, White Boy, Santana's Oye Como VA (sounding very Iguanas-like), Tower of Power's What Is Hip? and ending with Marvin Gaye's Let's Get It On (great song, also done by Jack Black on the VERY fine Hi-Fidelity soundtrack). I've missed some, wil fill in after consulting with Gumbo.

Listened to Al Anderson's Pay Before You Pump on the way home and Gumbo recognized one of Al's songs having been recorded by zydecat Wayne Toups. Later.

Big Al Anderson

Here she comes in a hot pink pedal pusher
Bouffant hair from the Curl Up and Dye
Cat momma shades with the rhinestone customizing
Tell me I ain't one lucky guy
You may remember Al Anderson as the larger-than-life, shaggy lead singer of the legendary Wildweeds, whose "No Good to Cry" was the ridin' in my car song of the summer of '67 in these parts. Anderson then joined NRBQ as guitarist/songwriter from 1971 until leaving amicably in 1993 to pursue a Nashville songwriting career. I have just purchased two solo projects, Pay Before You Pump (1996) and After Hours (2004), which are dominating my CD listening time ever since they arrived.


Big Al Anderson official Website
Hartford Advocate retrospective article on The Wildweeds
NRBQ official website

Hello, I'm Johnny Cash

If you wake up some morning and find they are doing a film of your amazing life with a companion tribute concert (cd/dvd available in deluxe packaging) with all the current stars who ignored you in the later years of your life (or never even knew you were still alive), BEWARE! - you're most likely dead.

But if you get Jerry Lee Lewis to perform, it might almost be worth it!

Jerry Lee Lewis Rocks Johnny Cash Tribute
By Beth Harris, Associated Press Writer

LOS ANGELES - Jerry Lee Lewis stole the show from Norah Jones and Kid Rock when the musicians performed at a taping of a Johnny Cash tribute. Lewis teamed with Kid Rock on the Cash classic "I Walk the Line." An upcoming biopic that goes by a similar name and stars Joaquin Phoenix and Reese Witherspoon will be released in theaters Nov. 18.

Lewis later returned to the stage of the Pantages Theater in Hollywood, where the performances were taped Tuesday night for "I Walk the Line: A Night for Johnny Cash," airing Nov. 16 on CBS. Waiting for stagehands to make adjustments, a few fans yelled out to Lewis to perform his hit "Great Balls of Fire." "I know what you'd like to hear. I know what I'd like to do," said the 70-year-old singer. "They got me down for a little bit lower key."

To entertain the restless crowd, Lewis started in on "Will the Circle Be Unbroken." After a few verses, the stage crew cut him off and the audience booed. It was just a false start, though. Once the cameras were ready, Lewis played the entire song, with the crowd on its feet, clapping and singing along. "I guess that was a take," Lewis said, smiling.

Jones was accompanied by Phoenix on guitar as she sang "Home of the Blues." Kris Kristofferson and Jones sang "Guess Things Happen That Way." Shooter Jennings and his mother, Jessi Colter, who was married to Waylon Jennings, teamed up for a rollicking version of "Jackson." Other performers tackling Cash tunes were Martina McBride, Allison Krauss and Dwight Yoakam. Also on the show are Sheryl Crow, Coldplay, U2, Brad Paisley and Montgomery Gentry.

It's the second time the network has organized a music special tied to a major movie. CBS also promoted Jamie Foxx's Oscar-winning portrayal of Ray Charles with a star-studded tribute show.

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Johnny Cash & Million Dollar Quartet
On December 4, 1956 a recording session with Car Perkins was winding down. Jerry Lee Lewis had been playing piano on the session. Presley had called in and was listening to the playbacks. They started singing and playing together and Phillips called newspaperman Robert Johnson saying that there might be a story and photo opportunity. Phillips also called Johnny Cash, who was on Sun's books at that time. Even though Presley was now signed with RCA, Phillips switched on the mikes and recorder while the jam session took place, with a range of country, gospel and hits of the day. The session later came to be known as the Million Dollar Quartet jam session.

A mix of rock 'n' roll and country music brought about a short-lived style known as rockabilly. Johnny Cash was one of rockabilly's first Stars. Johnny Cash lived close to Sun Records and had been rehearsing regularly with guitarist Luther Perkins and Marshal Grant who had just started playing bass. He felt that they had it right and started calling in at Sun every day asking to see Mr Phillips, but always told he was not in yet, or he was at a meeting. Finally Cash was waiting outside when Phillips came into work. He said "I'm John Cash and I want you to hear me play." Phillips invited Cash in and liked what he heard, inviting Cash to return with his group. Excerpt from The Sun Rose
and The World Rocked from Golden Graham Online website.

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Cash sets posthumous new record on album chart By Fred Bronson
LOS ANGELES (Billboard) - More than 46 years after making his first appearance on the Billboard album chart, Johnny Cash has rewritten chart history by coming up with the highest-debuting title of his career.

"The Legend of Johnny Cash," the 41st charting album by the Man in Black, entered The Billboard 200 at No. 11 in the week ended October 30, as promotional efforts gather momentum ahead of the November 18 release of the Cash movie "Walk the Line." That makes this new set the third highest-charting album of Cash's career. The only two LPs to chart higher were "Johnny Cash at San Quentin" (No. 1 for four weeks in 1969) and "Hello, I'm Johnny Cash" (No. 6 in 1970). Pushed down to fourth place is "Johnny Cash at Folsom Prison" (No. 13 in 1968). - complete article - CD review

Who IS she??

Bought the CD - VERY good! She will be playing a joint called the Narrows Center for the Arts in Fall River, MA on Saturday, November 19 and return to CAFE NINE on Friday, January 6!!!!!!

I recently discovered that Sarah appeared at Cafe Nine in New Haven in early September. "Great rootsy rockers this month as well. On Sept. 2, Boston's Sarah Borges brings shades of Lucinda Williams and Lone Justice's Maria McKee to the club. She's considered by many an artist to watch." Damn!

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Even jaded pros sit up for unheralded singer
By Chris Morris
NASHVILLE (Hollywood Reporter) - Sometimes an unheralded young talent can take even the old pros by surprise. That's exactly what happened in Nashville recently. Los Angeles-based Sin City Marketing was throwing a show at the Exit Inn during the Americana Music Assn. conference. During the company's all-hands-on-deck affair, a slip of a girl named Sarah Borges took the stage, plugged in her guitar for a few numbers, uncorked a wall-rattling wail and blew everybody's head off.

A veteran and not unjaded record distributor, watched the performance in slack-jawed bedazzlement. As many in the Exit Inn house did, he showed up the following night for Borges' official AMA show at the Basement -- ignoring a gig by one of his company's own acts in the process. At the end of the show, he stood outside the club, waiting for Borges to sign a copy of her Blue Corn Music debut "Silver City" for him. - complete story

AMG Biography - Walking that fine line between punk and country, Sarah Borges emerged from Boston with her alt-country debut, Silver City, in 2005. Influenced by a wide range of artists including Mahalia Jackson, Sid Vicious, Hank Williams, and Merle Haggard, Borges has a sound that encompasses rootsy barroom country and hard-edged American rock with a fair amount of ease. Signed to Blue Corn after a well-received gig at South By Southwest in 2004, Borges went into the studio to work on her debut. Some tracks from the demo sessions were good enough to make the final cut, and the album was released to critical praise. She spent a good portion of the summer of 2005 touring and promoting Silver City alongside such respected players as Dave Alvin. - CD review

Artist review - Blue Corn Music

Dylan tributes Catfish Hunter

Catfish Written & Performed by Bob Dylan and Jacques Levy The Bootleg Series Volumes 1-3 (Disc 3)

Lazy stadium night Catfish on the mound. "Strike three," the umpire said, Batter have to go back and sit down. Catfish, million-dollar-man, Nobody can throw the ball like Catfish can. Used to work on Mr. Finley's farm But the old man wouldn't pay So he packed his glove and took his arm An' one day he just ran away. Catfish, million-dollar-man, Nobody can throw the ball like Catfish can. Come up where the Yankees are, Dress up in a pinstripe suit, Smoke a custom-made cigar, Wear an alligator boot. Catfish, million-dollar-man, Nobody can throw the ball like Catfish can.

Carolina born and bred, Love to hunt the little quail. Got a hundred-acre spread, Got some huntin' dogs for sale. Catfish, million-dollar-man, Nobody can throw the ball like Catfish can. Reggie Jackson at the plate Seein' nothin' but the curve, Swing too early or too late Got to eat what Catfish serve. Catfish, million-dollar-man, Nobody can throw the ball like Catfish can. Even Billy Martin grins When the Fish is in the game. Every season twenty wins Gonna make the Hall of Fame. Catfish, million-dollar-man, Nobody can throw the ball like Catfish can. Copyright © 1975 Ram's Horn Music

Is Stevie Wonder back (and should I care)?

Stevie has been a little boring on the ears for awhile now, but some glowing press about his new CD has me 'wondering' if I should listen up.

Stevie Wonder's 'Love' is worth the wait by Renee Graham, Boston Globe Staff - ''A Time to Love" is Stevie Wonder's first studio album since 1995's ''Conversation Peace," though for much of this year it seemed as if the wait might be even longer....Comparable to 1985's ''In Square Circle," ''A Time for Love" is an enjoyable album that should be judged on its own merits. No, it doesn't compare with Wonder's 1970s masterpieces such as ''Innervisions," ''Talking Book," and ''Songs in the Key of Life." Then again, little else produced by anyone in the last three decades does. - complete review

STEVIE WONDER IN LA TIMES Wonder's hear and tell for the press - Stevie Wonder stages a listening party for his new album to prove he is a figure of the present. by Geoff Boucher LA Times Staff Writer - It's an indelicate question to ask: Does a new Stevie Wonder album really matter? .....The new album is a mix of the "different" Stevie Wonders. "Passionate Raindrops" and "Can't Imagine Love Without You" fall in line with the sounds of his more polished recent hits. "Please Don't Hurt My Baby" is a sharp-edged groove about an infidelity that threatens to capsize a husband's home life, and if it sounds like a throwback to the smokestack rhythms of the old days, there's good reason. - complete article

THE WONDER STUFF by Ben Greenman (The New Yorker) - Stevie Wonder will probably never again have the definitive cultural authority he had in 1976, when he released “Songs in the Key of Life.” .....Wonder has always insisted, with the bravery and naïveté of a great artist, on engaging every aspect of the world around him, both politically and emotionally. This can expose his flaws, which range from minor sententiousness to major sentimentality, but his gaudiest excesses are kept in check this time out. “Please Don’t Hurt My Baby” wraps a snaky, viciously funky synth line around a sharply sung tale of infidelity and tattling; it’s like “O.P.P.” with consequences. “Positivity,” goofy, upbeat, and highly prolix, takes its song title from Prince, just minutes after Prince donates a guitar part on “So What the Fuss.” Elsewhere, on melancholy ballads like “Passionate Raindrops” and “Shelter in the Rain,” the forecast is less optimistic. The talk of weather isn’t so precipitate: Wonder, who moves freely between rock, pop, soul, funk, jazz, and Tin Pan Alley, has always been a man for all seasons, more so than any other act except maybe the Beatles. But while the Beatles could appear to divide up their assets among four distinct personalities—cynical John, romantic Paul, spiritual George, clownish Ringo—Wonder has to do it himself: all the parts, all the moods. - complete article

Rolling Stone Magazine review by Tom Moon - Complain all you want about Stevie Wonder taking his sweet time -- ten years of it in this case -- to deliver a new record. On A Time to Love, the soul giant (and notoriously fussy producer) used that go-slow approach where it really counts: in the grooves. The best tracks on this much-superior follow-up to 1995's flabby Conversation Peace reconnect Wonder with a key trait of "Superstition" and much of his storied Seventies output: a rhythm section that keeps to its own sauntering, funky schedule. - complete review

Les Paul Keeps Rocking at Age 90

By CHARLES J. GANS, Associated Press Writer

NEW YORK - Take it from Peter Frampton. Or from Jeff Beck, Eric Clapton, Peter Townsend or Jimmy Page — they all owe a debt to Les Paul, father of the electric guitar.

....At age 90, the man who developed the solid-body electric guitar has finally released his first rock album, "Les Paul & Friends: American Made, World Played" — which is remarkable considering that he is a longtime inductee into the Rock and Roll Hall of Fame. He appears with Frampton, Beck, Clapton, Billy Gibbons of ZZ Top, Bon Jovi's Richie Sambora and other guitar legends on the new CD.

....Paul built one of the first prototypes for the solid-body electric guitar in 1941. After repeated rejections, Gibson finally began mass-producing a guitar based on Paul's design in 1952, and the electric guitar went on to become the lead instrument in rock 'n' roll. Paul also developed many of the recording techniques such as multi-tracking and echo delay that made possible such classic rock albums as the Beatles' "Sgt. Pepper's Lonely Hearts Club Band." - complete article

Lucinda Williams - when are you coming back to CT?

Lucinda Williams News

Williams shows why she's a treasure
By Dan Nailen / The Salt Lake Tribune (9/16/05)

Not many performers actually make sense when they say a song has "music inspired by ZZ Top, and lyrics inspired by Flannery O'Connor," but that's the breadth of experience and curiosity that makes Lucinda Williams one of America's true treasures. "Atonement," the song Williams referred to as a mix of Texas' bearded boogie-band and the Georgia-raised author of Wise Blood, came at the close of an often-stunning performance by Williams and her three-man band, guitarist Doug Pettibone, bassist Taras Prodaniuk and drummer Jim Christie.

A native of southern Louisiana who began performing publicly in New Orleans in the early '70s, Williams deferred any mention of the hurricane-induced wreckage of her native stomping grounds until the encore. Kingsbury Hall's pristine acoustics inspired Williams and Co. to create the show on the fly. "Y'all have made us so comfortable that we're going to do a couple of new songs," Williams said early on, after gently boiling performances of "Reason to Cry," "Over Time" and "Those Three Days." "They weren't in the set list, but the set list needed to be changed."

Breaking out untested material is risky for any artist, but the move took the show to new heights. Williams discussed her inspiration for the new songs, and the band clearly loved playing them. "How to Live" was a mid-tempo rocker, while "Well, Well, Well" came on as a mix of Southern gospel and Appalachian mountain music. "Jailhouse Tears" recalled the hard-boiled honky-tonk country of Waylon Jennings. "Knowing" was a gorgeous ballad Williams said was a nod to the style of Sam Cooke and the Muscle Shoals soul sound. Among the older songs, "Still I Long for Your Kiss" absolutely killed, as did a raucous take of "Change the Locks" and the yearning "Essence." Before the encore that launched with "Crescent City," Williams talked about her mother, a New Orleans native, and her death a year ago.

"I can't begin to tell you how much my heart is breaking with what's going on in Louisiana," Williams said. "I haven't even begun to be able to deal with he loss of my mother, and now I'm dealing with the loss of the city my mother grew up in."

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Songs Sung Blue Sunday Herald (Scotland) 7/17/05

She came from Louisiana, found her way to Texas, and wound up in LA, but for Lucinda Williams, home is where the next gig is. The 52-year-old country genius has spent 34 years on the road … and always writes her best songs when she’s heartbroken. “Like a drink?” Lucinda Williams rummages around in the cluttered kitchen and emerges with two large coffee mugs and a bottle of very good red wine. “Sorry”, she says, “no glasses. As you can see, I’m getting ready to move.”

.......Although Nashville had claimed her as its own when Car Wheels won the Grammy, it still preferred its women to be either cartoon tough gals or tragediennes. Not someone with as much attitude as a punk rocker, who would write about female sexuality with such skill that Time magazine would describe her as America’s greatest songwriter. In Nashville, her friend Rosie Flores, the honky-tonk singer told her: “You can’t really rage”. “She’s right”, Williams shakes her head. “You can’t.” complete article

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Opera House, Boston, MA 7/12/05 - Boston Globe review

For blues-tinged chanteuse Lucinda Williams, even a two-week love affair can yield a new song. Or five. (By Chris Smith) - It’s cheap and easy to label Lucinda Williams as the woman of constant sorrow. From her cult hit “Passionate Kisses” through her 1998 masterpiece, Car Wheels on a Gravel Road, to this year’s double CD, Live @ the Fillmore, Williams’s music captures so many fractionate emotions—longing, lust, anger, and yes, even humor—that the seductive 52-year-old is more properly described as a biographer of the heart. Chris Smith spoke to Williams, who plays the Beacon Theater on July 14, about meeting Dylan, the trouble with New York journalists, and heartbreak of several stripes. complete article...

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Lucinda Williams, Musician, 49, Nashville interviewed by Brendan Vaughan (Esquire, February 2002)
The perfect man? A poet on a motorcycle. You know, the kind who lives on the edge, the free spirit. But he's also gotta have the soul of a poet and a brilliant mind. So, you know, good luck. complete interview

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NPR concert at 9:30 Club in Washington, DC
Hell on Wheels -The Guardian 5/17/03

Encore From a Utopia by Robert Christgau for the Village Voice, 6/12/01

Rock Hall picks its sweet sixteen (Daily News)

The 16 finalists for the Rock and Roll Hall of Fame's Class of 2006 are a diverse group with no breakout star.

Whatever you thought of earlier inductees like U2, Bruce Springsteen or Prince, they were automatics. Without demeaning any of this year's nominees, there's no automatic on a ballot that comprises, in alphabetical order, Black Sabbath, Blondie, the Paul Butterfield Blues Band, Chic, the Dave Clark Five, Miles Davis, the J. Geils Band, Grandmaster Flash and the Furious Five, Lynyrd Skynyrd, John Mellencamp, the Sex Pistols, the Sir Douglas Quintet, the Patti Smith Group, Cat Stevens, the Stooges and Joe Tex. - complete article

Your thoughts? I'm thinking only Paul Butterfield Blues Band, Blondie and Cat Stevens.

Article about Rock 'N Roll Hall selection process by Ed Levy in the Buffalo News

Bob Dylan, No Direction Home - A Martin Scorsese film to be aired in two parts on Monday/Tuesday, September26/27

Forever-Young Dylan
Scorsese’s PBS Documentary Chronicles Early Years Of Folk Icon
By ROGER CATLIN, Hartford Courant TV Critic

A crashing, apocalyptic version of "Like a Rolling Stone" begins Martin Scorsese's epic documentary on Bob Dylan's early career. Dylan saved his biggest hit single for the end of his bracing, divisive live shows in 1966, turning it into a declaration of independence from purists who preferred he forever remain the topical folk troubadour.

As such, the song frames and gives a name to Scorsese's "No Direction Home: Bob Dylan," a documentary that will be broadcast Monday and Tuesday on public television. Released last Tuesday on a double-DVD package with extras, it will be PBS's season highlight. It's not only the longest biography ever presented on "American Masters," it also covers the shortest period - from the singer's early years until his June 1966 motorcycle crash. - complete review

PBS American Masters
bobdylan.com

Soundtrack to Scorsese documentary packed with unreleased cuts (Billboard, July 14, 2005)

NEW YORK - More than two-dozen previously unreleased Bob Dylan tracks will be found on “No Direction Home: The Soundtrack,” due in stores Aug. 30. The double-disc set, the seventh volume in Columbia/Legacy’s “Bootleg Series,” is the companion to Martin Scorsese’s Dylan documentary of the same name, which premieres Sept. 26 on PBS.

Sequenced in chronological order, “No Direction Home” boasts 26 rarities, beginning with what is believed to be the first original song Dylan ever recorded (“When I Got Troubles,” taped by a high school friend in Minnesota in 1959). Complete article...

Johnnyk (the younger) takes in The White Stripes in Beantown

He will take in the second of the three shows at the Opera House. I will try to squeeze a report out of him when he returns.

AMG biography - Detroit minimalist rock duo (specifically, southwest Detroit minimalist rock duo) the White Stripes — Jack White, guitar and vocals, Meg White, drums — formed in 1997 (Bastille Day, to be precise) with the idea of making simple rock & roll music. From the red and white peppermint candy motif of their debut singles, self-titled album, and stage show to their on-the-surface rudimentary style, they succeeded wildly and immediately with that mission. Their first recordings were a mix of garage rock, blues, and the occasional show tune. In frontman Jack (a former drummer for Detroit country outfit Goober & the Peas), the White Stripes have a formidable songwriter, guitar player, and vocalist capable of both morphing between styles and changing the musical styles themselves; ranging from the folk blues of Blind Willie McTell to soaring Kinks-esque pop and narrative pop tunes worthy of Cole Porter and into deepest Captain Beefheart territory within the span of 15 minutes is not an uncommon listening experience with either the White Stripes live show or on record. In drummer Meg, the White Stripes have a minimalist percussionist who seems to sense intuitively exactly when to not play. The White Stripes are grounded in punk and blues, but the undercurrent to all of their work has been the aforementioned striving for simplicity, a love of American folk music, and a careful approach to intriguing, emotional, and evocative lyrics not found anywhere else in the modern punk, or garage rock (or amongst post-modern "blues" practitioners such as Jon Spencer, for that matter). - complete biography

Music of New Orleans reminds of what's lost

By Chris Morris

LOS ANGELES (Hollywood Reporter) - In the drowned city of New Orleans, Preservation Hall is still standing. A story in Monday's Los Angeles Times said the fate of the historic jazz venue on St. Peter Street in the French Quarter was still unknown. But -- in the uncertainty of Hurricane Katrina's aftermath and because of the dicey nature of communications out of the city -- information about New Orleans is being passed hand to hand, from one soul to the other.

Ben Jaffe -- whose family has operated Preservation Hall since 1961 as a temple devoted to the city's traditional jazz music -- survived Katrina's blow, according to Andy Hurwitz of Ropeadope Records in New York, who is working on a remix project with the Preservation Hall label. "He decided that he and his family had been through worse," Hurwitz wrote in an e-mail last week, "so he rode out the actual storm, and both he and the hall made it relatively unscathed. But just yesterday (August 31), he felt the need to finally flee -- not because of the hurricane but because of the wild looting and lawlessness. He said he was scared, and he's the baddest cat I know."

Shots of Preservation Hall are among the first and last things one sees in Michael Murphy's new documentary "Make It Funky!" In an unsettling coincidence of timing, the Triumph Films release opens Friday at the Chinese Theater in Hollywood and the Quad Cinemas in Manhattan. Murphy's film, like the all-star April 2004 concert that serves as its center, was meant to be a celebration of New Orleans' fount of musical genius. Most of the Crescent City's best-known and best-loved stars -- Allen Toussaint, Irma Thomas, the Neville Brothers, Snooks Eaglin -- are seen in live performance.

It's a jubilant movie, but, in Katrina's aftermath, it jarringly serves to show us all the more what's been lost in the destruction of New Orleans. Murphy's walk through musical history makes the point that New Orleans music is very much a form of street music. The town's sound was born on the pavement -- in the singing of slaves on Congo Square, in the playing of funeral parade bands, in the rhythmic contests of Mardi Gras Indians. And now one must wonder if that joyous noise will ever rise again out of those now-inundated streets.

For the time being, at least, the only way we can honor the city's tradition is to revisit it by dipping into the jazz of Jelly Roll Morton, Louis Armstrong and Sidney Bechet; the R&B of Fats Domino, Professor Longhair and Dave Bartholomew; the funk of the Meters and Dr. John.

Although closed indefinitely, the indomitable Preservation Hall has established a fund devoted to the relief of the city's musicians. (Consult preservationhall.com.) The fund will be sustained by the sale of T-shirts emblazoned with a famed Armstrong song title, "Do You Know What It Means to Miss New Orleans?"

Now, sadly, we will likely all know what it means.

Dixie Cups Singers Lose Homes in Hurricane (AP)
TAMPA, Fla. - Two original members of the 1960s girl group The Dixie Cups are looking for somewhere sing, along with a new place to live. Rosa and Barbara Hawkins both lost homes in New Orleans' Ninth Ward after Hurricane Katrina.

They're living temporarily in a motel room in Tampa, where Rosa's son lives. "Even with all this devastation, we know that we are blessed because we got out with our lives," Rosa Hawkins said. "Even though we lost everything else, we still have our voices." - complete article

New Orleans - the ideal place to get shot

by Ray Davies (yeah, The Kinks guy) writing for the Times of London online

Away from the partying it was obvious to a dedicated follower of the city that disaster was around the corner. I SPENT the early part of last year in New Orleans recovering from gunshot wounds received as I was being robbed. It happened in the early evening as I walked down a quiet street with my girlfriend. There was a football game in town and the streets near the French Quarter were empty. The police presence was elsewhere. The incident itself was over in a flash but it plays over and over in my head and perhaps one day it will make sense to me. I found out later that there were fewer than 2,000 police in New Orleans at that time and it reached such a point that there was talk of the city was importing officers from Cleveland. Anyway, thanks to someone’s mobile phone, the police eventually got to the scene.

Later, as I was carried into the emergency room at Charity hospital, a doctor reassured me that “New Orleans really is the best place to get shot”. They had, he explained, had plenty of practice. The same week I was shot, I read that three other tourists were killed near to where I was attacked. Tourists were urged not to fight back after being mugged (I was continually reminded of this by the district attorney’s officials, who were critical of the way I chased the man who robbed my girlfriend).

There were additional complications to my injuries and my gunshot wounds were not as clean as first thought. Before I was taken in for my first operation, a priest came and gave me a little spiritual assistance. Later I was even serenaded by a nurse who whispered slow, mournful gospel songs in the style of Mahalia Jackson. - complete article

johnnyk and johnny gumbo at Rhythm & Roots Festival, Charleston, RI

Fantastic weather, great music, good food/drink! Great day at the Rhody shore, Gumbo resplendent in his JazzFest piano shirt and Johnnyk in my red Louisiana Music Factory shirt. This year we changed our arrival time to mid-afternoon to conserve energy, hoping that the strategy will allow us to stay for the last artist, Keb Mo (a favorite of Marcia V). Our late arrival means that our seating is in the back of the park, closer to the beer/food than to the Mohegan Sun main stage, but not to worry, we stake our spot (a cold Red Hook IPA in hand) and listen to the end of Paul Cebar & the Milwaukeeans' set of R&B/soul/funk while perusing the festival program.

As Donna the Buffalo starts their set, it's time for some food. The line for the cajun shrimp, jambalaya, etc. is quite long, so we opt for the offerings on either side, Gumbo getting some chicken/rice while I grab us a half-rack of ribs. We share a picnic table with a couple from Connecticut who, noting our spiffy shirts, tell us they have done JazzFest and also have come to Rhythm & Roots for years dating back to when it was held somewhere in MA. We all agree that it will be some time before we attend another festival in New Orleans.

We are not limited to hearing the music from the outer reaches. We have options. So we make our way over to the dance tent, located to the right of the main stage, where we find a pole to lean against, where the stage is in clear sight, to enjoy the music and various other activities. Zydeco dancing at these things is a whole separate cultural experience. Johnny Gumbo now fancies himself an accomplished dancer and he suavely offers his services to one of the many lasses lining the edge of the dance floor - and she accepts. The floor is tightly packed with all age combinations imaginable because the dancing is the deal, so if you can, you're a hot commodity. I'm content (not that I have a choice) to observe the novices, the timid, the prim and the peacocks revolve sweatily around the floor to the infectious beats of Steve Riley & the Mamou Playboys.

Beers refreshed, we take in Marcia Ball's set. "Her Tallness" conveys her sadness and concern about the events in New Orleans, but is resolved to be upbeat and optimistic about the future. Her rendition of Randy Newman's "Louisiana 1927 (they're tryin' to wash us away)" is touching. Love Marcia.

It's getting late. Keb Mo remains, but we're fading a little, so we walk around to stay focused. Keb starts his set and we listen to a few tasty offerings from the back. I make a mental note to revisit his CD as we call it a day and pack up our stuff. We tried to get a group together this year, but it didn't work out; going to try again next year. Later.

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This is a three-day event, held at Ninigret Park, which Gumbo and I attended last year and loved it. We discovered Rosie Flores there and I got to see her again at Cafe Nine in July (review); this year highly anticipating the performances of Donna the Buffalo, Marcia Ball and Keb Mo. Unfortunately, we must miss the Labor Day Weekend extravaganza at the Walden/Gorecki compound, but they will probably survive without us. See youse later!

MOHEGAN SUN MAIN STAGE
12:00-12:45 POULLARD, WATSON & ADAMS
1:00-2:00 ASYLUM STREET SPANKERS
2:15-3:15 GENO DELAFOSE & FRENCH ROCKIN’ BOOGIE
3:30-4:30 PAUL CEBAR & THE MILWAUKEEANS
4:45-6:00 DONNA THE BUFFALO
6:15-7:30 STEVE RILEY & THE MAMOU PLAYBOYS
7:45-9:00 MARCIA BALL
9:15-10:45 KEB’ MO’
ROUNDER RECORDS WORKSHOP STAGE
1:00-1:45 HONKY TONK & OLD TIME: The Wilders
2:00-2:45 MUSIC OF CANRAY FONTENOT: Poullard, Watson & Adams
3:00-3:45 FIDDLE & BOW: Greeley, Nevins, Ellis, Gellert
4:00-4:45 CAJUN & ZYDECO ACCORDION: Riley, Delafose, Legé
5:00-5:45 MEET THE G’EARLS: Uncle Earl
6:00-6:45 THE SPANKERS UNPLUGGED
REDHOOK DANCE STAGE
12:00-12:30 ZYDECO DANCE INSTRUCTION W/ JIM CHRISTENSEN
12:30-2:00 ZYDECO DANCE STYLES W/ ZYDECO HOGS
2:30-3:00 CAJUN DANCE INSTRUCTION W/ ED SLATTERY
3:00-3:45 CAJUN DANCE STYLES W/ MAGNOLIA
3:45-4:30 MAGNOLIA WITH POULLARD, WATSON & ADAMS
5:00-7:00 ZYDECO DANCE W/ CREOLE COWBOYS
7:30-9:30 HERD STAMPEDE W/ DONNA THE BUFFALO
10:00-12:00 FAIS DO DO W/ GENO DELAFOSE & FRENCH ROCKIN’ BOOGIE

CBGB's

Landlord Won't Renew Lease for CBGB Club
By LARRY McSHANE, Associated Press Writer

NEW YORK - As several hundred enthusiastic supporters rallied to keep CBGB's open, the landlord of the venerable punk club announced Wednesday that the lease on the 32-year-old landmark will not be renewed. The Bowery Residents' Committee, landlord of the building on the Bowery, "believes it is in the best interest of our clients — the homeless and neediest New Yorkers — to sever this relationship," BRC executive director Muzzy Rosenblatt said.

The existing lease was to expire at midnight Wednesday. The statement from Rosenblatt called for CBGB's to "vacate the premises both voluntarily and expeditiously" — a scenario that appeared unlikely, given the promises of Little Steven Van Zandt and others to wage a battle to the end on behalf of the bar that launched punk rock. "We're not going without a fight," said Van Zandt, who was joined at the rally by "Sopranos" co-stars Tony Sirico and Joe Pantoliano. "If the eviction proceedings start tomorrow, which I hope it doesn't, we'll fight it in the courts." - complete story


Deadline Looms for Famous New York Club
By LARRY McSHANE, Associated Press Writer

NEW YORK - Hilly Kristal opened CBGB's in December 1973, envisioning a home on the Bowery for country music. And then the punks took over. The Ramones. Blondie. Talking Heads. Television. They all launched their careers on the cramped stage at Kristal's low-maintenance club, which became the mid-1970s epicenter for a musical revolution and still rocks on three decades later.

But it may be time for the last (slam) dance at the storefront bar with its familiar white awning. The club's lease expires on Aug. 31; a longstanding rent dispute could persuade the landlord, the Bowery Residents' Committee, to shut down the venerable birthplace of punk and find a new tenant. - complete article

Judge Says CBGB's Can't Be Evicted
By ELIZABETH LeSURE, Associated Press Writer

NEW YORK - A civil court judge ruled Wednesday that the landmark punk club CBGB's can't be evicted from its Bowery location, saying it shouldn't be punished for not noticing it owed its landlord money. The ruling was a victory for the club where groups like the Ramones and Blondie defined the punk scene in the 1970s, but CBGB's future is still uncertain.

Its lease with the Bowery Residents' Committee expires on Aug. 31, and a renewal remains up in the air. The executive director of the Bowery Residents' Committee, Muzzy Rosenblatt, said he had not seen the ruling so he could not comment on it. "All we're looking for is a responsible tenant," he said of his group, which provides shelter for homeless people in the building that houses the club.

The dispute involved about $100,000 in rent increases, interest and fees. The club says the increases went unpaid for four years because of a bookkeeping mix-up. CBGB's said it wasn't billed for the increases, but Rosenblatt said the increases were clearly stated in the lease. CBGB's rent is $19,000 a month. - complete article

Young Pays Tribute to Nashville Country

By JOHN GEROME, Associated Press Writer

NASHVILLE, Tenn. - Neil Young stood on stage at the mother church of country music and wondered aloud what Hank Williams might think if he were to walk outside and see the gleaming new sports arena across the street. Such thoughts about change and the passage of time are central to Young's latest project, a rootsy, country-tinged record called "Prairie Wind" and a related concert film shot here this month over two nights at the storied Ryman Auditorium.

The performances were the 59-year-old singer-songwriter's first full-length shows since undergoing surgery for a brain aneurysm last spring and the first since the June death of his father, Canadian sportswriter and author Scott Young. Footage from the concerts will anchor the film, which is directed by Young's friend Jonathan Demme ("The Silence of the Lambs," "Philadelphia") and scheduled for release in February. The album is due out Sept. 27. complete article

Revisiting the Iguanas at Cafe Nine

This is my second trip to Cafe Nine in a week, having come down last Wednesday night to see Holly Golightly (however, Ms. Golightly was reportedly stuck in I95 traffic en route from NYC and I was too tired to wait for her). Johnny Gumbo and I stroll into the familiar little corner tavern and spot Mark wolfing down a piping bowl of chili at the bar. It is the first time I've seen Mark since NOLA, where Gumbo and I kicked his ass in pool, but Mark seems not to hold a grudge.

We are now adept at spotting celebrities (having spotted Teri Hatcher and Susan Sarandon at JazzFest) and we quickly find Bianca Jagger and a young Joan Crawford amongst the crowd. Mariano Rivera is blowing a game on one tv and the SOX are winning on another as we watch some Iguanas file in and begin the sound check.

The Iguanas (Rene Coman, bass; Derek Huston, tenor sax; Rod Hodges, vocals/guitar/accordian; Doug Garrison, drums; Joe Cabral, vocals/sax/guitar) are joined tonight by a Zappa-esque young trumpet player. Spokesman Hodges thanks us'all for coming out tonight and Cafe Nine for keeping the faith with live music and then they launch into an extended version of "Oye Isabel" from NUEVO BOOGALOO (1994):

Oye, Isabel, don't listen to the things your papa say
Oye, Isabel, don't listen to the things your papa say

Your daddy don't like me
I could tell from the very first day
Yeah but Isabel I want you
Gonna love you anyway
That's why I'm singing

Oye, Isabel, don't listen to the things your papa say
Oye, Isabel, don't listen to the things your papa say

Tu dices que es muy terco y tiene su
Opinion yo soy terco tambien
Y te compuse esta cancion
Para ti vidita mia

Oye, Isabel, don't listen to the things your papa say
Oye, Isabel, don't listen to the things your papa say

As you can see, some of the Iguanas' lyrics are in Spanish, who, like the French, have a different word for EVERYTHING! But not to worry, we all sing the Spanish verses like we know what we're doing, sort of like "...there's a bathroom on the right". And we're dynamite on the chorus. OYE, ISABEL! The trumpet player's solos are tasty, the crowd is singing and swaying, and Johnny Gumbo has worked his was up to the front of the stage and is dancing next to (against?) Bianca. Now, if they only play "My Girlfriend Is a Waitress" (also from Nuevo Boogaloo) this time. The set is packed with a nice mix of old favorites and material from their most recent Plastic Silver 9 Volt Heart.

I glance at Jack Kerouac up on the wall, guessing he's wondering how he's going to get residuals from the screen version of "On the Road" and I notice that it's almost midnight. The band has been coaxed up to do an encore (no, it's not 'Waitress"). We applaud our appreciation for a job well done, say our goodbyes and drift into the New Haven night. If you have not been there, please do check out Cafe Nine.....and The Iguanas.

Southside Johnny & the Asbury Jukes at the Milford Oyster Festival

Looking at Southside Johnny (John Lyon) having a blast up on stage, you can just imagine him playing the Jersey Shore bars on hot, sweaty summer nights in the late 60's/early 70's, trading licks with Springsteen and Clarence and Little Steven. And while 'The Boss' is busy making trillions playing the BIG stages and writing important songs about important issues in very important albums, Johnny is playing free shows at the Mohegan Sun's Wolf Den and the Milford Oyster Festival - and seems to be having a hellava time doing it. Lucky us!

I Don't want To Go Home is in my album collection, but I never play vinyl these days so Johnny has been relegated to the back of the line. But mention of him stirs fond memories of his R&B style, his cool duet with Ronny Spector on the Springsteen-penned "You Mean So Much to Me" and the other two hits - "Fever" (also written by Bruce) and the title cut.

After sitting through entertaining sets by Big Fuzz and Darik & the Funbags and browsing the arts/crafts/food/drink/talent, we were ready for some Jukes - and so was the rest of the sizable crowd at the Milford Athletic Complex softball outfield (bet you can't get that close to Mick and Keith at Fenway).

The back of Johnny's shirt is soaked with sweat and he hasn't even started! He's got the sunglasses working even though it is overcast and the bass player shows up after the first song. But First Bass is covered by 'some young guy', who is urged by Johnny to "take five bucks from petty cash" for his efforts as he exits to appreciative cheers. There's lots of Jukes to go around. Two saxes, trombone and trumpet make up a competent and very theatrical horn section. Love these guys! The lead guitar guy croons the backup vocals (and apparently gets all the babes). Rounding out the Jukes is the drummer (no solo, thank God!), a very good keyboardist and the late bass player. No Ronny Spector appearance, dammit. Oh yeah, and Johnny plays a pretty nice blues harmonica.

Johnny and the Jukes work their way through his catalog during the hour and a half show, leaving "I Don't Want To Go Home" until the end and closing with Sam Cooke's "Having a Party". And they seem to be having a party as much as their fans. The only negative is a beachball blitz near the end of the concert that smells of being staged; it gets distracting (and Johnny can't dribble the ball, though he tries again and again and....). Lose it, Johnny. But I nitpik, and Johnny promises to return next year and we're holding him to it.

A good day indeed. If only Ronny had stopped by. Oh well, maybe next year.
Messin' With the Blues

Rockabilly Riot, Vol. 1: A Tribute to Sun Records

Just bought this latest Brian Setzer project (along with Dressed in Black: A tribute to Johnny Cash). I know rockabilly is seen as old and out of touch, but a listen to this CD might change your opinion. How can you not like "Peroxide Blonde in a Hopped Up Model Ford"!

Setzer's Sun Records tribute strikes a chord by Melinda Newman - Much of Brian Setzer's music has been rooted in rockabilly, so it only makes sense that his latest album is a salute to Sun Records. But even he is surprised by the reaction it is receiving. "Rockabilly Riot! Vol. One: A Tribute to Sun Records" (Surfdog Records) was just released July 26 in the United States, but it has already landed in the top 20 in Finland and Germany. - complete article

All Music Guide review - The concept is stated in the title and the execution is about what you'd expect from one of the most popular rockabilly revivalists in contemporary music. It's not much of a stretch for Stray Cat Brian Setzer to take a break from writing his own rockabilly tunes that often sound like classic Sun material anyway, but by narrowing his focus roughly from 1954 to early 1957 and sticking with music produced by the king of country music record labels, he scores credibility points. The 23-track set is peppered with obvious choices like Carl Perkins' "Blue Suede Shoes" and "Boppin' the Blues" and Johnny Cash's "Get Rhythm," but dominated by more obscure fare from lesser-known acts such as Kenny Parchman, Ernie Barton, and Tommy Blake. - complete review

Rolling Stone Magazine review - Brian Setzer has been paying loving tribute to Sun Records since he formed the Stray Cats, so it's no surprise that the man can play rockabilly with panache. By ripping it up authentically on twenty-three highlights of Sun in the Fifties, Setzer has done the expected top-notch job of uncovering his own roots. Standouts include his winning takes on not only early rockin' standards like "Blue Suede Shoes" and "Get Rhythm" but also on more obscure gems like "Put Your Cat Clothes On" and "Peroxide Blonde (In a Hopped Up Model Ford)." Between his work on his Gretsch duo-jet guitar and his crack band, you may find yourself hoping he leaves that swing thing behind altogether. DAVID WILD

Some rockabilly links:
..some history
wanda jackson/rosie flores at cafe nine
Rockabilly Central
Rockabilly Hall of Fame
rockabillygirls.com

CMT 40 Greatest Road Songs

From CMT website.....No road trip is complete without a song blaring out the window, so CMT hits the highway and counts down the best cruisin' music of all time in CMT 40 Greatest Road Songs. Country hitmaker Dierks Bentley is at the wheel as host of this new two-hour CMT special.

CMT 40 Greatest Road Songs explores the romance of the open road with America's favorite touring tunes including Alan Jackson's "Drive," Keith Urban's "Where the Blacktop Ends," George Strait's "Amarillo by Morning" and Roger Miller's "King of the Road." CMT 40 Greatest Road Songs includes interviews with artists whose livelihoods are centered around life on the road including Urban, Rascal Flatts, Brooks & Dunn, Montgomery Gentry, Tanya Tucker, Blake Shelton, Julie Roberts, Glen Campbell, Radney Foster, Lee Ann Womack, Brad Cotter, Katrina Elam and the Mavericks' Robert Reynolds.

Talking about constant touring in the early days of her career, country dynamite Tucker says, "I remember sometimes my dad would let me drive our old bus. So boy I'd get up there and I'd be driving, just rocking along about 85 mph and pass these truckers, you know. Looking back I can't believe he [father] let me do it. I'd be driving along and I'd hear the truckers on the radio, because the CB was the big thing back then. They'd say, 'Breaker, breaker. Hey, did you see what just passed you?' And another trucker would come in and say, 'Did you see who just passed you!' I'd talk to the truckers -- it was a way of life."

1. On the Road Again - Willie Nelson
   
2. King of the Road - Roger Miller
   
3. Ramblin' Man - Allman Brothers Band
   
4. Take Me Home, Country Roads - John Denver
   
5. I've Been Everywhere - Johnny Cash
   
6. Route 66 - Asleep at the Wheel
   
7. Lost Highway - Hank Williams
   
8. Eighteen Wheels and a Dozen Roses - Kathy Mattea
   
9. Drive (For Daddy Gene) - Alan Jackson
   
10. Red Dirt Road - Brooks & Dunn - complete listing