Ronnie Hawkins & The Hawks at Massey Hall, Toronto, Sat. Dec. 17, 2005

-- by Joe Curtis --

Rockabilly legend, Rompin’ Ronnie Hawkins, rocked Toronto’s Massey Hall to its 110 year old rafters, Sat. Dec. 17, 2005. The Hawk’s been a fixture on the rock ‘n’ roll scene in Canada, since he arrived here from Arkansas in 1959 with drummer Levon Helm.

Hawkins is known far and wide for his quick wit and sharp sense of humor. This night at Massey Hall was no different. The Hawk tossed several one-liners and a few barbs out to his many friends and fans in attendance. One of these longtime Hawkins friends since the ‘50s is boxing great George Chuvalo, who was rockin’ to The Hawk from the first balcony, overlooking the stage.

Also in attendance was publicity ‘king’ Gino Empry. (Empry was Tony Bennett’s manager for 12 years, and inspirational ‘Guru’ and talent booker to the one and only Peggy Lee). Empry booked Hawkins into the prestigious Imperial Room at Toronto’s Royal York Hotel many times over the years, and like the rest of us, didn’t miss a chance to see Hawkins in concert this night at Massey Hall.

Canadian acting great/comedian Don Harron was also in attendance, as were Ronnie’s close friends ‘Sir’ Fred and his ‘Lady’ Ruth. (Fred has sold Hawkins a few great antique cars over the years). They and Chuvalo were some of the familiar faces this writer’s seen and met at other Hawkins’ concerts including Farm Aid at Toronto’s ACC in January 2000 with Gordon Lightfoot, Burton Cummings, Randy Bachman and Gordie Johnson; as well as in Alliston, Ontario at a venue in March 2003.

At this 2003 Alliston venue, CTV television cameramen were filming footage for the Hawkins CTV documentary ‘Still Alive & Kickin’ made by award winning filmmaker Anne Pick. This comprehensive and engrossing bio of Hawkins’ life that aired nationwide in August 2004, spans The Hawk’s life in music with rare film footage, from his days on Yonge St. at the Hawks Nest in the late ‘50s, as well as his TV show days in the ‘60s. It also includes live concert footage of Ronnie’s Dec. 5, 2002 ‘Still Cruisin’’’ CD release party in Hamilton, Ontario, and other more recent performances in Ottawa and Peterborough, Ont. at the Legendary Red Dog. This captivating documentary is now available on DVD from Anne Pick’s Real to Reel Productions. Pick was also part of the audience enjoying this fine show at Massey Hall, December 17, 2005. So was singer Max Brand, who Pick featured in a segment of her Hawkins documentary, singing "Bo Diddley" with Ronnie in the finale of The Hawk's 'Still Cruisin'' CD release party in December 2002.

Hawkins has recently revamped his backup band The Hawks, and reinstated former Hawk members The Weber Brothers to back him. A few months earlier, he let his old band go… including slide guitar great Buzz ‘Mr. Soul’ Thompson and drummer Doug Inglis (Goddo/The McBrides) -- two irreplaceable artists who were sadly missed on stage this night by this writer and others I talked to afterwards regarding this Hawkins concert.

Guitarist Buzz Thompson was in attendance, sitting near the front, and enjoying himself somewhat, from an audience perspective for the first time in 15 years. He was in Ronnie’s band for 15 years until recently. Several like this writer who know Thompson and his longtime involvement and loyalty as a Hawk, felt he should have been invited onstage to sit in with Ronnie part way through this concert. Unfortunately that didn’t happen, but really should have.

Massey Hall itself, brings back many happy Hawkins memories for this writer, including the Hawk’s 60th Birthday Bash ‘Let It Rock’ concert held at Massey Hall the day after Hawkins’ actual birthday of Jan. 10th, on January 11, 1995. That night in ’95, the crème de la crème celebrated Hawkins’ birthday bash on stage.

Rockabilly icons sharing the spotlight with Ronnie that night in ’95, included Jerry Lee Lewis and Carl Perkins, as well as Levon Helm, Rick Danko and Richard Bell of The Band and guitar great Jeff Healey. Guitarists Buzz Thompson and Ronnie’s guitarist/producer son Robin Hawkins, were also onstage performing that night with Perkins and Jerry Lee, as well as Hawkins’ daughter Leah on background vocals, with Brent Bailey on piano.

There was a tribute concert held in Ronnie Hawkins’ honor at Massey Hall in Oct. 2002, when it was felt that Ronnie had only three months to live. That night some of the best came out to entertain Ronnie and his wife of 40 years, Wanda seated front row center. Some of these special individuals in music included singer Kris Kristofferson, Kelly Jay (Crowbar), Levon Helm and Garth Hudson of The Band .. and Maud Hudson singing “Days Gone By” for Ronnie.

Buzz Thompson and blues harp players Jerome Godboo and Roly Platt were also part of the star-studded lineup that night, as were guitar virtuosos Domenic Troiano and Jeff Healey. Doug Inglis was playing drums simultaneously with Levon Helm, who was on a separate drum kit. Also part of the entertainment was Goddo founder Greg Godovitz on scorching lead guitar riffs and some vocals, with backup singers B.J. Cook, Patti Jannetta and Shawn Jackson helping pay tribute to The Hawk the best way they knew – in song!

Former President Bill Clinton himself, a dedicated Hawkins fan and longtime friend, also appeared -- on two huge TV’s perched above the Massey Hall stage that night of Oct. 4th, 2002 to say hello to his good friend Ronnie, in what seemed like a ‘farewell to an old friend’. Clinton’s optimistic and friendly manner in his prerecorded video message to Hawkins that night, seemed very inspirational to this writer. Clinton awed the crowd in attendance, who showed reverence, respect and appreciation for Clinton’s heartfelt appearance to say “Hi” to his old friend, Ronnie Hawkins. Another special guest via the same TV monitors, included famed music producer and former Hawk, David Foster, as well as guitarist Troiano -- even though he also appeared on stage this night, as part of the talent roster.

Most in attendance that night in Oct. 2002, felt that Ronnie’s days were numbered -- literally. Even the doctors’ prognosis gave The Hawk only two or three months to live. Anne Pick’s ‘Still Alive & Kickin’’ documentary was scheduled to be a two-parter -- with the first half featuring the Hawk as he was alive -- then part two, as the events unfolded after he passed away. Ronnie fooled ‘em all by hanging on and making a full recovery to the
effervescent and lively character we all know and love to this day.

Now that the trip down Massey Hall’s ‘Memory Lane’ with Ronnie Hawkins has ‘reached port’ again, we’re back with the Webers going full force this night in Dec. 2005, backing Ronnie like there was no tomorrow. Ronnie sang many of his all-time rockabilly classics like “Wild Little Willie”, “Mary Lou”, “Down In The Alley”, “Let It Rock” -- and his signature tune, “Bo
Diddley”.

The Webers’ energy on stage, was unrelenting. They made it feel like it was 1956 again -- and Elvis and The Hawk were in their heyday! Rock ‘n’ roll lives on in young talent like this, who sound like a reincarnation of the old rockers when they first started in rock ‘n’ roll’s early days in the ‘50s. Hawkins hasn’t slowed down a bit! He sang up a storm .. the Webers played up a storm -- and the audience appreciation for all this fine talent on stage, screamed and applauded like there was no tomorrow! The fans’ exuberance was almost as good as the show on stage! The energy onstage and off was spontaneous and upbeat all the way!

Ronnie Hawkins and the Hawks have always been able to entertain an audience with energy, style and flair. Whether it be in some honky tonk, juke joint or ‘dive’ in 1950s Arkansas; or in a prestigious and lavish venue like the Royal York’s Imperial Room; or in the ‘Old Lady of Shuter St.’ Massey Hall, Ronnie Hawkins concerts are always first rate!

Massey Hall, built in 1895, is one of the premier concert halls in the world. It’s known far and wide by audiences and artists alike, for its exhuisite acoustics, ambience and late 19th century Belle Epoque decor! Rompin’ Ronnie Hawkins and The Hawks, certainly did it justice this night, with one of the most memorable and highly entertaining concerts this writer will see in his lifetime!

Ronnie Hawkins Official Website: http://www.ronniehawkins.com/

New Orleans (The Crescent)

-- by Joe Curtis --

New Orleans .. The name itself conjures up chilling news stories of Hurricane Katrina's powerful forces of nature, destroying this noble city of music in September 2005 -- along with the lives of its residents and jazz clubs. Beautiful, historic architecture and mighty, towering skyscrapers and hotels were leveled, pillaged, and utterly destroyed by winds, rain, and looters; while honest residents were scouring around looking for scraps of food and clothing in order to survive this horrible, cataclysmic event. Hurricane Katrina is possibly the worst natural disaster on record, to hit a modern day metropolis - reminiscent of the devastation of the San Francisco Earthquake early in the 20th century in 1906.

There's a ray of sunshine and hope that's surfaced however, in the form of a fabulous 46 minute documentary about New Orleans, made in 2003. It's simply and appropriately titled 'New Orleans (The Crescent)'. It's produced, directed and written by filmmaker and Louisiana resident, Edgar Rogers. This recent film depicts in detail many of the important buildings, neighborhoods, business district, wharf and shipping area; as well as roads, bridges, waterways and highways in New Orleans, that lead in and out of its surrounding area. This is all pre-Hurricane Katrina footage and beautiful to behold!

Sunny days with bright blue skies are a constant feature -- along with dry, safe roads and people nonchalantly walking to and 'fro' in this city that 'once was' -- but is also a city that has the potential of being great again!

This is an enjoyable pre-Katrina New Orleans viewed through the camera's perspective, in peacefully serene drives along N'Awlins' scenic thoroughfares like the Garden District and Audubon Park. These tranquil scenes greet the viewer, in a seemingly never-ending panorama. It's as though we're there ourselves, taking it all in and enjoying it first hand as the filmmaker and crew no doubt were themselves.

Driving along the expansive highway and bridge on the way into New Orleans is a scene filmed as if the viewer is a tourist seeing it through the front windshield of their car -- or through the side window of a passenger seat in a Greyhound bus. There are also scenes that look back in the direction that the car is driving away from. This creates the feeling of being in the car itself, as if we're looking through its back window, while enjoying a family vacation. These priceless scenes are showcased from a professionally filmed viewpoint; but done with a human touch.

'New Orleans (The Crescent)' has lots of heart and soul in the many ways it painstakingly captures the spirit of New Orleans. One of its most important features is the way it depicts the various forms of architecture and thoroughfares. Included are memorable views of landscape, grassy areas, trees, atmospheric store signs in the French Quarter -- as well as business names on important buildings including the artistically-designed Bell South building among others.

There are also several buildings and neighborhoods featured, that are of lesser importance to some (in the poorer districts) including the foreboding Desire Projects. What seems like a never-ending panorama of boarded up windows and a four foot hole in one wall in this unfortunate area, denotes the poverty of the 9th Ward .. the hardest hit during Katrina in 2005.

These scenes of hardship, although not important to some, are important to the individuals who lived and worked there - especially those who have returned to their homes and businesses in the 9th Ward, and are attempting to rebuild their lives there again. This depiction might seem trivial to many, but is of prime importance to those with their hearts in this area. Although sad, capturing this pre-Katrina 9th Ward on film is important for posterity -- helping preserve the social history of New Orleans for future generations to look back on. This moment in time is also possibly the only 'wealth' (through live footage, like a family photo album), that residents of the 9th Ward will ever have. Most from this area lost everything when the 9th Ward was completely underwater during Katrina's constant and heavy barrage of rain, and flooding when the levees broke.

'New Orleans (The Crescent)' is a film of the 'city that was' -- the city that no longer exists for anyone anymore the way it used to be. It's a film that allows its residents and tourists and everyone who loves this city, a way to visit it once more. It's a pilgrimage on film, that allows the viewer a chance to see New Orleans as it existed, before Hurricane Katrina took much of this beauty and historical significance away in one fell swoop.

This film is not just nostalgic, because it also successfully captures on film scenes of everyday contemporary life. It's also a way to visit New Orleans once again the way it used to be. What's more important however, is that its depiction of these buildings, streets, landscape, etc. that 'were', can be of crucial importance in helping those involved in restoring this splendorous city back to its former glory - back to the New Orleans that can hopefully be again!

Some of these sights include the breathtaking and affluent Garden District with its enchanting 100 year old trolley car sauntering along quaint and charming tree-lined streets, past enchantingly elegant Victorian gingerbread-style homes.

This documentary is a working model on film, (like an artist's sketch that later turns into a painting). It covers every area of New Orleans showing architecture, landscape, etc. As such the scenes this film depicts, can be invaluable in helping rebuild New Orleans, the way it used to look before Katrina's unrelenting and merciless onslaught utterly destroyed the beauty and culture this city once had.

Simple everyday occurrences are depicted, like a France Road truck delivery, followed by views of the Port Of New Orleans with its many tractor trailers, and huge containers coming into the city or leaving for export abroad. Freighters docked on Lake Pontchartrain are seen loading cargo, in much the same fashion as sailing ships and riverboats did over a century and a half ago from this very same historic and important port.

One scene depicts 1350 Port Of New Orleans Place and the boulder its name is written on. The Hilton Hotel is seen standing tall in the distance. In September 2005 the Hilton was a vital, life-saving place of refuge for many, during Katrina's ravages.

Also featured is the now-infamous Super Dome, where many haggard souls trudged, hoping for food, water and safe shelter during Katrina. Instead many encountered the New Orleans criminal element who harassed and victimized them while they were there.

On a lighter note, several billboards are featured, including one for Budweiser 'The King of Beers'. The Market District also figures prominently, where locals and tourists alike are seen purchasing fresh fruit, vegetables and seafood.

In another scene, a barge is seen cruising serenely down the wide river, while being pushed by an old-style tugboat. This looks nostalgically like a scene right out of the 1930s movie classic 'Tugboat Annie'. There's also an exquisite bird's eye view of Canal St., followed by the towering heights of magnificent skyscrapers in the business district.

Special thanks is given in the closing credits to Paul R. Dauphin, manager of Corporate Communications, Port of New Orleans as well as Donn Young, who is Tour Coordinator for this important documentary. At the time of the filming in 2003, Young was also part of Corporate Communications for the Port Of New Orleans.

I feel it's important to note that there's no narration whatsoever in 'New Orleans (The Cresent)'. There is however, a tastefully jazzy soundtrack throughout, featuring music that made New Orleans famous around the world as an international Music Mecca. This soundtrack 'speaks the show in music'. This 'musical narration' for 'New Orleans (The Crescent)' includes several invigorating jazz numbers. Viewers are treated to these well-chosen arrangements, while watching pre-Katrina images of New Orleans unfold before their eyes. Some of the accompanying songs include Pat Martino's "Mardi Gras" in the film's intro. Also included are The Crusaders' "Night Theme"; Freddie Hubbard's "Life Flight"; Wes Montgomery's "Road Song"; and Roy Ayers' catchy and appropriate closing number, "Don't' Stop The Feeling".

All who took part in the making of this 'New Orleans eye candy on film' - 'New Orleans (The Crescent)' -- deserve a hearty thank you for helping keep alive and preserving the memory of New Orleans the way it used to be.

There's a glimmer of hope within these preserved images of N'Awlins, that its former glory might return someday, through hard work, determination and love ... and as Johnny Pennino 'Sax King of New Orleans' (who lived through all of Hurricane Katrina with his mom and girlfriend Amy in the French Quarter) so aptly put it: "A generous helping hand from the 'Man Upstairs'. I wouldn't be here without Him!" Or as rockabilly legend Rompin' Ronnie Hawkins affectionately refers to God as ... "'The Big Rocker'".

The invigorating soundtrack for 'New Orleans (The Crescent)' is available through Human Utilities Whole Armour at their website: http://www.huwholearmour.com/

An intriguing promo film of 'New Orleans (The Crescent)' can be viewed exclusively from Human Utilities Whole Armour, through this link at their website: http://www.huwholearmour.com/human_utilities_whole_armour.htm

CD review - Shrimp Daddy & The Sharpshooters
- 'Live At The Roxbury'

-- by Joe Curtis --

Shrimp Daddy & The Sharpshooters are a high-energy blues band, that have just come out with an equally live CD, titled 'Live At The Roxbury'. This great band features front man Mike 'Shrimp Daddy' Reid on harp and lead vocals. Dave Watson plays some mighty fine blues guitar leads, while 'Downtown' Albert Brown's bass lines fit right in with Bobby Hill's energetic talent on the skins. (Hill's been playing 'de bluz' for four decades, and it shows in his amazing technique on the skins on 'Roxbury'). John Templeton's recording and mastering of 'Roxbury', allows these tunes to retain their original energetic feel -- an engineering feat that's highly commendable!

The first tune on this 25-minute/four song live CD tells the whole story in a nutshell. This is definitely a party CD all the way - containing all the main ingredients that guarantee fun times whenever it's played. Shrimp Daddy's upbeat, emotional harp attack is complemented by his infectious vocals and added to by the wild energy of his talented rhythm section.

The instrumental first track is a sure-fire winner that should send blues die-hards into a higher bluesy realm! Shrimp Daddy's hearty laugh at the end of this song, indicates the fun he and his band had recording this live CD, and reflects the great live energy they give off at all their gigs.

This upbeat instrumental is followed by an aggressive and catchy "Born In Chicago", reminiscent of the great Paul Butterfield's early days and is dedicated to Butterfield by Shrimp Daddy in the intro. The rapid-fire bass lines are added to by Watson's scorching leads and guitar rhythms coupled with drumming urgency that really feels the blues. This song won't let up, and it's a good thing, because we all need this special emotional boost that's sure to please! Watson's guitar leads go all over the neck, in a desire to rev up the musical proceedings to the nth degree! Shrimp Daddy's harp soloing is equally as intense, and is backed by eager bass lines and drumming.

Just so the listener can enjoy a little bluesy 'breather', things slow down with the classic "Five Long Years". Watson's relaxed lead guitar intro, is followed by Shrimp Daddy's gentle-rolling harp riffs -- added to by insightful bass and drums. His heartfelt vocals bring out the true meaning in the lyrics, as if he's living them while he's singing them. (That takes real talent!) Watson's guitar solo part way through is incredible, as is Reid's on harp!

Shrimp Daddy's vocals on this one, are uncannily at times sounding much like B.B. King's in intonation … a surprising characteristic which caught this writer's ear and caused me to perk up right way! That's saying something for the quality of Reid's interpretation.

"Mojo", is the spirited encore to this amazing, recorded-live Shrimp Daddy show. It's definitely a wild, bluesy excursion into the blues of yesteryear that's still alive today! This fine rendition brings to mind images of Muddy Waters taking the audience to blues heaven at Newport in 1960 with "Mojo". Unlike Muddy however, Shrimp Daddy can really lay down the harp riffs too on this one -- backed by Watson's unrelenting guitar leads, along with Bobby Hill's hard-driving talent on the skins and Albert Brown's inspired bass lines. As in the 'B.B.' similarity in vocals on "Five Long Years", Reid's vocals on "Mojo" at times echo uncannily a Muddy vibe to them, which reflects Muddy's inspiration on this one that Shrimp Daddy surely must have taken to heart!

This incredibly enjoyable Shrimp Daddy & The Sharpshooters 4-song, 'Live At The Roxbury' CD, ends like it started .. with a bang that's sure to get plenty of bluesy repeats on the player.

And that ain't no lie!

Shrimp Daddy email: shrimpdaddy@cogeco.ca
(For gigs and CD ordering)

CD review - Aaron Griggs & The Velvet Bulldozer
- 'Nothin' Comes For Free'

-- by Joe Curtis --

Once in a rare while a CD comes this writer's way that really grabs at the soul with an intensity that never lets up. Such is the case with Aaron Griggs & The Velvet Bulldozer's ballistically-infused 'Nothin' Comes For Free' CD. It features the incredible talent of Aaron Griggs on scorching guitar and intense bluesy vocals. His band The Velvet Bulldozer is aptly named. These guys 'bulldoze dem ol' bluez' away, with a party blues spirit that doesn't let up! They're an extremely tight unit, featuring Griggs on lead guitar and vocals; Geoff Daye on Hammond B-3 organ and Hammond B-3 foot pedals bass; as well as Vince Macerone on drums. Daye's ingenuity on B-3 foot pedals bass provides a unique bottom end, which sounds like there's an electric bassist playing, although there isn't one.

Howlin' Wolf's "Fourty-Four" begins this musical excursion into Aaron Griggs' guitar psyche, with scorching leads and rhythms, that are counter-balanced nicely with inconspicuous, not-overwhelming in-the-pocket drums and B-3 pedals bass. The harp mic effect in Griggs' vocals sounds amazing!

A soul-wrenching Little Milton boogie appropriately titled "Lonely Man" is up next. Griggs' vocals are the main ingredient, with ample helpings of Daye's wild B-3 playing. Not to be missed is Griggs' imaginative guitar soloing, mid-way through this song.

The Fabulous Thunderbirds' rock 'n' rollin' "Ain't Nothin' But Fine" follows. Daye's hard drivin' pedals bass and Macerone's ingenious drums rhythms coupled with Griggs' rousing vocals, are sure to get the adrenalin flowin'. Daye's talent on the ivories is outstanding and blends well with Griggs' lead vocals and guitar playing.

"Nothin' Comes For Free" is a scorching blues winner that's mesmerizing in the way it comes across. Griggs' vocals are searing as are Daye's B-3 riffs and Macerone's drumming that won't let up. Griggs' guitar leads and rhythms are superb as usual, on this expressively imaginative Griggs' original. It's a tune that in this writer's humble opinion deserves lots of airplay.

Albert King's hard-drivin' boogie, "The Hunter" is the mind-boggling finale to this absolutely impeccable Aaron Griggs & The Velvet Bulldozer CD. An hypnotic pedals bass boogie beat permeates throughout this very fine finale -- featuring blistering B-3 riffs on the high end and Griggs' deeply meaningful guitar leads and vocals. The energy contained herein is consistent throughout this absolutely beautiful to listen to blues CD.

The four cover tunes featured honor some of Griggs' guitar heroes in the blues, as does his original title tune - showcasing Griggs' own and his band's mind-blowing interpretations. All the songs contained herein share the same drive and intensity, and are an excellent choice to assemble together on this CD.

Please feel free to give Aaron Griggs & the Velvet Bulldozer's 'Nothin' Comes For Free' a listen and I'm sure it'll fast become a favorite of yours, as it is this writer's.

Aaron Griggs website: http://www.aarongriggs.com/
Aaron Griggs email: griggsaaron@hotmail.com
(For gigs, info and CD ordering)