Author Archives: Dan Smith

My Old Friend – John Hiatt and Holly Williams- Arvada Center, Arvada, CO 7/25/13

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Concert Review: John Hiatt and the Combo, with Holly Williams, Arvada Center, CO 7/25/13

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The Combo at Arvada Center: Doug Lancio on mandolin, Kenneth Blevin on drums, Hiatt at the mike, Pat O’Hearn on bass

” I thought we were gonna make that bridge…what do I know? Me and my expectations was always high…” — John Hiatt, ” My Old Friend”

Surely Holly Williams’ granddaddy, country legend Hank Williams, knew something about high times, meeting expectations, and not quite “making that bridge” in life. Passing from this earth  in the back of a Cadillac on the way to a gig at age 29, Hank burned his candle down at the height of his creative powers. As his skinny blonde granddaughter poured her heart out in songs about her legacy and the tortured marriage of her mother to Hank Williams, Jr., you couldn’t help but wonder how precious our time is with the gifted among us, and with those we love. With Hiatt, they’re one and the same.

Last year’s show at Arvada was the first time the ” Same Old Man ” seemed to show his age. A natty hat covered his thinning pate, and his voice seemed diminished. This summer’s addition of Costello glasses and a Gebippe ‘stache made him appear almost professorial, the cool English Composition teacher urging us to write from the heart. But his skipping moves and guileless grins quickly allayed any fears that Hiatt was ready for a rocking chair, and once the sound guys heard the crowd’s calls to boost his mike, it could have been 1993 and that great Austin City Limits DVD show with Michael Ward and the Guilty Dogs. The Combo has recorded and toured intact for a couple years, and is so attuned to John that they easily adjust to changes onstage and offer seamless support. With longtime drummer Kenneth Blevin in ” the engine room “, and the smooth noodling Pat O’Hearn on bass, the Combo never seemed to interfere with the delivery of the song narratives. Hiatt has drawn some hotshot guitarists over the years, from Ward to Sonny Landreth to Luther Dickinson, and there’s no slacking when Doug Lancio is featured on guitar, or on mandolin behind Hiatt’s vocals on  ” Crossing Muddy Water”. Hiatt noted that song was played on tour ” back at the turn of the century”, and needled the Y2K                   ( remember that?) agonistes’ parade of horribles: “clocks stop working, time comes to an end, things on TV start to actually happen… oh wait, that did come true”!

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No that’s not Johnny Winter, just an overexposed Holly Williams!

When the tall, lanky Ms. Williams strode onstage in her Western hat and skinny jeans next to her hubby Chris Coleman, many in the crowd were still settling into their seats. She quickly launched into personal, emotive songs from her new CD, ” The Highway “, openly sharing vignettes about her parents and family that gave depth and perspective to the lyrics. The talented Mr. Coleman picked ably and added harmonies, but his wife is a force on her own, and her singing, songwriting, and clean guitar playing won over the audience. The Opening Act is a tough slot, and you rarely see genuine applause like that for anybody short of the headliner. Highlights included a poignant tribute to her maternal grandparents,   ” Waitin’ On June “, and ” The Highway”,  her ” love song to the road “.

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Chris Coleman and Holly Williams

Hiatt chose a set that began with ” Drive South”, ” My Old Friend”, ” Tennessee Plates”, and ” Cry Love”, and later moved to his recent CDs with ” We’re Alright Now” , ” Blues Can’t Even Find Me”, and a roaring guitar from Doug Lancio on ” Down Around My Place”. He slipped in one shouted request, ” Buffalo River Home”, after facetiously asking Lancio if he knew the longtime favorite with the universal lyrics: ” Just when you think you can let it rip, you’re pounding the pavement in your Daddy’s wingtips”. We can all relate! Hiatt stayed with that CD for the title track, ” Perfectly Good Guitar”, before a rousing version of  ” Slow Turning” . And no Hiatt show is complete without ” Thing Called Love “, and a thank-you from John to Ms. Raitt for winning a Grammy with his song. Hiatt told of seeing Bonnie recently, and with a just-between-us-guys aside reminded us that ” she’s still hot”, adding: ” I always tell her, if you weren’t married, and I weren’t married…. we’d both be single” !

The encores were Hiatt classics: a rolling take on his typical closer, ” Have a Little Faith In Me”, and a funky ” Riding With the King”, the story of a chance encounter with Elvis that is often mistaken as a tribute to Riley B. King, who covered the song with Eric Clapton. To see Hiatt reveling in the same moments that bring his fans so much joy reminds us how fragile, dear, and precious are the times with those we love. May they always make us sing and dance !

” You’ve got kids, I’ve got kids, and they all want to know: Just what it was like when we were young? I tell ’em I’m no different now, I’m just late for the show. So grab your Aqualung; the loading has begun…”  – John Hiatt, ” My Old Friend”

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Hiatt and the Combo wave good-night to the Arvada crowd!

——– Your old friend and Mountain correspondent, Nanker Phledge

Blues Under the Bridge Festival, Colorado Springs, CO 7/20/13

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Justus League, DB Reilly, the Slide Brothers, and Blues Caravan– Blues Under the Bridge Festival

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That’s no backdrop behind the Justus League, but a line of boxcars moving north within spittin’ distance of the drum kit!

” I hear that train a-comin’, it’s rollin’ round the bend …” – Johnny Cash, ” Folsom Prison Blues”

While DB Reilly sang those words, a conductor hit ” that lonesome whistle”  in recognition of the Blues Under The Bridge crowd, as the line of boxcars passed by the makeshift flatbed trailer stage under the Colorado Avenue bridge, marking the return of the summer’s finest moment in the Springs. Throughout the day at this fest,  a band blithely plays on while a freight train passes just behind the stage, as if the drummer or a guitar tech might hop on board like the wayward kid in Merle Haggard’s ” Mama Tried”, and roll on to some place unknown. No doubt many stuck in Colorado Springs’ tarpit of evangelical organizations and Paleolithic politicians have entertained similar thoughts! But every summer Blues Under the Bridge brings a cultural oasis to this barren desert, and once again, the festival team and promoter Amy Whitesell of A Music Company had assembled a terrific lineup of up-and-coming acts and deserving veterans of the blues scene at this smooth-running, hardly-known-outta-town event.

The Justus League is a mash-up of local Colorado Springs musicians infused in blues/rock. Despite an all-star lineup including Austin Johnson on guitar, Sean Pyrtle on bass, and Matthew Taylor on keys, they are virtually unknown to the public save their fine guitarist, Jake Loggins,  a perennial winner of local blues awards. The guys tackled the opening slot with enthusiasm, leaving many patrons nodding in approval as they roared through their set. I notice that Jake still has shows booked for his eponymous band, so this assemblage may be a side project for all, but it shows promise, particularly Loggins and drummer/vocalist Dean Woodward. Locals can catch their CD release party at Stargazer’s on August 23.

DB Reilly shakes a tail feather while squeezing the box!

DB Reilly shakes a tail feather while squeezing the box!

The versatile DB Reilly and his talented band play a blend of country, blues, Cajun, and even Zydeco, ” underwhelming audiences across the country “, as the self-deprecating Reilly cracked onstage. The amiable Reilly kept up a stream of humor throughout the set–” I just heard from Billboard..my CD went plywood “– ” we were named Indy Band of the Year in New York City… by my mother and her friends… they were high at the time ” — and breezed through a set of clever originals and timeless covers like the aforementioned ” Folsom Prison Blues”.

Setting up for the Slide Brothers

Setting up for the Slide Brothers!

When you are promoted as Robert Randolph’s favorite band, there’s gonna be some pedal steel involved, and I don’t mean some drippy cornpone country tearjerker, but jumpin’ gospel-based ” shoutin’ “, as Calvin Cooke of the Slide Brothers described his introduction to the Sacred Steel tradition in the Church of the Living God. Calvin and Aubrey Ghent whipped the crowd into a dancing frenzy in front of the stage time and again with foot-stompin’ rock that had one foot in the sanctuary and the other in the juke joint. Their twin-pedal steel attack moved smoothly from slow gospel to Elmore James’ blues and the Allmans’ rock, with Cooke’s handling of Gregg’s vocal on ” Don’t Keep Me Wonderin’ ” a highlight of the set.

Aubrey Ghent and Calvin Cooke: two pedals or a life of crime!

Aubrey Ghent and Calvin Cooke: two pedals or a life of crime!

The engaging Cooke kept the crowd involved with tales of church services and good times past, and seemed thrilled with the gig: ” I’ve never been up under the Bridge before. I didn’t know the hobos had it so good!”

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Blues Caravan’s Bart Walker shreds through his set Under the Bridge!

The Blues Caravan 2013 brings together outstanding musicians  showcasing their own material in mini-sets while backed by their mates. This year, guitarists Joann Shaw Taylor and Bart Walker are joined by guitarist/bassist CJ Wilder and hard-working drummer Austin Curcuruto. The full band opened with John Fogerty’s ” Proud Mary”, with Taylor, Walker, and Wilder trading verses and sharing choruses. To the crowd’s apparent dismay, Taylor stepped offstage, prompting cries of ” Bring back that woman” and ” Where’s Joann?” from the heretofore compliant VIP section, prompting Walker to explain the format and promise that Joann would return. Walker switched to bass for a fine set of originals by Wilder, who is a pleasant singer and competent guitarist in his own right. The return of Bart Walker to guitar kicked the tempo and volume considerably, as he amazed the crowd with blistering runs and tasty licks, eerily resembling the burly Warren Haynes with the current Allmans lineup.  His originals ” Took It Like A Man ” and ” Waitin’ On Daylight ” were well-received, and anybody hollerin’ for Joann at that point was truly missing out.

Joanne Shaw Taylor rockin' the Gibson Les Paul!

Joanne Shaw Taylor rockin’ the Gibson Les Paul!

I’d seen Joanne Shaw Taylor and her band twice at Springing The Blues in Jax Beach, where she rocked out the electric blues that went worldwide from England in the late 60s with John Mayall, the Yardbirds, and early Zep, tearing into war horses like ” Killing Floor ” with great enthusiasm and plenty of chops. Seeing her share the stage in the Blues Caravan, you wonder how long Girls With Guitars like Joanne Shaw Taylor, Samantha Fish, Ana Popovic, and ( no relation) Cassie Taylor will have to wait to headline fests like this? Hopefully not until they’re John Hammond’s age! Shaw returned to the stage, tag-teaming Bart Walker like they were in the WWF, and wowed the fans with her striking looks, roaring guitar, and rockstar moves. In contrast to Walker, she eschewed intricate solos for power chords and tornado-level blasts that truly ” sounded like a train ” , as Patterson Hood says, and left the crowd stunned but roaring in her wake. Her vocals are mostly shouted, and the lyrics are barely intelligible below the guitar din, but as Muddy Waters told Mick Jagger of the blues, ” the words don’t matter”. By the time Bart Walker returned, the crowd was nearly spent, though the full-band finale of Stevie Ray Vaughan’s  ” If the House Is Rockin’, Don’t Bother Knockin’ ” brought the fans to their feet and the dancers down to the front.

With my pockets emptied by the great vendors– chickpea frittata from locals!– and no freight train to hop back to the unit, I bade farewell to the fest, passing on headliners John Hammond and Watermelon Slim for another time. To paraphrase W.C. Fields, my tombstone won’t read, ” I’d rather be in Colorado Springs”, but for one day a year, the Blues make it bearable.

Your erstwhile Mountain correspondent, Nanker Phledge

Midnight up in Morrison– Tedeschi/Trucks Band, Grace Potter and the Nocturnals, JJ Grey and Mofro

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Concert Review– Tedeschi/Trucks Band- Red Rocks, Morrison, CO 6/15/13

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You’ll just have to take my word that’s Susan and Derek. Please ask the boss to buy me better seats! The background is no banner; those are real rocks!

The First Family of the Blues brought their traveling road show back to the nation’s finest outdoor concert venue on Saturday night, still rolling from the momentum of Grammy awards, fawning press accolades, and sellout crowds generated by 2011’s ” Revelator” and last year’s live release ” Everybody’s Talkin’ “. This time, the band brought along their Northeast Florida homeboy JJ Grey with his swamp funk band Mofro and the former blues artist craving mass appeal Grace Potter in her ” sparkly white bathrobe ” (her words, not mine) for six solid hours of inspired funk, rock, blues and jazz that stoked a packed house eager to start the summer season in style. With the Phillies’ pitching staff surrendering basehits like batting practice, our arrival from Coors Field at the venerable Red Rocks was well into JJ Grey’s set, but we could hear the roaring approval of the crowd from the parking lot, where scalpers and failed Craigslist ticketshoppers pleaded in vain for spare ducats. From his backwoods hideout on the far westside of Jacksonville, JJ Grey has managed to craft his own blend of country, folk, rock, and funky blues into a style all his own, informed by a childhood on the rivers and swamps of Cracker Florida and a strong environmental conscience. JJ has become a regular on the summer festival scene and his New Year’s stands at the Freebird in Jax Beach are local legends, but his roots chops have also supported gigs like his leading of the Jacksonville Symphony Orchestra. Promise to catch your full set next time, JJ !

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Grace Potter on stage and on the big screen, shortly before going Sharon Stone on us!

When Grace Potter appeared on the national scene some ten years ago, she lead a blues-based band playing originals and covers in a humble, unassuming style that made one think she’d slowly grow into a respected artist with a modest following. Her first shows at the Florida Theatre and  Springing the Blues were well received, but when she returned two years ago it was as if she’d fallen under a Svengali’s spell that lead her to dress like Tina Turner, dance like Madonna, and shriek like Yoko Ono. Her songs now tend toward arena anthems and bombastic hard rock, and her bookings and sales would indicate the public embraces her new persona. The set at Red Rocks had plenty of the light-show effects and screaming vocals atop searing guitars, but the best moments were when she dropped the rock-star image and showcased her voice within a comfortable register. The set’s highlight was when the band went acoustic and gathered around Grace for a mini-break that included Jerry Garcia’s Grateful Dead classic, ” Friend of the Devil “, though some would argue for the moment when Grace sat on the drum riser to take off her heels, with that white robe revealing miles of leg and evoking Sharon Stone in ” Basic Instinct”. Gabba Gabba Hey! And Grace pulled many of the aging rockers out of their seats with the band’s encore of the Black Sabbath anthem ” War Pigs “. As Grace said early on, ” we like to mix it up a little “, and she had something for everyone on this night.

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Susan and Derek on the big screen well after midnight

Susan Tedeschi had a successful career as a blues singer and guitarist before her marriage to Derek Trucks, nephew of long-time Allman Brothers drummer Butch and namesake of the Clapton monicker from Eric’s brief halcyon days with Duane ” Skydog ” Allman. The slide guitar prodigy was playing onstage with BB King at age 15, and soon moved into the Allmans lineup alongside Warren Haynes in what now stands as the most potent blues/rock band in America when Derek, Warren, and Gregg Allman’s  schedules permit touring together. After their marriage, Derek and Susan continued separate touring and recording, with occasional appearances together, such as the holiday concerts with family and friends at the Florida Theatre. Many observers concluded that Derek’s desire to explore jazz and big-band sounds would never mesh with Susan’s blues roots , but they managed to find common ground without compromising their talents and instincts on         ” Revelator “, and have toured relentlessly since. Their band includes keyboards, three horn players, and two backup singers, and much of the material begins with blues or rock and expands into jazzy improvisation. Saturday’s set included ” Don’t Let Me Slide ” and    ” Midnight Up In Harlem ” from ” Revelator “, and several new tunes from the next CD, scheduled for release on August 27. Typically, they threw in several well-chosen covers that turned out to be highlights of the evening, with Elmore James’  ” The Sky Is Crying “, and Bobby Whitlock’s Dominoes rocker, ” Anyday ” showcasing Susan’s powerfully expressive vocals and Derek’s controlled fret frenzies. The encore brought another tasty treat, with Grace returning ( this time in an impossibly short skirt that barely covered her honkytonk badonkadonk ) to trade verses with Susan on John Prine’s  ” Angel From Montgomery “.

By this time it was well past midnight. The natural mountain amphitheater was lashed by winds that were chilling even hardy fans and playing havoc with equipment. Susan  politely thanked everyone for staying through the six-hour musical marathon, and we trudged down the hill to the parking lot to resume lives delightfully interrupted by the Rock Show.

—Your Mile High correspondent, Nanker Phledge

The Real-Phonic Radio Hour Presents: Robinella and Gurf Morlix, J.J. Hill Reference Library, St. Paul, MN, 5/16/13

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The Real-Phonic Radio band: L - R: Paul Bergen, Erik Koskinen, Frankie Lee (hidden: drummer J.T. Bates)

The Real-Phonic Radio band: L – R: Paul Bergen, Erik Koskinen, Frankie Lee (hidden: drummer J.T. Bates)

There’s a very cool program broadcasting from St. Paul, featuring lots of great music and mirth, originating in one of the most stately buildings in all of downtown. No, it’s not A Prairie Home Companion, nor even its citified second cousin, the Wits series (see the Calendar page on this site for details). The program in question is the Real-Phonic Radio Hour, held monthly (except this coming June) at the majestic James J. Hill Reference library.

The purveyors of this event are a group of musicians – Molly Maher, Erik Koskinen, Paul Bergen, Frankie Lee and J.T. Bates (collectively known as Molly Maher and Her Disbelievers) – plus announcer/monologuist Thom Middlebrook. Together, they transform the cavernous J.J. Hill Reference Library space – with its soaring Greek columns, marble floors and 30′ ceilings – into an intimate 200-seat concert hall, showcasing not only the talents of the local hosts but also an interesting and eclectic group of touring musicians. The tickets are cheap (only $20, or $10 with a food shelf donation), the beer and wine selection small but adequate, and the ambience is unbeatable. Technically not a “radio hour,” in keeping with its 21st century origins, the shows are actually taped, edited, and eventually made available as a podcast on the Real-Phonic website (realphonic.com).

Molly Maher took over Thom Middlebrook”s role, handling the opening monologue on this particular night. Her comments included an “attaboy!” for the Minnesota legislature, which had just passed the Marriage Equality law, as well as a number of well-placed jibes at that soft target who goes by the name of Michelle Bachmann. Both themes would later be revisited when Middlebrook did his own commentary later in the evening.

Erik Koskinen and the rest of the boys warmed things up with a trio of selections (we’re going to take a stab at the titles), ranging from the steady rolling Americana of “Feelin’ Pretty Good,” to the country-flavored “You Didn’t Even Remember My Mama’s Name,” finishing with the rockabilly “I Ain’t Nothin’ With You.” Although deferring to Paul Bergen for most of the lead guitar work, Erik is no slouch on guitar himself, and together the two of them form a most formidable tandem.

Robinella and band

Robinella and band

Knoxville singer/songwriter Robinella was next up. At first glance, it would be easy to conclude that Robinella is just another country singer (Tennessee gal + guitar = country, right?). That would be a big mistake, as the lady from Volunteer State is mostly about jazz. She can scat like Ella, purr like Billie, or croon like Peggy, with a swinging combo that features Jesse Hains on the electric piano.

She opened with a nifty jazz arrangement of “This Little Heart Of Mine,” showing off her impressive range. In her short set she showcased three songs from her forthcoming album, including the tender “Lullaby for Beau,” dedicated to her son, and closing with the freewheeling “Surrender All,” with Mr. Hains stepping out for some flashy solos on the keys. It was a tantalizing taste of a talented singer, making us all hope she’ll return for a full show soon.

Gurf Morlix

Gurf Morlix

You’re probably saying to yourself, “How could Mr. and Mrs. Morlix have possibly named their son “Gurf”? In fact, neither is his given name (surprise!). According to an interview in No Depression magazine ( http://archives.nodepression.com/2000/05/get-to-know-him/) the name came to 14-year old what’s-his-name in a dream, causing him to awaken with a start and write the name down. No matter; he’s been Gurf for all of his professional life and will be so till the end.

And, what a life he’s had so far! He’s been a fixture on the Austin music scene for over 30 years, working with and producing albums for such Americana/roots noteworthies as Lucinda Williams, Ray Wylie Hubbard, Robert Earl Keen, Slaid Cleaves and Buddy Miller. His 10-year association with Lucinda Williams coincided with her early success, ending abruptly during the “Car Wheels On A Gravel Road” sessions when he became frustrated at the pace of the project. He was chosen as Instrumentalist of the Year by the Americana Music Association in 2009, and was elected to both the Austin and Buffalo Music Halls of Fame (Buffalo being his birthplace).

In addition to his work with others, he’s released a series of well-received albums, starting with 2000’s “Toad of Titicaca” (love that name!), leading up to this year’s “Gurf Morlix Finds The Present Tense,” which, Gurf noted, “has already made Rolling Stone’s list of the top 30,000 albums of 2013!” Accompanying himself on guitar and kick drum (actually, a miked board that he tromped on for his one-man band rhythm section), his set list naturally drew heavily on the new release. “My Life’s Been Taken,” the ominous murder ballad that opens the CD, was also Gurf’s opener this night. Gurf’s sandpaper voice does not have a great deal of range, yet is surprisingly emotive and effective. The tender love song “Empty Cup,” co-written with Grant Peeples, was next, followed another dark number, “Series of Closin’ Doors,” which Gurf introduced, tongue in cheek, as having been inspired by “watching reruns of Get Smart.” The song, which deals with extricating oneself from a bad relationship, could not be farther removed from the old Mel Brooks/Buck Henry TV series.

Gurf has long been a champion of the music of Blaze Foley, a truly sad, tragic, and obscure figure in American music. In fact, the last time Gurf was in town, a couple of years back, he was promoting the movie “Duct Tape Messiah,” a documentary about Blaze Foley, who was a homeless alcoholic most of his life, yet wrote truly amazing songs that were recorded by John Prine, Merle Haggard and Willie Nelson. As a tribute to his late friend, Gurf performed two of Blaze’s compositions, the powerful “Cold, Cold World” (which Gurf described as “probably my favorite song – ever”) and the hilarious “Wouldn’t That Be Nice?” The latter was inspired by Blaze hitchhiking one day when the line of cars passing him by was stopped by traffic up ahead. A car driven by a matronly woman happened to stop right next to Blaze and the driver, eyeing the disheveled transient in disgust, reached over and very deliberately locked her passenger side doors. This led Blaze to compose this brief ditty, with lines like “Lock your door lady, or I’ll jump in your car / Don’t you know how nasty we are? / I’ll poke out your eyeballs and make you a scar / Make you have to walk real far.” And, it gets much worse.

Gurf then returned to the new album, for “Bang Bang Bang,” introducing the song by noting, “Regardless where you are on the gun control issue, there’s no doubt that we have a gun violence problem in this country.” Amen, brother! He closed the set with a cover of The Blind Boys of Alabama’s “This May Be The Last Time.” We hope not, Gurf!

The whole ensemble: Paul Bergen, Jesse Hains, Erik Koskinen, Gurf Morlix, JT Bates, Frankie Lee, Robinella, surprise walk-on Chastity Brown, Thom Middlebrooks (partially obscured), Eric Pollard

The whole ensemble: Paul Bergen, Jesse Hains, Erik Koskinen, Gurf Morlix, JT Bates, Frankie Lee, Robinella, surprise walk-on Chastity Brown, Thom Middlebrook (partially obscured), Eric Pollard

The evening ended with most of the musicians gathering onstage to sing “Will The Circle Be Unbroken?” with Gurf and Robinella trading verses. Local singer-songwriter Chastity Brown (see “Hit Me Two Times!” post on this site), happened to be in the audience and joined in the fun onstage. Now, cue the Real-Phonic band to do the closing theme (“Gonna see my baby in the city of St. Paul”) while Thom Middlebrook reads off the credits, and away we go!

What a blast this was! Can’t wait for the July show to roll around – who knows, it might actually be summer here by then!

Searching for Sixto; Rodriguez at the Fitzgerald Theater, St. Paul, MN, 5/15/13

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Apologies for this grainy photo of Rodriguez and band; the only one we took prior to being informed of the artist's "no photos" policy

Apologies for this grainy photo of Rodriguez and band; the only one we took prior to being informed of the artist’s “no photos” policy

There’s nothing like being the subject of an Academy Award-winning documentary to thrust a person into the public eye. The brief rise, decades-long lapse into obscurity, and subsequent rediscovery and rejuvenation of Sixto Rodriguez are all well-chronicled in the 2012 film “Searching For Sugar Man.” The Detroit singer/songwriter was thought to have had a promising career ahead of him, releasing two albums (“Cold Fact” in 1970, and “Coming From Reality” the following year) before a combination of bad management, lack of label support, and his own personal demons caused him to disappear from view – at least in this country.

Copies of his albums somehow made their way to South Africa, however, where Rodriguez’s politically-charged commentaries on urban life resonated with the growing anti-apartheid youth movement there. He became hugely popular, merely on the strength of these two albums, although nobody knew a thing about him. And, according to the documentary, he never made a dime off of all the thousands of albums sold in that country.

Life changed dramatically for Rodriguez in the late 1990’s, when he was rediscovered through the persistent efforts of a small group of diehard South African fans, who were also involved in the music business. A series of triumphant, sold-out concerts in South Africa eventually led to the making of the “Sugar Man” movie, the publicity from which has caused his current U.S. tour to be one of the hottest tickets of the year.

Rodriguez took the stage at the Fitz to a standing ovation from the sold-out house. He looked frail, being supported by two young women (his daughters?) as he walked tentatively to the mike stand, where his unnamed lead guitarist plugged in his guitar for him. Dressed in black, with a wide-brimmed black hat hiding his face, it was difficult to get a sense of his well-being from our seats in the balcony. However, his voice was strong and assured as he sang the opening song, “Climb Upon My Music.” Like many of the offerings that evening, the song sort of trailed off at the end, with the three-man band ending at different times. It’s not clear how long this particular group of musicians had played with Rodriguez, but one got the sense that Rodriguez is an intuitive performer, like Dylan, and it takes time to pick up his subtle musical cues and gestures. The flow and pacing of the set was halting and tentative, too, as there was always a pause between songs while Rodriguez and the lead guitarist conferred, generally followed by the guitarist calling out instructions to the bass player and drummer. Set list, anybody?

A measure of Rodriguez’s triumphant return to popularity is the newly-recorded cover of his tune, “I Wonder,” by Alabama Shakes front woman Brittany Howard and Ruby Amanfu. Rodriguez’s own rendition of the song was an early set highlight, drawing a huge reaction from the crowd. From there, he played the first of several surprise covers, a jazzy rendition of “One Of Those Things.” Rodriguez’s vocal was subtle and self-assured on the Cole Porter classic.

“Inner City Blues” was next, this being Rodriguez’s own composition, as opposed to the more famous and entirely different song by the same name by fellow Detroiter Marvin Gaye. The song plays a pivotal role in the rediscovery of Rodriguez in the movie, with its reference to “Met a girl from Dearborn, early six o’clock this morn,” leading the South African fanatics to look up Dearborn on a map and discovering that it is a suburb of Detroit.

The Dylan influence on Rodriguez’s music was apparent in songs like “Crucify Your Mind,” and “This Is Not A Song It’s An Outburst: Or, The Establishment Blues,” performed back-to-back after “Inner City Blues.” Consider this verse from the latter song, delivered in a monotone voice similar to “It’s Alright, Ma (I’m Only Bleeding)”: “Garbage ain’t collected, women ain’t protected / Politicians using, people they’re abusing / The mafia’s getting bigger, like pollution in the river / And you tell me that this is where it’s at.” Pure protest song lyrics.

Shedding his jacket to reveal his tank top underneath, Rodriguez had the band step aside while he delivered the next unexpected cover, Lou Rawls’ “Dead End Street.” Playing the slow blues number solo, with just his own guitar accompaniment, Rodriguez seemed particularly vulnerable. Hearing him sing “I’m on a dead end street, in a city without a heart” was touching and poignant, and entirely consistent with his own compositions about the difficulty of working-class urban American life. Abruptly changing pace, Rodriguez covered Little Richard’s “Lucille” next, but, although it was an effective mood-changer, he was out of his league vocally.

The band returned for “Sugar Man,” his strongest vocal of the night, which also featured a blistering solo by his guitarist. The gorgeous love ballad “I Think Of You,” from the “Coming From Reality” was next – proof that, although he’s best known for his biting commentaries on inner city life, he’s also capable of expressing tender emotion. But, this was a brief respite from the troubled world he normally writes about, as he then launched into “You Can’t Get Away,” with its opening lines “Born in the troubled city, in rock ‘n roll USA / In the shadow of the tallest buildings / I vowed I would get away.”

“I’m a solid seventy!” he announced proudly at this juncture, drawing a round of applause from the audience. He then noted with equal pride that he had received an honorary bachelor’s degree from Wayne State University less than a week earlier. More well-deserved applause, to which he responded by saying “I just want to be treated like an ordinary legend!” Applause, laughter, and several folks rose up out of their seats at this clever (albeit, well-rehearsed) wisecrack.

Two songs from “Cold Fact” followed, the acerbic “Rich Folks Hoax,” and the Byrds-doing-Dylan “Like Janis.” At this point, Rodriguez observed that “Hate is too powerful an emotion to waste on someone you don’t like.” So, save it for the real bad-asses of the world, apparently. “To Whom It May Concern” was next, with a vibe vaguely reminiscent of a Youngbloods song, followed by “Street Boy,” with its timeless admonition to wayward urban youth to “get yourself together, look for something better.”

Switching gears again, Rodriguez sang the sweet Don Gibson country classic “Sea Of Heartbreak,” But, not wanting the mood to get too maudlin, he then played his earliest single (recorded in 1967 as “Rod Riguez”), the kiss-off song, “You’d Like To Admit It,” with its chorus “So when I see you again I’ll just grin / And you’ll know why it is, cos’ I’m glad that you’re his and not mine.”

Rolling to the end of his set with the questionable cover of “I Only Have Eyes For You,” he closed with “Forget It” from his “Cold Fact” album. Returning for the all-covers encore, Rodriguez once again reminded us that he’s a “solid seventy” before launching into a credible version of “Like A Rolling Stone” (even if he consistently omitted the “No direction home” line in the chorus), followed by the Peggy Lee standard “Fever,” before closing with Sinatra’s “I’m Gonna Live Until I Die.”

What a shame it is that this talented individual was lost to the general public for so many years! Having just seen a contemporary of his, David Lindley, the night before (see previous review), I was struck by the contrast in their stage presences and performances. Where Lindley was perfectly comfortable, quick with an anecdote and fluid in his transitions, Rodriguez seemed tentative and somewhat ill at ease when he wasn’t actually singing. For all his considerable gifts, Rodriguez has suffered from a performance standpoint, from being away from the stage for so long. I couldn’t help but thinking that I wished I’d seen him 40 years ago, when he was at the peak of his talent. He’s certainly trying to make up for lost time now, but one wonders how much different things would be if his career hadn’t been interrupted for so many years..

 

The Return of the Badgerman: David Lindley at the Cedar Cultural Center, Minneapolis, MN, 5/14/13

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David Lindley and Jackson Brown, circa 1992 (archive photo necessitated by the Cedar's new "no photos" policy during performances

David Lindley and Jackson Browne, circa 1992 (archive photo necessitated by the Cedar’s new “no photos” policy during performances)

If the music industry ever gave out the equivalent of the NBA’s Sixth Man Award, surely David Lindley would be a contender.  In addition to his long affiliation with Jackson Browne, Lindley’s multi-instrumental work has added depth, color and nuance to a veritable who’s who of contemporary artists, including Ry Cooder, Warren Zevon, Rod Stewart, Crosby, Stills and Nash, Emmylou Harris, The Blind Boys of Alabama, Linda Ronstadt, Dolly Parton, John Prine, Bob Dylan, and David Bromberg.  And that’s just for starters!  His long affiliation with the group of session musicians known as The Section has led him to appear on scores of albums.  For approximately 10 years, he led the much-loved, sorely-missed, multi-cultural cult favorite band, El Rayo -X, with its captivating mix of rock, blues and reggae.  As one of the earliest champions of “world music,” he toured and recorded with Jordanian musician Hani Naser, as well as venturing to Madagascar with guitarist Henry Kaiser, to record with musicians there

The Axe-Man cometh! David Lindley's instruments, including a massive baritone Hawaiian guitar, normal Hawaiian guitar, bouzouki and oud.
The Axe-Man cometh! David Lindley’s instruments, including a massive baritone Hawaiian guitar, normal Hawaiian guitar, bouzouki and oud.

Although he is still regularly called upon for session work, Lindley’s preference these days is to tour solo, dazzling audiences with his deft fretwork on a variety of instruments, including bouzouki, oud, and an impressive set of Hawaiian style hollow neck acoustic lap guitars.  So it was during his recent appearance at the Cedar Cultural Center, where he entertained the 2/3’s full house for nearly two hours, with his mix of songs and story telling.

Bespectacled, with his long graying hair and signature massive mutton chops, Lindley resembled a character out of a Dickens novel – except for the loud paisley-print shirt, that is (standard apparel for the man occasionally referred to as The Prince of Polyester).  “Ain’t No Way” from the first El Rayo-X album, was the set opener, done up more as a stately march than the loose, freewheeling arrangement from the 1981 album.  Reflecting on his early career, Lindley noted that he used to play at Disneyland in a hillbilly band “with our bumpkin suits, bumpkin hats, and bumpkin instruments.”  One of the members of the group was a much older man named Johnny Sancere, who played banjo and guitar, and whose longevity in the business while playing the style of music he preferred seems to have had a profound influence on Lindley’s own chosen career path.  He used the Disneyland/Sancere episode as a segue into “Coot From Tennessee,” then the Warren Zevon composition “Beneath The Vast Indifference of Heaven,” both played on Hawaiian-style acoustic lap guitars.  The hollow necks of these formidable instruments provided a huge, resonating bottom to the songs, making it sound for all the world as though there was a bass player up on stage, too.

Referring to the recent Rolling Stone article about The Section, Lindley related a story about saxophonist David Sanborn (“the Troll of Soul,” as Lindley referred to him),, making his way from ledge to ledge along the second story outside wall of the Holiday Inn where the band was staying while touring with Jackson Browne.  Finally persuaded to come into the room from his precarious perch, Sanborn pointed at someone in the band and proclaimed “You and your little dog, too!” causing Lindley to howl with laughter at the recollection, while the audience politely chuckled in puzzled amusement.  I guess you had to have been there.

Announcing, “I’d like to do a drug song for you,” Lindley told of how he and his daughter, Rosanne, came to write “Little Green Bottle,” an ode to . . . Extra Strength Excedrin.  It occurred after Lindley had been bitten between the shoulder blades by some nasty tree spider that dropped down on him as he brushed against a branch.  Only the magic in the little green bottle soothed his pain, so, while walking with Rosanne soon after – in the street, away from spider-infested trees – they began tossing off verses, eventually winding up with “about 30.”  Although the version performed this night consisted of far fewer verses, the song itself went on for over 10 minutes, including hilarious spoken interludes about taking too much (leading to “bad musical ideas” and manic guitar playing), then coming down from the Excedrin high (slowing the song down to a dirge).

Back to the bouzouki, and another story about doing sessions with Dolly Parton, including an extravagant show at her Dollywood theme park, with a number of other guest musicians.  Dolly introduced the musicians one by one, noting that so-and-so came in from New York, so-and-so from Los Angeles, and when she got to Lindley, she announced “And David Lindley flew in from Mars!”  The murder ballad, “Pretty Polly” was the follow up to that anecdote.

Switching to the oud, Lindley pointed out that the one he plays does not have the rounded back traditional for this Middle Eastern instrument.  “That’s because this oud was made to be plugged into a Marshall stack!” he noted, referring to his oud as “Destroys Drummers.”  The bluegrass tune, “Little Sadie” was the first offering on this tricky instrument, followed by a medley of similar songs.  The similarity between oud and mandolin in terms of size and number of strings (although the oud has 2 more) makes the oud a simpatico choice for bluegrass style music.

Back to bouzouki next for the Greg Copeland tune, “Pretty Girl Rules The World,” followed by another Greg Copeland composition, “Revenge Will Come,” played on the thunderous baritone Hawaiian.  In between, Lindley told a story about the man who makes his lap guitars, a fellow by the name of Larry Pogreba, a neighbor of Ted Turner’s, who lives “off the grid” in Montana, and also builds black powder cannons that shoot bowling balls!  It was just such a cannon that dispatched the ashes of Pogreba’s friend, the late Hunter S. Thompson, over his property in Colorado.  Whatever else you might say about David Lindley, you certainly can’t accuse him of having boring friends.

Before performing his lone encore, the zydeco flavored “Bon Temps Roulez,” Lindley referred back to the Rolling Stone article on The Section.  He took umbrage at the writer’s reference to the group as “The Knights of Soft Rock,” so he decided to give himself yet another nickname:  Flaccido Domingo.  That line got him the biggest laugh of the night.

It’s easy to see how David Lindley is such an in-demand studio musician.  His range of instrumental skills is unique, but in addition to that his easygoing demeanor and “what, me worry?” attitude toward life must be refreshing in a business where over-inflated egos are the norm.  Fortunately for us, he still spends a lot of time on the road, playing in bars and clubs, and at festivals all over the world.  Alone on stage, flanked by his rack of instruments, is where his true genius shines forth – with a half-dozen humorous anecdotes thrown in for good measure.

Kelly Willis and Bruce Robison, Dakota Jazz Club, Minneapolis, MN

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Bruce Robison, Kelly Willis, with Jeff Kling on guitar & "Lunchmeat" on bass

Bruce Robison, Kelly Willis, with Jeff Kling on guitar & “Lunchmeat” on bass

We know them by their first names, always spoken in tandem:  George and Tammy; Johnny and June; Conway and Loretta; Waylon and Jessi.   Add the names Bruce and Kelly to that list, as they are the new heirs apparent to the grand tradition of country music couples.

Both members of this husband-wife duo have enjoyed successful careers in the music business: Kelly Willis as a well-known singer and Bruce Robison as both a performer and an in-demand songwriter.  Married for 17 years, the couple just recently joined musical forces on “Cheater’s Game,” their first album together.  The album has garnered enthusiastic reviews and a nomination for Album of the Year by the Americana Music Association, as well as a Group/Duo nomination for Robison and Wills.  Their current tour brought them to the Dakota Jazz Club in early May, where they quickly transformed the classy downtown night spot into the upscale equivalent of a Texas roadhouse.

Matters got off to a lively start with the Dickey Lee classic, “9,999,999 Tears To Go,” with Bruce’s mid-range baritone harmonizing well with Kelly’s sweet, earnest alto voice.  The country weeper, “Dreamin” followed, featuring a lonesome harp solo by Bruce, accenting Kelly’s mournful, yearning lead vocal.  Ä cover of Dave Alvin’s “Border Radio” was next, with the rockabilly edge of the original softened somewhat by the pedal steel guitar work of Jeff Kling, who alternated between the Telecaster (lead and slide) and pedal steel all night.

Kelly Willis

Kelly Willis

Not to be outdone by her songwriting husband, Kelly introduced “What I Deserve” by noting that she had co-written the song with local hero Gary Louris, best known for his work with the seminal Twin Cities alt-country band, The Jayhawks, but a frequent songwriting collaborator with other musicians as well.  When it was Bruce’s turn to step out front, he chose “Wrapped,” his composition that became a hit song for George Strait.  With its chorus about being “wrapped around your pretty little finger again,” it was clearly and unabashedly a love song directed at the lovely blond woman standing and strumming to his left.

It was back to the “Cheater’s Game,” album for the next couple of songs, the wistful, bluegrass-flavored “Leavin'” and ‘the more uptempo “But I Do.”  The fiddle parts from the recorded versions of both songs were missed – an unfortunate but necessary consequence of working within the confines of a small-club tour budget.  Switching back to material from her solo efforts, Kelly knocked it out of the park with “Heaven Bound,” a curious combination of sad lyrics wed to a rousing country beat.  It was a pure honky-tonk angel turn for Kelly, and a standout moment of the show.

The set list continued to alternate between songs off the new album and other gems from the duo’s respective catalogues, with the trucking song “Born To Roll” and the title track to “Cheater’s Game” falling in the former category, and “My Brother and Me,” and “Traveling Soldier” (Bruce’s hit song for The Dixie Chicks) representing the latter.  A cover of The Kendalls’ 1977 classic “I Think I’m Giving In” led to an audience request  for “I Don’t Want To Love You But I Do,” Kelly’s first single.  “We thought we were going to be as big as The Beatles!” Kelly noted wryly, and with the wisdom that has come from over 20 years in the business.

Bruce introduced his next song by noting “I have two kinds of songs: sad songs, and slightly faster sad songs,” leading into “Angry All The Time.”  A depressing vignette about a couple whose marriage is disintegrating, “Angry” was originally recorded by Bruce but became a hit for another, better known country music couple, Tim McGraw and Faith Hill.. The antidote to that sad song followed, with Kelly’s sweet rendition of Bruce’s tender love ballad, “Cradle of Love.”  Then it was back to Bruce, who noted that since it was a Sunday night, it was time for a “spiritual,” namely, his hilarious ode to The Red Headed Stranger, “What Would Willie Do?”  The set ended with two more songs from the “Cheater’s Game” album, the Hayes Carll composition, “Long Way Home,” featuring another harp solo by Bruce, and the hopeful, rollicking “Lifeline.”

Bruce and Kelly ended the night with the encore set of Bruce’s “What Did You Think,” followed by a rousing cover of the Jeannie C. Riley mega-hit, “Harper Valley PTA.”  With their well-balanced and carefully selected set list, Bruce and Kelly not only showcased their new album and highlighted each other’s individual careers, but also covered a generous sampling of earlier country music classics.  It was a full and satisfying evening by country music’s newest up and coming power couple.

“Can You Stand the Heat?” – Ana Popovich

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Concert reviews: Ana Popovich at Mojo’s Kitchen, Jax Beach, FL 5/15/2013

The comely Ms. P graced the First Coast with a short-notice stopover on her way North from wildly received shows at the Nawlins Jazzfest and Tampa. Despite no publicity, the Mojo’s Kitchen gig was packed with Blues cogniscenti and leering old men – with new contributor Teri Jo and addled correspondent Nanker Phledge leading the respective categories – Editors

Teri Jo’s take:

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Ana Popovich onstage at Mojo’s Kitchen, Jax Beach, FL 5/15/13

Refugees from the Legendary Blues Cruise and grizzled blues aficionados gathered at Mojo Kitchen in Jacksonville Beach to worship at the altar of hit blues rocker Ana Popovic.  Popovic, who hails from Serbia, but now lives in Memphis, channelled Duane Allman, Peggy Lee and Stevie Ray Vaughan in the tiny venue.  Taking the stage in a killer red mini-dress and stiletto heels, Popovic blew the crowd away.

Popovic, who learned to appreciate the blues from her record-collecting father, was just off the stages  at Tropical Heatwave in Tampa, and at the New Orleans Jazz and Heritage Festival when she dropped in to burn up the strings at Mojo Kitchen.  Popovic played tunes from her new album, Can You Stand the Heat, which was recorded in Memphis, as well as numbers from her previous album Unconditional (you should check out the album cover).

Teri Jo

Nanker’s take:

Ana Popovic

” Why do men go crazy when a woman wears her dress so tight? “–  Muddy Waters- ( Andrew/McKeag)- ” The Same Thing”
Photo by compared2what

” It’s a man’s world she’s in “, noted compared2what, as we sat with veteran observers Wild Billy, Earl B., and Teri Jo, ” there aren’t many women doing this”. The short list includes Bonnie Raitt, Susan Tedeschi, Joanne Shaw Taylor, and newcomers like Samantha Fish, Cassie Taylor ( okay, she’s a bassist, but she’s out front), and 16-year-old Colorado prodigy Micheala Rae, all taking on the heavy mantle of Blues Guitar God(dess) with no clear model for survival, much less success, save the Little Redheaded Girl who made John Hiatt a Grammy-winning songwriter and put his own girls through college, to hear him tell it. Yet as Ana strode confidently onstage, grabbed her axe, and approached the mike, nobody was really concerned about gender, ethnicity, or age, but the simple  query: Can she play?

Yousa, yousa, yousa!

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Now, that’s an Object of Obsession!

Most of Ana’s material from the new CD, including ” Can You Stand the Heat?” and            ” Object of Obsession” , leaned toward R and B , with some jazzy flavor, but she truly shined on blues classics, especially Albert King’s ” Can’t You See What You’re Doing To Me ?”.  Her time working with her ” slide guitar idol ” ( per her site ) Sonny Landreth has paid off handsomely, and no surprise; mere proximity to Landreth would improve slide playing through osmosis. Mutters of ” she looks like Duane Allman up there” and ” it’s like Stevie Ray came back pretty ” were overblown, and I swallowed a ” Child, please!”, but Ana is a serious talent on guitar, and a very competent vocalist. Springsteen once said that Southside Johnny was a guy he could listen to all night long.  Ana’s voice is similarly agreeable and compelling, without blowing you out of your seat or spanning octaves. While the tight combo lineup, including bassist John Williams and drummer Tony Coleman, gave Ana a chance to shine for the many who’d never seen her, she would be a treat with her 9-piece Mo’ Better Love band that backed her at Jazzfest and will be jumping in on the European leg of her current tour.

And the recent Memphian made many fans by obliging nearly the entire house’s autograph, CD signing, and photo op requests during the break between sets, which became more intervention than intermission. With the Sandman beating me to School Night death, no choice but to blow her a kiss ( damn, she missed it!) and head back to the Unit. Harry, keep your eyes peeled for Ana; she’s worth checking out!

That would be me – Nanker

” You ain’t my first, you ain’t my last! ” – Sarah Gayle Meech

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Short takes: Sarah Gayle Meech at Layla’s, Nashville, TN 5/11/13

We welcome an old friend, Teri Jo , now recovering from cruising Music City!

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Sarah Gayle fends off drunken admirer while rockin’ the house at Layla’s! Yes, that’s Earl’s grandson Chris Scruggs tearing it up on guitar behind Sarah.

The hottest scene in Nashville is the strip of honky-tonks that surround the Historic Ryman Auditorium in the area known as Lower Broadway.  Old time tonks like Tootsie’s Orchid Lounge and Ernest Tubbs Record Shop don’t look much different today than they did in the fifties and sixties when Tubbs, Patsy Cline and Loretta Lynn would drop in to play a few numbers before, during and after shows at the Grand Ole’ Opry, but the music inside is some of the best around, and the price is right.  Hot new bands play venues like Orchid Lounge, Layla’s, Roberts Western Wear and Legends all day long, and pass the hat each hour for tips.  The musicians are hoping for just the right industry exec to be in the audience showcasing new talent, plus they chat with audience members and take requests.  Our tribe, in town for the Vanderbilt graduation of an esteemed law student, hit the street early, tossing back coldies while watching hot bands at Robert’s, Legends and Layla’s.
Our hardy band of revelers spent three late afternoons/long early evenings at Layla’s evenings listening to the hottest new young alt-country darling, Sarah Gayle Meech and her band.  Meech belted out old standards like “Crazy,” “Six Days on the Road,” “Don’t Come Home A-drinkin’ With Lovin’ On Your Mind,” and plenty of her own tunes from her debut album “One Good Thing.”  On Saturday, our last night in the audience, Sarah’s stand-in guitar player was Chris Scruggs, grandson of Earl Scruggs; even though Scruggs had joined the band on just thirty minutes’ notice, he smoked!!!  What a treat listening to his fast fretwork while Sarah put down the mic for some well-deserved vocal cord rest.   Some old-timers (you may recognize them from the photos) were lured onto the dance floor, even without the promise of more free beers.  We all became big fans in just one afternoon.
Country Fried Rock calls Meech “nouveau rockabilly,” but we call her a phenom and great to dance to, and highly recommend purchasing her album,” One Good Thing”!  Check it out at www.sarahgaylemeech.com
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Local hottie on fiddle atop the bar at Legends on Broadway.

They let anyone on the dance floor in Nashville!
Many thanks to Teri Jo for sending this along!
– the Editorial staff

“Hit me two times!”: Secret Stash Records Soul Revue / Charles Bradley & His Extraordinaires

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“Do ya like good music? (Yeah, yeah!) / That sweet soul music (Yeah, yeah!)” “Sweet Soul Music,” Arthur Conley

SECRET STASH RECORDS SOUL REVUE, DAKOTA JAZZ CLUB, MINNEAPOLIS, MN, 5/4/13

Maurice Jacox and the Secret Stash Band, Dakota Jazz Club, Minneapolis, MN, 5/4/13

Maurice Jacox and the Secret Stash Band, Dakota Jazz Club, Minneapolis, MN, 5/4/13

Twin Citians were treated to a double shot of that sweet soul music recently, with the two-night Secret Stash Records Soul Revue at the Dakota Jazz Club, May 3rd and 4th, followed by the May 7th appearance of the late-blooming Charles Bradley at the Cedar Cultural Center.  For fans of the genre, it was a nostalgic trip back in time to an era when Sam Cooke, James Brown, Otis Redding and the like were first bringing this style of music to a wider (i.e., whiter) audience.

Fledgling Minneapolis record label Secret Stash has made a name for itself among vinyl collectors by issuing a number of albums by various African, Asian and Latin American funk, groove and dance bands, as well as obscure American R & B artists like Mickey Murray.  Last year, the label scored gold locally with the release of “Twin Cities Funk & Soul: Lost R & B Grooves From Minneapolis/St. Paul 1964 – 1979.” The collection of obscure tracks by forgotten Twin Cities funk and soul artists such as Prophets of Peace, The Valdons, and Wanda Davis  has caused a sensation among music lovers in the sister cities and the record/CD release show at the Cedar Cultural Center last fall was a sold-out, smashing success.

Treading the fine line between maintaining the momentum of that first public performance, and not wearing out their welcome, the Secret Stash artists have carefully spaced out their subsequent appearances.  The two-night stand at the Dakota was only the third such event so far in 2013, a pace that seems appropriate to maintain the public’s interest and guarantee strong ticket sales.

Hitting the high notes: Maurice Jacox

Hitting the high notes: Maurice Jacox

Maurice Jacox opened the show and quickly set the tone, both musically and sartorially.  Still trim and handsome well into his 60’s, Maurice is best known locally for his work with the finest blues/funk/soul/R & B dance band to ever grace a Twin Cities barroom stage, the incomparable, Willie and The Bees.  Maurice played baritone sax and flute in that legendary band, as well as singing lead and harmony.  This night, it was all about the singing, as he left the instrumental work to the band,  Resplendent in his royal blue jacket, glittery multi-colored vest, and eye-catching gold lame beret, Maurice opened with a couple of old faves from the Bees’ catalogue, “Honey From The Bee,” and “Shoot Straight.” The former pairs suggestive, double-entendre lyrics with a nasty funk groove, while “Shoot Straight” is a swinging r & b gem that would bring everyone off their bar stools and onto the dance floor back in the 70’s, when the Bees reigned supreme.  Amazingly, Maurice hit the high notes on “Shoot Straight” effortlessly.  Clearly, age has done nothing to diminish the man’s incredible range and power. He screamed, he shouted, he pleaded, begged and whispered, all in the course of the same song.  We should all age so well.

Chastity Brown and Maurice Jacox

Chastity Brown and Maurice Jacox

After a couple more numbers, Maurice invited recent Twin Cities’ transplant Chastity Brown to the stage, for a duet of Sam & Dave’s classic, “When Something Is Wrong With My Baby.”  The addition of Ms. Brown to the revue was curious, as she is definitely not of the same generation as the rest of the Secret Stash artists, nor does her own music particularly call to mind comparisons to any soul artists.  Nevertheless, she rose to the challenge of the Sam & Dave duet, matching Maurice’s improvisations on the song’s stirring chorus.  She also did a fine job covering the two Wanda Davis cuts on the “Twin Cities Funk & Soul” album, “Take Care” and “Save Me.”  In a departure from the evening’s tone, she also sang “If You Let Me” from her current solo CD, an homage to her Tennessee gospel roots.

Jackie Harris

Jackie Harris

Jackie Harris, the proprietor of the first black-owned radio station in the Twin Cities, was up next, with his funk workout, the awkwardly titled “Get Funky, Sweet A Little Bit.”  Jackie’s live wire stage antics and the song’s chicken-scratching guitar line brought to mind the late Rufus Thomas, a mainstay of the Stax Records lineup in the 60’s.

After Jackie Harris’ star turn, The Valdons took the stage to the lively, horn-driven intro to “Stop! Wait A Minute Girl,” making everyone in the house wish they could push aside their tables and make room to dance.  And, oh my, do those gentlemen know how to DRESS!

The Valdons

The Valdons

To this point, the evening’s music had largely been drawn from the grittier Memphis-style soul made famous by the Stax/Volt label, but The Valdons’ music combines elements of the high energy Motown sound (and fancy dance steps) of the Temptations and The Four Tops, and the smooth, sophisticated Philly soul of groups like The Delfonics.  The four-part harmonies of The Valdons are still strong and sweet, 40 years after their heyday.

Following “Stop!” The Valdons did one more number, a searing cover of Ben E. King’s “I Who Have Nothing,” before the intermission, returning to open the second set with new matching dusty rose colored suits and another highly danceable original, “All Day Long.”  “Love Me Or Leave Me” followed, a slow, passionate make up/break up tune showcasing the group’s Delfonics-like high falsetto harmonies.  The Valdons exited and Maurice returned to the stage to tackle James Brown’s tortured love ballad “This Is A Man’s World.”  Growling, howling and once again hitting those impossible high notes, Maurice’s version would have made The Godfather of Soul proud.

The bass player in the house band, former Prophet of Peace Anthony T. Scott, stepped out to cover Willie Walker’s “I Ain’t Gonna Cheat On You No More.”  How thoughtful of you, Willie.  Scott was joined by Sonny Knight of The Valdons for the funk workout “Do It To The Max,” another Prophets of Peace song.  After the positive message song “You Can Be What You Want To Be,” and the somewhat hokey, lyrically clichéd “Get Your Head Together,” Maurice rejoined the group to sing the lead on Al Green’s “Tired Of Being Alone.” Finally, Chastity Brown came back to the now-crowded stage for the rousing hometown theme song, “Minneapolis, Minnesota,” featuring solos by each member of the 3-man horn section.  Although somewhat embarrassing in its boosterism, “Minneapolis, Minnesota” is a song about pride, and Twin Citizens have a lot to be proud of, especially on this night, celebrating a small but significant part of the cities’ musical history.

CHARLES BRADLEY & HIS EXTRAORDINAIRES, CEDAR CULTURAL CENTER, MINNEAPOLIS, MN, 5/7/13.

Charles Bradley & His Extraordinaires, Cedar Cultural Center, Minneapolis, MN, 5/7/13

Charles Bradley & His Extraordinaires, Cedar Cultural Center, Minneapolis, MN, 5/7/13

It hasn’t been easy being Charles Bradley. Raised in Florida by his grandmother, his mother reentered his life when he was eight and took him to live with her in Brooklyn.  He ran away from home while in his teens and lived on the streets.  His brother was murdered, he nearly died from an allergic reaction to penicillin, and he scuffed around the country, working a series of odd jobs, mainly as a cook.  And that’s just the Reader’s Digest condensed version.

A pivotal event occurred early during his years in New York, when his sister took him to the Apollo Theater to see James Brown.  The performance made a lasting impression on him, and he eventually moonlighted as a James Brown tribute artist, working under the moniker Black Velvet.  Gabriel Roth, impresario of Daptone Records and leader of The Dap Kings band, caught his act and invited Bradley to the Daptone studios to record some tracks.   Bradley toured with Sharon Jones and The Dap Kings in 2008, including a memorable performance at the Orpheum Theater in Minneapolis that December.  More recently, Charles Bradley’s life and hard times have been chronicled in the widely acclaimed 2012 documentary, “Soul Survivor,” which has introduced the man and his music to a much wider audience than he had ever dreamed of during his days doing James Brown covers.

And yet, there’s no question that the man owes a deep debt to the late great Godfather of Soul.  From his singing style to his stage moves to his costume changes, Charles Bradley clearly lives in James Brown’s shadow.  All of this was evident from the beginning of his recent appearance at the Cedar Cultural Center, with the Extraordinaires warming up the crowd with an instrumental medley, including a funk version of “Summer In The City.”  Like a latter-day Danny Ray (JB’s emcee and “cape man”), the keyboardist stepped out to center stage to give a big rave-up introduction to “The Screaming Eagle of Soul,” whipping the crowd to a frenzy as the man himself took the stage.

Bradley’s voice is a powerful instrument, raw and expressive, with steel-belted vocal cords that can withstand the strain of the many screams with which he punctuates his songs.  Like his idol, subtlety is not his strong suit.  Having only two albums to his credit, his set list naturally drew heavily on his current release, “Victim Of Love,” with which the audience at the Cedar seemed quite familiar.

Charles Bradley gives us his blessing

Charles Bradley gives us his blessing

After a stirring version of “Love Bug Blues,” from the new album, Bradley called out to the crowd, “How is my family?” a question that may have sounded hokey and clichéd coming from another performer, but came off as perfectly sincere from this hard luck survivor.  Bradley took us to church with “How Long?” from his 2011 debut “No Time For Dreaming,”  dropping to his knees a la JB, then shouldering the mike stand like Jesus carrying the cross.  It was great showmanship and totally effective.

Switching gears to the more uptempo, R & B flavored, “You Put The Flame On It,” Bradley worked his dance moves from one side of the stage to the other, dropping down to do the splits at one point.  Not bad for a 64-year old man!  Bradley covered Clarence Carter’s “Slip Away” next, before slipping away himself for a costume change.  The Extraordinaires kept pushing the tempo after he exited stage left, working into another instrumental interlude that included Del Shannon’s “Runaway.” Once again, Danny Ray – er, the keyboardist – stepped to center stage to re-introduce the star of the show, who took to the stage in an orange jump suit that, but for the gold trim and gold-embroidered screaming eagle on the back, had a disturbing prison inmate quality about it.  No matter; it was no doubt quite comfortable and well suited to the splits, knee drops and kicks to come.

The title track to “No Time For Dreaming” gave way to the slow ballad, “Lovin’ You Baby” from the same album.  Here, the lack of subtlety in his voice became apparent, as he seemed to have a harder time pulling off this quieter number.  He picked up the pace with “Strictly Reserved For You” from the new album, featuring a nifty guitar solo by Tommy Bernard.  “Confusion” followed, with its echo-ey vocal, fuzz guitar and – good grief, is that a THERAMIN?! – psychedelic sound, reminiscent of The Temptations during their “Ball Of Confusion” and “Cloud Nine” era.  It was a jarring change of pace from the overall tone of the evening, and a questionable addition to the new record.

Matters returned to normal with the follow-up “Where Do We Go From Here?” and the pleading, heart-rending “Let Love Stand A Chance,” with Bradley repeating the refrain “All I’m asking / Just give love a chance” over and over again.  With that, the set ended, the star and the band departed, and, after a lengthy applause-filled interval, out came the keyboardist again for yet another long-winded intro.  Shouldn’t he be bringing out a cape or something, too?

Bradley took the stage this time in a striking gold lame waist coat, open necked wide collar shirt and brown slacks – very snazzy!  The one-song encore was the title track to “Victim Of Love,” that included a lengthy, rambling soliloquy about loving one another, looking past our differences, and similar sentiments.  Although it seemed tedious at the time, in retrospect, coming from a fellow who’s had a pretty difficult life, it’s admirable that he’s remained so positive and upbeat.  While the band kept churning out the music, Bradley jumped off the stage and worked his way through the crowd, hugging and shaking hands with everyone as he moved along.  It was a spontaneous and genuine show of affection by an artist for his audience and a fitting conclusion to the evening.