What I’ve Been Listening To: Booker T. Jones/Sound The Alarm

I dig the distinct sound of the Hammond B3 – just can’t get of enough it! Whether it’s used in blues, jazz, rock or even hard rock a la Deep Purple, to me it’s one of the greatest sounding music instruments I know. If you’re a more frequent visitor of the blog, this won’t be exactly a new revelation. If you happen to be here for the first time and would like to read more about the B3, I invite you to check out this previous post from June 2017.

Undoubtedly, one of the music artists most closely associated with the legendary tone wheel organ is Booker T. Jones. I feel magic is happening when the man works those keys and drawbars. As I’m writing this, I can literally hear Greens Onions.  Jones wrote the tune’s distinct organ line when he was just 17. His band mates from the M.G.s helped put it all together, and it became their signature tune. Booker T. & the M.G.s, of course, were primarily known as the house band of Memphis soul label Stax. While I know and dig the music Jones helped create in the ’60s, until recently, I had not explored any of his work post Stax and the M.G.’s.

Booker T. & the M.G.s
Booker T. & The M.G.’s (from left): Al Jackson Jr., Booker T. Jones, Steve Cropper and Donald “Duck” Dunn

Booker T.’s solo debut Evergreen appeared in 1974, four years after he had severed ties with Stax and moved to Los Angeles. Sound The Alarm from June 2013 is his most recent solo work. It also marked Jones’ return to Stax since Melting Pot, the M.G.’s final album with the label in January 1971.

Sound The Alarm was co-produced by Jones and brothers Bobby Ross Avila and Issiah “IZ” Avila, who have worked with the likes of Usher, Janet Jackson, Mary J. Blige and Missy Elliot. The album also features various collaborations with younger R&B artists. The result is an intriguing blend of Booker T.’s Hammond B3 and contemporary sounds.

Booker T. Jones

Here’s the groovy opener and title track. It’s one of eight tunes co-written by The Avila Brothers. The song features American multi-talented artist Andrew Mayer Cohen, known as Mayer Hawthorne, on vocals. To be clear, I had never heard of the 40-year-old from Los Angeles before, who in addition to being a singer is a producer, songwriter, arranger, audio engineer, DJ and multi-instrumentalist, according to Wikipedia.

Broken Heart features another contemporary artist, Jay James, who has a great soulful voice that blends beautifully with Jones’ warm Hammond sound. The tune was co-written by Jones, The Avila Brothers and Terry Lewis. Together with his song-writing and production partner James Samuel (Jimmy Jam), Lewis also co-produced the track

Next up: Austin City Blues. Of course I couldn’t skip a good ole blues! Penned by Jones, the instrumental features Gary Clark, Jr. on guitar. The Hammond and Clark’s electric guitar live in perfect harmony, to creatively borrow from a Paul McCartney ballad he recorded with Stevie Wonder in the early ’80s. “Gary and I have a real thing going on mentally, kind of like what I had with Steve Cropper in the MGs, really understanding each other,” Jones noted on his website.  “He really is in my corner.”

66 Impala is a cool, largely instrumental Latin jazz tune with an infectious Santana vibe, even though there’s no guitar. But you can easily imagine Carlos playing electric guitar lines in his signature style and tone on the track, which is another co-write by Jones and The Avila Brothers. Instead of Santana, it features two other big names: Poncho Sanchez and Sheila E on percussion and drums, respectively.

The last track I’d like to call out is the album’s closer Father Son Blues. The title of this Jones-written tune couldn’t be more appropriate. On guitar, the instrumental duo features Booker T.’s son Ted, who was 22 years old at the time of the recording. Apparently, Booker T. coincidentally had heard his son play at their house one day and at first mistakenly had assumed it was Joe Bonamassa. “I thought, ‘This is amazing,'” Jones noted. “‘you can have something right in front of your own nose and you don’t see it!’”

Commenting on the collaboration with The Avila Brothers, Jones said, “Bobby and I had previously done a little impromptu gig with El Debarge – that was the turning point when I decided to work with him. They have a different perspective about the musical palette. Their attitude is quite unique and quite innovative. That’s something I’ve looked for since I was maybe 13 or 14 years old and had figured out a little bit about music. It can be very predictable or it can be exploratory. I’m always looking for something new to do.”

Sources: Wikipedia, Booker T. Jones website, YouTube

 

Clips & Pix: Gary Clark Jr., Jon Batiste & Joe Saylor/Ain’t That A Shame & Maybellene (Medley)

The above clip captures one of the highlights from Sunday night’s 60th annual Grammy Awards ceremony: Gary Clark Jr. teaming up with Jon Batiste and Joe Saylor, the leader and drummer of the house band of the Late Night Show With Stephen Colbert, respectively, for Ain’t That A Shame and Maybellene. Featuring great piano and guitar solos, the medley was performed in honor of Fats Domino and Chuck Berry, who both passed away last year.

Ain’t That A Shame, co-written by Domino and Dave Bartholomew, appeared on Domino’s 1955 debut album Rock and Rollin’ With Fats Domino. It was also released as a single ahead of the record and became one of his biggest hits, peaking at no. 1 and no. 10 on the Billboard R&B Chart and Hot 100, respectively. Ranked at no. 438 on Rolling Stone’s 500 Greatest Songs Of All Time list, the tune ended up selling one million copies.

Also recorded and released in 1955, Maybellene is credited to Berry, Russ Fratto and Alan Freed. An adaptation from Ida Red, a Western swing fiddle tune that first had been made famous in 1938 by Bob Willis and The Texas Playboys, Maybellene was Berry’s first single and became his first hit. Like Domino’s Ain’t That A Shame, it reached the top of the Billboard R&B chart and sold one million copies. It climbed to no. 5 on the Hot 100 and is included in the above Rolling Stone list at no. 18. The song also appeared on Berry’s third studio album Chuck Berry Is On Top, released in July 1959.

Sources: Rolling Stone, Wikipedia, YouTube