Ben Sidran

Part One

Always the Positive Philosopher

 By Robert Putignano

Pianist and vocalist Ben Sidran is from and still resides in Wisconsin. In the early 1960s, he played with Steve Miller and Boz Scaggs in a band called the Ardells at the University of Wisconsin. After Miller moved to San Francisco and signed with a Capitol Records, Miller called on Sidran to join him in the Steve Miller Band. Sidran played keyboards and wrote songs on several Miller albums beginning with Brave New World in 1969, co-writing the classic “Space Cowboy.” Sidran received a Ph.D. in philosophy/musicology, writing his doctoral thesis on African-American culture and music in the United States. The thesis was published to positive critical responses in 1971 as “Black Talk.” Around this same time Sidran was signed to Capitol and released his debut Feel Your Groove with Blue Mitchell; members of Humble Pie, including Peter Frampton; Jesse Ed Davis; Boz Scaggs; Charlie Watts, and others. Sidran then signed with Tommy LiPuma at he classic Blue Thumb Records and delivered three very memorable recordings that included sidemen Phil Upchurch, Clyde Stubblefield, Steve Miller, and a return call to Blue Mitchell, amongst countless others.

Through the years, Sidran and Steve Miller continued collaborating from time to time on one another’s recordings. In 1988, Sidran co-produced one of Miller’s latter-day recordings, Born 2B Blue, that attracted strong critical reviews and a nationwide tour. Sidran also produced recordings for Mose Allison, Diana Ross, and others, and joined forces with Van Morrison and Georgie Fame on a tribute album, The Songs of Mose Allison: Tell Me Something, from 1996, and continued making solo albums. Additionally, Sidran has hosted TV programs on VH1, radio shows on NPR, wrote several books, and continues to write about the music he loves.

I caught up with Ben just as he was going to perform at the Jazz Standard in New York City, and as he just released his latest album, Don’t Cry For No Hipster, on his own Nardis (Sidran spelled backwards) label. More details at www.BenSidran.com.

Bob Putignano for BluesWax: Ben, how are you?

Ben Sidran: Doing well! Great to be back with you Bob.

BW: It’s always a pleasure having you back on board, my listeners love you, I love you, and I’m happy to see you continue to evolve and put out good music like you’re a teenager.

BS: I know, it’s just a bad habit of mine. [laughs]

BW: And you’re hanging back in New York City, are we going to the Seventh Avenue South Club tonight?

BS: Oh man, those were the days!

BW: During the Seventies I lived about a half block away from that legendary club, and (mostly on the weekends) it was my final pit stop to catch great music very late at night.

BS: And you got home really late too… All of the great musicians would be there.

BW: Yeah, the Brecker Brothers, Jimmy Heath, you, and so many others.

BS: We’ve got those memories, that’s the important thing.

BW: Speaking of those times, I did recent Internet research on the great radio station WRVR, and was surprised that there wasn’t much info available.

BS: Really? It’s a long time ago that WRVR was such a force, and we’re all not getting any younger, that’s for sure. But remember, time is not something we move through, time moves through us. So stay healthy, keep swinging, and we’ll be in good shape.

BW: I hope so. Going forward, your new CD, Don’t Cry for No Hipster, came out real well.

BS: Thank you!

BW: And you have a nice band coming to New York City next week.

BS: Yeah I’ve got the Hipster Band: John Ellis, Will Bernard, my son Leo on drums, mostly the same group that’s on the new disc. The band is from Brooklyn and I like to tease them about what a real hipster is from forty-fifty years ago. They think their hip now, but I tell those guys, “You really don’t understand!” [laughs]

BW: I find myself telling younger people similar stories, and feel like my father from time to time.

BS: There’s no way out Bob.

BW: But back to your new recording, this one really hit me in a very good way.

BS: I tell you what, I’m hearing the same thing from a lot of people. I think part of the reason is that it was so easy to record this album and we had a lot fun doing it. We recorded the entire album over a couple of days. I had all these tunes written in advance and they were all about a certain state of mind, and it just flowed from there. The lyrics and grooves were fun, too.

BW: There’s definitely a more breezy and light-natured feel to this one.

BS: Yeah, somebody told me that this record could be categorized as “Yacht Rock.” I’ve never head that term before and had to look it up. It’s like rich kids listening or performing music on their father’s boat.

BW: If they only knew…

BS: Right, if they only knew. I wouldn’t go on any yacht that would have me.

BW: And you are still writing books?

BS: The last one, There Was a Fire: Jews, Music, and the American Dream, took so long to write and was so hard for me to do, so as soon as I was done with it we went into the studio and the music just flowed out of me. So the music was a different outlet, still words with a groove behind it as opposed to all the research I did for the book. Partly I owe this record because of the last book.

To be continued…

Bob Putignano is a senior contributing editor at BluesWax, a contributing writer at Blues Revue, and the heart and soul of Sounds of Blue.

http://www.youtube.com/watch?v=0jA6shappUw

Ben Sidran

“Don’t Cry For No Hipster”

From Don’t Cry For No Hipster

Video Records in Paris, France

November 2012

BONUS!

http://www.youtube.com/watch?v=vOH8WEqWSHI

Ben Sidran, Georgie Fame, Van Morrison, Mose Allison

“Tell Me Something”

]]> http://bluesrevue.com/2013/04/the-ezine-ben-sidran-part-one-4-26-13/feed/ 0 http://bluesrevue.com/2013/04/the-ezine-alvin-lee-tribute-concert-4-12-13/ http://bluesrevue.com/2013/04/the-ezine-alvin-lee-tribute-concert-4-12-13/#comments Fri, 12 Apr 2013 01:48:40 +0000 Chip Eagle http://bluesrevue.com/?p=23009 BluesWax Spotlight On

The Alvin Lee Tribute Concert

April 7, 2013

L’Olympia

Paris, France

By David Scott

 It was a glorious, sunny spring day, but it was grief and sadness that permeated the Parisian air for the Alvin Lee fans who made their pilgrimage to the American Church in the city center. Solemnity soon gave way to joy as Pastor Bruce Morgan guided the small group through a short memorial service celebrating Lee’s life and the musical talents which he had shared generously with the world. In front of the altar and a single burning candle, Norwegian Pieter Kentrop, the fans’ spokesperson, gave a heartfelt and moving tribute to the guitarist who had influenced him profoundly from the first time he had seen him play at Woodstock. Kentrop spoke about how Alvin had climbed the ladder to superstardom but was a reluctant star because he wanted to be an equal. Lee had given meaning to many people’s lives through his music and lyrics, had extraordinary karma, and connected with his thousands of fans like one big family. Kentrop posed the question, “Why does God take the best ones away? Alvin was too young and had so much more to give. Wherever you are, your music will live on as your legacy.” The American musician, Mylon LeFevre, now a pastor, had asked for the following words to be spoken: “Alvin was a good man with a good heart. He was honest, creative, intelligent, kind, and loyal. He was a rock superstar; it was an honor to be his friend and by the grace of God I will see him in heaven one day.” Pieter Kentrop ended with a quote from Lee’s song “Circles”:

I have got what I once dreamed of as a child so long ago

But my life just goes in circles, ‘cause one answer I don’t know

Does it matter what I do, who will hear me if I cry?

Does it matter what I do, does it matter if I die?

At this point, the church band started warming up for a later performance in this vibrant, bustling, multinational venue and the sounds of drums and guitars transformed the private ceremony into a sound check, perhaps the ultimate irony! If Alvin had not approved at the outset he would now! The laughter from above was almost audible.

The concert at L’Olympia was originally scheduled as “Alvin Lee and Johnny Winter,” but because of Lee’s untimely death on March 6, the promoters billed it as “Johnny Winter and Guests,” to be preceded by “a moment of silent reflection” in tribute to the globally acclaimed blues-rock guitarist. Fans around the world were invited to join in this occasion at 7 p.m., local time in France, which marked the beginning of the show. Preceding this, as the audience filed into the auditorium, “I’m Going Home” was playing at full volume and for a moment it seemed that Alvin was onstage and all that had happened was just a bad dream. The announcement of the period of silence confirmed that Lee’s family had been consulted and it was agreed the concert should go ahead as he would have wanted everyone to have a good time. The reflection itself was a very spiritual experience and respected reverentially by a full house of over 1,500.

Tommy Emmanuel, two-time Grammy nominee and one of Australia’s greatest guitarists, opened with a short, 20-minute set highlighting his distinctive finger-picking style using all ten fingers. The dazzling instrumentals were interspersed with the song “Sixteen Tons,” and the beautiful ballad “Angelina,” dedicated to his daughter. Emmanuel brings light and shade to his playing which is jazz influenced and periodically punctuated by the tapping of rhythms on the body of the guitar. The genius of a musician at the peak of his career merited the rapturous applause from an appreciative audience.

Johnny Gallagher and the Boxtie Band are a high-energy, hard-rocking Irish outfit, comprising Johnny’s brothers Pauric on keyboards and James on bass, with Michael Christie providing the thunderous drumming. Johnny immediately struck up a great rapport with the Olympia crowd whom he wooed with his larger-than-life personality, encouraging participation through joining in the songs and repeating phrases. Glugging the best part of a bottle of wine, Johnny powered his way through a memorable one-hour performance, the highlight of which was “Shake That Tambourine,” a mixture of incendiary guitar solos and anguished, gravelly vocals. He had opened with “I’m Going Home,” but not Alvin’s anthem, rather a boogie which showcased Pauric’s mesmerizing keyboard skills. Johnny has a gift of telling stories in a conversational style whilst correspondingly incorporating a series of crescendos into the song which take the listener on a musical roller coaster. Slow burners such as “Peace Of Mind” were also part of the repertoire, but the highlight was an original rendition of “Hey Joe” with a brilliant acoustic guitar introduction. However, rather than burning the guitar, Johnny sang through its sound hole whilst simultaneously playing it at the same time, an outrageous piece of showmanship which summed up his night. Johnny Gallagher enhanced his growing reputation and the audience loved every minute of his sensational contribution to what was a tribute now in full flow.

The Frenchmen Manu Lanvin and The Devil Blues played in the foyer during the intermission and brought their Delta blues and American folk music to a less frenetic location than the main auditorium. The talented and innovative trio played the most authentic blues of the evening within an intimate setting. It was a pity that the majority of the audience would have missed such innovative guitar work, distinctive, passionate vocals, and the excellent double bass which Gaby seemingly dances with to the tempo and rhythm set by drummer Jimmy Tantout.

Back to the main stage for the second half and the inimitable multi-instrumentalist Edgar Winter, who stormed through some Texas shuffles with a four-piece band and two singers, although Edgar himself proved to be the best vocalist of the whole evening. He is the consummate performer and clearly got a buzz from being invited to his brother’s gig, staying on for Johnny’s set as an additional band member, as was Robben Ford, who made cameo appearances. The American bluesman Johnny Winter burst on the scene in 1969 with his fresh take on classic blues. Unfortunately there was very little evidence of the latter as Johnny blasted his way through old favorites such as “Johnny B. Goode,” “Good Morning Little Schoolgirl,” “Dust My Broom,” and “Boney Maronie.”

The sound was heavily distorted, the guitar solos repetitive, and Edgar’s gut-busting saxophone and keyboard playing contributed to a cacophony. Not that Johnny’s legion of fans seemed to mind as they danced and shouted their way through the set. Alvin used to talk about occasions when there were just too many musicians on a stage and this was one of them. To make matters worse, “Jumping Jack Flash” and “It’s All Over Now” sounded like contributions from a second-rate Rolling Stones tribute band, far removed from their original brilliance and invention. By contrast, Robben Ford, an electric guitarist par excellence contributed tasteful solos which were greeted with standing ovations. The American is a major talent whose associations over the years with Bob Dylan, George Harrison, and Miles Davis have contributed to his current status as a significant player on the current blues scene, reflected in his new stunning album Bringing It Back Home.

In many respects, this concert had everything possible that was relevant to Alvin Lee which would have guaranteed his approval. The guitar wizardry of Tommy Emmanuel and Robben Ford is where Alvin was at in terms of technicality and innovation, Johnny Gallagher played at 100 miles per hour like a young Alvin Lee, Manu Lanvin provided the Americana of Alvin’s In Tennessee period, and Johnny Winter brought some of the nostalgia of Ten Years After’s R&B. However, there will only ever be one Alvin Lee and his absence has left a huge void. He really did change the world through the evolution of his timeless and classic music and he was one of the first popular musicians to promote peace throughout the world.

World pollution, there’s no solution, institution, electrocution

Just black and white, rich or poor, them and us,

We’ll stop the war!

I’d love to change the world but I don’t know what to do,

So I’ll leave it up to you…..And Good Luck

Alvin Lee

As April 7, 2013 was special for the fans, it is the fans who should have the last word:

Pieter Kentrop was born in Holland and lives in Norway

When I traveled to Paris I was a little nervous and unsure what our mini-memorial service at the church would be like. Normally we would not have been granted a memorial service because it was the third Sunday after Palm Sunday and the church schedule was totally full, but after I desperately explained over the phone that we were in Paris for just that day and came from different parts of the world, the church made an exception for us to have a short service for Alvin under the guidance of Pastor Bruce Morgan in his hour break between the main services. For me it was especially important to have a pastor who guided, read, and prayed with us, otherwise we would feel lost and not know what to do. The pastor turned out to be a wonderful, understanding, and sympathetic representative for the church. Without preparation we went in at 12:30 and the church service for Alvin became a wonderful experience, like going on stage without a sound check. I set a framed picture of Alvin on the altar table. The pastor brought in and lit a big candle representing us and everyone else who loved Alvin and began the ceremony with a long prayer. I did not know that there was time for it but the pastor let me talk about Alvin and let me read from what I had written for that day and what Mylon LeFevre wanted me to read for him, plus a few lines of some of Alvin songs. During the whole service a band was quietly setting up the gear for the next service so we felt that we hade a service for Alvin in a musical frame, perfect for the occasion. We had been granted 10-15 minutes, but it lasted a half hour and it was a worthy service the best we could give our beloved Alvin Lee. After the service I felt relieved and happy and proud to have been part of the gang to do this for Alvin.

In the evening, when I walked into the Olympia and heard “Going Home” over the sound system I got goose bumps and a lump in my throat. I felt both sad and proud. I got tears in my eyes when the last notes of the song disappeared. The packed crowd cheered and applauded and the announcer asked for one minute’s silence to reflect in respect of Alvin. During the actual concert of Johnny Winter I walked out after three songs. It did not matter actually who played there, I was just not in the mood to stay any longer. In the lobby of the Olympia I met lot of fellow fans of Alvin Lee and we talked until I disappeared in to the Paris night air on my way to the hotel after an emotional heavy day.

Scotsman Graeme Armstrong, who attended with his teenage daughter, Amy

The church service in Paris was a great idea given that some of his most loyal European fans were together maybe for the last time. I really had no idea how it would work, but with Pieter and the wonderful minister in attendance I shouldn’t have worried. Both made very fitting speeches worthy of the great Alvin Lee and I had yet another tear in my eye as I clung on to my daughter. Very moving indeed.

The concert was always going to be difficult for me knowing that Alvin would not be walking on stage and giving us his unique brand of rock ‘n’ roll. The night started beautifully with the classic “‘m Going Home” bellowing out the speakers as we entered. Huge applause at the end of the song told you the high regard the capacity crowd had for the man and that was confirmed by the impeccable one-minute silence.

I hoped that I could enjoy the concert after that, despite the empty feeling in my stomach and I actually enjoyed quite enjoyed Tommy Emmanuel who is clearly a talented axe man. Johnny Gallagher lifted my and the crowd’s spirit a bit more with a noisy and entertaining set of songs, although I found the sound less than clear. I had been looking forward to Johnny Winter never having seen him before, but was sadly disappointed with both the quality of sound and songs. I just wish I had seen him when he was nearer his peak.

Dave Scott is a contributing writer to BluesWax. The staff of BluesWax thanks David for the wonderful tributes to his friend Alvin Lee that he has shared with us in the past weeks. David was already slated to cover the Alvin Lee/Johnny Winter in Paris for us. None of us had any idea that it would be become such a tribute. Thanks for sharing David.

http://www.youtube.com/watch?v=RToHfOqQo0g

Alvin Lee

“I’m Goin’ Home”

1978

The Winterland Ballroom

San Francisco, California

Bonus Track!

http://www.youtube.com/watch?v=MGbi-_vQ2sk

Alvin Lee

“Hey Joe”

1979

Gordon Anderson

Reissue Heaven!

Part Two

By Robert Putignano

Bob Putignano has been reviewing some of the great reissues from Real Gone Music, last week he began his conversation with Real Gone Cat Daddy Gordon Anderson about the reissue business. This week they continue that conversation…

Bob Putignano for BluesWax: A lot of what you are reissuing are vague remnants in my brain. I probably have the vinyl in my basement somewhere, but having them available on CD is special for me.

Gordon Anderson of Real Gone Music: I left out another big source for suggestions, that being from when I headed up the Collectors Choice music label for seventeen years which was the biggest music mail order catalog. So I got literally thousands of requests for reissues from customers over those years. You mentioned the Cat Mother Newsboys album The Street Giveth…And the Street Taketh Away to me off air. And that one was way over the top requested for many years.

BW: I have the vinyl and, until you sent me a copy, I forgot Hendrix co-produced it.

GA: Right, we are also considering reissuing their follow-up too, Albion Doo Wah. It’s never been issued digitally anywhere. It should be interesting to see how it does as it wasn’t produced by Hendrix; it’s a good album too. It’s more bucolic from when they were living in Woodstock, New York, probably smoking a lot of dope, but there’s no Hendrix connection.

BW: What about bonus tracks? I die for this kind of stuff.

GA: Yeah, we try to add bonus tracks whenever possible, but they can cause contractual issues. Sometimes when bonus tracks are added it causes the album to be considered a compilation instead of a reissue, which also causes complications. We want the artists to be involved, but sometimes they are not. We want and need their support, but on the contractual side the ease of getting things through the bureaucracy can throw a wrench into the works. But whenever possible we try to add bonus tracks. There are times when the artists don’t want bonus tracks, as they feel that the bonus tracks were inferior and wanted the album to stand on its original merits.

BW: I guess I could understand that, but there’s always a need (for me) to find out more of went behind the scenes. It’s those extra tidbits of additional information that I find tantalizing and at times fascinating, especially if the additional tracks are strong, which sometimes they are, and sometimes they’re not. There are times I feel that the so-called “bonus tracks” are just filler too.

GA: I understand. Through it all we are trying to put out eight to ten new reissues a month.

BW: In this day and age that’s very ambitious.

GA: It is.

BW: Last year I had Sonny Landreth in the studio, who runs his own label now, and I asked about how his sales were, and he said, “Ooh that…”

GA: We are okay with not selling all that much, so a little bit of a lot as opposed to a lot of a little works for us. We just have to be careful of not overextending ourselves.

http://www.youtube.com/watch?v=kd-iYnFUKik

Blue Oyster Cult

With Robby Kreiger of The Doors

“Roadhouse Blues”

BW: Your label is incredibly eclectic.

GA: Exactly! I also enjoy putting out soundtracks, too. We’ve also got a seventies album by Wilderness Road, who were very politically satirical. Plus a Blues Oyster Cult!

BW: Oh my God…

GA: And a couple of Sea Level albums, Cats On the Coast/On The Edge as two-albums-on-one disc.

http://www.youtube.com/watch?v=Bsbt8i25ccU

Sea Level

“Grand Larceny”

Capricorn Records Picnic

Macon, Georgia

1976

BW: I loved Sea Level, especially those albums produced by Stewart Levine. I’ve noticed that the CD versions of those albums are quite pricey.

GA: It’s funny you would say that they’re pricey because we do a lot of research, so when something is selling for a lot of money we consider that a good sign.

BW: Back to the Dead, or more specifically many of those Jerry Garcia albums with Nicky Hopkins and Merl Saunders have also gone through the roof price-wise, as they are also out of print now.

GA: I think those labels have more plans for those recordings, so unfortunately I don’t think we’ll be getting those. I’ve asked about them, and they tell me they have other plans for those albums.

I’d like to reissue more soul-jazz stuff, too.

http://www.youtube.com/watch?v=L0M1-H567TU

Wilderness Road

“Dr. Morpho’s Revenge”

Provo Park

Berkeley, California

June, 1972

BW: Sounds like more Dusty Groove releases.

GA: Yeah, you are spot-on there.

BW: Some of these seventies’ recordings are now nearing my third generation of listening to them. I’m not sure I like to admit that, but sometimes a third time is a charm.

GA: Let’s hope so.

BW: I’m hoping all of this is working for you and that you are having fun doing this?

GA: It’s funny, there’s a lot of reissue labels popping up, but most seem to be concentrating on vinyl, which is not our focus. But it seems like if we stay smart and don’t get too greedy or bet too much on a single horse, we feel we can make a go of it as an indie reissue company. What’s also very important is to have very good distribution, we go through Sony and that’s great, and it’s really helpful for us.

BW: Lord knows you are covering a lot of ground genre-wise, and there’s got to be something available for just about everyone who enjoys music. I feel it’s important to keep a lot of this music alive for people of our generation and more so for future generations. Thanks for keeping the beacon burning.

GA: And we appreciate your support, thank you Bob.

BW: Thank you, too, for your support to allow us to share your reissued music with my listeners at WFDU and at BluesWax at www.BluesRevue.com.

Need more Real Gone convincing?

Checkout their site at www.realgonemusic.com.

Bob Putignano is a senior contributing writer at BluesWax, a contributing writer at Blues Revue, and the heart and soul of Sounds of Blue.

Santana

With Special Guests

The Steve Miller Band

March 27, 2013

Sydney Entertainment Centre

Sydney, Australia

By David O’Sullivan

With a starting time of 7 p.m., this was always going to be a battle for folks to finish work, get home, and back to the city on a work night. So, unfortunately, like many people, I missed the start of Steve Miller‘s set by half an hour, which was disappointing. However, what we saw in the last hour was magical. At 71 (and not looking a day over 50!), Steve Miller and his sensational band took us all down memory lane through his forty-year career, which has seen 20 million album sales, including 14 million of his “best of” collection. This is no heritage act content to play just hits to baby boomers and “take the money and run” as his song says, but a concise show never really straying far from his blues roots and not only playing all the hits he is known for but tracks from 2010’s Bingo album, plus his 2011 release, Let Your Hair Down, which consists of blues and R&B covers. The last seven songs in a row were all hits starting with “Fly Like an Eagle” and finishing the set with “The Joker”…a great performance all round.

http://www.youtube.com/watch?v=wwlmjLZoExM

The Steve Miller Band

“Take The Money and Run”

October 28, 2012

AVO Session Festsaal

Basel, Switzerland

A recent run of club shows in Las Vegas possibly had fans wondering were Carlos Santana’s career was heading; was he too becoming a heritage circuit act after the pop-like chart hit “Smooth” of recent years, but like Steve Miller this man and his amazing band are far from a novelty. In fact I have seen Santana every time he has visited Australia and can say with conviction he has never been better, remarking himself halfway through the two-hour set that “This is really rollin’!”

http://www.youtube.com/watch?v=pAf3gqdCrDs

Carlos Santana and Eric Clapton

“Jingo”

Crossroads Guitar Festival

Much praise must go to the sound crew as well; I have never heard concert sound so pure with every voice and instrument perfect the whole way through. From the thunderous percussion of Dennis Chambers, Raul Rekow, and Carl Perazzo through to the swirling keys of David K. Mathews and the solid bass of Ben Reitveld, coupled with some powerful singing, this was a great show like the Santana of old. Hits like “Oye Como Va,” “Samba pa Ti,” “Europa,” “Jingo,” and “Soul Sacrifice” blended in with a great rendition of The Doors’ “Break on Through,” with Steve Miller guesting on guitar and, of course, the crowd favourite “Smooth,” ensured everyone in the house went home happy.

Santana 2013 is a veteran band comprised of excellent musicians who pride themselves on maintaining the high standard that Carlos Santana sets every night. While admittedly there are some nights that seemingly exceed all expectations and surprise the band itself, it’s no exaggeration to state that this band does not have off nights. I was accompanied to this show by my 23-year-old son, a heavy metal drummer who remarked on the way out: “You know, Dad, I wasn’t expecting much tonight, it just goes to prove how good these guys really are after all this time.” Indeed, that truly was the case.

Steve Miller Band

Steve Miller – Guitar, Vocals

Jacob Petersen – Guitar, Vocals

Joseph Wooten – Keyboards, Vocals

Kenny Lee Lewis – Bass, Vocals

Sonny Charles – Vocals

Gordy Knudtson – Drums

Santana

Carlos Santana – Guitar, Vocals

Raul Rekow – Congas

Dennis Chambers – Drums

Benny Reitveld – Bass

David Mathews – Keyboards

Karl Perazzo – Percussion

Bill Oritz – Trumpet

Jeff Cressman – Trombone

Tom Anthony – Guitar, Vocals

Tony Lindsay – Vocals

Andy Vargas – Vocals

Thanks to Jules Flakelar and Michael Chugg Entertainment for the opportunity to review this event.

Dave O’Sullivan is the Australian corespondent for BluesWax.

Bonus Track!

http://www.youtube.com/watch?v=I5E2RKZ_AMs

Santana

Live at Montreux!

Gordon Anderson

From Collector’s Choice to Real Gone Music,

Reissue Heaven!

By Robert Putignano

How many labels do you know that offer links on their Web sites asking for reissue suggestions? Real Gone Music does! Check out their site at www.realgonemusic.com.

The story goes that in 1993, two guys from Ohio, Gordon Anderson and Gabby Castellana, both separately started businesses: Collectors’ Choice Music and Hep Cat Records & Distribution. Both were outlets for buyers and sellers of vintage music recordings. Eighteen years later, they’ve joined together to launch Real Gone Music, a reissue label dedicated to provide collectors and casual music fans with new CD releases (eight to ten new releases per month) that include well-known artists and obscure cult favorites.

Bob Putignano for BluesWax: Welcome Mr. Gordon Anderson, now of www.RealGoneMusic.com.

Gordon Anderson: Thanks for having me Bob

BW: Thanks for licensing those Grateful Dead Dick’s Picks series from www.Dead.net.

GA: Thank goodness for the Deadheads who love their music.

BW: I agree, I love them too, but a lot of these releases have gone out of print.

GA: Yes, some are still available at www.Dead.net, but not all of them. In fact the reason we started from the back with volume thirty-six was because the last thirteen releases never went to retail outlets. The first twenty-three were readily available commercially, but for a short period of time. These releases have been very successful for us, yet, like a lot of Dead concerts (I went to about six Dead shows), though one time I was in college in Boston where we had fourth row center at the Boston Gardens. That was pretty amazing and was around 1980.

http://www.youtube.com/watch?v=BgwwnWhXRnc

The Grateful Dead

“Dark Star” into “Eyes of the World”

University of Illinois

February 22, 1973

BW: They were still pretty good at that time.

GA: They were. The Dick’s Picks shows are pretty good shows, but like a lot of Dead shows some are pretty uneven.

BW: For sure, lots of meandering.

Lord knows that Real Gone is not just a Dead release label. Your new Real Gone venture is quite diverse genre-wise, like the Gene Harris CD [with Freddy Robinson on guitar] that you just released from the Blue Note vaults.

GA: That one is part of an ongoing relationship with a Chicago-based label called Dusty Groove. We saw that there was a gap in our catalog and felt we were missing the seventies soul-funk and modern jazz titles. I haven’t had much experience in those genres. That being said, personally speaking I’m much more of a Coltrane guy. Dusty Groove has done a good job catering to the soul-jazz-funk crowd from the seventies and we put out three releases so far and another three coming in April.

http://www.youtube.com/watch?v=c_hWZp_BVAI

Gene Harris

“Summertime”

BW: Interesting, you release a pretty strong stream of new releases. It can’t be easy doing this?

GA: Ha, you feel my pain. The hardest thing, I suspect you know, is that ideas are plentiful for re-releases, but getting them through the hurdles of licensing is difficult. And then you look to line up the liner notes, get it designed and printed up to meet the street date.

BW: I like that you are added “new and current day” liner notes and not just the ones that were part of the old releases. That to me gives it a whole new perspective and brings that particular release more up to date.

GA: Oh yeah, that’s part of our mission. We want to put out quality reissues and collections that offer the discerning listener and buyer what they are looking for. Lets face it, you can find most all of what anyone is looking for digitally, but reissue companies like ours have to give people reasons to buy our brand. Especially since we don’t get digitally rights as the licensors retain digital rights. So labels like us subsidize digital rights, so often when we put things out physically we find that the original issuer releases these same albums and tracks out on iTunes.

BW: This doesn’t do anything for you.

GA: That’s right, that’s why we have to add value so that our listener base buys physical copies from us as otherwise they could just download it elsewhere and not from Real Gone.

BW: Plus, how many labels put that many reissues now? Stax/Concord readily comes to mind, but typical reissue labels like Rhino and Shout Factory have gone missing of late.

GA: Most of the reissue labels are overseas now. The market for physical product is better in places like Japan. It goes differently country by country. I have to say that Spotify has wrecked a lot of our industry for physical product, yet it’s interesting to see how technology and different cultures accept what we release. The Japanese in particular like physical things. They tend to go for more of what we do on hand-held disc packages than Americans do.

BW: How involved are you with making selections for what you reissue?

GA: I’m the committee of one. [Laughs] But by no means do all the selections come from me. Independent producers pitch me all the time, customers also give me ideas, plus conversations with people allow other thoughts for reissues, too.

BW: No one knows it all! How old are you?

GA: Fifty-one.

To be continued…

Bob Putignano is a senior contributing editor at BluesWax, a contributing writer at Blues Revue, and the heart and soul of Sounds of Blue.

Booker T. Jones

On The Way Back To Stax!

By Robert Putignano

The man who roasted green onions from a vegetable into a world renowned groove, Booker T. Jones was one of the architects of the Memphis soul sound of the late 1960s as the leader of Booker T. & the MG’s. Booker, along with band members Steve Cropper, Duck Dunn, and Al Jackson Jr., served as the Stax Records house band. He’s nowhere near done as his credits continue to grow onward. As a producer, songwriter, arranger, and instrumentalist he’s worked with an extraordinary variety of artists. With the MG’s, Booker was inducted into the Rock and Roll Hall of Fame in 1992.

I caught up with Booker just as he was about to perform in the New York/New Jersey area in March of 2013.

Bob Putignano for BluesWax: Booker T. Jones, great to have you back here to chat with. And you are coming to the New Jersey area.

Booker T: That’s right! I’m bringing my band from Northern California, plus my music from fifty years back, and tunes that I wrote just a few days ago.

BW: Nice! So you are going to cover the gamut.

BT: Yeah, I will be doing a lot of my favorites and we’ll all have a good time there.

BW: I saw you at the Long Beach Blues Fest several years ago and that was a very intense set.

BT: Oh, down on the beach.

BW: In fact, I think you were there the same weekend [but different day] that Bobby Womack was there.

BT: Womack is a good old friend. But right now I am looking forward to coming to New Jersey; it’s going to be fun.

BW: You mentioned to me off-air that you are working on new music for a new album?

BT: That’s right. I’m working on new music and a new album, with some new musicians too.

BW: You don’t sit in one spot too long do you?

BT: I guess that’s true. I’m always looking for a challenge and something new to do.

BW: That’s a great spirit to have. Your album two back had a much different vibe than the current disc, The Road From Memphis. You are always evolving. I suspect that’s it’s not always easy to consistently create as the years go on?

BT: Exactly, but it’s a lot of fun, and a challenge. Besides the worst that could happen is that I’ll fail.

BW: And work with a record company that understands.

BT: The record label Anti was very good for me and to me. However I did move on and I’m back to the label I originally started with fifty years ago, so I’m now back at Stax Records.

BW: Déjà vu all over again, back with Stax via the Concord Music Group.

BT: Yeah.

BW: Good for you.

BT: Thanks. When I grew up in Memphis, Stax was like two blocks from my house.

BW: And Booker T. & the MG’s were the label’s house band for almost every recording in the beginning.

BT: We were. It was a great position to be in, and a lot of fun.

BW: I’m sure those days were a blast and very creative, too.

http://www.youtube.com/watch?v=IDGtY9JZSkQ

Booker T. Jones

“Born Under a Bad Sign”

2009 Cambridge Folk Festival

Cambridge, U.K.

Speaking of Stax/Concord, have you been listening to all those wonderful Stax Remasters series of music they’ve been releasing? That fiftieth Green Onions anniversary release came out real nice. The re-mastering engineer Joe Tarantino is performing magic on those original Stax albums from those special days in Memphis.

BT: For sure! The equipment that’s available these days is amazing, now people can hear good sounds again like they did on vinyl.

BW: I agree. CDs and digital has come a long way recently, but certain engineers are definitely better than others.

BT: It’s an art.

BW: Definitely an art form, Booker, and for my ears Tarantino at Stax/Concord is definitely one of the best. He’s a big fan of music, in fact he told me he still plays guitar, and his main influence for picking up the guitar was/is from your associate Steve Cropper.

BT: Absolutely, Cropper is the best.

BW: I’m on that bandwagon; I’ve always been a Cropper fan. I’ve always been partial to instrumental music, so when I heard Booker T. & the MG’s, I was floored.

So it’s sweet to see Concord/Stax keeping the back catalog alive and in print and available. This is heavenly for me!

BT: It’s wonderful. They are a great group of people.

What’s good in being in music for a long time is that you get exposed to a lot of different music. When I tour I try to play music that I was involved in, that being music I wrote and/or contributed to.

BW: Your royalty checks have to be happening?

BT: Man, I’m so thankful for those checks.

http://www.youtube.com/watch?v=OH3r6HEeH3A

Booker T. & The M.G.’s

“Green Onions”

Europe, 1967

BW: I just reviewed a new compilation of Otis Redding tunes titled Lonely & Blue, and of course your name is on at least one of those songwriting credits.

BT: We got together early when he was driving to get food and stuff like that, so we made friends early on and I played on practically everything Redding ever recorded.

BW: Wow! Correct me if I’m wrong, I think I just read that this is Otis’ forty-fifth anniversary of “Dock of the Bay.”

BT: Sounds about right, you are/they are correct as that makes logical sense.

BW: That really sets the clock back, doesn’t it?

BT: It does, it does, but to me it’s just like now. To tell you the truth Bob, I’m still having fun doing what I do.

BW: I’m with you Booker, your latest album, The Road From Memphis, really moved me.

BT: Thank you! These guys, The Roots band from Philadelphia, were just the right ticket for me. They are a hip-hop band but they play real instruments. They don’t use computers or drum machines. So we were able to construct Memphis- and New Orleans-styled music with a hip-hop jump to it. We all went into the studio and did it all at once like we used to. So I thought the album came out with a great sound. It’s an analog recorded album and I was happy with all of it.

BW: Did you utilize the sousaphone that they play the bass parts with when they are on TV and gigs?

BT: No, but funny you mentioned the sousaphone as that’s what attracted me to The Roots band. I thought, “How cool that their bass sounds were played with a sousaphone!”

BW: How many hip-hop bands use a sousaphone for the bottom?

BT: Exactly! Maybe in New Orleans a bit, but no so much.

BW: I’m going to let you go, thank you so much for your time Booker, but before I release you, please choose one track from your current disc that you’d like me to share with my listeners, and please tell us why?

BT: OK, I’m going to pick “Everything is Everything,” Bob. It’s a Lauryn Hill song where I felt like we had a special moment in the studio recording that song. Kind of like those days at Stax where the vibe of the music from the writer is on the same page. It just built up to a glorious climax at least from my estimation.

http://www.youtube.com/watch?v=A61c4FgxZz8

Booker T. Jones

“Everything is Everything”

BW: Very sweet, an instrumental too.

One last question: Will there be anymore Booker T. & the MG’s gigs in the future?

BT: Well, you know we lost Donald “Duck” Dunn last year, which was very unfortunate. But their might be more gigs in our future. Steve Cropper and I keep in touch and still play together. As you know, we’re the last of the original two still living.

BW: And actually Duck Dunn wasn’t an original MG?

BT: You’re right. Dunn came in a little later after we formed. But there’s still a very good chance that you’ll see other Booker T. & the MG’s shows in the future.

BW: That’s great to hear.

BT: That’s because Cropper is still great sounding, and there’s still a lot of synergy between us.

BW: Alright, it will be great to see you guys keeping on with your historic tradition.

Thank you for your time Booker, I will be looking forward to talking to you again, especially when your new Stax album is released.

BT: Thank you for keeping in touch Bob.

Bob Putignano is a senior contributing editor at BluesWax, a contributing write at Blues Revue, and the heart and soul of Sounds of Blue.

A Personal Elegy For a Friend

  By David Scott

Photo and Photo Gallery by David Jacobs

By David Jacobs

Last Wednesday, March 6, the legendary blues-rock guitarist Alvin Lee died following unforeseen complications arising from a routine surgical procedure to correct atrial arrhythmia. The outpouring of grief from across the world since then is a tribute to what Alvin achieved in his lifetime. His early influences were his father Sam’s collection of jazz and blues 78s. This mainly American influence stayed with Alvin, and his internationally renowned band Ten Years After would ultimately tour the United States 28 times in seven years. His incendiary performance at the Woodstock Festival in 1969 propelled Alvin both literally (by helicopter) and metaphorically to superstardom, gaining a reputation as the “fastest guitarist in the west.” In fact, he developed into a skillful, versatile player of immense subtlety and sensitivity when required. His solo career following Ten Years After started with the album On The Road To Freedom in 1973 and ended just under 40 years later with Still On The Road To Freedom, the latter taking the listener on an engaging musical journey linking past and present. Last year Gibson nominated Alvin the greatest musician ever to have played an ES-335 guitar, deservedly ahead of Eric Clapton, Chuck Berry, and B.B. King. I first met Alvin Lee in Spain ten years ago and was amazed at his warm, unassuming manner, and lack of ego. He was the antithesis of what I expected from such a famous musician. He responded to my requests for an interview when I first started writing about the blues and subsequently he always treated me as a friend rather than a journalist.

http://www.youtube.com/watch?v=bW5M5xljdCI

Alvin Lee & Ten Years After

“I’m Going Home”

Woodstock

As a student in Nottingham, England, in the 1960s I had been brought up on the music of The Jaybirds and marveled at the emerging talents of their bandleader Alvin Lee. I followed his career with Ten Years After and the highs of Woodstock and I’d Love To Change The World. I preferred his solo albums, his collaborations with George Harrison, his blues songs, and his most recent band, featuring Richard Newman and Pete Pritchard. Alvin eschewed fame and commercialism, finding “freedom” from both in the latter part of his life with Evi his wife and soul mate. Whenever I visited Alvin he would ask me to listen to his latest composition and watch my reactions carefully. “Well, your feet are tapping Dave so that is a good sign.” His home reflected his immense artistic as well as musical talents, with abstract paintings of exceptional quality kept under wraps rather than adorning the walls. Modesty prevented Alvin from speaking about his achievements and he always talked me out of describing him as one of the best guitarists in the world despite the many accolades he received affirming this status during his illustrious career.

http://www.youtube.com/watch?v=9LQQU2TGopI

Alvin Lee & Ten Years After

“Good Morning Little’ Schoolgirl”

Marquee Club, London 1983

During our many conversations he spoke at length about his childhood, his influences, life on the road, and how he nearly did not survive the 1960s era. It is ironic that Alvin should have died in the tragic circumstances of a routine procedure and I can hear a voice from above saying, “That was not part of the plan!” We should be grateful for his legacy but we always want more. I spoke to him recently and he was looking forward to a Paris gig with Johnny Winter. “I’m coming to get you one more time,” he would joke. I would have been there as one of Alvin’s legion of loyal fans as well as a blues writer on that occasion next month, waiting with bated breath for the opening lines of “Rock and Roll Music To The World.” We should not take anything for granted but just be grateful for, and celebrate, everything that Alvin Lee brought to this world in terms of his humanity, generosity, and the classic and timeless music, which will live forever.

http://www.youtube.com/watch?v=RBAwv49slC8

Alvin Lee & Ten Years After

“I’d Love To Change The World”

Some of his most memorable quotes to me over the years include:

I write all the time, my inspiration comes from within my mind. George Harrison once said that I have a very avant garde mind to which I answered, “Yes, avant garde a clue!” Writing, recording, and playing with other musicians is both a labour of love and a hobby. Maybe even an obsession. It certainly beats playing bowls or darts.

There was a time when for me being on tour with a rock ‘n’ roll band playing practically the same thing every night got boring, and believe me if that gets boring you have a big problem because where do you go from there? That’s where the road to freedom comes in.

I still wake up on my birthday and play Jerry Lee’s “Whole Lotta Shakin,” that’s my kind of rock ‘n’ roll.

(When asked about his artwork) I am nowhere near good enough. I only paint for fun. I pretend I’m Salvador Dali. What is interesting though is the range of reactions I get from people who look at the pictures on the Web and tell me what they see in them. Often their interpretations are totally different from what I imagined or intended.

There was this one time in America with a really loud, crazy audience. I was standing in the wings waiting to go on and this guy was chanting “Alvin f***ing Lee.” I thought this sounds like a good audience and I walked out and this guy was holding a pitcher of beer in each hand and he suddenly yelled, threw his arms in the air and poured beer over himself. It’s always good to play in front of intellectual audiences.

My dad was an avid blues collector so I was brought up with Leadbelly and Big Bill Broonzy. The music was around me all the time and seeped into my brain and fibres; thank God he wasn’t playing James Last!

(On the music scene today) Good music is still there but the motivation now is to be a pop star whereas in the ’60s the motivation was to be a musician. That romanticism to be a working musician and to lead a musician’s life was more intriguing to me than being a rock star.

(About his daughter, Jasmin) There were always musicians round at our house and she has a natural empathy for working with musicians and understands what kind of environment they need to bring about the best results. She has a management company and has opened a new recording studio complex in the heart of Soho called Dean Street Studios. Jasmin can give a band the time and space to discover their own creativity and help them develop their own style and sound. I am very proud of her because she is following her natural path.

(On the subject of death and epitaphs) I like Spike Milligan’s “I told them I was ill.” I have got nothing to say when I am dead and to boil it all down to one little phrase to put on a stone when you’re dead is a tough one.  I think I will settle for “Bollocks.”  Seriously, I have always been On The Road To Freedom and I have been searching for it all of my life and when I think I have found it, I find that I haven’t and the road continues and that is what it is all about. I tell my friends, put me in the dustbin when I die because it’s all over.  I am not interested about what the history books say; I live for the present. Enjoy life while you have it as it’s a very precious thing to have, waking up in your own body.  I just hope nobody does my life story and does something terribly embarrassing like these movies such as The Beach Boys life story where Hollywood does a new cheesy version.

(On the subject of blues) I figured for a white guy to sing and play the blues you have to write and sing about what is personal to you. As much as I like to sing about getting the freight train from Mississippi to Chicago I have never done it. I can imagine the situation but the blues to me is generally real thoughts which go through my mind, like in “Motel Blues” and “Bluest Blues.” The blues is a way of getting melancholy moments out of your system. It is better than taking it out on your friends and pets.

And finally…….Music is magic when you think about what it does to people. When I think of music when I was a teenager, for example, when I hear Buddy Holly’s “That’ll Be The Day,” I can see myself standing on the waltzer at Goose Fair in Nottingham watching the girls. I can hear the loud, blaring music and see the flashing lights from the fairground rides and I can smell hot dogs and diesel fumes; the memories all come back from the song. And when I hear Del Shannon’s “Runaway,” I am standing in the Lacarno Ballroom watching the girls spinning round on the dance floor with their petticoats flying and their bee-hives bobbing, the memories, the smells, and the atmosphere all come back, it’s pretty amazing. Being involved in music is a privilege and being able to create it, write it, and then make it still gives me a big buzz.

Thanks for the music and the memories Alvin.

Dave Scott is a contributing writer for BluesWax

Award-winning blues photographer David Jacobs has kindly offered up his own photographic tribute to Alvin Lee with a photo gallery from his collection. You may see David’s photographs in the Rock and Roll Hall of Fame, in many major magazines, and right here in BluesWax. We thanks David for helping to make our tribute to Alvin Lee even more special. Click on any of the photos to enjoy!

http://www.youtube.com/watch?v=kgJFcJcLYtU

Alvin Lee Interview

August 1988

Terence Higgens

Part Two

By Robert Putignano

In Part One of his interview with BluesWax‘s Bob Putignano, Dirty Dozen  Brass Band drummer Terence Higgens spoke about the his work with the band and his solo career. They continue their conversation in Part Two.

Bob Putignano for BluesWax: Okay, so Tab calls and your first gigs with Benoit are on the Delbert cruise earlier this month.

Terence Higgens: And now the Legendary Rhythm & Blues Cruise.

BW: You’re a lucky son of a gun, back-to-back cruises.

TH: Look who is talking, you too! But I was available when Tab called me, so here I am.

BW: Is it me, but I hear new sounds coming from Tab? He’s taking it out there.

TH: Tab’s really pushing the envelope for sure. You know there’s been some serious trios that came before us. Being in a trio gives all of us a lot of space, trio projects don’t always work, but this Tab trio with Corey [Duplechin] on bass is an intelligent combo. I don’t know if I added to Tab’s band, but I’ve previously had a lot of experience playing in trios, so I’m just trying to do my thing. You know the first time we played together on the Delbert cruise; it was our first time. Period, No rehearsals, nothing. Tab sent me some tunes to listen to and away we went. So I felt I had to keep on my toes, but I also tried to stay true to my instincts.

BW: Does the Dozen rehearse?

TH: Nah.

BW: That’s amazing to me as they are a very complex band, especially the horn charts. Some nights it feels telepathic with what’s all going on in that band in live performances.

TH: It’s totally telepathic, and when it clicks it’s the best thing you ever heard in your life. Being in the Dozen is a serious drum gig, it’s not like regular blues or regular funk, we communicate so well musically. I know each of their nuances and they all approach the music differently. So when Roger Lewis [founding member, baritone sax] takes a solo, I know what to do. I learned a lot about understanding musicians feelings from playing with George Porter, and from Fats Domino too! I got to work with Fats because of Roger’s longstanding association with Fats. Fortunately I have a lot of history from New Orleans music within me, like R&B, the second line, the funk,, you know. So knowing what different musicians might do at any given time is very important to me, reading what might be coming during a live performance is very important to me. Following their lead is imperative, but pushing the envelope and making the music better is what I try to do as often as I can. You’ve got to be able to read those cats. I’ve played with musicians that I thought would be able to push the music, but it doesn’t always work like that. Artists need to be aware of chemistry; they also need to know how to stay out of each other’s way and know when to contribute. That’s the essence of being a part of a band.

BW: So what’s next for the Dirty Dozen?

TH: They’re going on the road.

BW: Is Efrem [Towns, trumpet] okay?

TH: Efrem is not touring. He’s healing, but I haven’t heard any recent updates.

BW: Let’s send out good wishes to Efrem. In a Downbeat article Roger Lewis was quoted as hinting at perhaps retiring soon.

TH: That’s not going to happen. Roger will continue playing till he falls. He ain’t stopping. He doesn’t know how to stop. Plus he’s extremely healthy, and he has so much energy.

BW: His baritone sax means so much to the Dozen.

TH: No doubt, but it’s cardio for him.

BW: Do you have much influence within the band?

TH: Oh yeah, I get involved with arrangements, even our set lists, all kinds of stuff with the band. I’m proud to say that they look to me. That’s why I feel that I could have bandleader qualities.

BW: Is there really a set list for the Dirty Dozen?

TH: Not really. [more laughs] The thing is, we know how to read the crowd and know what to play next.

BW: And you all always know how to have a good time!

TH: That’s right we always have a very good time.

BW: Let’s get right.

TH: In the New Orleans way!

http://www.youtube.com/watch?v=zpUzy3EATBE

Warren Haynes Band with Terrence Higgens

BW: What’s next for this edition of Tab Benoit’s band?

TH: He has one more album to do for Telarc, and Tab told me we might record in March.

BW: Do you think you will be staying in Tab’s band?

TH: I’d like to hangout, but if Warren [Haynes] and/or Ani [DiFranco] give me the call, I’d have to go. I’m sure you understand.

BW: So you are comfortable working with Tab?

TH: Absolutely! He’s easy to get along with, Corey’s great, Tab also knows how to take care of business, he has a bus, I get my own room, so I feel that I can’t lose.

BW: Especially if you keep getting on these cruises!

TH: That’s right.

BW: Your Web site?

TH: www.TerenceHigginsMusic.com

BW: And your new record is due…?

TH: It’s due on March first and is titled Terence Higgins Swampgrease 2: Raise to a Sunrise.

BW: Don’t wait so long in between album releases!

TH: Well, you know we had that whole Katrina thing…

BW: Were you affected badly by Katrina?

TH: I didn’t lose my house, but had to move to Atlanta so that the repairs could be done, plus my daughter was in school in Atlanta and I didn’t want to be moving her around all that much.

BW: Terrence, it’s been a pleasure and a nice surprise to see you again [with Tab] back to back.

TH: Two cruises back to back!

BW: Way to go Terence, see you [with one of these bands] sometime soon.

Bob Putignano is a senior contributing editor at BluesWax, a contributing writer at Blues Revue, and the heart and soul of Sounds of Blue.

Terence Higgins

By Robert Putignano

Senior Contributing Editor Bob Putignano hooked up with Terence Higgens of the Dirty Dozen Brass Band aboard the 2013 Legendary Rhythm & Blues Cruise where the drummer was playing in Tab Benoit’s band. Bob found that Higgens is breaking out, not quite a full Dozen yet, but he is making his was to play beyond New Orleans.

Robert Putignano for BluesWax: When the Dirty Dozen Brass Band hooked up with Widespread Panic what did you think?

Terence Higgens: It was a totally smart move for us to go on tour with Widespread; it gave the Dozen a whole new audience.

BW: It’s interesting how the Dozen evolved into the jam band world.

TH: We got catapulted into that world because of Widespread and the Black Crowes, who played shows with the Dead.

BW: Are you a Dead fan of after or before Jerry Garcia?

TH: I liked the Garcia stuff. You can’t go wrong with Jerry.

BW: Me too! I’m not crazy about the offshoot bands of the Dead; I grew-up hanging around the Fillmore East so I got my dose in more ways than one.

TH: I know that ! [laughs] But I wasn’t born yet.

BW: Oh man, go away… I graduated high school [five blocks away from the Fillmore] in 1969.

TH: Oh, hey.

BW: Okay, enough with the Dead.

What’s the current status of the Dirty Dozen now?

TH: I’m still a legitimate member. Fortunately I’ve been busy with other projects and tours, and the Dozen are cool with that. I’ve been with the Dozen for a long time, so for me it’s important that I get out and do other stuff with my career. Look what happened to Dr. John’s band? Mac’s core band was together forever, now they’ve been let go. So what does a musician do when the party’s over? I want to be in a position to protect myself and my family by keeping my name out there. Actually things just happened for me to get these other gigs.

BW: The Dozen were a worldwide touring machine.

TH: Oh yeah, I traveled the world with those guys, but more recently we’ve kind of hit a lull. A few years after Katrina I felt things were starting to change within the Dozen, especially when band members changed frequently. That’s when I decided to take some offers that were coming in for me to drum in other bands. Around this time is when I got the call to do the John Scofield gigs right after the Piety Street album came out. Those gigs were huge for me.

BW: I’m sure especially with George Porter Jr. and Jon Cleary in the band.

TH: And let’s not forget about Sco! Actually Scofield called me after these shows wanting to do a different R&B band/project, but at the same time Warren Haynes called me.

BW: You weren’t on Haynes’ Man in Motion album.

TH: No, but I did get on the follow-up live DVD/CD box-set with Warren. Raymond Weber played drums on the studio album.

BW: Which were pretty much the remnants of the New Orleans Social Club.

TH: Exactly! The same click with Porter Jr. and Ivan Neville, too. But because those guys were very busy with other projects, Warren couldn’t get them to go on the road. That’s when I got the call.

BW: You also missed on being on the Piety Street album, too. I saw Scofield around this time and I think it was Ricky Fataar playing drums.

TH: You probably saw their first tour.

BW: I never could figure out how Fataar, not being a New Orleans drummer/musician, got that gig.

TH: Sco wanted a New Orleans drummer but at that time Cleary and Fataar were both in Bonnie Raitt’s band, so you know how that goes sometimes… To be honest I was kind of upset that I didn’t get that call to be a part of the beginnings on Piety. But I was very happy to have eventually gotten the call to join the band. In fact it was very cool. It was a dream for me to work with Sco, he was on my wish list of musicians I wanted to work with. We still stay in touch and hopefully we’ll get to work together again soon. Scofield has done so much work in various genres too [think Miles Davis], plus Warren Haynes’ involvement with the Allman Brothers, these lineages are very significant to me. So it was an incredible experience for me to work with Warren and Scofield in the same year. [2011] Unfortunately I wasn’t on Sco’s or Warren’s radar screens when they originally recorded Piety Street, and Man In Motion, I’d guess you’d say I was second in line.

BW: Or still in the second line!

TH: Right! But I was thrilled to work with both of those bands, and once I got on board I was asked, “Where’ve you been?” So these two projects were very important for my career; I’m very fortunate to having been given these opportunities.

BW: It’s pretty rare that a brass band musician receives opportunities to play in a more rocking unit like Haynes.

TH: These experiences are motivation for me! I am also working on my second album that’s due to come out in the spring.

BW: Oh wow, what was your first album?

TH: My first record came out in 2004. The purpose of doing that album was to break out from what the Dozen was doing. So I incorporated stuff that’s been in my head for a long time like fusion and of course some funk too. I wanted to get outside of the New Orleans vein. It turned out to be a good business card for me as people started to look at me differently.

BW: Different I’m sure from the Dozen who definitely do what they do very well.

TH: Extremely well, but I like to call it “the bubble” they’re into their own world. But let me tell you that I’ve learned so much from the Dozen, they kind of made me who I am as a player. They never said don’t do this or don’t play that, they always encouraged me to do my thing. This allowed me to grow, and I am very appreciative that they let me be like that.

BW: Speaking of diverse, you told me you went on the road with Ani DiFranco, too?

TH: I always dug being eclectic, that’s who I am. Ivan Neville recommended me for Ani’s gigs. Ivan’s always recommending me. He’s had a hand for getting me in with Warren too.

BW: That’s really nice about Ivan. Now that I think of it, I saw you on Imus in the Morning with Warren. You are also a movie star. [laughs]

TH: You saw that? Cool, it’s a great band ,I love being a part of things with Warren. Don Imus loves Warren.

BW: Imus has been kind to a lot of bands, and has live performances on his radio/TV shows regularly. Imus is no youngster, but he just signed on to do three more years, so he’ll be on the air for a while longer. By the way, he still talks about Warren being on the show.

So then you get the call from Tab Benoit.

TH: Tab’s been calling me for years. He kept telling me that I needed to stop playing with them old boys. He’d say, “Come and play in my band.” In fact when he heard I got the gig with Warren, he told Warren that “You’ve got my drummer!” [More laughs] Warren told Tab you can have him because I’m now going on the road with Gov’t Mule. But I’m still technically in Warren’s band, too. But he’s so busy, I’m amazed how he finds the time to do all the things he does. You know, the Allman’s, Phil Lesh & Friends, Mule, and his own Warren Haynes Band. He’s inspiring to me, as what he’s doing is what I’d like to be doing.

BW: How old are you?

TH: I’m forty-two.

BW: Just a baby!

TH: And there are a lot of young kids coming out of New Orleans that can really play, too.

To be continued…

Robert Putignano is a senior contributing editor at BluesWax, a contributing editor at Blues Revue, and the heart and soul of Sounds of Blue.

The Damon Fowler Group

Blind Willie’s

Atlanta, Georgia

February 9, 2013

By Gary Weeks

It might have been a chilly night in Atlanta, Georgia, but the Damon Fowler Group was certainly heating up the nightclub Blind Willie’s with their organic-driven roots music.

It was just down to a simple rhythm section of bassist Chuck Riley and drummer James “Big Country” McKnight. Just having these two musicians alone was enough of an explosive engine room to let guitarist/vocalist Damon Fowler cut loose with music coming straight out of the heart of Americana.

Fowler finely hones his craft of writing strong original material. What sets him apart from his brethren is the choice of cover tunes that reflect his love for country. Rather than trotting out the predictable songbook standards which have become all too commonplace among musicians tearing it up on the club circuit, Fowler dives deep into the chest to unfurl rarely heard musical treasures that are really true country gems.

That kind of exploration with swamp-rock bluesy licks that would even make John Fogerty smile is all the formula Fowler needs to entertain an audience; his guitar work doesn’t rely on effect pedals and fancy gimmickry. His fleet-fingered fretwork is inspiration enough for any guitarist to realize that music like this comes from the soul and doesn’t need make-up to get its point across.

As much as he can make a Les Paul guitar smoke, the real joy was seeing him switch up to lap steel and glass bottleneck slide guitar playing. The slide synthesizes the aspects of Derek Trucks, Warren Haynes, and the late Duane Allman. While Fowler always encourages people to shake their stuff on the dance floor, it wasn’t until he unfurled his original barnyard grind of “Lonely Blues” that filled the dance floor to capacity. His slide fretwork mastery captures him at his strongest blues essence. And sometimes it makes you wonder if Fowler himself met Robert Johnson at the crossroads to get a mojo bag of licks dropped by a black cat in some shotgun shack.

And speaking of Robert Johnson, Fowler had no problems in rocking the Johnson composition “Hot Tamales” up to audience satisfaction and even paying tribute to Hot Tuna by injecting “Keep On Trucking Mama” in some spots. His band was given plenty of solo space when he tackled the other Johnson standard “Rollin And Tumblin,” which was a perfect showcase for Damon’s lap steel slide that danced like a drunken pixie across the strings. Damon’s own “Sugar Lee” was another boogie pleaser that could chase the chickens out of the barn with slide work slathered with enough grease and bourbon that made you feel you were heading home to the Dockery Plantation.

Sure the youngster admits his love for country music and may stray from the blues a bit. But he can come back to it with a force and he did just that when he ended the night with hot lap steel playing on the old Elmore James warhorse “Shake Your Moneymaker,” which couldn’t of ended the night on a better note.

It’s refreshing to see a caliber of a musician to come along as Damon. Not having to rely on the same old clichés that can cause a blues live act to becoming stale, Fowler comes from that corner of Americana where it’s best to discover musical nuggets in its darkest swamps. He seems to have the shovel to dig for them.

Gary Weeks is a contributing writer at BluesWax.