One of my favorite jazz trumpeters of the swing era is Henry 'Red' Allen. Son of a legendary Brass Band leader, he first came to notice as part of Luis Russell's Band with whom he made some memorable recordings. He was also in Fletcher Henderson's Big Band in the thirties and later formed a small group similar to Louis Jordan. In the fifties, until his passing in 1967, he played predominantly in a trad jazz vein.
Here he is with Luis Russell's Big band where he is featured on trumpet on "Jersey Lightning." Pops Foster is on bass and J.C. Higginbotham on trombone.
Here is a fabulous recording with Red Allen's trumpet the highlight along with Coleman Hawkins in "Queer Notions" from Fletcher Henderson.
Later in the Mills Rhythm Band, they recorded this feature for Red Allen, "Ride Red Ride," which he would record numerous times including with Coleman Hawkins on a 1957 RCA Victor album.
The first time I heard Red Allen was listening to Phil Schaap over WKCR on Saturday Nights when he opened with "The Crawl." This was simply a stunning jump blues and we have a soundie of them performing this.
Finally, we find him in a swing-trad vein from the classic television show "The Sound of Jazz" performing "Rosetta." Besides Coleman Hawkins and Pee Wee Russell, there is Vic Dickenson on trombone, Rex Stewart on cornet, Jo Jones on drums, Danny Barker on guitar, Milt Hinton on bass and Nat Pierce on piano.
I could easily have chosen many more tunes by him. There is such joy in Red Allen's playing and his music is well worth sampling.
Tomorrow, August 4, will be the 118th Anniversary of Louis Armstrong. Tomorrow radio station WKCR (wkcr.org) will be broadcasting 24 hours of his music. Today I present a short playlist of Satchmo's music.
First up is the Fats Waller-Andy Razaf song reflecting on race in America, "(What Did I Do To Be So) Black and Blue."
Louis Armstrong first recorded ("I'll Be Glad When You're Dead) You Rascal You" in 1931. It was one of several versions he would record over the years. I have chosen the duet he recorded with Louis Jordan in 1950, when both of them were among Decca Records biggest stars.
In the 1920s Louis recorded with so many of the great early blues singers. I have chosen the late Sippie Wallace with her brother HersalThomas on piano and Louis Armstrong on cornet or trumpet doing "Jack Of Diamond Blues."
Here is the original recording of Louis Armstrong performing "When theSaints Go Marching In."
Now we go back to the Hot Five Days for another classic, "Heebie Jeebies."
For Norman Granz, Louis and Ella Fitzgerald recorded many duets. Here is "Summertime" from their grand "Porgy & Bess" album.
In the 1950s, Louis had the opportunity to revisit his early days an record a musical autobiography. Here he performs "Georgia Grind."
Here is an early recording of him performing "I Ain't Got Nobody" with a band that included Luis Russell on piano. He would later take over Russell's big band in the 1930s.
Hoagy Carmichael and Fats Waller were likely the two songwriters that Louis recorded more than others. Here he is performing "Stardust."
Finally we conclude with a late recording of his that has become one of his most remembered recordings "What a Wonderful World."
That's it. Again do not forget to tune in WKCR on Sunday.
Various Artists Ann Arbor Blues Festival 1969 Third Man Records
To celebrate the 50th Anniversary of the legendary Ann Arbor Blues Festival in 1969, Third Man Records has issued a both LP and CD releases. They collect 24 songs by such blues legends as Howlin' Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin' Hopkins, Pinetop Perkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. This release is the first-ever release of music recorded live at this landmark event, except the Magic Sam track that was issued on Delmark.
John Fishel recorded the Festival except for Son House's performance which Jeff Todd Titon did. In the accompanying book to the deluxe LP edition (I am not sure what is included with the CDs), it is stated "These recordings were stored in Jim Fishel's basement and have remained largely unheard for 50 years. In preparing this compilation, we treated the original tapes to an all-analog restoration process – including speed correction and equalization – prior to digitization. However, these are field recordings in the literal sense of the term: audience chatter is audible and there are some technical problems that proved difficult to fix. Every effort has been made to improve the sound without sacrificing the integrity of the performances." In other words, these may not be the highest fidelity, but as good as one is likely to be able to get. Listening through headphones may be the best way to enjoy this music.
The two Ann Arbor Blues Festivals (the second one held in 1970) were signature events. All the succeeding blues festivals pale in comparison to these line-ups full of artists who are in the Blues Hall of Fame in Memphis. There is a broad range of blues performances presented although there is a strong Chicago blues focus. The Chicago blues focus includes Howlin' Wolf, Muddy Waters, James Cotton, Magic Sam, Junior Wells, Pinetop Perkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, and Charlie Musselwhite. Freddie King is not included at the request of the estate. At the request of the family, the Otis Rush performance is from a preview of the 1970 Festival. There are down-home performances from Roosevelt Sykes, Lightnin' Hopkins, Son House, Arthur Crudup, Big Joe Williams, and Shirley Griffith. Sleepy John Estes and Yank Rachell performed, but the tape for it was lost. Clifton Chenier is accompanied solely by his accordion.
Despite any audio blemishes, the music here is often spectacular starting with Roosevelt Sykes opening with "Dirty Mother For You." He humorously wondered how he got by the censors when Decca issued the original 78. Sykes was in great form here. Arthur Crudup sounded fine singing "So Glad You're Mine," It was followed by the blistering slide guitar of J.B. Hutto on "Too Much Alcohol," and then Jimmy Dawkins' driving rendition "I Wonder Why." With Lefty Dizz on guitar, Junior Wells does a rousing "Help Me (A Tribute To Sonny Boy Williamson)." B.B. King (with Onzy Matthews on organ and Sonny Freeman on drums) is terrific on "I've Got A Mind To Give Up Living." B.B. King requested Mississippi Fred McDowell play "John Henry," resulting in a terrific performance in McDowell's rhythmically charged style.
Pinetop Perkins had recently joined Muddy Waters' band when he performed a rousing rendition of "Pinetop's Boogie Woogie." Members of Muddy's band backed him. Luther Allison may have been the most significant discovery of Ann Arbor, and his medley of "Everybody Must Suffer/Stone Crazy," is outstanding. I had a chance to see Luther at an Ann Arbor Blues Festival benefit concert a few months later, and it was a revelation. On "Tu m' as promis l'amour (You Promised Me Love)," Clifton Chenier shows he does not need backing musician in delivering a superb blues in French. Howlin' Wolf's rendition of "Hard Luck Blues," is an extended performance with Hubert Sumlin playing brilliant guitar. Wolf's band included Lucky Lopez on guitar, Bobby Fields on sax, and Calvin' Fuzz' Jones on bass. Otis Rush tears through "So Many Roads, So Many Trains," with Ernest Gatewood on bass and Sam Lay on drums. These performances are on Vol. 1, which is also split into two LPs.
Muddy Waters was impressive with "Long Distance Call" with its fattening frogs for snakes ending. This was a typical set opener for him at the time and opens Vol. 2 (also on 2 LPs). His band included Paul Oscher on harmonica, Pinetop Perkins on piano, Sammy Lawhown and Pee Wee Madison on guitars, Sonny Wimberly on bass and Willie' Big Eyes' Smith on drums. Charlie Musselwhite follows with a terrific instrumental, "Movin' and Groovin'," which also includes some spectacular lap steel guitar from Freddie Roulette, and piano from Skip Rose on piano. His band also included Louis Myers on guitar, Dave Myers on bass and Fred Below on drums. It is followed by Magic Sam's "I Feel So Good (I Wanna Boogie)." Shirley Griffith reworked the Billy Eckstine-Earl Hines classic "Jelly Jelly Blues" into a solo blues.
Mojo Elem may be best known as Luther Allison's bass player. Here he delivers a rollicking rendition of J.B. Lenoir's "Mojo Boogie," with Luther Allison playing some boogie chords while Elem sings in a high tenor. T-Bone Walker, with Luther Allison's band, follows with a terrific lengthy, "Call It Stormy Monday." Allison trades guitar licks with Walker plus sings a line or two as well. Walker also plays guitar on Big Mama Thornton's terrific "Ball and Chain." After Big Joe Williams' propulsive delta blues "Juanita," Sam Lay does a solid "Key To The Highway," with Luther Tucker on guitar and Jeff Carp on harmonica.
Lay's band also backs Lightnin' Hopkins who complains about folks at the Festival messing around with mojos before launching into a rollicking "Mojo Hand." While titled "Off the Wall," James Cotton's energizing instrumental is the same song he recorded as "The Creeper," It displays his fabulous harmonica and showmanship. Son House's "Death Letter" is the closing performance. I believe Freddie King may have closed the Festival, but one wonders how anyone (even King) could follow the baring of the soul in Son's riveting performance.
John Fishel recollects in the book, "Shortly after the Festival, I started college at the University of Miami. As luck would have it, James Cotton came to town a few months later for a performance, and I was assigned to interview him for the local underground newspaper. I asked him what he thought about what had happened in Ann Arbor: 'Oh man, I think that's the best festival I ever went to in my life! Everybody was just ready for it." After 50 years, I can still say that's the case for me. I hope you're ready for it too and that these performances prove as revelatory today, inspiring a new generation of blues listeners, musicians, scholars, and fans. That's the legacy of the 1969 Ann Arbor Blues Festival." That legacy is handsomely documented here.
I mentioned there is an accompanying book and the packaging includes many photos, an appreciation of the Festival and the story of the Festival, performer biographies with suggested further listening, and information on the artists and their accompanying musicians. One would be hard-pressed to think of a more significant historical blues release than this one. Get a copy for yourself and then get another as a gift for the blues lover in your holiday gift list.
I received a download to review from a publicist. This historic package is being released today, the 50th Anniversary of the Ann Arbor Blues Festival. For more information visit https://thirdmanstore.com/records. Here is a promo video for this package.
Mighty Mike Schermer Bad Tattoo Firedog Records/VizzTone Label Group
This is Mighty Mike's latest release featuring a dozen songs finding the singer-guitarist-songwriter at the Greaseland Studios with guest stars including Chris Cain, Rick Estrin, Aki Kumar, Jim Pugh, Nancy Wright, Billy Price, and others! He has been a guitarist with Marcia Ball since 2009 and before that worked with Elvin Bishop, Maria Muldaur, Angela Strehli, Bonnie Raitt, Howard Tate, Charlie Musselwhite, and Sista Monica amongst others. The core band on this CD is Schermer, guitar, and vocals; Steve Ehrmann, bass; Paul Revelli, drums; and Austin Delone, organ. Two tracks have a horn section of Eric Bernhardt, baritone and tenor saxophones; and Nancy Wright, tenor saxophone. Jim Pugh sits in on organ on three tracks while one song, “Ain’t That The Way Love Goes?” includes a different band with Jim Pugh, Chris Cain on electric piano, and a rhythm section of Kid Andersen, bass; and Alex Pettersen, drums. Cain also contributes guitar on one selection while Billy Price contributes a backing vocal. Schermer wrote or co-wrote all of the songs.
This is a solidly recorded and played CD. Schmerer is more striking as a guitarist than a singer but his somewhat light, plain singing I find quite listenable and honestly delivered. And his songs are solid idiomatic ones starting with the opening "She Won't Be Coming Back," with a groove, melody, and horns evocative of Little Walters "Up the Line." Then there is the amusing "Lover's Hall of Fame" about a relationship gone sour as he tells his ex that she's not on the ballot for the Lover's Hall of Fame. The Farfisa organ on "How Much Longer" gives it a feel of a beach club dance song in the sixties, while the title track is a relaxed jump blues as he sings about a tattoo about some other dude that she tries to hide. Besides his appealing singer, there is some sharp guitar akin to sixties Johnny 'Guitar' Watson as well as nice supportive horns including a booting tenor sax solo. There is a soulful "Ain't That the Way Love Goes," with a backing vocal chorus, and a "Baby Down the Well," with pounding piano, Rick Estrin's harmonica and a jackhammer groove.
"Hey Francine," a country-rockabilly tinged song is perhaps the weakest vocal here. It is well played like the rest of this recording. Schmerer has put together a strong backing ensemble with solid contributions from his friends. Add well-crafted originals, and one has a very engaging recording.
I received my reviewe copy from VizzTone. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384), although I have made minor stylistic changes. Here is a video of him covering Latimore's "Let's Straighten It Out."
Simone Kopmajer
Spotlight On Jazz
Lucky Mojo Blues
This recording is the 13th album by Simone Kopmajer, an Austrian born vocalist, who has developed an international reputation. Kopmajer is accompanied by tenor-saxophonist Terry Myers, guitarist Martin Spitzer, pianist Paul Urbanek, bassist Karl Sayer, and drummer Reinhardt Winkler. The songs include six standards and seven originals (by Kopmajer, Myers and Urbanek).
Kopmajer impresses listeners with her vocals clarity, her musicality, the purity of her tone, her phrasing and her clean diction. It also helps to have a solid swinging band handle a variety of material that includes a swinging "Pennies From Heaven," and a delicate rendition of "Poinciana." Other songs includethe is a second-line strut on "Struttin' With Some Barbecue." Drummer Winkler struts onhis solo while clarinetist Meyers is superb in his accompaniment and solo. Kopmajer is quite charming on "Exactly Like You" with a gentle vocal and playful scatting. Myers again is heard on clarinet.
Myers' tenor sax is marvelous on the swinging "Stompin' at the Savoy," and displays considerable warmth on "A Gift From Buddy," a ballad Kopmajer and Myers wrote. The swinging "We're Goin' In," has strong guitar from Spitzer and terrific piano by Urbanek. The playful, mostly wordless, singing on "Dig That Riff," is also heard as a remixed bonus track. Simone Kopmajer and her marvelous band deserve kudos from an engaging and charming vocal jazz recording.
I received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have made minor changes. Here is a video of he performing.
This is the 4th album by the Nashville based singer-harmonica player-songwriter. I found his prior album "If You Want A Good Woman," to be a "rollicking set of blues and rockers." Like that recording, this was recorded by Kevin McKendree (and his son Yates) at McKendree's The Rock House studio. While Tom West plays keyboards on most of this, McKendree also adds keyboards to several selections. Robert Frahm handles most of the guitar here with Tom Britt playing slide on a couple of selections. Steve Mackey on bass and Tom Bruno round out this fine studio band with Wendy Moten on backup vocals.
"Drinking For Two" is the first song with a driving, second-line groove and Gartland's world-weary vocals and full-bodied harmonica, McKendree's piano and Britt's slide guitar. Gartland is a limited, straight-forward singer although with a modest vocal range. His harmonica playing has a fat-tone and he plays with plenty of drive and swing. His backing is first-rate with a solid rhythm section. Robert Frahm, who I saw when he lived in the Washington DC area, displays his chops with a crisp solo on "Don't Make No Trouble." This song also displays his ability to craft songs with memorable hooks. There is also plenty of variety in the songs including the country-soul flavor of "Blues For Free," the rollicking of "Can't Paint a Prettier Picture," with its Chuck Berry feel, with Tom West channeling Johnnie Johnson and Frahm channeling Berry while trading fours with the leader's harmonica.
The title track is a lovely lament with a slight Tex-Mex accent and atmospheric chromatic harmonica. Frahm's tremolo-laced guitar and West's organ lend a swampy tone to "Walk On" with co-writer Ray Desilvis contributing an effective backing vocal. The variety here is also displayed by the reggae groove employed for "Why Does The Room Begin to Sway?" One can suggest that the use of a reggae groove certainly would be welcome in more blues performances and recordings, but it remains rare.
While Gartland may have limitations as a singer, he remains a capable vocalist. He writes intriguing songs, is a distinct harmonica player and is accompanied by a splendid studio band on a most enjoyable release.
I received my review copy a publicist. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although I have made minor changes. Here is a brief clip of Tim Gartland performing.
It has been over a decade since I first saw Zac Harmon perform. It was on the Legendary Rhythm and Blues Cruise after he won the International Blues Challenge and he certainly established himself as a singer, songwriter and guitarist in the blues world at that time. It was at that time he had issued a recording "The Blues According to Zachariah" which included some of the songs he was performing and became a favorite with his covers of "Mannish Boy" and "It Hurts Me Too," the joyous gospel of "The Mighty High" and "Who's That Knockin'," an original that even on CD gave an indication of how good a showman Zac Harmon was and is.
About his 2012 album, "Music Is Medicine," I wrote "'Music Is Medicine' is a terrific demonstration of Zac Harman’s musical healing arts. He is one of the few artists today that can bridge the various blues scenes today, appealing to blues cruisers as well as those who turn out to hear their favorite soul-blues and southern blues acts on the chitlin circuit and this recording can similarly bridge a wide range of listening audiences." This remains true with his latest release, his first on Catfood Records. On 7 of the 11 tracks Zac's guitar and Catfood's house band, The Rays that includes Bob Trenchard (also the executive producer) on bass, Johnny McGhee on guitar and Dan Ferguson on keyboards with a four piece horn section. The other four selections have his own band with Corey Carmichael on keyboards, Chris Gipson on bass, Ralph Forrest on drums and Texas Slim on guitar. Harmon wrote or co-wrote eight of the performances, many with Trenchard.
Those familiar with Harmon's soul-drenched vocals and his excellent, concise guitar playing will find no surprises with the performances on this CD. This CD opens with the Trey Hardin-Sandy Carroll penned "Gypsy Road," where he sings about his restless soul taking a long drive down the gypsy road. Brassy horns lend a Memphis feel to a soul-blues ballad "So Cold" which is about a hot romance going cold with his lover's touch becoming as cold as ice. He sings about a smooth, deceptive lover whose love was fading away, "Smoke and Mirrors." It is followed by the title song celebrating having ribs, drinking and a summer time party. It has a relaxed, slow-dance groove.
A Chicago blues styled shuffle, "Honey Pleez," has Bob Corritore's harmonica added to Harmon's Band. "Make a Dollar Out of Fifteen Cents," is a song about hard times as Harmon sings about trying to pay his bills because as soon as he gets money is as soon as its gone. His guitar solo on this track suggests the latter-day Johnny 'Guitar' Watson.
Closing this recording, Harmon sings intensely (and takes a searing guitar solo on his interpretation of Bob Dylan's "Knocking on Heaven's Door." It caps this latest excellent addition to Harmon's body of recordings.
I received a review copy from a publicist. Here is a promo video for "Mississippi BBQ."
I recently reviewed a fascinating recording by the Croatian harmonica player Tomislav Goluban with the keyboards of Toni Starešinić which resulted in some fascinating sonic explorations. The present CD is more in the vein of Chicago styled blues and was produced in a Chicago studio with a band consisting of Eric Noden on guitar; E.G. McDaniel on bass; and Kenny 'Beedy Eyes' Smith on drums with Joe Filisko adding harmonica on two songs. Goluban wrote eleven of the twelve songs. The other song is a traditional Croatian song.
Goluban’s nickname is ‘Little Pigeon’ and the album kicks off with a hard-rocking instrumental that displays his by full-bodied harmonica style, “Pigeon Swing.” It is followed by “Locked Heart,” a charming performance in the manner of Slim Harpo with a low-key vocal and harp and suggests Slim Harpo’s “Raining in My Heart.” Goluban may not be the most expressive singer, but his soft-spoken vocals do display a genuineness. This makes his original “Jerry Ricks on My Mind,” a moving remembrance set to a rhumba groove as he sings “Hey Mister Jerry would you play a song for me …,” with Noden playing atmospheric slide guitar. This is also performed acoustically with the guitarist evoking Ricks finger-style approach.
Besides his appealing singing, the backing adds to the charm of these performances whether the driving shuffle of “Bag Full of Troubles,” with some spectacular harmonica from Filisko or the moody slow blues “Can’t Find Myself,” with a marvelous harp solo that adds to the song’s feel. Then there is “One Way Ticket” which opens as an unaccompanied harmonica train solo before morphing into small group train blues. “Do the Right Thing,” is an original using the Bo Diddley beat, followed by the autobiographical “Little Pigeon” with Filisko on harp set against a classic Muddy Waters styled backing.
An easy rocking rendition of a traditional Croatian song “Išem budem v kleticu (I’ll Go to My Cottage),” closes a surprisingly engaging recording that delights with each listening.
I received a review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383). Here is a video of "Locked Heart."
George Garzone, Peter Erskine, Alan Pasqua, and Darek Oles 3 Nights in LA Fuzzy Music
"3 Nights in LA" documents a January 2019 performance at a new Los Angeles club, Sam First. Peter Erskine took to the bandstand with pianist Alan Pasqua and bassist Darek Oles, his fellow faculty members at University of Southern California's Thornton School of Music joined by tenor saxophone player George Garzone, in town to teach a master class, for three nights, two sets a night. The result is this three-disc release, with each disc representing a different night with a total of 20 tracks and over three hours of music.
Erskine is likely the best known of these players from his time with Weather Report as well as playing with the likes of Steps Ahead, John Abercrombie, Kenny Wheeler, and Marc Johnson. Pianist Pasqua, a veteran of the New Tony Williams Lifetime and Allan Holdsworth, and bassist Oles, one of the most sought after bassists on the West Coast, have been playing with Erskine for over a decade. Tenor saxophonist Garzone, besides being a formidable master of the saxophone is a revered educator, with noted students including Joshua Redman, Branford Marsalis, and Donny McCaslin. Garzone first played with Erskine in 1998, an experience that left a deep impression and they have crossed paths several times since.
Those three nights in January produced some superb music. Erskine and his trio would be delightful to hear by themselves, but add Garzone's tenor saxophone, and the music is excellent in the vein of the classic John Coltrane Quartet as well as the '70s and '80s music of Dexter Gordon and Art Pepper. One may hear elements of Coltrane, Sonny Rollins, Dexter Gordon, Johnny Griffin, Hank Crawford and others in Garzone's full-toned, robust playing. The Coltrane tone may be most evident on the excellent rendition of the blues, "Equinox," the lovely ballad "I Want To Talk About You," but also on Garzone's "Tutti Italiani," where he builds his solo with fire followed by Pasqua's lyrical solo. There are three superb, different interpretations of "Have You Met Miss Jones?" and a rousing rendition of Bronisław Kaper's "Invitation."
There is also Garzone's original "Dedicated to Michael Brecker," which sounds like a contrafact of Lerner and Loewe's "If I Ever Would Leave You" from "Camelot." Garzone is fabulously complemented by Pasqua's rhapsodic solo and the support by Oles and Erskine (who takes a thoughtfully constructed solo here). The remaining music of these discs is also superb making "3 Nights in LA" a terrific release.
Watermelon Slim
Church of the Blues
NorthernBlues Music
This is the 13th album by William P. Homans, better known as Watermelon Slim, dating back to 1973 when his "Merry Airbrakes" recording was celebrated as one of the first anti-Vietnam War albums done by a military veteran. It took him 29 years for his second album, "Big Shoes To Fill," which established his acclaimed career. Mississippi Fred McDowell is perhaps his biggest influence, and he developed his slide style as well as his gritty, raspy vocals. He co-produced this album with Chris Hardwick as well as plays harmonica and electric slide guitar. He is backed by his band of John Allouise on bass and Brian Wells on drums. He has guests including guitarists Bob Margolin, Nick Schnebelen, and Joe Louis Walker; vocalists Sherman Holmes and John Nemeth; and keyboardist Red Young. While the guests may add interest to this recording, it is Slim with his strong playing, vocals, and personality that makes this album so enjoyable.
The recording opens with "St. Peter's Ledger,' as he authoritatively delivers Ron Meadow's lyrics about where he might end up in the after-life and displays his strong slide guitar style. He follows up with one of several topical songs, Tom McFarland's 'Tax Man Blues," a strongly performed working man's complaint of having too much taken out of his pay stub. The strong backing enhances his strong singing and slide guitar solo. Muddy Waters' "Gypsy Woman" (with Slim on harp and Bob Margolin adding playing slide) is one of several covers of classic Chicago blues that he avoids copying the original while placing his stamp on the performance. Other similarly strong performances include Howlin' Wolf's "Smokestack Lightning" and J. B. Hutto's "Too Much Alcohol.' He makes minor changes in the arrangement (no trace of broom dusting on the Hutto number) so that these songs receive a fresh feel along with his powerful singing and playing.
Slim's "Post-Modern Blues," with the strutting horns, has him singing about trying to deal with the rapid changes of the 21st Century, while "Hollar #4" is a moving vocal moan about blues and his own life. His rendition of Allen Toussaint's "Get Out of My Life Woman" with his slide driven accompaniment evokes the early Paul Butterfield cover while a similar funky feel is present on a cover of Gene Barge's "Me and My Woman," the latter tune sporting more fine harmonica. Among other high points include the high-stepping topical blues about protests and the increasing visibility of overt racism "Charlottesville (Blues for My Nation)," with his hope for better days for all. An amusing bonus song, 'Halloween Mama" closes another excellent Watermelon Slim recording.
A received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383). I have previously reviewed some Watermelon Slim albums including "Escape From the Chicken Coop," the eponymously titled "Watermelon Slim and the Workers," and "No Paid Holidays." Here is Watermelon Slim performing.
Some of my most memorable experiences listening to blues live (as well as listening to blues recordings) came from Bryan Lee. This is his latest CD with a variety of backing musicians including Jimmy Voegeli on keyboards, Jack Berry on bass and Matt Liban on drums.
Lee calls this a blues-gospel recording and that might impact one's reaction to this. I do not take away from Lee's convictions, but some might find too much preaching here although Lee sings strongly and plays wonderfully. The band is excellent as well but even on a solid shuffle like "The Gift" where he recites his musical influences he was says Jesus straightened him out and now Bryan knows what to do. Then he sings that "Jesus Gave Me the Blues," that is followed by a rendition of the late Cootie Stark's "U-Haul," with its lyric that we don't owe anything since we can't take it when we pass on. Lee does a fervent new recording of one of his older blues, "Don't Take My Blindness For Weakness," where he sings I'm as good as you, and anytime one makes one, Bryan has to make two. There is also a nice arrangement of "The Lord's Prayer," that Lee sings his heart out.
As stated, "Sanctuary" is musically a solid Bryan Lee performance, but again some may be turned off by the religious content.
I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382). Here is an earlier live version of "Don't Take My Blindness For Weakness."
One is struck by the performance of the Johnny Mercer-Hoagy Carmichael standrad, "Skylark" that opens this album by the command and presence of Aimée Allen along with the strong backing from bassist Francois Moutin (who has been playing with her for some time), pianist Billy Test and drummer Kush Abadey. She sings with clarity and on pitch, has a pretty wide vocal range while making subtle timbre changes as well as a phrasing that displays a strong sense of dynamics. Most importantly she simply has a lovely voice. The accompaniment is solid and their are imaginative solos from pianist Test (with his judicious use of dissonant chords) and bassist Moutin. "Skylark" is one of the six songs she provides fresh interpretations of and she herself has contributed five originals.
"Skylark" is followed by her original "Shooting Star," an original love song with bassist Moutin providing the only accompaniment for the first verse. It is a good introduction to her gifts as a songwriter, not simply a singer and once again Test and Moutin solo while Abadey colors the performance with rhythmic accents. This writer is most familiar with instrumental renditions of "Invitation," Allen does a marvelous job in delivering Paul Francis Webster's lyrics as she sings about someone being a great temptation. There is a strong bass solo on this. The pace slows down for "In My Web," a moody and dark ballad performance.
Of her originals, perhaps the most remarkable one is a topical song, "Democracy How (Harmony And Dissonance)." with its call of action, asking how we can participate in a system when truth is ridiculed and divisions weaken the common ground we share. She sings movingly about false stories set forth to deceive and divide, about that he need for individual and collective action because democracy is on the line. There is splendid rendering of Jobim's "Fotografia," sung both in Portuguese and English with just piano and bass accompaniment, as well as a marvelous duet with just Moutin's accompaniment on "Autumn Leaves / Les Feuilles Mortes," sung first in French and then English with her phrasing perhaps the most horn-like of the entire recording. On sublime covers of Buddy Johnson's classic ballad, "Save Your Love For Me," and "Midnight Sun," Abadey also sits out while Test plays with restrained elegance.
This is my first exposure to Aimée Allen, although apparently her fifth album. She definitely impressed this listener with some superb singing and material with first-rate backing.
I received as a download from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Reort (Issue 381). She is performing at Blues Alley in Washington DC on July 30th. Here is the video preview of this album.
Johnny Griffith Quintet The Lion, Camel & Child G-B Records
Toronto saxophonist Griffith leads his Quintet of fellow Toronto jazz All-Stars, Adrean Farrugia - Piano; Jon Maharaj - Bass; and Ethan Ardelli - Drums; along with the great Jeremy Pelt on trumpet. This is Griffith's second recording, and he drew inspiration from the writings of Friedrich Nietzsche - specifically the book Three Metamorphoses. As Griffith explains, “Metamorphoses is concerned with what propels each new phase of human growth, so it seemed fitting to frame this as a suite – each track individual unto itself, yet when listened to as a whole representing the arc of the personal struggle to know more and be more.”
Opening this recording is the four-part title suite illustrates the phases of Nietzsche and the qualities defining: "The Lion," virtuous and rebellious; "The Camel," courageous and dutiful; and "The Child," playful and free of spirit. "The Lion" opens at a brisk tempo with the leader displaying a full robust tone and a fertile musical imagination with Pelt in a melodic vein and centered in the middle range with occasional upper range bursts. One also is impressed by this first-class rhythm section, that transitions into the relaxed walking pace of "The Camel" that features Farrugia's stately piano solo as Maharaj and Ardelli provide a hint of the Mid-East caravan procession enhanced by the joint horns. A solo "Cadenza" by Griffith transitions into "The Child" a vigorous performance opening with heated tenor sax, followed by fiery trumpet and strong two-handed piano and a dynamic drum solo.
Not just the writing, but the entire ensemble displays its considerable virtues throughout this CD. "Narcomedusae," is another notable performance with Pelt exceptional here on a composition that might evoke comparison to classic sixties Blue Note recordings. Then there is the animated hard bop of "Strawberry Qwik," a lovely ballad "Amarone," with Pelt's pretty muted trumpet along with Griffith's own marvelous ballad playing. Other notable performances include the fiery "For a Derailed Painter" with explosive solos from the horns and pianist Farrugia. Bassist Maharaj solos at the beginning of "Deliciously Ambiguous" a relaxed groover with more engaging solos by Griffith, Pelt, and Farrugia.
Johnny Griffith impresses as a composer, saxophonist, and leader He has a fabulous band here with Pelt and a wonderful rhythm section that play superlatively throughout this outstanding recording.
I received a download to review from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).
Cannonball Adderley
Swingin' In Seattle, Live At The Penthouse 1966-67
Reel to Real Recordings
This is one of two initial recordings on Real To Real which was launched in early 2017 by jazz impresario (and musician) Cory Weeds and renowned producer Zev Feldman. The label will be focused on important archival jazz releases. Feldman may be known as co-president of Resonance Records, and these releases may be ones that Resonance has passed on. If so, it was not because of the quality of the performances.
The music here comes from radio broadcasts over four nights at the Seattle club where Cannonball and his alto sax lead a quartet with brother and cornetist Nat Adderley, pianist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy, the same band heard on the classic Capitol album, "Mercy, Mercy, Mercy! Live at 'The Club.'" It includes some radio intros from Seattle radio DJ and the original engineer of the Penthouse, Jim Wilke, along with Cannonball's spoken comments and some exceptional music.
It is a fabulous CD of music by this terrific band starting with the explosive opening tune, Jimmy Heath's "Big 'P,'" taken at a breakneck tempo with scorching solos from the brothers. What is refreshing is that the songs selected here are not the familiar Adderley classics like "Work Song," "Mercy Mercy, Mercy!," "Jive Samba," "This Here," or "Unity 7." Instead, there is a marvelous swinging performance of "The Girl Next Door," with spirited muted cornet, earthy alto sax and rhapsodic piano that transforms this into a relaxed waltz. "Sticks" and "Hippodelphia," were both on "Mercy, Mercy, Mercy!" but heard here in lengthy, fiery gutsy performances.
Among the earliest to embrace bossa nova, Cannonball's rendition of "The Morning Of The Carnival (Manhã de Carnaval)" by Luiz Bonfá and Antônio Maria is an energetic one in contrast to Stan Getz's lighter attack. Other pleasures heard include the somewhat understated interpretation of Leonard Bernstein's "Somewhere," Zawinul's mesmerizing "74 Miles Away," and the dazzling bebop of Charlie Parker's "Back Home Blues," on which brother Nat sits out.
While the chief attraction is the music, this comes with a booklet with rare photos by Lee Tanner, Tom Copi, and others. Music journalist Bill Kopp contributes an essay placing Cannonball's music in historical context, including discussing the songs included. An interview with Jim Wilke by Seattle-based saxophonist and jazz writer Steve Griggs delves into what the scene was like at the Penthouse in the 1960s and Cannonball's relationship to the club over the years. There are also interviews with Cannonball's widow and head of the Julian Adderley estate, Olga Adderley Chandler, and acclaimed saxophonist Vincent Herring. It is an excellent booklet to go with the superb music on a fabulous release.
I received my review copy from a publicist. This review originally appeared in the January-February 2019 Jazz & Blues Report (Issue 382). Here is a video of this same band playing in Europe a couple years later.
Nancy Wright Alive & Blue Direct Hit Records/VizzTone
It has been almost three years since saxophonist-vocalist Nancy Wright's prior recording "Playdate!" As I commented about that recording, "Listening to Wright's raspy sax (with plenty of vibrato) I am reminded of Junior Walker and Eddie Shaw, which certainly has an appeal." I would through also a mention of King Curtis whose "Soul Serenade" she performs on this live recording from the San Francisco venue, Saloon. The Saloon is where she first played in the mid-80s. While her prior CD had several guest appearances, this one features her and her Rhythm and Roots band: Nancy on sax and vocals, drummer Paul Revelli, Tony Lufrano on keys and background vocals, Jeff Tamelier on guitar and background vocals, and Karl Sevareid on bass. She contributed five of the twelve numbers here.
The album kicks off with a funky instrumental "Bugalu," with her chicken scratching sax ably backed by the band. Organist Lufrano and guitarist Tamelier provide riffs and licks that enhance her playing as well as take their idiomatic solos while Savareid and Revelli lock down the groove. It sets the table for this most entertaining live recording. Wright is a very capable singer with a relaxed, natural delivery. A solid example if her singing on an old Bobby Bland classic "I Don't Want No Man," with blistering solos from her, Lufrano on piano and guitarist Tamelier. Another choice performance is the soulful "In Between Tears," with a groove and guitar riff that evokes in part "Mr. Big Stuff."
Wright's original jazzy instrumental "Jo-Jo" may have her most interesting solo and Lufrano is superb on this. It is followed by a relaxed vocal on her cover of Lazy Lester's recording, "Sugar Coated Love," with Lufrano on an electric piano as well as her booting sax. After a nice original blues-ballad, "Warranty," is some belly rubbing music, "Bernie's Blues," with Temelier particularly superb on this early-morning, after-midnight instrumental. "Keep Your Hands Off of Him," set to the groove of "Got My Moho Workin'," is played with an almost frenzied, high stepping tempo with torrid tenor sax, piano, and chicken scratching guitar solos. Another notable track is the lengthy rendition of King Curtis' classic "Soul Serenade."
Recorded by Robby Yamilov at the Saloon in late 2018 and mixed by Kid Andersen, this very entertaining release certainly will please not only Nancy Wright's fans but also those into blues and classic soul.
I received my review copy from VizzTone. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is Nancy performing "Keep Your Hands Off of Him," from 2015.
In his liner notes to "Cool Cat," Paul Oscher notes his long friendship with the late James Cotton including unexpectedly moving three doors down from him when Oscher moved to Austin from Los Angeles in 2012. After mainly doing out of town gigs, he tells how he started playing with his neck rack, guitar, and mic at a BBQ place, but after several months the property the place was on was sold to a developer. Then he started playing at another club, and after trying his solo gig, he started playing with a five-piece band that included Mike Keller on guitar, Corey Keller on drums, Sarah Brown on bass, and Tommy Robinson on sax. They are heard behind Oscher, except for Corey Keller, on this new release. Others heard include bassist Johnny Ace, drummer Russell Lee, guitarist Mike Schermer, Tomas Ramirez on tenor sax, Russell Lee and Lavelle White on vocals, Kid Andersen on bass and June Core on drums.
Oscher is mostly heard playing piano but also heard on guitar and harmonica in addition to his singing and contributed an intriguing set of originals except for a cover of "Rollin' and Tumblin'" credited to Muddy Waters. It is a well-played mixed set of performances opening with a bit of New Orleans flavor, "Money Makin' Woman," where he displays his piano chops and ability as a singer. "Blues and Trouble" is a strong, slow blues that displays the influence of Otis Spann on his piano (and vocal) with Mike Schermer contributing solid guitar fills, while "Hide Out Baby," is a rocking shuffle with him playing guitar and neck rack harmonica with interplay between his guitar and that of Schermer and then a strong harmonica solo. "Work That Stuff" finds his harmonica in a Sonny Boy Williamson II mode with a spare, effective backing.
He does a monologue (some amusing storytelling) that is a prologue to the title track that leads into a jazz quartet performance of the title track with saxophonist Ramirez standing out on a diverting performance. This group is also present for the brief "On the Edge," where Ramirez again stands out. Russell Lee recites Oscher's poem "Mississippi Poem," before Lee's spoken vocal "Ain't That a Man," Oscher's tribute to James Cotton backed by Oscher's guitar and Keller's bass line. Lee also sings strongly on "Poor Man Blues." Miss Lavelle White is featured on "Dirty Dealin' Mama," set to a "Hootchie Kootchie Man" groove, authoritatively belting out the lyric.
A more extended, R&B rendition of the title track showcases Robinson's gritty sax closes an entertaining recording by a very cool blues cat.
I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382). Here is Paul on slide guitar performing Muddy Waters' "Honey Bee."
Barrelhouse Words: A Blues Dialect Dictionary
Stephen Calt
University of Illinois Press
2009, 320 pages
Several years ago, Debra DeSalvo's "The Language of the Blues: From Alcorub to Zuzu," attempted to present a lexicon on blues terminology, that a flawed effort. It was described as an anecdotal dictionary of the blues, but it was far from authoritative or comprehensive. It focused on some 150 words and phrases emphasizing the African roots of the blues, but usually to the exclusion of other possible meanings. She focused on terms related to sex and hoodoo, but her book had very very little on traveling, which is also a significant theme of the blues. She included interviews of significant blues artists, but such material rarely contributed to elucidating the meaning of the terms and phrases.
Stephen Calt has contributed a more scholarly effort with "Barrelhouse Words." In contrast to the 150 odd phrases of the earlier volume, Calt has over 1200 entries, although some words or phrases are represented by multiple entries. Calt as a blues writer and scholar often has been acerbic in his writing, and occasionally some of his commentary here has tinges of that, but it's more to be emphatic about points. He has a selected bibliography of dictionary sources which include various volumes dealing with colloquial terms, regional and ethnic language ranging from John Russell Bartlett’s “A Dictionary of Americanisms” that was published in 1877 and the first American Dictionary devoted to colloquial terms; Dan Burley’s Original Handbook of Harlem Jive, published in 1944 was an elaboration of an earlier pamphlet by Cab Calloway; Clarence Major’s “Dictionary of African-American Slang” and “Juba to Jive,” various volumes of the Harvard University Press’ “Dictionary of American Regional English;” “The Oxford English Dictionary,” and Mitford Mathews’ “A Dictionary of Americanisms on Historical Principles.” This latter work was published in 1951 and Calt describes Mathews as the leading American language scholar of his era. DeSalvo’s book is dismissed in his bibliography as “An ill-informed work containing chronically faulty definitions and etymologies."
The entries are taken from Race Recordings (that is recordings produced for sale to Blacks) from between 1923 and 1949. In addition to his scholarly sources, he also employed information culled from interviews of blues artists between 1964 and 1971 including Ted Bogan, Sam Chatmon, Gary Davis, Son House, Skip James, Pete Franklin, and Bessie Jones. Unlike DeSalvo’s book, there are no sidebars on these performers, but rather the interviews are cited as supporting the meaning of the phrase Calt provides.
Each entry is followed by a couplet from a recording after which the meaning is provided with sources as appropriate and occasional other couplets to further illustrate the meaning. It is necessary to present a few examples of Calt’s entries.
hoodoo (a.)
I’m getting so I can’t rest
You almost ruined me, with that lowdown hoodoo mess.
—Freddie Nicholson, You’re Gonna Miss Me Blues 1930
Conjuring; in this instance, by means of black (destructive) magic.
hoodoo (n.)
Aw she went to the hoodoo, she went there all alone
‘Cause everytime I leave her I have to hurry home
—Charlie Lincoln, “Mojoe Blues,” 1927
Conjurer, sometimes referred to as a hoodoo doctor. Both terms date back to 1875. (DAH).
DAH is an abbreviation for Mathews, Dictionary of Americanisms on Historical Principles.
cookie (n.)
Papa wants a cookie, papa wants a cookie
Papa wants a cookie right now now now now
Papa wants a cookie, papa need a cookie
Papa’s gonna get it somehow.
—Leroy Carr, “Papa Wants a Cookie” 1930
A black slang term for female genitals (DAS).
DAS is an abbreviation for Wentworth and Flexner, Dictionary of American Slang.
These are relatively short and simple samples, although some have more discussion such as dust one’s broom which is illustrated from a couplet from Kokomo Arnold’s 1934 recording “Sagefield Woman Blues.”
Calt notes the phrase means to leave hurriedly, and although Burley cites this as a Harlem jive phrase, Calt notes its earlier occurrence in Arnold’s song and Robert Johnson’s “Dust My Broom,” indicates a southern origin and was a blending of two conventional slang synonyms. “To Broom,” meant to run away while “to get up and dust” meant to depart hastily. I have not repeated the lengthier entry here, but rather give a sense of how he does contribute new understanding to terms that crop up in the blues.
Another phrase, “sleep in a hollow log, to drink muddy water and,” was familiar from the 1930s recording by Eddie Miller, “I’d Rather Drink Muddy Water,” but Calt observes its use in Blind Lemon Jefferson’s “Wartime Blues,” and Charlie Lincoln’s 1928 “Depot Blues,” whose verse anticipates Miller’s lyrics. The phrase means to live outdoor in the manner of a vagrant rather than be mistreated.
There is a sense of authoritativeness to Calt’s work here that lends the reader with confidence as to the meaning, and the entries provide a valuable reference to understanding these dated lyrics. This is a significant contribution to the literature of the blues and an invaluable addition to any library of blues books and a foundation upon which future blues dictionaries will build upon.
I believe I was provided a review copy of this book, but do not remember.
While his prior album, "Change of Address" focused on his baritone playing, Jared Sims' new release presents him also on tenor sax as he focuses on what New York City meant to him when he lived there and performed regularly at clubs like The Knitting Factory, Wetland's, and Brooklyn's Tea Lounge. Now Director of Jazz Studies at West Virginia University, he leads a quartet of Chris McCarthy on piano, Alex Tremblay on bass and Evan Hyde on drums for what is simplistically described as a straight-ahead, hard-bop recording.
Sims opens with "Tribeca Tap Bar," a swinging performance with a Brazilian tinge begins with Sims taking a relaxed, energetic solo followed by solos from McCarthy and Tremblay. The rhythm section gets an emphatic groove going on "Wetlands Preserved," with Sims playing forcefully on a number that commemorates a now closed venue. "Brooklyn Tea" has a reflective quality as the pace cools with Sims playing authoritatively on baritone sax. From the title, "The Bodega," one might expect a salsa groove, but the performance is a charming number on which Sims exhibits a lyrical and romantic quality. The closing "Pelham" is enlivened by an imaginative drum solo.
In addition to Sims' robust saxophone, his rhythm section deserves applause in how they support and complement him along with thoughtful and well-constructed solos. These ingredients make for an impressive recording.
I received a review copy from a publicist. This review originally appeared in the January-February Jazz & Blues Report (Issue 382), Here is "Tribeca Tap Bar," from "The New York Sessions."
Alberta Hunter
Downhearted Blues: Live at the Cookery
Rock Beat
This recording brings back memories of a couple of evenings this writer had in the late 1970s when the legendary Miss Hunter was a regular feature at Barney Josephson's "The Cookery" in Greenwich Village with pianist Gerald Cook and bassist Jimmy Lewis. Alberta Hunter was, of course, one of the legendary so-called 'classic' blues singers, but her career extended decades. She is famous for writing "Downhearted Blues," that is most famous from Bessie Smith's famous recording (and as she tells the audience, she was still collecting royalties from when this performance was recorded in 1980).
Hunter also recorded at a famous recording session with Louis Armstrong and Sidney Bechet in the twenties and continued to perform until the 1960s. She started working as a nurse in 1957 until she was forced to retire by hospital regulations in 1974. She was bored until Josephson invited her to a six-week engagement at The Cookery and her star was ignited once again, recording four albums, writing songs for a Robert Altman film and delighting audiences.
The performances here were featured in the documentary "Alberta Hunter: My Castle's Rockin'," and what a marvelous set of music we have starting with her exuberant, sassy opener "My Castle's Rockin'," with he getting the audience to clap along with her. It is a wonderful program including her rendition of "Downhearted Blues," "The Love I Have For You" which she wrote for a Robert Altman film, a marvelous "I Got Rhythm," the bawdy "Two-Fisted Double-Jointed Rough and Ready Man," "The Dark Town Strutter's Ball," a strong rendition of "I Got a Mind To Ramble," "When Your Smiling," "Georgia on My Mind," and "Handy Man." Supported by Cook's marvelous accompaniment, she displays plenty of feisty sassiness and also tenderness. More important, she swings hard and leads her accompanists in this manner. I imagine how striking her fist into the palm of the other hand as she got The Cookery audience rocking on so many nights.
I purchased this. This review appeared in the January-February Jazz & Blues Report (Issue 382). He she performs "Two-Fisted Double-Jointed Rough and Ready Man."
Carlos Henriquez
Dizzy Con Clave: Live at Dizzy's Club Coca-Cola
RodBros Music
Henriquez, the bassist with Wynton Marsalis and the Jazz at Lincoln Center Orchestra for the past twenty years, leads an octet on an exciting Afro-Cuban tribute to Dizzy Gillespie that was recorded live at Dizzy's Club Coca-Cola at Jazz at Lincoln Center in late 2017. His band consisted of trumpeters Michael Rodriguez and Terrell Stafford, trombonist Marshall Gilkes, tenor saxophonist Melissa Aldana, pianist Manuel Valera, drummer Obed Calvaire, and congas/vocalist Anthony Almonte.
It goes without saying that Dizzy Gillespie helped create the 'Cubop' era inspired by trumpeter Mario Bauza and percussionist Chano Pozo. Henriquez devised the superb arrangements of Gillespie's compositions, whether bebop classics like "A Night in Tunisia" or "Groovin' High," or the Afro-Cuban classics such as "Manteca" and "Con Alma" that are performed so powerfully here.
"A Night in Tunisia" certainly gets this recording off to a hot start with Melissa Aldana and Michael Rodriguez both soloing hot against the volcanic rhythm section with a thunderous percussion segment. Muted trumpets open "Groovin' High," before Rodriguez takes off with a blistering Afro-Cuban accented solo before Henriguez displays his facility and imagination before the performance transitions into a hot mambo band romp as Almonte taking the lead vocal with the horns blasting. Like the entire recording, it is an exhilarating contemporary synthesis of modern jazz and the traditional Cuban rhythms.
Then there is the exciting performance of "Bebop," that showcases Stafford's explosive trumpet followed by Aldana's sizzling tenor sax. "Manteca" is taken perhaps at a slightly less blistering pace, but the horn ensemble explodes, and the rhythm percolates like a Yellowstone geyser with Rodriguez brilliant on trumpet here. "Con Alma" is given a lush arrangement and taken at a comfortable pace with all four horns soloing along with pianist Valera. Valera and trombonist Gilkes stand out with their romantic, lyrical playing.
"Dizzy Con Clave" is a wonderful recording by a superb band with compelling performances of the terrific inspired arrangements by the Henriquez that greatly honors the memory and legacy of Dizzy Gillespie.
I received from a review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383). Here is a video of Carlos Henriguez playing "Bebop" Live From Dizzy's Club Coca Cola.
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