"Blue Room - ‘Great to be Alive’
-- by Joe Curtis --
Blue Room’s second CD, ‘Great to be Alive’, is a real pleasure to listen to from beginning to end. From the first track, “Red Beans and Rice”, to the final track, “Southbound Road”, the excitement and enjoyment never lets up. “Red Beans and Rice” has a very ‘Downchild’ feel and approach to it. The horn section led by sax great Norm Ryan is high energy all the way; as are the drums, played with all out abandon by Pat Quinn. The next exciting selection is “Next Exit”; which opens up with some wailing blues harp, very well executed by Joseph Irvine. Mike Fonfara, Downchild’s extremely talented keyboard player, (and ex-Lou Reed/Electric Flag member), lends his musical magic to eight of the 14 superb tracks on this CD -- six of them feature Fonfara on Hammond B-3, as well as one on piano, and one on Wurlitzer. “Blues In the City”, is a jazzy up-tempo lament about working and not wanting to.
“Sometimes”, the fourth spectacular tune on ‘Great To …’, begins with a melodic guitar solo played by Paul Sanderson, (who wrote or co-wrote 12 of the 14 excellent tracks on ‘Great to be Alive’. Paul, in addition to being a talented guitarist and composer, is also a successful Entertainment lawyer in the downtown Toronto law firm, Sanderson Taylor). “Sometimes love is knowin’ where you shouldn’t be”, is the basic theme of this tune. It leads appropriately into “Moanin’ Mama”, an upbeat song, with enchanting vocal harmonies in a call and answer style. The rousing drums on “Moanin’ ..” are once again performed by Quinn.
“Get Outta The House” is an upbeat rocker with melodic bass lines conceived by Fraser Lawrason. The classic musician-wife quarrel, involving the artist who only wants to play music until it really starts paying; being hounded by his wife to ‘get outta the house’ and find a real job, is exemplified on this track. “Fall Down, Get Up”, (“you’ve got to be strong to survive”), is an upbeat, rockin’ ‘n’ rollin’ look at life’s pitfalls. Fall down, get up and continue persevering, is the basic premise of this winner, featuring some heavy-duty talent on the skins, courtesy of Frank Watt.
Next comes some real down home rock ‘n’ roll that pulls out all the stops -- starting with Fonfara rippin’ up some ripplin’ ‘n’ rollin’ barrelhouse piano. It’s called “Womanly Man”, and pokes fun at situations where a guy looks like a girl, and another guy goes after ‘her’ -- then getting the surprise of a lifetime. Vocalist, Brian Neller’s response at finding out the ‘truth’ is hilarious, and had me laughing all the way through this musical spoof. “Spare Change” is a moody, atmospheric jazz-influenced blues tune, which contains some intelligent, thought provoking lyrics. Their premise is that some things in life which appear to be ‘gold’, might only be ‘spare change’ - an optimistic and philosophical way to look at the mistakes we thought at first, weren’t.
“Deeper Into The Blues” is up-tempo and energized, featuring Lawrason’s throbbing bass beat, along with Neller’s raw, natural vocals. “When The Money Runs Dry” is a classic theme of worry, based on the buck - also, heartbreak over losing in romance over negative cash flow. A perfect cure for that sort of blues, is "Wake Up Cryin"; a rousing boogie in the John Lee Hooker style. This tune’s incredible guitar work and bass creativity, complements more of Neller’s right-from-the-heart vocals. Its energy could fill any dance floor with wild, shakin’ bodies, ready to rock the house up. “Who’s On The Telephone”, is a moody, atmospheric tune featuring Sanderson’s beautifully conceived, and very jazzy guitar licks -- enhancing Neller’s raw, meaningful vocals.
The last tune on this highly enjoyable CD is entitled “Southbound Road”. It opens with Sanderson’s slick Southern-style slide, which vividly evokes the emotional imagery of driving wildly down a country dirt road in an old jalopy south of the Mason-Dixon Line. Neller’s vocals are full of desperation and hope - this, along with the anxious mood of the rhythm section, can allow the listener to feel like they’re hurrying down that ‘southbound road’, attempting to get back to a relationship on shaky ground. All in all, Blue Room’s second CD, ‘Great to be Alive’, is a ‘great-to-be-in-any-collection’ artistic endeavor, for anyone who appreciates fine blues performed by those who know how! And these boys definitely do know how!
Artist: Blue Room
Title: ‘Great to be Alive’
Label: Sound Pulse Inc.
Website: www.blueroommusic.com
Available through: www.cdbaby.com/blueroom
Email: tobneller@aol.com
Email: info@sandersontaylor.com
The Macdonald/Rush Band Rocked Healey’s
on Saturday, September 28, 2002
-- by Joe Curtis --
The Macdonald/Rush Band knocked the rockin’s socks off the enthused audience at Healey’s on the night of Saturday, September 28, 2002. The place was packed due to the enormous popularity of this very tight, seasoned group of musicians. Mike McDonald and Pat Rush are both well-respected guitarists on the local music scene and internationally. Mike often plays key venues in Europe -- festivals and clubs alike. However, he always seems to make it back safe and sound to Toronto, to the delight of his legion of long-time fans. Pat’s incredible slide guitar playing was featured on several classic blues and blues/rock tunes throughout the night, including Johnny Winter’s “Walkin’ By Myself”. Pat played slide on this tune on Johnny’s White Hot & Blue album in the late ‘70’s when he was part of the Winter band. Pat’s slide playing is without a doubt some of the best the world of blues has to offer. Long time skins sidekick Colonel Jessome was really kickin’ it on drums all night long. Big Ben Richardson’s energetic bass lines were indispensable as usual. Both he and Pat are members of the world-famous Jeff Healey Band, and tour with Jeff internationally.
Jeff Healey, co-owner of Healey’s sat in with the band in the first set, and wowed the crowd with his phenomenal guitar playing on several tunes. His lead vocals excel as does his guitar mastery. He sang a romantic ballad dedicated to Aynsley, the radiant and bubbly server/door person at Healey’s, whose birthday it was that night. Another tune equally as beautiful, was played for her in the second set as well, complimenting her looks and her personality.
“Why Don’t the Don River Freeze?”, a Mike McDonald original, (a request from Jeff played in the second set), was sang with humor and fun by Mike. I remember Jeff singing it with the band when they played Healey’s several months ago. He was having a really good time of it then. This time he was able to enjoy it with the rest of us at Healey’s.
When the night seemed over, and a full house of McDonald/Rush fans had been entertained all night by this incredible band, they were called up to the stage again for a few more rockin’s tunes. They didn’t mind at all, since they love to play as much as their eager fans love to hear them play. What they give out in a superb performance they get back equally in uninhibited applause and screams for “More … “ from the many fans who appreciate them being at Healey’s that night - including yours truly!
-- A Half Century Love Affair With the Blues
The name Pat Rush might not be a household word to the average blues or rock fan, but I bet names like Muddy Waters, Johnny Winter, James Cotton, Allman Brothers, Dr. John, Jeff Healey etc., are! What do these names have in common with Pat Rush, guitarist extraordinaire? Well … he’s played with them all, and has performed in bands headlined by most of these fine musicians at one time or another. Pat, (having reached the landmark age of 50 only last June 27th, 2002), has had time to reflect on a ‘Half Century Love Affair with the Blues’. At that time a huge birthday bash was hosted for him by guitarist Jeff Healey at his very cool and hip blues club, Healey’s, 178 Bathurst St., (at the corner of Bathurst St. and Queen St. W.) in downtown Toronto’s west end.
Every talented musician conceivable came out to perform at Healey’s that night. From Canadian blues legends like guitarist Donnie Walsh, co-founder of the Downchild Blues Band, to Jerome Godboo, (harp player for Rompin’ Ronnie Hawkins), and guitarists Grant Lyle and Mike McDonald; they all converged on Healey’s then, to pay homage to Pat, and join him partying on his 50th birthday.
I got a chance to talk to Pat on several occasions around that time. The musical reminiscences he shared with me, were an eye-opening-insider’s-view into the world of blues, and the evolution of rock ‘n roll from the ‘60s onwards. Pat told me of the honor and pleasure it was for him to be associated with each and every one of the ‘Who’s’ and not so ‘Who’s Who’ in the international music world. Many ‘icons’ in the music biz have crossed paths with Pat in the past 35 years of his musically prolific life.
Pat Rush was born on June 27, 1952 in Pittsburgh, Pennsylvania. He grew up mostly in the southern U.S.A. He spent most of his teenage years in Virginia Beach, Virginia. That’s where he at the age of nine, learned to play his first musical instrument, the trumpet, at Princess Anne Public School. Shortly after when he was 13, Pat started to play guitar. He began with an acoustic guitar, which he still has fond memories of to this day -- even though he’s owned a ’52 Gibson Les Paul for decades.
Some of Pat’s first musical influences (growing up in the early to mid ‘60s) were the Beatles, as well as Chet Atkins. Like every other young musician starting out, Pat played in local garage and neighborhood bands. The first real band he was in was The Ascotts. They played high school and church dances, as well as at the local Princess movie theatre Kiddy matinees in Virginia Beach. The band’s pay was free movie passes -- with classic ‘60s movies like Godzilla, space and horror flicks (and … Elvis) playing on the big screen, it was a big deal for Pat, and the rest of his teenage band! Pat’s father being in the Air Force, resulted in his family moving to Atlanta, Georgia when he was 16. That’s where he started playing upright bass in Sprayberry High School.
Sprayberry High was a block away from the original Coca Cola Bottling Plant in one direction, and Robert Johnson’s original ‘Crossroads’ location in the other. How’s that for being at the center of American music folklore and pop culture, all at the same time! Pat graduated from Sprayberry High in 1970 and then started his first guitar repair business while still in Atlanta. (He’s continued repairing guitars ever since then. He’s been part of Long & McQuade’s repair dept. at their 929 Bloor St. W. location for the past 14 years.)
At that time, around 1970, having played guitar for a few years, Pat traded in his cherished silver trumpet from childhood, along with some cash, to buy his first Fender Strat. Soon after he was able to buy a fixer upper ’52 Gibson Les Paul, which first appeared in stores in June ’52 -- in the same week Pat appeared in the ‘maternity ward’ of the local hospital. (Pat and the Gibson Les Paul, both marked their 50th birthday last year!)
Also in 1970, Pat joined a band called What. The Allman Bros. Band, based in Macon, Georgia, 75 miles to the south, often dropped by to sit in with them. Eventually What started touring with the newly formed Allman Bros., and opened for them at concerts throughout the southern U.S.A. It was Duane Allman who first taught Pat how to play slide guitar, when they toured together. While visiting his parents who had moved to Charleston, South Carolina, Pat went to the Flying Dutchman club, where he met up with a band called Blackmore. (as in Ritchie!) They needed a lead guitarist, so Pat was hired and moved to New Orleans. New Orleans was a Mecca of musical learning experience for Pat. He felt influences there from local music legends such as Dr. John, Professor Longhair, The Neville Brothers and The Meters, to name only a few! That’s where Pat first learned how to play rhythm guitar.
A few years later, Pat co-founded a group called Thunderhead. During that time, blues guitar legend, Johnny Winter was in New Orleans. Johnny sometimes would sit in with Thunderhead. He always remembered his times on stage with Pat, so when drummer Bobby ‘T’ Torello mentioned to him that Winter would like to form a band with them in it, they joined. They were both hired for Johnny’s band during ‘77/’78, and went on tour with him in the U.S.A. in ’77. Pat was on Johnny’s White Hot & Blue album from ‘78, and played slide on “Walkin’ By Myself”, from that same album. Besides Johnny, Pat is the only other guitarist to ever play slide on a Winter album. Pat and Torello, when not touring with Winter, performed with Michael Bolton in New Haven, Connecticut. While there, Pat met Dan Hartman who wrote Edgar Winter’s big hit “Free Ride”. In Hartman’s studio, Winter produced two classic Muddy Waters albums, I’m Ready and Hard Again. (It was during this time that Pat had a chance to meet Muddy as well as harp legend, James Cotton.)
While with Winter’s band, Pat came to the attention of Cotton, who played harp with Muddy ever since the ‘50’s; and was in Muddy’s band at the historic Newport Jazz Festival in 1960. Pat played his ’59 Strat in Cotton’s band at the Montreal Jazz Festival in 1980, and toured internationally with him from ’79 to ’81 -- playing many live concerts and TV appearances. His first Canadian concert ever, happened with Cotton on the revolving stage at Ontario Place in Toronto in 1979. Pat is happily a 20-year-plus resident of Canada. He first met up with guitarist Mike McDonald in Toronto in 1981 -- they’ve been friends and band mates ever since. McDonald and Pat were both featured artists on the Spadina Beat album from ’82, and performed in a band together from ’81 to ’84. A string of performances on various bands’ albums, as well as co-producing and engineering many of them, led Pat to working on the Good Brothers’ ’86 album, Delivering The Goods. Pat performed in live concerts and TV shows with the Good Brothers from ’84 to ’87. He co-engineered and played guitar on the Toronto classic Grossman’s Live album from ’87. The following year in ’88, Pat co-engineered and performed on the follow-up classic Grossman’s 2 live album. The Grossman’s 2 album featured Hock Walsh (vocalist and co-founder of Downchild); as well as impeccable guitarist Morgan Davis; vocalist Tony Flaim (Downchild); respected drummer Maureen Brown and a bevy of other talented performers.
In 1989 Pat added some guitar tracks to the Downchild Blues Band’s Gone Fishin’ album. He occasionally performed live with them from ’88 to ’90. In 1990 Pat won the Best Guitarist Award in the Q107 Homegrown Contest, while he was in the Michael Pickett Band. In 1990 he formed Pat Rush and the Bluesharks, which hosted popular jams in Toronto. He also fronted for headliners such as Johnny Lovesin, Morgan Davis, Danny Marks, Jeff Healey, and Dutch Mason, (who’s known in Canada as The Prime Minister of the Blues.) Pat played slide guitar on Dutch’s ’91 album I’m Back, and toured with him from 1986 to 2001 as part of live concerts and TV appearances.
From 1993 to 1999 Long & McQuade invited Pat to perform at their annual Slide Guitar Workshops. In 1992 he produced/engineered and performed slide/lead/rhythm guitar on Vern Cheechoo’s Juno-nominated album Lonesome & Hurtin’.
In 1994 Pat joined the Jeff Healey Band, where he performed lead/slide/rhythm guitar on Healey’s ’95 album, Cover To Cover. The instrumental tune, “Shapes Of Things”, from that album, was nominated for a Grammy Award in 1995. The year before in 1994, Pat supplied additional leads, as well as slide/rhythm/acoustic guitars and vocal harmonies/harmonica on musician/composer/cartoonist Ruth Taylor’s imaginative Onca Ray: Live For Tomorrow debut CD. This CD’s cover art featured the unique Taylor-created Onca Ray cartoon character.
In 1995 Pat supplied additional slide/rhythm tracks in the studio, on Rompin’ Ronnie Hawkins’ Let It Rock CD and video. This concert featured the likes of Jerry Lee Lewis, Carl Perkins, The Band (with Rick Danko), as well as Jeff Healey and Lawrence Gowan. It was filmed as part of Ronnie Hawkins’s 60th birthday celebration at Massey Hall in Toronto.
In 1996 Pat played slide guitar in the Jeff Healey band on the Steven Segal tune, “Bulletproof”. This was for a movie Segal was working on at the time, entitled Glimmer Man. Pat has been a member of the Jeff Healey Band almost continuously for the past nine years from 1994 to 2003. Now that he’s back with Healey’s band full time, the current lineup features Jeff on guitar, Pat on slide/rhythm/vocal harmonies, Cassius Pereira on drums, as well as Big Ben Richardson on bass. They tour internationally.
At present, Pat’s also part of the house band with Jeff and Jerome, at the weekly Thursday ‘Special Guest’ nights at Healey’s. Jerome along with Jeff picks some of the finest musicians around to perform with at this event. Some of these ‘special guests’ have included Levon Helm and Garth Hudson from The Band; as well as singer Alanna Myles; vocalist/harp player Chuck Jackson (Downchild), guitarists Shawn Kellerman, Tony Springer (ex-David Bowie) and Roy Young (who played piano for the Beatles in 1962). This roster’s even included 11-year old blues guitar prodigy Jimmy Bowskill. Very impressive to say the least!
** The ‘Live at Healeys - The Thursday Night Recordings’ 12-track CD has been culled from these live performances, and is now available for sale. www.jeffhealeys.com jeromegodboo@yahoo.ca
Cristie Hall ‘Bittersweet’
-- by Joe Curtis --
After listening to Cristie Hall’s debut CD, ‘Bittersweet’ on repeat for a couple of hours, I’ve noticed a basic inherent quality to this CD -- that is … it’s laid back, but energetic flow to each and every song on this remarkably well-put-together collection of original tunes. The title tune “Bittersweet”, is a classic in that it says much with few words -- emotional and vibrant to say the least. The feeling in Cristie’s voice tells it better than volumes of lyrics could ever do. “Angel Inside” is romantic, insightful, wishful and introspective all at the same time. Obviously written with much thought in order to say it just right; with lyrics such as “the angel inside”, “your smile is a kiss”, and “hands of heaven”, being beautiful imagery to say the least - literally, even more so!
“So Far From You Now”, is a sad love song with powerful lyrics. These are matched by a sorrowful, emotional delivery by Cristie, telling it all in no uncertain terms. Universal in theme, but simple in the message it contains, it’s easy to take and nice to hear. “Texas Child” seems to have an air of serenity and longing, all at the same time. Ed Bernard’s emotional guitar solo part way through this very deep tune, accents the feeling of Cristie’s vocals with great accuracy. The whole band seems to feel each other’s input, and complements it perfectly with their own imaginative virtuosity. At least 10 musicians took an active part in performing on this great CD. I’ll just quickly mention Tom Lewis’ expertise on bass, as well as Brian Tulk’s reliable, percussive skills on drums. Peter Linseman had a hand in penning, and/or co-writing all the beautiful tunes on ‘Bittersweet’. He also supplied the equally beautiful acoustic guitar parts, on the 12 great tracks of this 40 plus minute CD. Well worth a first listen -- then again and again and …!
Chris Lord Ideal SUNDAY IN NEW YORK
-- by Joe Curtis --
Chris Lord Ideal’s new CD is entitled ‘SUNDAY IN NEW YORK’., which just so happens to also be the title of the first song on this great CD. “Sunday In New York” starts off light, airy and surreal - then blockbusters into a powerful delivery that’s hard to resist. The second imaginative creation, “Song #1”, is a powerhouse of imagination. The delivery is courageous and purposeful. The guitar licks are loud and raunchy - primeval and screaming from the soul. The vocals are also powerful, but also easy to take.
“love hotel” is an energetic blues tune, with heavily laden jazz overtones. A very strong rhythm section, along with Chris Lord’s scorching guitar leads and vocals, have Hendrix/”Red House” inspiration written all over them. They have a feel of living energy in their delivery. We sure do have some great local talent here in Toronto. The slide stuff at the end is captivating.
“mississippi mushroom trip” is psychedelia at it’s best! Tinges of Uriah Heep tend to poke their heads up once in a while, too! This song is definitely very trippy to say the least! The controlled distortion at the end is very well done. “star for the summer” is a winning star in the CLI cap of achievement. More outstanding guitar leads by Chris, along with a driving bass beat by Toronto’s own Gord X and drums by Scotty K make this tune a real winner. “star for the summer (reprise)” is very Hendrix in feel and execution. Chris’ enjoyable vocals and guitar mastery however, set this tune apart as one of the band’s own. One to be copied, but not to be compared to! Chris’ guitar leads take off into orbit and stay there, leaving the listener in guitar Nirvana.
Speaking of Nirvana, “promised land” has a very Eastern European feel to it. The rhythms and harmonies are combined in such a way to lend the atmosphere of The Holy Land. “scotty k special” is a percussive delight from beginning to end. The rhythm section joins in towards the end to send this winner home first class all the way. “she’s outta sight” is a high-energy rock ‘n roll ditty full of punch and pizzazz. Chris’ fine vocal delivery is complimented perfectly by Gord X’s heavy duty bass lines, Walter Adam Luck’s strong rhythm guitar expertise, and Scotty K’s hard drivin’ skins. Chris’ scorching guitar leads scream out quality all the way! Add to it his jazzy lead configurations at times, and you’ve got it all!
“forgiveness” seems to have an underlying mystical intention, which cuts at the core of soulful forgiveness. The peace and tranquility embodied here is soothing. It starts off with the sounds of surf and ends with it too, adding to the peaceful nature of this unique composition. “money talks” is a hard driving scorcher all the way. It proves without question that this tune rocks, as does the band. Some galactic rhythms by Chris help take this tune right into music orbit.
All in all a thoroughly enjoyable music creation; Chris Lord Ideal’s ‘SUNDAY IN NEW YORK’ is well worth the listen. Hear it once -- and you’ll play it again … and again!!!
Artist: Chris Lord Ideal
Title: Sunday In New York
Label: Independent # CL12
Website: www.chrislordideal.com
Buzz Thompson - ‘Find Out For Yourself! Buzz Thompson Live
… At the Red Dog’
-- by Joe Curtis --
Buzz Thompson’s debut CD, ‘Find Out For Yourself! Buzz Thompson Live … At The Red Dog’ is a beautiful, soulful, musical creation throughout its entire 64 minutes. The title tune on this soul-inspiring CD, “Find Out For Yourself”, is filled with deep, romantic feelings, as only Canada’s Buzz ‘Mr. Soul’ Thompson can deliver. Buzz, who’s guitarist for Ronnie Hawkins, and is a loyal and devoted Hawk (in the Hawks) for the past 15 years; puts all the raw, beautiful energy that ‘is’ soul, into this heartfelt tune. I have fond memories of Buzz performing it at the Ronnie Hawkins Tribute Concert at Toronto’s venerable music venue, Massey Hall, Oct. 4, 2002 -- with accompaniment on guitar by the one and only Domenic Troiano, along with The Band’s Levon Helm on drums. The live feel of that very special evening is reproduced here on the CD, ‘Find Out For Yourself’. Although it was recorded on December 20, 1995, live in Peterborough, Ontario, Canada, at the Legendary Red Dog, (a very lively place), it’s only now being released worldwide through the internet at www.buzzthompson.ca .
The sound on ‘Find Out …’ is consistently clear, live and energetic throughout. This is true in part to the excellent acoustics at the Red Dog. Buzz provides uplifting lead vocals throughout this soul-inspiring CD. He also plays some of the most ingenious leads and rousing rhythm and slide guitar this side of Nashville or Memphis. George Bertok provides the rousing keyboards sounds, along with JP Hovercraft’s incredibly funky bass playing and John Crown’s dynamic drumming expertise. This magical music mixture is done justice by the tasteful choice of tunes on ‘Find Out For Yourself’, and the order in which they’re played.
Sonny Boy Williamson ll’s classic, “Help Me” opens this lively performance with JP’s heavy duty bass lines, Buzz’s screaming guitar leads and Bertok’s B-3 sounds. Buzz’s soul cries out, “If you don’t help me babe, I gotta find somebody else”. Buzz’s slide guitar riffs on “Help Me” are truly outstanding! Crown’s drumming provides enough energy to ensure a packed dance floor wherever this Sonny Boy ll tune is performed. This soulful rendition, along with Buzz’s ‘primal scream’ at the end, ensures Thompson’s own unforgettable stamp on this all-time blues classic.
The pace picks up with Wilson Pickett’s rousing “Ninety Nine And A Half”. Bertok’s melodic keys soloing is mouthwateringly welcome, as is Buzz’s soul-wrenching vocals -- rewarded by energetic applause from the audience.
The title tune, “Find Out For Yourself”, is a beautiful, romantic Buzz Thompson original. Buzz’s guitar solo on “Find Out …” is deeply moving, and is added to by Bertok’s emotional piano solo - (sounding much like rippling notes from an angel’s harp). At times, Buzz’s soloing on this tune, evokes images in my mind, of guitar great Carlos Santana playing leads in a canyon wilderness - (images I’ve seen Santana employ in his ‘Live In Mexico City’ concert video). Buzz’s performance of “Find Out …” is as heartwarming on this CD, as it is every time I see Buzz and his band perform it live -- always a highlight of any Buzz Thompson & The Honeybees performance!
The enchanting musical flow continues with the Isley Bros. classic “It’s Your Thing”. Buzz’s soulful screams and rousing lead vocals are added to by Crown’s energetic drumming and Bertok’s incredibly rousing, imaginative keys sounds. The energy contained on this tune, is unbelievable!!! JP’s ultra-funky bass solo is impeccable!
Otis Redding’s classic “Can’t Turn You Loose” is given some fresh musical insight, due to Buzz’s scorching lead guitar riffs; that are so imaginative, they seem to ‘speak’ the vocals. Bertok’s B-3 sounds provide the appropriate blend, along with Crown’s hard-driving talent on the skins.
“Cut Me Up” is another Buzz Thompson original that conveys the charisma of a long-time soul classic. Buzz sings the blues-inspired lyrics with a heavy soul edge - combined with rousing piano riffs and high-powered drumming. JP’s laid-back bass solo is a pleasant, melodious surprise feature of this tune. You would swear “Cut Me Up” is an all-time soul classic -- but it’s a Buzz original -- and a true contemporary soul classic in its own time!
Buzz adds his own soulful touch to James Brown’s “Ain’t That A Groove” -- with “Oh What a Feeling” vocals and lyrics from Crowbar’s all-time hit, blending perfectly into this Brown classic. The pace slows down with Ray Charles’ soulful (and bluesy) “I Believe To My Soul”. Buzz’s mesmerizing vocals are full of vitality, and are added to by Bertok’s B-3 sounds and Crown’s melodic percussive technique. Bertok’s piano solo, along with Buzz’s guitar soloing is refreshing to the auditory senses.
“Come On Up” gets things going the way a live recording should. Buzz’s vocals, beckoning the Red Dog audience to “come on up … have a good time”; must have encouraged many in the audience that night up onto the dance floor. Bertok’s B-3 sounds on this tune, are amazing to hear! Buzz’s scorching guitar riffs fit the mood perfectly. They’re extremely inviting, as is Buzz’s soulful ‘scream’ and JP’s fast-paced bass finish.
“Barbie Lee” keeps the energetic pace going strong. Buzz’s vocals are outstanding -- clear and resonant! Bertok’s incredibly rapid keys solo feels just right, as does Crown’s ‘adrenalin rush’ on the skins.
Buzz’s energetic version of “Mustang Sally”, creates the impression that he’s the originator of this oft-played R&B classic. Buzz sings the vocals with soulful conviction, backed by his groovin’ rhythm section. The audience echoes their approval of a song well done.
Buzz offers a special rendition of Ben E. King’s soft, romantic, ballad “Stand By Me”. Buzz’s vocals blend perfectly with his remarkably melodic guitar solo, as does Bertok’s instinctive tinkling on the ivories.
A rousing James Brown medley caps off this awesome CD, with “Papa’s Got a Brand New Bag”; “Get Up Offa That Thing” and “There Was a Time” -- performed with style and finesse. “Papa’s Got …” features Bertok’s rousing B-3 sounds, along with JP’s super-funky bass solo that pulls out all the stops! Buzz’s rousing vocals, encourage us to “do it funky” -- “gettin’ (the whole band and audience) up offa that thang”. Buzz’s ‘whistling’ of “Oh What a Feeling” rouses the emotions to the ‘nth’ degree, helped along by a continuation of JP’s funky bass lines and Bertok’s rousing keyboards -- bringing to a conclusion, this extremely enjoyable, highly entertaining CD.
Buzz sums up my feelings about this CD so well, with these words: ‘Find Out For Yourself’. It’s the best thing you could do - adding this soulfully inspired CD to your collection. Buzz’s originals, including the title tune, are without a doubt soul classics in their own time. I feel Buzz Thompson has justifiably earned the moniker, ‘Mr. Soul’ - That’s who he is, and what ‘Find Out For Yourself! Buzz Thompson Live … At The Red Dog’ is all about!
Artist: Buzz Thompson
CD: ‘Find Out For Yourself! Buzz Thompson Live … At the Red Dog’
Label: Independent # BTFOCD1295
Website: www.buzzthompson.ca
Email: saveourspaceship@sympatico.ca
Ronnie Hawkins’ Official Website: www.ronniehawkins.com
Domenic Troiano - ‘The Best of Domenic Troiano
- The Millennium Collection’
-- by Joe Curtis --
Domenic Troiano’s newest CD, ‘The Best of Domenic Troiano - The Millennium Collection’, is from Universal Music’s ‘20th Century Masters’ series. It is a 13-tune musical chronology covering Canadian guitar icon, Domenic Troiano’s amazingly prolific career as a very-much-gifted, world-class guitarist (ex-James Gang/Guess Who/Ronnie Hawkins) -- and band leader (Mandala/Bush/Black Market, etc). ‘Millennium’ spans the whole gamut from Mandala’s 1965 recording of “Opportunity’, to 1981’s Black Market band recording of “Turn Back”.
Domenic Troiano has come a long way from the early 1960s when as a young teenager, he received his first guitar lessons at D&L Music Centre in Toronto, Canada. Over the ensuing decades, Domenic has performed at some of the largest and most well-known concert venues in the world - as well as entertaining ex-U.S. President Bill Clinton too; here in Toronto in late 2002, at a special dinner in honor of Rompin’ Ronnie Hawkins. (Some of the other illustrious guests present that night, included perennial music favorite Paul Anka, actress Whoopi Goldberg, famed music producer David Foster, singer B.J. Cook, ‘Chicken King’ Don Tyson, and Edmonton Oilers owner Peter Pocklington). Another invited guest to the Hawkins/Clinton party (who was out of town, and missed it); was Gino Empry, ‘publicist to the stars’, (Tony Bennett/Lena Horne/Peggy Lee-Imperial Room; Royal Alex/ex-Old Vic, UK owner, Ed Mirvish, www.ginoempry.com ).
Now that the introduction’s done, here’s Dom’s great new CD, starting with 1965’s “Opportunity” -- which begins this incredible Troiano music fest, with a blast. The always entertaining (to this day) George Olliver’s impeccable voice, sings out the vocals, with classic rocker lyrics, “We came 3000 miles from Canada to L.A. - maybe it’s here we’ll get our ‘opportunity’” Whitey (ex-Alice Cooper/Lou Reed/David Bowie/Johnny Winter) Glan’s forceful, always-in-the-groove drumming, along with Troiano’s screaming guitar leads, complements Olliver’s ‘primal screaming’ vocals, absolutely ingeniously. Joey Chirowski’s background vocals along with Troiano’s, creates the impression of a ‘rock choir’ -- Chirowski’s deep B-3 organ riffs complete this very full, beautifully orchestrated mixture, to the max!
The rousing rhythms and vocals continue with Bush’s iconic ‘Toronto Sound’ hit from 1970, “I Can Hear You Calling”. Whitey’s input as co-writer of this upbeat winner, ensures some very fine percussive genius at work on his part, on this rockin’ party tune. Roy Kenner’s soulful vocal delivery is added to with the beautiful vocal harmonies of internationally respected bassist Prakash John (The Lincolns/Hyptonic; ex-Alice Cooper/Lou Reed), as well as those of Troiano. Can’t say anything bad about this fine Bush tune -- it’s in a league all its own!
An outstanding feature of Bush’s “Turn Down”, are the awesome vocal harmonies singing out “turn down”. They are reminiscent of those of ‘Flo and Eddie’ in Frank Zappa’s band the Mothers of Invention -- and earlier the Turtles, (from whence F&E came).
Troiano’s “Try” speaks volumes of ‘60s-style universal truth with its poignant lyrics, such as “Try .. all you got to do is try”; “We gotta try and put things together, and I’m telling you time won’t wait”, as well as “Talkin’s a groover -- action is better “ The powerful horn section lends strength, and adds class to this fine piece. Prakash’s and Kenner’s, background vocals blend harmoniously with Dom’s lead vocals, helping to get the message out entertainingly, to ‘try’. The funky instrumentals by all - Dom’s guitar leads, Prakash’s impeccable bass back-beat, and Whitey’s drumming excellence, are superlative throughout this fine ‘message’ song.
Troiano’s ‘clear-as-a-bell’ lead vocals on “Let Me Go Back”, are supported by the ringing background vocals of R&B/blues diva Shawne Jackson and others. William Smith’s organ riffs help lift this piece, giving it a natural groove.
Domenic provides the answer in “The Answer”, to this writer’s need for some awesome lead guitar riffs; filled with innovative and highly creative jazz creativity. If anyone was wondering if Troiano’s a gifted guitarist, I feel they’ll find the answer to the affirmative, in this musical winner. The vocal harmonies along with Whitey’s incredible percussion genius, help “The Answer” soar!
One of my favorite tunes on ‘Millennium’ is Domenic’s “Lonely Girl”. The romantic feelings it engenders, makes it a perfect tune to snuggle up with -- along with one’s significant other. Troiano’s guitar leads on “Lonely …”, along with the melodic, heartfelt rhythms and Shawne Jackson’s yearning background vocals, gives this tune a very compelling quality. This relaxed and comfortable mood continues with the whimsical “Eleanora Fagan”. “Eleanora …” seems to float on Troiano’s brilliant guitar leads. The rhythm section accentuates Dom’s leads with the best drums, bass and keyboards around - a composition that guarantees to fill the listener with a sense of inner peace and contentment -- while at the same time retaining a spark of vitality in its musical premise.
The pace picks up considerably with “Ambush”. Domenic’s rousing guitar leads, are complemented by powerhouse drum rhythms and awesome, energetic bass lines. A musical conversation ensues between guitar, drums, bass and piano in a true ‘call and answer’ fashion. The B-3 riffs and melodic piano accompaniment, adds to the bountiful energy present - guaranteeing the listener will get ‘ambushed’ in their souls
“Fret Fever”, shows what a great singer Troiano is. Paul de Long’s driving drum rhythms along with Bob Wilson’s heavy-duty bass lines, blend and add strength to this piece. Shawne Jackson’s and Roy Kenner’s background vocals round out the perfection in this piece admirably. Domenic’s lead vocals and impeccable guitar riffs, help the listener “turn back the pages … turn back the time”, (as the song goes) -- to the mid-late ‘60s Yorkville, hippy coffeehouse days. That was a time when ‘Toronto Sound’ originators such as Troiano and others; captured a generation’s hearts, and kept them safe in good music for decades to come. Dom’s wailing guitar leads announce the finale to this beautifully nostalgic, musical time trip - ably assisted by harmonious background vocals provided by Bush bassist Prakash John, and original Mandala vocalist Roy Kenner.
I might add that Prakash continues to be an integral part of the music scene these days, in his out-of-this-world blues band, the Blues Angels. Besides featuring Prakash’s mind-boggling lead bass lines - the band also features Prakash’s son Jordan doing an amazing job on drums. I’ve heard Whitey Glan happily echo his appreciation of 17-year-old Jordan’s talent on the skins - I’ve seen the Blues Angels perform several times, and have to agree with Whitey’s assessment of Jordan’s outstanding musicianship. On one occasion the Blues Angels, (with Jerome Godboo on harp and lead vocals) - had Prince (“Purple Rain”) himself sitting in on vocals and lead guitar, at the sadly-no-longer Blues On Bellair in the now-trendy Yorkville. Ironically that’s the area where most of the great music on this CD first premiered - in the hippy dippy-flower power ‘60s ‘daze’.
As ‘Millennium’ continues in ‘repeat’ to the beginning with “Opportunity”, I feel as if this is provenance - a fantastic musical ‘opportunity’ fo listen to Domenic Troiano’s ‘The Best Of Domenic Troiano - The Millennium Collection’ compilation CD again … and again. I hope you get this great CD, and derive as much pleasure from listening to it as I do.
Artist: Domenic Troiano
CD: ‘20th Century Masters- The Best of Domenic Troiano - The Millennium Collection’
Domenic Troiano Offical Website: http://www.geocities.com/domenic_troiano/dommain.html
http://www.geocities.com/domenic_troiano/left.html
Domenic Troiano link: http://www.thecanadianmusicscene.com/artists/ardomenictroiano.html
Mandala link: http://www.ericknelson.net/GO/Mandala.htm
George Olliver website: www.georgeolliver.com
Label: Universal Music # ASIN: B0000DC17Z
Universal Music (Canada) Website: http://www.20thcenturymasters.umusic.ca/
Universal Music (U.S.A.) Website: www.universalmusic.com
Available at: www.amazon.com
Available at: www.amazon.ca
The Orbit Room’s ‘Soul In the City 3’, at the Capitol Theatre,
Sat. Oct. 17, 2003
-- by Joe Curtis -
The Orbit Room, Toronto’s premier R&B and funk club, in the atmospheric and colorful west end; (also known as ‘Little Italy’), hosted it’s ‘Soul In the City 3’, at the Capitol Theatre on Yonge St., Sat. Oct. 17, 2003. The talent on stage, was phenomenal all through this extremely enjoyable evening of entertainment. The early 20th century lavishness and charm of this beautiful theatre, added to the charm and atmosphere of the event. This is the third time in four years a gathering of talent and fans have converged on the Capitol Theatre, for the Orbit Room bash.
This amazing event is hosted by Orbit co-owner Tim Notter. It’s co-organized by Orbit B3 player, Lou Pomanti, of The Dexters. Alex Lifeson of Rush, is the other Orbit co-owner, along with Notter. Lifeson played up a storm on guitar that night, along with long-time friend and fellow guitarist, Domenic Troiano. Troiano’s music credentials stretch back to The James Gang with Joe Walsh, as well as mid-‘60s, The Five Rogues, and late ‘60’s iconic Toronto band, The Mandala, -- (prime innovators of the original ‘Toronto Sound’) -- and as star guitarist for the Guess Who, with Burton Cummings. Dom’s got a new CD out from Universal Music, called ‘20th Century Masters - The Best of Domenic Troiano’ - it runs the gamut of Dom's musical input, from Mandala onwards! A Troiano google search will garner a plethora of sites, devoted to this musically prolific individual. Here’s a good one: http://www.thecanadianmusicscene.com/artists/ardomenictroiano.html
The Stickmen were first up at ‘Soul In the City 3’, introduced by CHUM AM radio DJ, Tom Rivers. The band really outdid themselves on soul standards like Booker T & the MGs’ “Red Beans and Rice”, King Floyd’s “Groove Me”, and Horst Jankowski’s “A Walk in the Black Forest”. Stickmen guitarist, Bernie La Barge, stood out on all these tunes and others, as did Stickmen drummer Jim Casson, (ex-Downchild Blues Band). Casson’s always in the groove on the skins, helping hold this already super-tight unit together even more! Domenic Troiano sat in with them on the heavy-duty Stickmen funk original instrumental, “WGAF” -- the crowd’s reaction was incredible! The excitement continued, when Alex Lifeson joined them on another Stickmen original, “Hey Bob A-Rebop”. Lifeson’s powerhouse guitar licks were at the forefront here, as were Brent Barkman’s B3 wildness! “Hey Bop …” (with Lifeson), and other cool Stickmen originals (and some covers), are available on their new CD, entitled, ‘Side Two’, available from their web site: http://www.thestickmen.ca/ and from the Orbit Room. Their first great CD, ‘Side One’, (with “WGAF”, etc.), is also available there.
Another super-talented guitarist of high renown performing that night, is Leroy Emmanuel. He. along with his awesome band L.M.T. Connection, performed some of the best soul, funk and R&B around. They played some high-powered classics, as well as some awesome originals, that the crowd went nuts over. L.M.T.’s newest CD, ‘Universal Love’ is just being released. It’s available from their website: www.lmtconnection.com , and at their gigs. Their previous two CD’s, (the debut ‘sometime later’, and the live ‘Outta Contol’), are also available there too!
Leroy’s music credentials stretch back to Motown soul icon Marvin Gaye and renowned Motown bassist James Jamerson. His musical influences include Sonny Boy Williamson ll, whom Leroy as a 12-year-old, met outside a Harlem shoeshine parlor. Leroy exudes passion in his performances as well as do L.M.T. bassist ‘Big Bad’ John Irvine, and hard hittin’ Mark Rogers on the skins. What they give out, they get back in equal measure from their loyal following of die-hard funk and R&B fans. These fans answer the question of “who’s got the funk?” by showing up in droves every Wed. night at the Orbit, at 580 ‘A’ College St. W. (2nd floor), near Clinton Ave. in Toronto’s west end. They go there to be highly entertained, and in some small way, to pay homage to the talent and friendship that L.M.T. provides.
High intensity funk band, Planet Earth, featuring singer/front man Nathaniel Littlejohn, really outdid themselves in their set. Some all-time funk classics and original Planet Earth material from their two CD’s, ‘The Ali Shuffle’ and ‘Elasticity’, helped set the Capitol Theatre on fire. Nathaniel’s stage presence is extremely charismatic. Added to this is the incredible Chosen Few horn section - they backed up all the bands that night, and helped make this the big event it was! A special musical moment came later in the evening, when Littlejohn sang Barry White’s immortal ‘70s classic “Can’t Get Enough of Your Love”, backed up by The Dexters, featuring Bernie Dexter. It was not only one of the major highlights of the evening, (and a personal fave of mine); but was also a fitting tribute to the memory of ‘Maestro’ White, who had recently left this realm for disco/R&B heaven! More about Planet Earth can be found on their website: www.planetearthfunk.com - including sound clips, CD ordering, etc.
Bernie (La Barge) Dexter’s band, The Dexters, played some phenomenal blues and R&B that night too! One of the tightest performances I’ve ever seen - a solid wall of sound that demonstrated the talent and good taste that a band like The Dexters exudes with ease and imagination. Add Domenic Troiano to the lineup performing with them that night, and you’ve got more talent on one stage at one time, than you’ll no doubt see in a long time anywhere else. The heart-wrenching and heart-warming guitar renditions that came out of Domenic’s guitar, like the ones on Sam Cooke’s “A Change Is Gonna Come”, (also covered by Al Green), seemed to transcend to music heaven, where all the most beautiful music originates. It’s always a pleasure to see Troiano perform! ‘Big Al’ Dexter (aka Alex Lifeson) joined The Dexters on “The Letter”, and really outdid himself on some powerhouse leads and rhythm guitar -- helping send that ‘letter’ home with style and personal magnetism. The Dexters website is: http://www.almarecords.com/shtml/artists_sites/dexters/dexters_default.shtml
At one point a Blues Brothers knock-off, the Dues Brothers, took the stage, and captured the audience with their outrageous antics and Ackroyd/Belushi classics, like “Soul Man”, etc. Their comedy relief was a major bonus of the whole show that night - they’re a humor/music ‘pill’, that’s good for the soul! Another newcomer to the ‘Soul In the City 3’ talent roster, was singer Chris Rouse. Looking a little like Sly Stone, his vocal renditions of soul/R&B classics like “Stand By Me”, and “Kiss”, flowed out with ease and class. His stage presence and energy seemed contagious, and the audience really got off on it!
The Orbit Room, famous for it’s superb lineup of fine talent, outdid itself (again), by adding B3 player, Joey De Francesco -- who’s currently touted as ‘Best B3 Player in the World’! That’s a hard title to live up to, let alone comprehend. I chose to let Joey’s music speak for itself, rather than try to envision what ‘best in the world’ means! I was not let down in the slightest!
De Francesco joined his awesome contemporaries stage, and played his soul out, with all the imagination and love for music (and the fans), that a true ‘best of … “, must have in order to get that good as a performer, and stay that way. It’s easy to see from all the happiness Joey exudes in his face while pumping the B3, that he digs what he plays, as much as the fans do hearing and watching him perform. That’s where ‘best’ really comes from - the audience, as well as the performer, since they must go hand-in-hand, to really be considered the best - criteria which Joey fits admirably, and enjoyably, as do his fans! Lou Pomanti’s B3 wizardry at the other end of the stage that night, was a perfect organ(ic) mixture, that enhanced De Francesco’s musical genius, and that of the other fine performers on stage that night. When Leroy Emmanuel joined his gifted contemporaries on stage at one point in the proceedings for an impromptu soul jam, everything took off with a blast, and continued that way -- right into funk orbit. At this point, the muse converged just right, and the groove on stage reached its zenith! More ‘joey’ can be heard and enjoyed at his great website - www.joeydefrancesco.com - well worth the click!
This extremely entertaining evening wouldn’t be complete without ‘Mr. Soul’ himself, George Olliver, doing his awesome best on stage, at what he loves most -- which is entertaining an audience and having them join in from their hearts, the way they do! The dance routines Olliver did, added to the funky, soulful renditions of well-known Mandala tunes he performed that night. These, (with Troiano’s input on guitar), included the upbeat “Opportunity” and its flipside from ’66 -- the quintessential original Olliver love ballad, “Lost Love”. This double-sided hit was voted #1 record of 1966 by the ‘Maple Leaf Awards’, (pre ‘Juno Awards’). From upbeat funk, to laid-back romantic soul, George did it all, and the audience gave their ‘all’ back to him, in applause of equal measure. His website is just as amazing - www.georgeolliver.com - sound clips, full length mp3’s, albums, tour dates, and the complete bio of George Olliver’s amazing career in show business, is all there, and extremely entertaining in itself. But don’t let its engrossing content stop you from going to his live shows too!
** For those not familiar with The Mandala - they’re the premier late ‘60’s ‘Toronto Sound’ band, which featured Olliver, as well as guitarist Troiano, bassist Prakash John (ex-Lou Reed/Alice Cooper), and drummer Whitey Glan, (ex-Lou Reed/Alice Cooper/Johnny Winter/David Bowie). Whitey was relaxing and watching the show that night from the upstairs theatre balcony, while hanging out with his many friends. He recently performed with the ‘Godfather of Soul’, James Brown, in Finland!
The last tune of the night, was “People Get Ready”. This awesome soul classic was an intense emotional outpouring, featuring most of the talented lineup who performed that night. Everyone took solos on this excellent encore -- from Olliver’s and Rouse’s soulful vocals, to the guitar wizardry of La Barge, Troiano, Lifeson and Emmanuel. The Chosen Few horns backed them up to the ‘nth’ degree; helped along by Pomanti’s and De Francesco’s keys genius. This musical mixture added just the right touch to a perfect evening of the best entertainment one could hope for! The words “I believe” echoed in the vocals from the stage, and from the appreciative fans’ enthusiastic applause, as this exciting evening of music winded down!
All in all, the Orbit Room’s ‘Soul In the City 3’ at Toronto’s Capitol Theatre, was a huge success. To miss it, is to truly miss one of the finest nights of R&B, funk and soul, happening all year long in Toronto. The entertainment quality is equally as amazing, at the Orbit Room itself, seven nights a week, (including the night of the ‘Soul In the City 3’ at the Capitol Theatre). That explains why on any evening you go to the Orbit, the place will be packed with fans who know the best music and party atmosphere around, is right there - ‘in orbit’, at The Orbit - and at its always much-anticipated annual ‘Soul In the City’ extravaganzas!
The Orbit Room
580 ‘A’ College Street (2nd floor)
Toronto, Ontario
Canada
M6G 1B3
phone: (416) 535-0613
website: http://www.orbitroom.ca/
The Capitol Theatre
2492 Yonge St.
Toronto, Ontario
Canada
phone: (416) 322-3322
#2 -- B.B. King at Massey Hall on Thursday, January 17, 2002
-- by Joe Curtis --
I had the excellent fortune of seeing and hearing B.B. King and his awe inspiring Blues band at Massey Hall, here in Toronto, on the evening of Thursday, January 17, 2002. He had the familiar lineup of musicians with him, that have appeared with him as his regular band for the past several years. They played several Blues classics and B.B. King originals to a packed house of fans from six to eighty-six. Blues traverses all ages and socio-economic barriers to appeal to everyone who can appreciate good music, right from the heart and soul of musical creation itself.
The special inspiring influence of B.B. King and his fantastic band at Massey Hall this past Thursday was a testimony to that way of thinking. As the late great Muddy Waters once said, “Everybody’s got the blues, but everyone expresses it differently.” I bet everyone in the audience that night could give a different reason why each song appealed to them, and each of their perspectives on the music would be correct.
One of my favorite tunes of the night was “Hootchie Cootchie Man”. It felt as if Willie Dixon, Muddy Waters and Sonny Boy Williamson ll had come in spirit as part of the audience to pay homage to their old friend B.B., because he was here carrying on the legacy of Blues, handed down from the original innovators of the genre. “Rock Me Baby” was played with all the energy and vitality that has made this Blues classic well-loved the world over for countless decades. The spirited and innovative bass solo by B.B.’s long-time bassist, had all the zest and melodic sweetness of a master bassist, who knows full well that beauty and simplicity go hand in hand. At one point in the proceedings B.B. spotted another kind of beauty, but this time in the audience. Two or three times in the middle of the show, he spotted youngsters who he felt would like one of his signature pins or guitar picks, and encouraged them to come up to him like a child would to a favorite uncle, to get one of these guitar-shaped pins or guitar picks. I bet when some of these kids are B.B.’s age or older, they’ll be telling kids then of the great Blues man they met a long, long time ago.
B.B.’s rendition of “Summertime” with it’s beautiful and melodic B.B. guitar riffs, has all the earmarks of a master Blues guitarist, whose love of quality in musical execution shows a deep respect for his playing and the high quality of performance that his long-time fans deserve. To that end B.B. and his band gave it all they had all night long. The sax solos and the trumpet solos were mind-boggling in intricacy and delicacy in execution, heightening the musical senses of the audience to their ultimate in musical appreciation. Norman Matthews’ tenor sax solos were beyond belief, as were the trumpet solos and the sweet tinklings of the ivories in piano and organ solos. Some of the organ playing lent a similarity in certain songs to their gospel roots, and the musical roots of the musicians in the band. “The Thrill Is Gone” was one of the last songs of the night, and was as fresh as it was when B.B. first made it a world wide hit in the 1970’s. All in all B.B. King, the King Of The Blues, and his ever so fantastic Blues band, left a mark on the souls and sensibilities of the audience at Massey Hall Thursday night, that will reverberate in their hearts all their lives. B.B. King is a true Gentleman of the Blues, as well as its King!
B.B. King at Massey Hall on Thursday, January 17, 2002
-- by Joe Curtis -
B.B. King and his great band were in top form at Massey Hall, this past Thursday, January 17, 2002. B.B. played all the old familiar Blues standards and B.B. “hits” he’s known for. The cross-section of styles and tempos were as imaginative in their variety as B.B. and his incredible band were in delivering them up to his Blues hungry fans. Some of my favourites were the rousing “Rock Me Baby”, and the sweet, serene, and softly flowing “Summertime”, featuring B.B.’s impeccable guitar leads. “Key To The Highway” had a feel of gospel/blues fusion, with the “in Church” feel of the organ accompanying B.B.’s bluesy leads and his imaginative storytelling vocal delivery.
B.B.’s signature tune, “The Thrill Is Gone”, excited the audience like a fresh, new hit would. Very impressive solos were featured by most of the band. The rapid and melodic trumpet and bass solos were everything one could desire by a pro outfit like B.B.’s. Norman Matthews’ tenor sax solos were out of this world, and far too short, as were the others. The pianist’s solo was rippling and sweet. Orchestra Blues at it’s very finest, and as fresh and alive as if the band were in their 20’s, and had just put together a very groovin’ sound! A testimony to their love of the music and their fans-music keeps you young-especially the Blues!!! Congratulations to all-special thanks to B.B. You’re still numero uno on the Blues scene!!!