It Must Be the Blues
Brent Bennett Music
Bookends from the Soul
The summer crop of new CDs brought solid new offerings from three strong singer/songwriter/guitarists in the Central Indiana region. All are steeped in the blues, although, as they show on these new CDs, they are each comfortable and convincing in other genres as well. Below are three thumbnail sketches of the new summer CDs from Brent Bennett, Fast Johnny and Jethro Easyfields.
08.20.42 - 08.10.08
01.10.17 - 08.15. 08
Two of the greats of soul, R&B, recently died within five days of each other. Isaac Hayes, as close to a one-man definition of soul music for the late 1960s and early 1970s as one gets, died Aug. 10. He was 65.
Five days later, one of the greatest soul, R&B and blues record producers of all time, Jerry Wexler, passed on also, at age 91. The passing of both leaves a hole in the soul of the music they both cherished and did so much to nurture and develop. "The Sky Is Cryin'" indeed, as Elmore James, Albert King and Stevie Ray Vaughan all told us in song earlier.
But this end is just the beginning, for the magnificent legacies both men left. So it's appropriate to exult with the late Little Milton also, "The Blues Is Alright." The blues masters come and go, but the blues -- and its babies, rock, soul, R&B, live on, and on, and on!
Emanuel Young with Howard Glazer and the EL 34s
Live in Detroit
recorded live at The Halligan Bar, Detroit, Michigan
Random Chance RCD-35
Howard Glazer and the EL 34s
Liquor Store Legend
Random Chance RCD33
Detroit blues vocalist/guitarist Emanuel Young is described in the short biography included on the sleeve notes to Live in Detroit as a "living Detroit legend." He's been playing the blues in the Motor City since the end of the 1950s and held one of the longest runs in Detroit musical history as host of blues night at Cooley's Lounge from 1978 until the place closed in 2005.
He's played with many of the greats of Detroit blues, including a year-and-a-half stint with John Lee Hooker, and has also played with Albert King, Jimmy Reed and Martha Reeves, lead singer with the Motown soul group Martha and the Vandellas.
The Blues Experience with Cash McCall
The Vintage Room
Dixon Landing Music
The Michael Packer Blues Band
Random Chance RCD-34
Blues Lights for Yours and Mine
Three solid electric bands here give us the blues as expressed in the characteristic sound of their respective cities. The Blues Experience with Cash McCall lays down the classic Chicago blues, while New York City's Michael Packer Blues Band delivers the blues as influenced by the polyglot musical influences of the Big Apple, and Davis Coen serves up the spicy blues gumbo of New Orleans.
Webb Wilder and the Beatnecks
Born to be Wilder
recorded live at WorkPlay,
Blind Pig Records BPCD 5120
Deliveries After Dark
Blind Pig Records BPCD 5121
Jimmy McGriff -- 04.03.36-05.24.08
Seminal jazz organist Jimmy McGriff died Saturday, May 24, 2008, of apparent heart failure. He was 72. He had been diagnosed with multiple sclerosis a few years earlier.
One of the giants of the Hammond B-3 organ, McGriff was mostly known as a jazz musician, even though he always considered himself first and foremost a bluesman. Indeed, his numerous jazz records always had a funky, bluesy edge to them. Comparing himself to another great jazz organist, Jimmy Smith, McGriff once said, "Jimmy Smith is the jazz king on the organ, but when it comes to blues, I can do things where he can't touch me."
Another strong influence on his playing was the Black church. As he stated in a biography posted on All About Jazz, www.allaboutjazz.com, "They talk about who taught me this and who taught me that, but the basic idea of what I'm doing on the organ came from the church. That's how I got it, and I just never dropped it."
April 9 was the 11th anniversary of the death of Yank Rachell, one of the true legends of the blues, who lived in Indianapolis from 1956 until his death in 1997. He was especially known as the "Blues Mandolin Man," not only because he played this little-used instrument for the blues, but also because he was one of the true masters of the blues mandolin, with masterful folk musicians such as Rich DelGrosso and Ry Cooder devoted to studying and teaching his particular way of playing.
Which was unique for two reasons: first, he was entirely self-taught, and second, he developed his own particular way of playing the mandolin that emphasized playing the along the melody line of the song and not the more common way of strumming the instrument to the chord patterns.
While playing the blues on the mandolin produces a most compelling, haunting, indeed beautiful sound, the number of significant blues players on this instrument number fewer than 10. Among those at the very, very top was Rachell.
It's good to be back in the saddle again! Recurring viral infections have kept me away from my computer keyboard, so that this is my first "Blues and More" column since Feb. 24. I'm happy to be able to devote it to another top regional blues-based group, Indianapolis's Stone Martin Band, same as I had the honorable pleasure of devoting my Feb. 9 column to Mike Milligan and Steam Shovel.
The Stone Martin Band describes itself as an "eclectic, blues-oriented show band" whose repertoire not only includes modern blues, but also ample soul and funk, and blues classics from the 1940s and early 1950s revamped in contemporary blues and blues-rock arrangements, a la Buddy Guy, Albert King and Stevie Ray Vaughan. Covered material ranges from Muddy Waters to James Brown, and also includes band originals.
Two recent benefits for members of Indianapolis's blues community were three positive things: 1.) an outpouring of solidarity and compassion for "its own" when they developed major medical problems (and corresponding expenses); 2.) significant and helpful philanthropic fundraisers; and 3.) outstanding displays of blues talent and musicianship. They were displays of Indianapolis's blues community at its best, outpourings of love, artistry and devotion from fans and artists alike.
I drove to the Musical Arts Center (MAC) last Friday evening with high expectations. I walked out several hours later disappointed.
My disappointment had little to do with the show itself. A Wedding, Pulitzer Prize winning-composer William Bolcom's adaptation of Robert Altman's 1978 film about a high-society wedding, was first staged at the Lyric Opera of Chicago in 2004. It's Bolcom's third project with IU Opera Theater. His other collegiate premieres, McTeague (1996) and A View from the Bridge (2005), achieved critical acclaim with IU Opera Theater.
Overall, it was enjoyable, and even though the supertitles ruined every single joke for me, I laughed often thanks to the performers' talent and execution.