Carolina Chocolate Drops at Ladies Lit 12/1

(Originally published on Dec 8, 2010 in the The Collegiate student newspaper at Grand Rapids Community College)


In the musical world of the Carolina Chocolate Drops one kazoo and two curved bones are all you need to make authentic sounds. Then pass around a fiddle, jug, and banjo and you’re all set. This was the musical mission as executed by the Durham NC trio in front of a sell-out crowd at the Ladies Literary Club on Dec 1. The Carolina Chocolate Drops not only entertained and engaged but enlightened and informed on America’s lesser-known musical footnotes. With their old-timey string band presentation, complete with exchangeable instrumentation among members, the Chocolate Drops are one of very few African-American bands (along with NY’s Ebony Hillbillies) performing this time-honored historical tradition. They wasted no time getting into the gospel spirit by revving up “Starry Crown (Chase Old Satan through the Door)” as their first number. Throughout the night each member took a turn mentioning old-time fiddler Joe Thompson as vital inspiration. Fiddler Justin Robinson played the straight guy mostly during the colorful narratives of his band mates. Singer and banjo player Rhiannon Giddens laid it all out during her stunning solo vocal number, the Celtic flavored ballad “Reynadine” from their acclaimed release Genuine Negro Jig. If there was one standout among this talented group it had to be Dom Flemons. Flemons is not only fine acoustic guitar player but he is an absolute master on the bones, a basic percussion instrument that specializes in triplet rolls. In Flemon’s imaginative fingers the bones are transcended from lowly calcium and phosphorus deposits to performance hall-worthy musical devices. One gift of the group is their ability to bring a world music vision to their shows as heard in the reading of “Snowden’s Jig.” The audience response to “Cornbread and Butterbeans” was among the most rousing of the night. Their most modern sounding song, “Hit ‘Em Up Style,” with microphone beats from Robinson closed out the main portion of the show. Demonstrating this genre as an important link to all forms of contemporary music, and now with a sound young folks might relate to, the tradition of African-American string bands seems in good hands. With their enthusiasm clearly unabashed, we should all be grateful the Carolina Chocolate Drops are giving this type of music an invigorating shake of youthful musicianship.

Terrance Simien at the Jiggle Jam Festival, (Crown Center) Kansas City MO 5/30

Terrance Simien's enthusiasm for performing is evident all the time. But when he's in front of children during one of his specialty Creole for Kidz matinee shows, it's apparent he makes an extra special effort for the little ones. Zydeco music in Simein's experienced hands, it seems, allows anyone regardless of age to feel like a kid again. You can't help but be drawn in. This was the feeling when Terrance Simien and the Zydeco Express played the Jiggle Jam Festival in Kansas City on Memorial Day weekend. Encouraging kids to learn about another culture while having big fun is a win-win situation for all. With tales of his linage back to Africa and a word about his family's Creole roots in southwestern Louisiana Simien looked into the past while he continues to move the zydeco tradition forward. He accomplishes this by bringing an exuberant message of peace, love and zydeco to the young masses. Simien's hour-long set found him singing like Sam Cooke, playing his accordion like Clifton Chenier, and offering a brief musical history of New Orleans while extolling everyone to dance. With his gifts as an entertainer apparent, he is able to leave everybody smiling, dancing, and reaching for beads. A big part of this cross-cultural presentation is education; the telling of stories, origins, and histories. Simien willingingly shares with his young audience the story of Amede Ardoin, the first Creole/Cajun musician to record zydeco accordion, and about about how his people trace their roots back to Senegal Africa. It seems Simien was diversity long before it became a political term: his ancestors were French, Caribbean, African, and Native American. One of the highlights was long-time frottoir player Ralph Fontenot doing double duty by helping children--equipped with miniature rubboards around their little necks--on and off the stage after they'd had a chance to play along with the band. During the last portion of the show Simien performed a medley of hits from Crescent City artists like Dr. John, the Wild Tchoupitoulas (Mardi Gras Indians), and Fats Domino. Simien himself earned his keep on a muggy Sunday afternoon by relentlessly throwing multi-colored beads to all comers no matter size or age.

Smokin' Joe Kubek at Callahan's April 25

Sometimes it's all you can do just to get to the gig. Van trouble and an hour earlier time change are just two of the pitfalls to hitting the road. It takes patience, work, and-these days-plenty of gas money to get anywhere. So by the time Smokin' Joe and company hit the stage at Callahan's, they were ready to play. The workman-like approach to the art of performing seemed to serve the band well. Featuring guest guitarist Jimmy Thackery, the Smokin' Joe Kubek Band with B'Nois King did what they could to liven-up an otherwise sleepy Sunday night in suburban Detroit-and it paid off for everybody. It was no secret Thackery was at the club the night before, hence an invite to stick around and play. Thackery took in all the latitude that Kubek afforded. Thackery is a tasteful guitarist by far. His presence was much anticipated. In a pleasant surprise was how well these guitar players--including King--fit together. Many times on slide guitar rather than straight lead, Kubek unfolded a steady perusal through his 20-year catalog. Featured were the songs "Texas Cadillac," "Burn One Down," and "I Saw It Coming." The latter featured the sweet vocals of B'Nois King. Enough cannot be said about the front man talents King commands, or about the way he approaches his job. King never loses focus that the audience is always a part of the show, engaging them even while a guitar tuning takes a little too long. It was hard to believe that this was only bassist Patrick Recob's (Kansas City MO) fourth gig with these guys. But it hardly showed-even for a live recording. King pitched a new CD on Alligator records due this spring. Sure there was the van break-down outside Rock Island IL a day-and-a-half earlier. Then there was the hour time change back east that inadvertently slipped by everyone. But Kubek and his band showed poise all the while, later rewarding themselves with a pint of Ben & Jerry's.

The Bruce Katz Band at the Livery in Benton Harbor April 18

If there is one original music which has kept dance floors busy across this country it has to be the blues. We're speaking here of piano-based uptempo roots music sounds of New Orleans, sometimes known as early rock'n'roll. Musician Bruce Katz seems to understand this reality and, as such, tailored his live set at the Livery to include material from all the leading American songwriter sources. Whether sliding into a jazzy Professor Longhair tune or a Hank Williams honky-tonk, Katz is fearless when reaching into the well for treasures from artists whose ageless gems grow more valuable with time. Katz also has the foresight to include other home-grown keyboard influences which helped put this country on the musical map. All of this make for lively in-person presentation. The second song of the 2nd set was a nod to Katz's days with Ronnie Earl and the Broadcasters. "Blues in D Natural" proved a perfect showcase for guitarist Chris Vitarello. After trading hollow-body jazz guitar for solid wood Telecaster, Vitarello absolutely delivered. His first guitar solo was searing. Meanwhile Katz was providing some serious organ, often using the double-fisted triple keyboard method. Katz even stood up to play the piano in a Jerry Lee-inspired moment. Vitarello also proved a soulful singer as heard on the Allman Brothers version of Muddy Waters' "Trouble No More." From there it was on to what Katz described as a "Huey 'Piano' Smith version of Hank Williams" and a Fats Domino-inspired version of "Jambalaya (On the Bayou)." Drummer Ralph Rosen was spot-on, providing an enviable pocket in which to lay back. Katz featured songs from his most recent release "Live from the Firefly" and a tune from his Mississippi Moan CD originally sung by Mighty Sam McClain called "Hanging on the Cross." Katz finished up the night with tunes from Billy Preston and Blue Note's Jimmy McGriff ("Talking About My Baby") completing a unique American odyssey across the keys. (Photo by Alan Bartlett)

Rick Estrin & the Nightcats at 411 Club Kalamazoo MI 3/27

If Rick Estrin & the Nightcats have it their way music like theirs, a swinging set of time honored jump blues, will never go out of style. Estrin and the Nightcats appeared at the 411 Club in Kalamazoo laying it out with enough energy to keep the joint jumping and the dance floor dust-free. The second set began with a jazzy instrumental number which featured multifaceted bassist Lorenzo Farrell on Hammond B-3 organ just ahead the tasteful highlight reel guitar of Kid Andersen. It wasn't long before Estrin--snazzy shoes and all--was launching into the soulful Little Milton number "Never Trust a Woman." His showmanship needs appreciation. Not too many know the real art of front-man entertainer-ship but Estrin makes it look easy. Sporting the style with suits and pompadours, the period look of the Nightcats is from a simpler time when bands actually cared to dress up. Featuring songs from their most recent disc, Twisted (Alligator) Estrin and company did "A Ton of Money" to shouts of approval from the audience. From his days with former band mates in Little Charlie & the Nightcats, Estrin got busy with his signature tune of sorts, "My Next Ex-Wife." Soon after Andersen got the nod for the original surf-like "Earthquake," an instrumental which showed why he can rightfully inherit the once-revered spot held by "Little Charlie" Baty. Here's hoping they put a copy of the Rick Estrin & the Nightcats Twisted CD in the next time capsule so that future generations of music lovers may enjoy. (Photo courtesy of Dennis Tuttle)

North Mississippi Allstars 3/11/10 at The Bottleneck, Lawrence KS

The all-encompassing hybrid music of the North Mississippi All Stars is good bet for today's roots music connoisseurs: one part Southern blues band, one part jam band trio, the rest rock-n-roll kids just having fun. Imagine if the Jelly Roll Kings with Junior Kimbrough strung together their favorite songs into one complete barrage; that's what you get with NMA. The multifunctional band appearing at The Bottleneck in downtown Lawrence KS on March 11 featured lead guitarist and singer Luther Dickinson (who also gigs with the Black Crowes); bassist/vocalist Chris "Big Cheese" Chew; Luther's brother, drummer and washboard player Cody Dickinson.

Entering the stage to the theme song from Sanford & Son, the plaid work-shirted Luther Dickinson began the night authentically enough by running through a series of R.L. Burnside-inspired tunes on slide guitar. Early on Dickinson implored the audience to "shake what yo' mama gave you" and many happily obliged. Next up was the bluesy "I'd Love to Be a Hippy," from the NMA release Hernando featuring the rich vocals of Mr. Chew. About midpoint through the show, just after the drum solo, members of opening act Hill Country Revue hopped onstage for some jamming. "Shake Em On Down" spotlighted the singing of tattooed (and apparent Lucero fan) Hill Country Revue vocalist Daniel Coburn. During the later portion of the set, Luther got behind the drum kit for a spin on the sticks while Cody emerged to strum the washboard. The noticeable thing this night was how NMA looked to be thoroughly enjoying themselves, almost like it wasn't just another Thursday night in the heartland. So much fun was had that Luther Dickinson at one point gave a holler and said, "Man, I feel like cussing," and proceeded to do just that.

The Bottleneck is non-smoking club in downtown Lawrence home to some of the best live music anywhere and features a sizable wooden dance floor plus two sections of flat board bleachers for convenient viewing or standing.

Kim Wilson Blues Revue at the Livery Oct. 25: Little Walter Rides Again

At the Livery brewery in Benton Harbor on Sunday Oct. 25 Kim Wilson demonstrated once more why remains atop the modern blues harmonica scene with an exceptional late afternoon performance. The second set of the show started with an audience request for Little Walter’s “Juke.” While this oft-requested tune has seen the miles, in the hands of Wilson and company it still breathes real life; they wasted not a single note impressing the small but engaged crowd. This edition of the Kim Wilson Blues Revue turned out to be such a tight collection of first-rate players that they perceptively know just what tune they’ll do next by the time Kim begins to count off. During the course of the show just a nod from Kim or some brief eye contact, and the band was off into the next number. Audiences get their money's worth each night as Wilson wastes no time between the end of a song and the beginning of the next, ala Van Morrison. Only first-rate musicianship allows Wilson to cut a wide swath in order to uncover all the elements of true blues music; songs and styles that may go by the wayside with Wilson’s other band, the guitar forward Fabulous Thunderbirds. Featuring Barrelhouse Chuck allowed Wilson to delve further into the deep history of Chicago piano blues reminiscent of keyboardists like Sunnyland Slim, Lafayette Leake, and Otis Spann. If there was one thing this lineup was assembled for it is Wilson’s overlooked instrumental harp extended jam workouts. These jams, often on the chromatic harmonica and sometimes solo, are a true privilege of seeing Kim and company in such a small place. There is no mistaking the influence of Little Walter on Wilson, as Kim was asked to perform all the Little Walter parts for the 2009 motion picture Cadillac Records. But on the chromatic Wilson conjures up in real time the ghost of William Clarke, who as you know was one of the best ever on this particular harp. Wilson again chose the right band for this short tour as evidenced by Kim letting each of his players shine in their individual light. Early on in the set guitarist Billy Flynn got the nod to get out the slide for authentic sounding renditions of Elmore James (Shake Your Moneymaker) and Leroy Carr (Blues before Sunrise). Proclaiming that they as a band “love Jimmy Rogers,” Kim and friends furnished a modified modern version of “That’s All Right.” Little Frank showed off the subtle style that has landed him work with Hubert Sumlin. Kenny Smith proved once again why he got the call for this gig; he’s soft and creative when Kim solos and hits hard on some of the up-tempo pieces. He is one to watch (Kim said it in a word: “wicked”). Of all the great harp players working today, Musselwhite, Estrin, Hummel, and Piazza, Kim is the one with the most signature sound, style, and presentation. He looks just as comfortable without a harp in hand all while sweating out a soulful vocal number by Little Milton. Wilson is either gracious, yes, or just smart enough to let his band do their work. At times he’d walk over to be near Chuck during one of his keyboard solos as if being three feet closer would garner more vibe; apparently so, because it looked like he was really feeling it. Speaking of a solo solo, that was our encore at the Livery. Just Kim alone: a man, his harp, and an amp. After that Kim got his children up to play, Steven and Hunter (on guitar and bass), for some great Sunday-type of family atmosphere. All the superlatives now applied: exciting showman, star bandleader, authentic bluesman, and Dad.(Photos courtesy of Alan Bartlett)

Gaelic Storm at the Intersection 3/19

"...Russell Crowe is an ***hole..." Wow. What's up with that? Certainly more than a few attendees at the The Intersection's presentation of Canadian Celtic band Gaelic Storm on March 19 were left to wonder. But for many among Gaelic Storm's hearty Celtic fan base, they knew exactly what singer Patrick Murphy was blathering on about. It seems GS had written a song about an incident between Murphy and the Gladiator actor in which fisticuffs arose and things ended up with Maximus catching one in the jaw (The Night I Punched Russell Crowe). Gaelic Storm's niche is rollicking sing-along, audience participation numbers, and songs about drinking; and then later more songs about drinking. Fair enough. Sure, most of the songs were in the same tempo and rhythm. Still there is an organic natural quality to what they do, although the patter in between songs went on for what amounted to the length of another short song. To some the foreign accent thing only goes so far and certainly does not in total swap for another quick song. New Jersey-born Ryan Lacey was an absolute standout for the band this night playing a stripped-down percussion kit with some serious hand drumming on "The Scalliwag" ; the biggest piece of his kit was a conga. No wonder: Lacey twice graduated from the Los Angeles Music Academy, once for hands and the other for sticks. Jessie Burns on fiddle was noteworthy. Playing selections from their 2008 release What's the Rumpus?, GS showed just how worldly they have become (an appearance in the 1997 movie Titanic didn't hurt either) by incorporating traditional instruments from all around the world into their set. To wit: Guitarist Steve Twigger also played the bouzouki (The Beggarman); Pete Purvis played the traditional pipes, bagpipe, flute (Death Ride to Durango), plus the trombone (If Good Times Were Dollars); guitarist Murphy played accordion as well. "Darcy's Donkey" sported a spoon solo. "Kelly's Wellies" contained a memorable line about an earnest young man getting his groove on and how "he was trying to flirt in his hand-me-down shirt." You can't blame a guy for trying. The Intersection continues to bring in quality music rooted in tradition-whatever tradition it may be-from the vast world-wide stage.