The Jam At Bill's Blues Bar

I haven't been hitting the Tuesday night blues jam at Bill's Blues lately. Late nights combined with early mornings don't work for this 52-year old guy; at least not very often. But I needed to dig up a drummer for my gig on August 11, so I headed down to the club to network. Hey, it was awesome!

My friend Tom Crivellone and his band, Two for the Blues, have been running the jam at Bill's for a while now. It has developed into a bit of a ritual, with regulars and a comfortable vibe. There were some top blues cats hanging out last night - Sammy Fender, Toronzo Cannon, Shoji Naito and several other blues professionals. But it is always the jammers, the less-than-professional musicians that amaze me. A jam can be a "blues school" with the experienced players leading the less experienced, and the results can be surprisingly good. But sometimes a few too many inexperienced players hit the stage at the same time and a train wreck occurs. But that's OK too. Bad music played sincerely beats good music with no heart.

So I got to sit in with Sammy Fender. What a great showman - he kills me!! I got to get this man to play with the Mystery Band some time.

Oh, and I did hire a drummer - the solid and delightful Twist Turner!

Ska at Summerfest

So we ditched Evanston on July 3 to spend a few days in the wilds of Wisconsin. The goal was to catch a ska concert on the 4th of July at the Milwaukee Summerfest. Summerfest is a wild scene, kids. It has been going on for 40 years and the party runs for almost 2 weeks. There is gobs of music, with 4 stages operating simultaneously for 12 hours each day. There is lots of food, too.

My 15 year-old daughter likes the whole ska-punk thing. This is OK with me - ska can be terrific music, requiring considerable skill to perform and full of energy and humor. The headlining ska bands on July 4th were Less Than Jake and Reel Big Fish. Both of these groups started up during the so-called Third Wave of ska, which kicked off in the late `1980's and early 1990's. I have always been fond of Ska because the bands feature horn sections, often with a trombonist as the focal point. As an old slip-horn player, I get off on seeing a trombonist in the spotlight, and the cats can play!

Less Than Jake was a little bit lame - they seemed to be overly fond of dropping "f-bombs" at every opportunity and they broke up their show with a ill-conceived game show parody that was devoted to making fun of fans and touting the awesomeness of the band. Feh. When they quit screwing around and played, they rocked. The trombone dude, Buddy Schaub, was hyperkinetic and talented.

Reel Big Fish was a very talented and cohesive band. Their between-tune patter was less annoying and insulting than the Less Than Jake crew. Their music was considerably more "hooky" and they had more horns - two trumpets and a trombone vs. trombone and tenor sax for Less Than Jake. Reel Big Fish's songs have a great sense of humor - "She's Got a Girlfriend Now" is a hoot, so is "Don't Start a Band." Their biggest hit, I think, was "Sell Out," which actually got some radio play. I learned that the core members of this band attended the University of Hartford (in Hartford CT), which apparently has a terrific music department (who knew?).

The ska-punk scene is interesting. There were hundreds of people jammed into the Harley Davidson Stage at Summerfest; when Reel Big Fish played their tunes, the whole audience (except me) sang along. It was an intense communal concert experience; I haven't seen anything like it in a long time. Of course, I haven't been hitting too many rock concerts in the past 25 years....

My teenage daughter was one of the folks singing along on every song. She was thrilled to be at the concert (but perhaps less than thrilled to have her old man as her companion).

Johnny Frigo, Rest In Peace

Johnny Frigo was my favorite jazz violinist. He lived a long time - 90 years - and he didn't start focusing on the violin until his late 60's (he played mostly bass before that). A stalwart Chicagoan, he remained a local institution even though he could have lit up New York or Paris. Here is the obit from the Washington Post:

Johnny Frigo, 90; Jazz Violinist and Bassist

By Adam Bernstein
Washington Post Staff Writer
Friday, July 6, 2007

Johnny Frigo, 90, a highly respected jazz violinist and
bassist who helped start the Soft Winds Trio and co-wrote
such standards as "Detour Ahead" and "I Told You I Love You,
Now Get Out," died July 4 at Weiss Memorial Hospital in
Chicago. He suffered complications from a fall.

After playing in Jimmy Dorsey's big band, Mr. Frigo formed
the Soft Winds jazz trio in 1947 with two Dorsey colleagues,
guitarist Herb Ellis and pianist Lou Carter.

The Soft Winds was not a major commercial success during its
five-year existence, but the trio recorded many songs and
developed a fine reputation in later years among
aficionados.

The members co-wrote "Detour Ahead" and "I Told You I Love
You, Now Get Out," both of which have been widely performed
by other artists.

In 1969, Mr. Frigo also wrote "Hey, Hey, Holy Mackerel" to
honor the Chicago Cubs during their promising but ultimately
ill-fated championship run that year. Even after the team
lost to the New York Mets, the Frigo tune remained a popular
chant at Cubs games for years.

Mr. Frigo spent much of his career in Chicago, his home
town, as a backup bass player on radio and studio bands as
well as on commercial jingles and in nightclubs, especially
Mister Kelly's. Starting in 1951, he was a fiddler for 13
years on the country radio program "National Barn Dance,"
backed by his band, the Sage Riders.

He accommodated a variety of musical styles, performing with
such strikingly different jazz entertainers as clarinetist
Pee Wee Russell, guitarist Charlie Byrd and bassist Oscar
Pettiford as well as singers Barbra Streisand, Dinah
Washington, Helen Merrill and Mahalia Jackson.

John Virgil Frigo, the son of poor Italian immigrants, was
born Dec. 27, 1916, on the south side of Chicago.

"The ragman would come around every Saturday, and we'd sell
him stuff we'd found in the alley during the week," he told
the Chicago Tribune. "His son played violin, and he gave me
my first lessons."

He taught himself the upright bass to improve his chances of
getting more professional assignments -- and meeting
girls -- during the Depression. After the 1960s, he learned
the electric bass to keep in demand.

As a teenager, he sat in with boogie-woogie pianist Albert
Ammons at the Club DeLisa and also sang at the Drake Hotel
in a group misleadingly called the Four Californians.

His singing career ended abruptly when his voice cracked one
night while in the middle of a high note in the ballad "One
Minute to One." When Mr. Frigo tried to repeat the song the
next night, a bouncer took him by his neck and dragged him
offstage.

One of his more memorable assignments came in 1941, when he
was asked to join the touring big band of movie comedian
Chico Marx, the Marx Brother who specialized in ludicrous
Italian accents.

They worked out a recurring gag where Marx would say, "Aye,
Johnny, bringa da violin down. Do you know 'Gypsy Love
Song?' "

Mr. Frigo: "I don't know the verse; I know the chorus. If
you play the verse, I'll noodle on the violin."

Marx: "Okay, you noodle on the violin, and I'll spaghetti on
the piano."

Decades later, Mr. Frigo called the bit "ridiculous. But,
little by little, it became a good routine. Every theater we
played, it would extend itself. I would play a beautiful
crescendo and slide down, and he'd say, 'You'd better pull
up to a gas stand. You've got a slow leak.' "

During World War II, Mr. Frigo served in the Coast Guard and
formed a band with several others stationed on Ellis Island,
including such leading bebop musicians as pianist Al Haig,
baritone saxophonist Serge Chaloff and trombonist Kai
Winding.

After the war, he spent two years with Dorsey and appeared
in the biographical film "The Fabulous Dorseys" -- about the
rivalry between bandleader brothers Jimmy and Tommy.

As a bandleader, Mr. Frigo recorded one album in his prime,
"I Love Johnny Frigo. . . . He Swings" (1957) featuring his
Soft Winds guitarist Ellis as well as bassist Ray Brown,
pianist Dick Marx and trumpeter Cy Touff.

Although he recorded regularly, Mr. Frigo did not enjoy much
recognition as a leader until the late 1980s, when he
started making several well-received jazz albums that
featured, among others, father-son guitarists Bucky and John
Pizzarelli.

After one of Mr. Frigo's engagements in Southern California,
Los Angeles Times music critic Don Heckman wrote that the
musician "made a convincing case for himself as the premier
violinist in contemporary jazz."

About that time, Mr. Frigo appeared twice playing violin on
"The Tonight Show" with Johnny Carson. When the host asked
why Mr. Frigo waited so long to become famous, he replied,
"Because there won't be enough time left for me to become a
has-been."

In 1995, he orchestrated a Soft Winds reunion on a jazz
cruise aboard the S.S. Norway that included Ellis, Carter
and Washington-area bassist Keter Betts. They subsequently
released the album "Soft Winds Then and Now." Mr. Frigo
remained a vital figure at jazz summits and other musical
gatherings.

His marriage to Dorothy Hachmeister Frigo ended in divorce.

Survivors include his second wife, Brittney Browne of
Chicago; a son from his first marriage, jazz drummer Rick
Frigo of Chicago; a sister; and three grandchildren. A son
from his second marriage, rock guitarist Derek Frigo, died
in 2004 of an apparent drug overdose.

Falling Behind

Ooops.

It has been nearly a month since my last post. My real life is messing up my virtual life - too much going on right now. I have been traveling, gigging, and working. In addition, my eldest daughter just got married last weekend - a very distracting event (but it was a wonderful ceremony and reception). I hope to be back to regular posts later this week.

Thursday Night In Fayetteville AR

I arrived in Fayetteville at about 5 PM on Thursday. The main street near the University of Arkansas campus is Dickson Street. Local people claim that Dickson Street is the center of dining and nightlife in Northwest Arkansas and I think that is correct. I met my clients and dined at Doe's Eat Place, a unique steak joint that also serves beef enchiladas as a house specialty. After a belly-busting meal, we headed to the Hog Haus microbrewery and enjoyed freshly-brewed beer. After the brew was consumed, my clients headed for home, and I headed for Jose's. Things got interesting.

Thursday night is Bike Night on Dickson Street, and there were about 200 or so big cruisers (Harleys, mostly) parked curbside and rolling up and down the strip. Most of the bikers were at Jose's Streetside, a patio and music stage just off Dickson. There was a pretty competent pair of guitarists - Darren and Russ - playing and singing blues and covers of various classic rock tunes (the Doors, Van Morrison, the usual suspects). Sitting in on harmonica was Bob Coleman, a photographer for the local newspaper who plays in a local blues band. He also owns a bad ass chopper. I had a nice chat with Bob; we moaned to each other regarding the sad state of the live music business and how things ain't what they used to be (true, but not an uplifting topic). I headed down the road to George's Majestic Lounge.

Now, the Majestic is a serious venue - big room, big stage, serious sound system, lots of lights. There was a three piece band (guitar, bass and some guy on a drum machine) playing Jimmy Buffet tunes and other "easy listening" music. The players were competent, but the sound reminded me of what you might hear in the lounge at a Holiday Inn in Paducah Kentucky - a bit too much cheese for my taste. The facility is awesome, however - the Majestic was named one of the best college bars in America by Playboy Magazine a few years ago. The joint is in its 80th year of operation!! The Majestic hosts the big acts that pass through - G-Love and Special Sauce, Blues Traveler, Tommy Castro's Blues Review (with Ronnie Baker Brooks and Magic Dick). Very cool!

After my short visit to the Majestic, I hit the hotel and crashed; got up and headed back to Chicago on Friday morning. It turned out to be an interesting weekend - more on this tomorrow....

The Mighty Chromatic Harmonica

About two years ago, I posted an entry dedicated to the mighty chromatic harmonica. I continue to hold this instrument in high regard, and I have been playing it and thinking about it quite a lot recently.

The chromatic lends itself to flashy virtuosity. It lives up to the haromica's nickname - "mouth organ." The chromatic has all the notes in the scale (hence its name) and covers much of the same range as a standard keyboard (64 notes for the 16-hole, "kingsize" chromatic vs. 88 keys on a standard keyboard). You can play sustained chords on the chromatic; you can come up with wailin' split chords that sound a lot like a Hammond B3 in full cry. In the hands of a skilled player, the chrom can handle jazz, blues, soul, rock and classical. The tone of the instrument ranges from sweet to raucous. Listen to Stevie Wonder, followed by George "Harmonica" Smith and you will see what I mean.

I am on the road right now, attending to my real world livlihood. I have tucked my Hering 5264 in my rolling bag. Room # 716 at the Embassy Suites in Birmingham, Alabama was filled with the sound of Mr. G blowing the chromatic last night. No one tried to shoot me, thank goodness. My efforts on the chromatic are still pretty mediocre - I can play the blues in third position (key of D on the C chromatic), but that is about the extent of my skills. I haven't improved very much since I last wrote about the chromatic in May of 2005. I am stuck...

I am between flights now, heading to Fayetteville, Arkansas. I am hoping to find a jam session there - Fayetteville is the home of University of Arkansas, so I might get lucky tonight.

Early Departure - Michael Robinson

I didn't know Michael, but he had a strong reputation as a fine blues and soul guitarist in Chicago. He was alone in his apartment when he died and wasn't discovered for over a week. This aspect of his passing is quite depressing. When your friends or family go missing, check on them, folks.

Here is the obituary from the Gary IN paper:

Michael Robinson, 50, was standout guitarist
(http://www.post-trib.com/news/381260,robinsonobit.article)

May 11, 2007

BY BOB KOSTANCZUK Post-Tribune staff writer


Michael Kevin Robinson was a guitarist who played for standouts in the fields of blues and rhythm and blues.

Robinson, 50, was found dead in his Gary apartment on Saturday. He is believed to have died on Wednesday, May 2, according to his family.

Robinson died of respiratory complications, said his sister, Edith Sheila Robinson-Elane of Chicago.

Known as a polished lead guitarist, Robinson toured extensively with Chicago blues queen Koko Taylor.

"There will never be another Michael Robinson," Taylor said in a prepared statement. "It was a real pleasure to have him as my bandleader and lead guitarist for six years."

Robinson's guitar skills were also utilized by other notables, including Buddy Guy, singer Deniece Williams, the Staple Singers and Earth, Wind & Fire.

"He was a really, really great guitar player," said close friend Ernest Hall of Columbia, Mo. "He was one of the best kept secrets in Gary."

Hall said he graduated with Robinson in 1975 from Emerson High School in Gary.

Robinson toured Europe with the Kinseys -- Gary's first family of blues.

Kenny Kinsey said Robinson was a rhythm guitarist for his clan, which encompassed Lester "Big Daddy" Kinsey and his sons, known as the Kinsey Report.

Now living in Merrillville, Kenny Kinsey remembered Robinson as a musician who studied a respected guitarist.

Robinson leaves behind sons Michael and Edward, and daughter Kawana.

A memorial service is scheduled for 11 a.m. Saturday at St. Luke Baptist Church, 7262 S. Coles Ave., Chicago.

A Carey Bell Story

I am still focused on Carey Bell. I have had his tunes playing on my iPod all week and am impressed all over again with his adventurous work on the chromatic harmonica and his staccato attack on the diatonic harp. I also picked up the following Carey Bell story, posted to the Harp-L newsgroup by Steve Adams:

The last time I saw Carey about a year or so ago. After he had put on an awesome show, it was obvious he wasn't feeling too great, but he was his usual open, friendly, sunny self. After I had visited with him awhile, I told him I wanted to have my picture taken with him. His reply - "Why would you want to do that?" "Because you're the greatest harp player in the world," I responded (and, to me, he was). He looked at me and resolutely replied - "No, I'm not- but I will be, just you wait and see."

How cool is that? This man who had been an integral part of harp development and history since the fifties still had goals and ambitions for improvement, not to mention modesty.

The world has lost a magical harp player and a truly great man.

Steve Adams.

Carey Bell's Obituary

From today's Chicago Tribune:

Carey Bell: 1936 - 2007
Master of blues harmonica

Mississippi-born musician who came to Chicago in 1950s worked with legends such as the Hortons, Muddy Waters and Willie Dixon
By Trevor Jensen
Tribune staff reporter

May 8, 2007

Carey Bell, a Mississippi-born master of the blues harmonica who put a funky twist on lessons learned from legends such as Little Walter and Big Walter Horton, died of heart failure Sunday, May 6, according to Alligator Records.

Mr. Bell, 70, who had diabetes, had been in Kindred Hospital Chicago North for several days before his death, said Bruce Iglauer, president of Alligator, which recorded several of Mr. Bell's albums.

Mr. Bell was a bridge between the post World War II era musicians who created Chicago-style blues and the players of today, Iglauer said. Arriving in Chicago in September 1956 with his godfather, pianist Lovie Lee, Mr. Bell already was an accomplished harmonica player and immersed himself in the local blues scene. He picked up fresh licks from seminal players such as Sonny Boy Williamson II and Little Walter, whom he first saw at the Club Zanzibar on Chicago's West Side.

While playing within a traditional blues style, Mr. Bell's harmonica blew a "whooping flutter and a rapid upper register skitter," that pushed the instrument into fresh territory, said David Whiteis, author of "Chicago Blues: Portraits and Stories."

"Carey took the sounds and tone that was invented by the great players of the '40s and '50s and added a funkier rhythm [and] staccato lines," Iglauer said "He had a huge tone."

As a young player, Mr. Bell was taught to always complete one note before moving on to the next, Iglauer said. To that end, his playing was filled with long, sustained notes that bent and quivered.

"He had his own very individual, very personal style," said Chicago bluesman Billy Branch, who cites Mr. Bell as his main influence. "Carey's pretty much his own, I mean very unique."

Seeking more work in the 1960s, Mr. Bell took up the bass guitar and played with David "Honeyboy" Edwards, Eddie Taylor and Big Walter, according to a biography provided by Alligator. Back on the harp, he recorded for Chicago's Delmark Records, toured and recorded with Muddy Waters and was chosen by Willie Dixon to play with his Chicago Blues All-Stars in the 1970s.

Mr. Bell's virtuosity came through most clearly on the chromatic harmonica, although he was no less adept with the standard blues harp. "I asked him once, 'What do you play when you solo?'" Branch said. "He said, 'You play anything that fits.'"

In 1972 Mr. Bell recorded an album with Big Walter Horton that was Alligator's second release. In 1990 he played on "Harp Attack!" with James Cotton, Junior Wells and Branch. He recorded "Second Nature" in 2004 with his son Lurrie, an accomplished guitarist.

In 1998 Mr. Bell won a W.C. Handy Award for traditional blues male artist of the year.

Mr. Bell was born Carey Bell Harrington in Macon, Miss. He wanted to play saxophone as a boy but family finances limited him to a harmonica. By 13, he was playing paid gigs with his godfather, and at 19 he was off to Chicago, according to Alligator.

Mr. Bell had a low-key stage presence and his playing was more subtle than that of contemporaries such as James Cotton, Whiteis said. He was missing his left front tooth and couldn't play with a false tooth, Iglauer said. So he always appeared onstage with a gap in his grin. "I've hardly ever seen a musician get as much joy out of playing music," Iglauer said.

"He was funny, he'd crack on you," Branch said. "I'd see him and he'd say, 'When you going to learn to play that damn thing?' or, 'You ready to get your head cut" -- getting your "head cut" being musician's lingo for getting blown offstage.

Branch brought his harmonica when he visited Mr. Bell in the hospital Friday night. Mr. Bell was drowsy but perked up when he heard the music, Branch said.

"I did one of his signature licks, and he looked straight at me, like to say, 'You're stealing my stuff again,'" Branch said.

Mr. Bell was married at least twice and is survived by 10 children, Iglauer said. Further family information was not available.

Services were being arranged.

Carey Bell - Correction

This note came from my friend and harmonica freak extreme, "Big Jim" Themelis:

Just to correct your blog Carey Bell had like 9 or 10 solo albums before Alligator. Hope to see you soon. Jim

Sad, Sad Day - Carey Bell Has Sailed Away

I just got the news from Scott Dirks that Carey Bell passed away yesterday - heart failure, probably due to diabetes. Carey was part of the first "post Walter generation" (I am referring to the two Walters - Little Walter Jacobs and Big Walter Horton). Carey was tied in with Junior Wells and James Cotton; only Cotton survives now.

Carey Bell Harrington and I share a birthday - November 14 - but he was born in 1936 (Mr. G is much younger, thank you). He left Macon, Mississippi for Chicago in September 1956. As a young harmonica player, Carey hung out with Little Walter, Rice Miller (Sonny Boy Williamson II) and especially Big Walter Horton. Carey and Big Walter were very tight - Carey taught himself how to play bass guitar so he could play in Big Walter's band. The two harp players also cut a record together in 1972 (on Alligator, the second release by the blues label). After playing bass for several years with folks like Hound Dog Taylor and Johnny Young, Carey switched back to the harmonica exclusively in 1968. He sat in the harmonica chair for Muddy Waters in the early 1970's and ended up on a couple of Muddy's records. He also played harp in Willie Dixon's Chicago Blues All-Stars band in the 1970's. Carey's career as a recorded band leader didn't really kick off until 1995 when he released his first full-length recording as a solo artist ("Deep Down" on Aligator Records).

Carey Bell was a senior member of a great multi-generational blues clan, the Bell/Harrington family. Blues guitarist superstar Eddy "the Chief" Clearwater is Carey's cousin, the great pianist, Lovie Lee, was Carey's godfather. Most of Carey's ten kids play the blues, I think - the best-known is one of my musical heroes, Mr. Lurrie Bell (see my recent entry about Lurrie). Lurrie continues to be recipient of the slings and arrows of bad fortune - his wife, Susan Greenberg, recently passed away, and now his father is gone, too. Carey and Lurrie played together from time to time - Delmark Records recently released a new DVD of a live performance of the father-son duo at Rosa's Lounge in Chicago.

It hurts to lose these harmonica blues giants - Snooky Pryor last year, now Carey. All of the Mississippi Saxophone fraternity is in mourning.

Magic Slim & the Teardrops at Bill's Blues Bar - 5/5/07

Magic Slim doesn't hit Chicago much these days. He moved to Lincoln, Nebraska a few years ago and is not a regular part of the Chicago scene any more. "Why on earth would anyone trade Chicago for Lincoln, Nebraska?" you may be wondering. Believe it or not, Lincoln is a terrific place. I have been to Lincoln and it is a college town (University of Nebraska) and it is home to one of the finest blues clubs in the world - the Zoo Bar. Because of the Zoo, many bluesmen from around the nation put Lincoln on their itinerary when running cross country tours (Lincoln is right off of Interstate 80, 570 miles from Chicago). Slim decided he liked the town and the club, so he shifted his base.

Magic Slim's "birth name" is Morris Holt. He is one of the last of the Delta-to-Chicago blues guys - born in 1937, moved to Chicago in 1955, came into the blues scene as a leader in 1967. When he was a young man, he was tall and slender - he was given the nickname "Magic Slim" by the legendary Magic Sam (Slim used to play bass in Magic Sam's group). Well, Magic Slim is still tall - I would estimate six foot seven inches - but he isn't slender anymore. He is a big fella - somewhere over 300 pounds, I think. This makes him an imposing presence on the bandstand. He occassionally channels Howlin' Wolf - the size, the feral noises, the whole deal. It is pretty interesting to watch.

I have the good fortune to be acquainted with Jon McDonald, one of the Teardrops. Jon plays rhythm guitar behind Slim and acts as road manager (announces the star, leads the band for a few tunes before Slim gets up to play, sells the CD's during breaks, etc.). Jon is a fabulous guitarist - he played a show with the Mystery Band last summer. He is also a very intelligent person, and deeply into the blues and all of its related musical forms. He, too, is a former Chicagoan - Jon recently headed west and now lives near Palm Springs CA. It was great to see Jon again. He seems very dedicated to Slim.

Magic Slim plays "meat and potatoes" blues - hard-grooving shuffles, blues-flavored funk and slow blues grinders. Most of his tunes are in the keys of A or E. His singing voice is powerful even though he is about 70 years old. Slim's musical range is limited, but within that range, he speaks volumes. I can't think of anyone that is doing a better job of laying down that post-WWII electric Chicago blues. He gets the crowd involved - Bill's Blues was full on Saturday and there was dancing and shouting going on. Magic Slim and the Teardrops is real and pure - a must-see for all people interested in American roots music.

Anthony (Tony) Palmer - The Fret Burner

Anthony Palmer is an astounding guitarist. He has an incredible memory for music, he has blistering technique, he pours all the love, hate, blood and sweat of human existance through his guitar and amp into the world. His nickname (bestowed by Jimmy Burns) is "the Fret Burner."

If there was true justice in the world, Tony would be rich and famous. But he doesn't seem to be the least bit disappointed with the outcome of his efforts. Mr. Palmer is proud to be a sideman; he doesn't lead a band and he doesn't stand up and sing (even though he possesses a fine voice). He supports Jimmy Burns, Katherine Davis, Matt Skoller, Byther Smith and even me, Mr. G. In the past, Tony supported Otis Rush, Joanna Connor, Sugar Blue and Bobby Rush. Tony has said to me, "I want to build a platform for the front guy. I want to lift him up and make things better." This type of unselfish approach isn't common with musicians that have Tony's skills and creativity. So Tony gets a lot of work - a typical week for him could include 6 or even 7 gigs. You can get a great example of Tony Palmer's work by picking up a copy of the Jimmy Burns Band CD/DVD - "Live at B.L.U.E.S." It is a fine piece of work - Jimmy was fabulous, and Tony was in top form.

Tony is a Chicago guy, West Side. He came up with cats like Michael Coleman and Melvin Taylor. He has been on the road for much of his adult life - Europe, Asia, all over the US and Canada. He isn't traveling as much as he used to - his gigs are mostly in the Chicago area. And he has settled in Evanston IL - he is my neighbor, I am proud to say.

Try to get out to see Tony Palmer. He will be playing with Jimmy Burns at the Harlem Avenue Lounge in Berwyn on May 19, and he will be playing with me in the Mystery Band at the Morseland Cafe in Chicago on May 26.

Lurrie Bell at Bill's Blues Bar - 4/28/07

It is always exciting to hear the great guitarist, Lurrie Bell, fronting a band. His pedigree is formidable (son of the great blues harp master, Carey Bell), his life story is about fighting through tremendous difficulties and adversity (addiction, death of his twin children and his wife). He has lived the blues, and his heart is large, large.

But at Bill's Blues last Saturday, the band wasn't "Lurrie and a supporting cast." The band included Carlos Johnson on guitar, Nick Charles on bass and Kenny Smith on drums. These guys are in the top echelon of blues players nationwide. Kenny is the son of Willie "Big Eyes" Smith, Muddy Waters' last drummer. Nick Charles has backed up all the major blues stars, from Howlin' Wolf to Billy Branch. And Carlos Johnson - he plays the old-fashion way, using his thumb and fingers - no picks, man. Here is a snapshot of the Awesome Carlos:



Well, with this line up, the music was intense. Lurrie and Carlos traded off leads. Lurrie was muscular and focused on the blues scale; Carlos was more subtle and had jazz flavors to some of his licks. Carlos is also a very skillful rhythm guitarist - his back-up work amazed me. These four artists turned traditional electric Chicago blues into an intensely beautiful and varied musical form. Oh, it was a peak experience for a blues junkie like me.

And Matthew Skoller showed up, too. Matt is a fine harmonica player who has worked with Lurrie and his sidemen on many occasions - Matt's band is one of the top working blues bands in Chicago (and the world). Matt is also the producer on Lurrie's newest CD, which Lurrie just finished recording last week. I admire Matt - he is fighting the good fight, making a living as a blues harmonica player (which takes a lot of determination and courage). So Matt sat in with Lurrie and the band. Unfortunately, that didn't work out so well. The soundman kept trying to adjust the volume on the house mic Matt was using (he was blowing through the PA system). This annoyed Matt and he finally made a string of angry comments and stomped off the bandstand. I understood his frustration (as a harp player, I have been murdered many times by overly-helpful soundmen). But I think the display of irritation on Matt's part detracted from the joy of the gig. I had to leave while Matt was going through his mini-rant to keep the bad vibes from overwhelming the glorious music that Lurrie and company had laid down. Anger on the bandstand is a real downer for the audience - even if that anger is wholly justified.

Back to Big D

I was back in Dallas earlier this week, chasing deals. Spring in the Dallas - Fort Worth area is tornado season, and there were many funnel cloud sightings, heavy rains and scads of thunder and lightning during my visit. It is a bit off-putting to hear the tornado warning on the radio as you are driving through heavy rains... "Tornado warning for the Fort Worth area until 4 pm. Take cover immediately. If you cannot find a tornado shelter, find a ditch and lay flat in it until the all clear signal." Hmmm....if I am lying flat in a ditch, is it likely that I will have access to a radio to hear that all-clear signal? I think not.

Tuesday was a busy day, but I brought my harmonicas with me and wanted to play Tuesday night. I found a jam at the Mardi Gras Cafe'. This place is on the ground floor of an office tower right along Interstate 35E. I drove out in the pouring rain to find the joint; finally located it after passing it up three or four times. I dashed through the parking lot in a downpour, pulled open the door to find - an empty club. There were a handful of musicians (mostly African American guys), and one bartender there. The jam band was into classic soul tunes - old Stevie Wonder, the Temps, and so on. The keyboard player switched to drums; another keyboard player stepped up, a very young college kid played bass and the main singer played passable guitar. So I sat in for a few tunes, had a few laughs, and headed back to the hotel. As I reflect on the jam, I think it was pretty cool - no one there except musicians (and damn few of them), lots of space to play, and no competition or silliness on the bandstand. Plus, the players had some skill and grit.

I will be back at the Mardi Gras when I return to Dallas.

More on Guns

I made my case yesterday for gun control as a way to deny the means of mass murder to people like Cho Seung-Hui. The outlook for serious gun control laws in the United States is really poor. There are over 200 million guns in private hands in our country. Political reality will probably stop any gun control crusade. So how to prevent the next massacre?

Today's Op-Ed page of the Wall Street Journal has some suggestions:

"Restore cultural taboos that once served as constraints on anti-social behavior." What a great idea! Just how do we do that? How do we get the evil spirits back into Pandora's Box? Be real, man!

"Allowing the government,on the say-so of a panel of psychiatrists,to lock up indefinitely someone judged to be suffering from a dangerous, severe personality disorder." Ummmmm.....pretty tough to implement this without trampling on civil liberties - how can we jail people based on the opinions of some shrinks? It isn't like psychiatry is an exact science, that insane violent outbursts can be forecast for indiviual mentally ill people. I wouldn't want the government and the medical community to have this power.

"Eliminate 'gun-free zones;' train and arm responsible adults (like teachers or retail store managers) so shooters would face immediate retaliation when they attack." Hmmmm. While this idea makes me queasy, it is the best concept presented on the WSJ's Op-Ed page. David Kopel pointed out in his piece that an off-duty police officer in Ogden, Utah stopped a mass murderer (the 18-year old Bosnian Muslim, Sulejman Talovic) in February of this year at the Trolley Square mall (a "gun-free zone"), thus limiting the shooter's body count to 5 dead shoppers. Now, Koppel is a controversial figure and notoriously pro-gun/anti-regulation, but he does have a point. Armed, trained people in the form of air marshalls are deployed to stop hijackings of aircraft. So maybe part of the answer to "too many guns in the hands of insane people" could be be "more guns in the hands of sane people." Extensive training, psychological testing and careful controls could allow this concept to co-exist with tighter controls on general gun sales.

One thing is clear - there are more Cho Seung-Hui's among us. They will strike again.

Guns

The insane acts of Cho Sueng-Hui at Virginia Tech would have been hard to prevent. There is a rush to blame the police, or the university officials, but the only guilty party is the shooter. If an individual has the motivation and the means, it is pretty easy to kill a bunch of people in our open society. Cho Sueng-Hui had slipped through the cracks - he was aparently very quiet, his sickness didn't show, he had no criminal record. He was a terrorist with a cause rooted in mental illness.

It was impossible to detect the shooter's motivation; no one can feel guilty about missing this guy's sick mind. But the ease with which he obtained the means of mass murder is something that should make us feel guilty. We have too many dysfunctional people around. We shouldn't be selling guns to anyone who walks into a store and passes a background check. Why do we need all these guns? The mayhem that passes for daily life in this great country is fueled by gunplay. And gun violence is glorified in the popular culture. We get back what we pump out.

If Cho Sueng-Hui had been unable to buy the 9mm Glock and the 22mm Walther, he may still have killed. But the firepower allowed him to kill more efficiently and impulsively. We have to eliminate guns as a legitimate consumer product, place extreme restriction on the sale and posession of these weapons. Eliminating guns won't reduce the number of folks with motivation, but it will make it tougher for those folks to obtain the means.

Thanks, Ray

So Kurt Vonnegut has passed. He is one of those rare people who identified the central dilemma - how to fight the battle to be happy and sane when so many sad, insane events are against you.

The answer for me is always music. And to me, the finest music is Ray Charles singing a great song. I went looking for Ray to find some comfort. Here is what I found.

Thanks, Ray. We miss you, Brother.

Good Bye, Mr. Vonnegut

"Hello, babies. Welcome to Earth. It's hot in the summer and cold in the winter. It's round and wet and crowded. At the outside, babies, you've got about a hundred years here. There's only one rule that I know of, babies -- 'God damn it, you've got to be kind.' "

-- From "God Bless You, Mr. Rosewater," Kurt Vonnegut, 1922-2007

Santa Fe

Loretto Chapel, Santa Fe New Mexico






The Evanston IL branch of the G clan headed west to visit the eldest offspring and only son of Mr. G. Ben has settled in Santa Fe, New Mexico with his girlfriend, Bianca. She is a native Santa Fean, and her parents live in the city.

Santa Fe is one of the most unusual places in America. It is not a large city - around 70,000 residents - yet it attracts between 1 and 2 million visitors each year. Oceans of wealth have flooded the city, generated by the tourist tsunami. Whenever this happens to a smaller city, the outcome is mixed. Santa Fe's median home price is over 50% higher than the US average; the median family income is a tad lower than the US average. Property taxes are marching upward. Long-time homeowners of modest means are struggling to pay the taxman. Wealthier homeowners are pressuring for more amenities and neighborhoods are changing for the better in many ways (better schools, parks, etc.), and for the worse in other ways (poorer residents forced out, more fences and gated communities, etc.). There are scads of art galleries, high-end shopping destinations, luxury accomodations and other trappings to encourage well-heeled visitors to part with their cash. The official unemployment rate is low; apocryphal evidence suggests that many folks are under-employed and struggling to cover the costs of living in such a popular town. The population has grown at a slower pace than the number of housing units; many of the new homes are owned by non-residents that visit for relatively brief periods.

Santa Fe is one of the oldest cities in the United States and has a long history. The town is a mix of Native American, Spanish, Mexican, and European-American influences.

In spite of its cachet as a spot for movie stars and the rich & famous, Santa Fe retains an undercurrent of edginess. My son, Ben, has found interesting things to do in the town. From African drumming/dance classes to winter snowshoeing expeditions in the mountains, Santa Fe accommodates Ben's broad range of interests. Ben and Bianca are thrifty, hard-working and resourceful, so they are doing well in spite of the high cost of living in Santa Fe. During our visit to the city, we hung out at Ten Thousand Waves, a terrific Japanese spa in the mountains above Santa Fe. My womenfolk loved it. Ben and I went on an excellent hike in the mountains among the aspen groves and rushing streams swollen with snowmelt.

There is a blues joint in Santa Fe - Willies Blues Bar - but I missed the Monday night blues jam. Santa Fe is famous for the Santa Fe Opera and there is a solid symphony orchestra. Lots of country music and tejano music, but not much blues or jazz. The town has excellent public radio stations that cover a broad range of musical genres.

We will be back to Santa Fe.