On This Day In Rock & Roll History: September 8

1952: Twenty-two-year-old Ray Charles, one of the greatest voices in jazz, R&B, blues and soul, recorded his first session for Atlantic Records. In June that year, the record company had bought out his contract from Swingtime for $2,500, the equivalent of approximately $23,700 today. With hits like I’ve Got A Woman, A Fool For You and What I’d Say Charles would release before he moved on to ABC-Paramount in November 1959, let’s just say Atlantic’s investment paid off handsomely. One of the four cuts Charles recorded during that first session with Atlantic was Roll With My Baby by Sam Sweet, which became his first single for the label backed by The Midnight Hour, another tune Sweet had written. Check out the great groove on this tune, which wants to make you snip along with your fingers!

1957: The infectious Reet Petite by Jackie Wilson was released for the first time. It gave “Mr. Excitement” his first solo hit, peaking at no. 6 on the U.K. Official Charts and climbing to no. 45 on the U.S. Cash Box chart, both in November that year. It would take another 29 years before the great tune, which was co-written by Berry Gordy, Gordy’s sister Gwen Gordy Fuqua, and Wilson’s cousin Roquel “Billy” Davis, would hit no. 1 in the U.K. in November 1986. Unfortunately, Wilson who passed away in January 1984, was not able to celebrate the tune’s late success. And, yes, feel free to sing along r-r-r-r-r-rolling that “r.”

1964: The Beatles performed two concerts that night at the Forum in Montreal, Canada before a crowd of 21,000 fans. At that time, Beatlemania was going on in full swing with its insanity, which for this particular event included death threats from French-Canadian separatists. The Fab Four never returned to Montreal thereafter. The two gigs that night included their standard 12-song set Twist And Shout, You Can’t Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can’t Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day’s Night and Long Tall Sally. Here’s an audio recording, which supposedly is from that show. It’s posted on The Beatles Bible, the source of the ultimate Fab Fab truth. The quality is mediocre, but hey, let’s not bitch here, it’s pop music history!

1973: Speaking of great voices, Marvin Gaye reached the top of the Billboard Hot 100 with the title track of his thirteenth studio album Let’s Get It On. Co-written by Gaye and Ed Townsend, the tune became his second no. 1 single in the U.S. after I Heard It Through The Grapevine from October 1968. Remarkably, Gaye would top the U.S. chart only one more time with Got To Give It Up released in March 1977. Let’s Get It On performed more moderately in the U.K., peaking at no. 31. Well, let’s get it on to a clip of the great tune!

1974: Eric Clapton topped the Billboard Hot 100 with his excellent cover of I Shot The Sheriff. Written by Bob Marley and first recorded for the sixth studio album by The Wailers Burnin’ from October 1973, the tune became Clapton’s only no. 1 single on the Hot 100. The song also appeared on his second solo album 461 Ocean Boulevard, which appeared in July 1972 and was his first record after beating a three-year heroin addiction.

Sources: Wikipedia, This Day In Music.com, This Day In Rock, The Beatles Bible, YouTube

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The Venues: Beacon Theatre

In July 2017, I introduced The Venues, a category featuring famous concert halls, such as The Apollo Theatre and well known TV music programs like The Ed Sullivan Show. For some reason, the category fell off the bandwagon after the third post in November that year – not quite sure why. In any case, I felt the time was right for another installment. One of the venues that came to my mind immediately is the Beacon Theatre in New York City, in part because the beautiful historic theater on Manhattan’s Upper West Side is associated with two of my favorite bands: The Allman Brothers Band and Steely Dan, which both had frequent annual residencies there. The Dan still does! But first things first – a bit of history.

The Beacon Theatre opened as the Warner’s Beacon Theatre on December 24, 1929. It was designed by Chicago architect Walter W. Ahlschlager as a venue for silent films. But when the original owners financially collapsed, Warner Theatres acquired the theater to be a first-run showcase for Warner Bros. films on the Upper West Side. By that time, the movie genre of silent films had already become obsolete. The Beacon, which subsequently was operated by Brandt Theaters, remained a movie theater over next few decades. It would take until 1974, when Steven Singer became the first owner who turned the Beacon into a venue for live music.

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Fortunately, an effort in 1987 to convert the theater into a night club was blocked in court, given its historic and protected architecture. In 1982, it had been added to the National Register of Historic Places. Through the ’80s and ’90s, the Beacon Theatre continued to fill a spot in the midsize category venue in New York between the larger Radio City Music Hall and various smaller clubs and ballrooms. In 2006, sports and entertainment holding company The Madison Square Garden Company started operating the Beacon. In November that same year, the theater began a 20-year lease by Cablevision, which also leases Radio City Music Hall and owns Madison Square Garden.

Between the second half of 2008 and early 2009, the theater underwent a complete renovation. As reported by The New York Times, the work involved about 1,000 workers, lasted seven months and cost $16 million. The result can be seen in the above photo and is certainly stunning. I was fortunate to experience the mighty venue myself when I saw Steely Dan there in October 2018.

In addition to pop and rock concerts, the Beacon Theatre has hosted political debates, gospel choirs, comedians and many dramatic productions. The 2008 Martin Scorsese picture Shine a Light, which captured The Rolling Stones live in concert, was filmed there. In January 2016, Joan Baez celebrated her 75th birthday with a show at the Beacon. She also played the venue in May this year as part of her now completed 2018/2019 Fare Thee Well Tour. Time for some music that was performed at the Beacon.

Let’s kick things off with the Grateful Dead, who performed two shows at the theater on June 14 and 15, 1976. Apparently, the following footage of Not Fade Away was captured during a soundcheck there, not one of the actual concerts but, hey, close enough! Plus, it’s a fun clip to watch. Not Fade Away was written by Charles Hardin, a.k.a. Buddy Holly. His producer Norman Petty received a co-credit. The tune was first released as a single in October 1957. It was also included on Holly’s debut album The “Chirping” Crickets, released in November of the same year.

Next up: The Black Crowes and Remedy. Co-written by lead vocalist Chris Robinson and his brother and rhythm guitarist Rich Robinson, the tune appeared on the band’s sophomore album The Southern Harmony and Musical Companion from May 1992. The footage is from late August 1992 when the Black Crowes played a series of four shows at the Beacon.

James Taylor is one of my favorite singer-songwriters. One tune I dig in particular is Fire And Rain.  He recorded it for his second studio album Sweet Baby James, which was released in February 1970. The song also came out separately as a single and became Taylor’s first hit, peaking at no. 3 on the Billboard Hot 100. This clip was captured during a show on May 30, 1998.

Here are The Rolling Stones with Jumpin’ Jack Flash from the aforementioned Martin Scorsese concert film. Credited to Mick Jagger and Keith Richards, the tune was released as a single in May 1968. The film includes footage from two shows the Stones played at the Beacon. This performance is from their second night there on November 1, 2006.

Starting from 1998, The Allman Brothers Band played spring residencies at the Beacon for 19 years in a row except for 2010 when the theater wasn’t available. This performance of Dreams is from their March 2013 series of gigs. The Gregg Allman song first appeared on the band’s eponymous debut album from November 1969.

On April 1 and 2, 2016, Bonnie Raitt played the Beacon Theatre as part of her extended Dig In Deep Tour, named after her most recent studio album from February 2016. I caught her during that tour in August 2016, which thus far was the first only time. Her gig at New Jersey Performing Arts Center in Newark remains one of the best shows I’ve seen. Co-written by Gordon Kennedy  and Wayne KirkpatrickGypsy In Me is one of the tracks from Dig In Deep. Not only is Raitt a superb guitarist and great vocalist, but she also is as genuine as it can get. There is no BS with this lady. What you get is what you see!

From The Allman Brothers it wasn’t a big leap to former member Derek Trucks, his wife Susan Tedeschi and the group they formed in 2010: Tedeschi Trucks Band. My knowledge of their music is fairly limited, and I definitely want to explore them more closely. Here’s their take of Ain’t Wastin’ Time No More, another great tune written by Gregg Allman. It first appeared on the Allmans’ third studio album Eat A Peach from February 1972, long before Trucks joined them in 1999. The song was also released separately as a single in April that year. This clip was captured on October 11, 2017 during what looks like a six-date residency the band did at the Beacon that year.

The last and most recent clip I’d like to feature is footage of Steely Dan from their 2018 U.S. tour, which ended with a seven-date residency at the Beacon. Of course, I couldn’t leave out the Dan! This performance of Pretzel Logic was from their final gig on October 30. Co-written by Walter Becker and Donald Fagen, Pretzel Logic is the title track of Steely Dan’s third studio album that appeared in February 1974.

Until last year when I saw them twice, which included the Beacon for an October 20 show dedicated to my favorite album Aja, I had never seen Steely Dan. Both concerts were fantastic. Fagen and co are currently touring again, which will bring them back to the Beacon in October. While the thought of returning to this beautiful venue is tempting, I can’t justify it to myself, given I saw them twice last year and other shows I’ve been to or still consider for this year.

Sources: Wikipedia, The New York Times, setlist.fm, YouTube

What I’ve Been Listening To: Paul Simon/Still Crazy After All These Years

My introduction to Paul Simon happened many moons ago with Simon & Garfunkel and their second compilation Greatest Hits from 1972, which my sister owned on vinyl. I loved that record from the very beginning and still do to this day. Not long after I had heard it for the first time, I started taking guitar lessons and eventually got a songbook for that collection. I practiced hard to learn the tunes and soon found out what a formidable acoustic guitarist Paul Simon is. Eventually, I managed to figure out the finger-picking for The Boxer – haven’t tried playing that tune in 20-plus years. Anyway…

While there’s an obvious connection to Simon & Garfunkel, this post is about Paul Simon’s fourth studio album Still Crazy After All These Years, which appeared in October 1975. I would say I know a good deal of Simon’s tunes he recorded as a solo artist, but other than the fantastic Graceland from August 1986, I cannot really make the same claim for his albums. As oftentimes happens, the idea for this post was triggered when my streaming music provider served up the record as a listening suggestion. It didn’t take me long to realize this is a great album with a smooth jazz, blues and soul-influenced sound – my kind of music!

Let’s kick things off with the excellent opener and title track. Like all songs on the record, it was written by Simon, one of my favorite American singer-songwriters. It nicely sets the mood for the album. BTW, the recording features the Muscle Shoals Rhythm SectionBarry Beckett (Fender Rhodes piano), David Hood (bass) and Roger Hawkins (drums). Also, check out that beautiful saxophone solo by Michael Brecker, which starts at around 2:12 minutes.

My Little Town reunited Simon with Art Garfunkel. The tune, which also appeared on Garfunkel’s second solo album Breakaway that was released about 10 days prior to Still Crazy, became the first single credited to the duo since America, a single off their above Greatest Hits compilation. Simon and Garfunkel may have had a complicated relationship, but they surely recorded some great music together and their voices blended perfectly with each other. While perhaps a little bit lush in the second part (hey, it’s the ’70s!), the song has a nice build.

The big hit from the album of course is 50 Ways To Leave Your Lover. Yes, I realize it’s perhaps an obvious choice everybody knows, but I just dig that tune way too much to skip it. I love that cool drum part played by Steve Gadd, as well as the song’s bluesy feel and clever lyrics. It became the record’s third single and Simon’s only solo song to top the Billboard Hot 100.

Next up: Gone At Last, another gem on the album with a great soul and gospel vibe. Phoebe Snow and The Jessy Dixon Singers provided dynamite guest vocals. The track also became the album’s lead single in August 1975. According to Wikipedia, Phoebe received a credit on the single. The song charted in the top 25 on the Billboard Hot 100.

The last track I’d like to highlight is Have A Good Time, which nicely sums up what I feel when listening to this record. This is another great song with a nice bluesy feel. Musically, it’s the slide guitar, as well the alto saxophone played by Phil Woods, which speak to me in particular. Check it out!

Still Crazy After All These Years was co-produced by Simon and South African born recording engineer and producer Philip Ramone. The record won Grammy Awards for Album Of The Year and Best Male Pop Vocal Performance in 1976. It hit no. 1 on the Billboard 200 and received Gold certification from the Recording Industry Association of America, making it one of Simon’s most successful solo albums.

Sources: Wikipedia, YouTube

If You Can’t See The One You Love, See The One You Can – Part 2

As more frequent visitors of the blog know, I generally dig tribute bands and wrote a feature about some of them about a year ago. While then I did not plan a part 2, the reality is I’ve seen many more tribute acts than I could ever feature in one post. So, who knows, this may turn into a series of occasional posts with additional parts in the future. For now, I’d like to focus on part 2. Since I couldn’t figure out in which order to lists the acts, I decided to do so alphabetically.

Almost Queen

As their name suggests, this band is a tribute to Queen. While I could not find public information on the backgrounds of the musicians, these guys from New York surely impressed me when I saw them last September at The Stone Pony in Asbury Park, N.J. Almost Queen are Joseph Russo as Freddie MercurySteve Leonard as Brian MayRandy Gregg as John Deacon and John Cappadona as Roger Taylor. Their delivery of four-part harmonies and Queen’s music, combined with their looks, make for a fun live experience. More information on the band and their impressive touring schedule that extends beyond the tri-state area of New York, New Jersey and Connecticut, can be found on their website and Facebook page. Here’s a sample: We Will Rock You and We Are The Champions.

Beginnings

This tribute to Chicago is one of the most compelling tribute bands I’ve seen, and without meaning to brag, I’ve seen many! Another group from New York, Beginnings is a national act, performing over 100 shows each year – great news for Chicago fans. Founded in the fall of 2002, the band consists of Mason Swearingen (bass, vocals), Johnny Roggio (guitar, vocals), Dan Hendrix (trombone, percussion, vocals), Adam Seely (saxophone, percussion), Doug Woolverton (trumpet, percussion), Scott Chasolen (keyboards, vocals) and Chris Milillo (drums, vocals). Beginnings’ impressive member credits include recording and performing with artists like Peter Frampton, Don Henley, Aretha Franklin, The Temptations and Blood Sweat & Tears, and awards like the Billboard Songwriter’s Award and ASCAP Songwriter’s Award – frankly, way too many credits I can list here! Check out their website and Facebook page for more information. Here’s a great rendition of Just You ‘N’ Me I saw during a recent summer concert. BTW, the band mostly focuses on Chicago’s early and in my opinion best work.

Brit Floyd

This amazing tribute to Pink Floyd is the brainchild of musical director Damian Darlington, who also provides vocals and plays guitar and lap steel. Prior to forming the band in Liverpool, England in 2011, he had played for 17 years with long-running Aussie tribute The Australian Pink Floyd Show. The other members of Brit Floyd include Rob Stringer (keyboards, vocals), Ian Cattell (bass, vocals Chapman Stick, trumpet), Edo Scordo (guitar, vocals), Arran Ahmum (drums), Thomas Ashbrook (keyboards, vocals), as well as backing vocalists Ola BienkowskaAngela CervantesRoberta FreemanEmily Jollands and Jacquie Williams – quite a mighty line-up! For more on this band, read my previous post from March of this year when I saw them in Bethlehem, Pa., and visit their website and Facebook page. Here’s Brit Floyd with Pink Floyd classic Comfortably Numb.

Decade

I have mentioned Decade on previous occasions, but as a huge Neil Young fan, I simply couldn’t resist to include this fantastic tribute from New Jersey in this post. The band revolves around singer-songwriter and Neil Young tribute artist John Hathaway. A life-long fan of Young, Hathaway has faithfully studied this artist in and out, and it shows. While he typically focuses on capturing the music, he can also act like Young, which I have witnessed myself. To bring the Canadian artist’s music to life in its full mighty, Hathaway is usually backed by a varying line-up of other long-time musicians. This clip of Old Man was captured during a gig earlier this year at Tim McLoone’s Super Club in Asbury Park. The backing musicians that night included Gordon Bunker Strout (guitar, backing vocals), Pam McCoy (backing vocals), John Dickson (bass), Bob Giunco (drums), Thomas Stevenson (banjo),  Dave O’Brien (pedal steel guitar), Jeff Levine (keyboards) and James Doyle (guitar, banjo). More information about Decade and John Hathaway is available on Facebook here and here.

The Doobie Others

I really dig The Doobie Brothers, so a tribute I came across last month caught my immediate attention. Ingeniously called The Doobie Others, this six-piece band from New York and New Jersey features Pat Montefusco (lead vocals, guitar), Joe Torres (lead vocals, percussion), Eddie Profet Jr. (bass, backing vocals), Allan Korenstein (keyboards, backing vocals), Mike Quadrino (saxophone, keyboards, backing vocals), Ron Lovisa (lead guitar) and Jim Del (lead & backing vocals, drums). While The Doobie Others mostly seem to perform in the New York-New Jersey-Connecticut tri-state area, their current schedule shows they occasionally venture out to other states on the East Coast. For more information, check their website and Facebook page. Here’s the band in action with Jesus Is Just Alright. Captured during a summer concert last month, the footage doesn’t do their high musical caliber full justice, but I feel you still get a good idea.

Free Fallin

This band from Minneapolis is a great tribute to Tom Petty, one of my all-time favorite artists. Founded in September 2007 and named after one of Petty’s songs, Free Fallin  are Tom Brademeyer (as Tom Petty, guitar & lead vocals), Mark Larsen (as Stan Lynch, drums), Russ Lund (as Ron Blair, bass), Karl Swartz (as Mike Campbell, guitar & vocals), Dale Peterson  (as Benmont Tench, keyboards, percussion & vocals) and Craig Volke (as Scott Thurston, guitar, keyboards, harmonica, percussion & vocals). Free Fallin is a full-time tribute band performing throughout the U.S. and even internationally. Check out their website and Facebook page, as well as this cover of Refugee from last year’s Rock The Farm Festival in Seaside Heights, N.J., which I previously covered here.

Good Stuff

Good Stuff is another outstanding tribute act I covered before here, but similar to Decade, I did not want to leave them out – how could I as a huge Steely Dan fan? Formed about a year ago and named after a Donald Fagen tune, Good Stuff features Mike Caputo (lead vocals), Don Regan  (guitar), Axel Belohoubek  (keyboards), Jay Dittamo  (drums), Scott Hogan (bass), Phil Armeno (saxophones, flute) and vocalists  Deanna Carroll and Linda Ferrano. Among them, these professional musicians have very impressive credits, such as tour pre-production for Madonna and David Bowie, and touring musicians for Chuck BerryBo DiddleyThe Duprees , The Les Paul TrioJose Feliciano and  Keith Emerson – yep, that Keith of ELP. Similar to Beginnings, there is too much to list. I should also mention that in addition to Steely Dan, the band performs music by Gino Vannelli, Sting and Stevie Wonder. While this may look somewhat arbitrary, combining music from these four artists works pretty well. The key is selecting songs that have a common denominator, which is a jazz influence. Check out more about this unique tribute act on their website and Facebook page. Oh, and here’s My Old School.

Kiss The Sky

With the 50th anniversary of Woodstock going on, I’d like to close this post with a compelling tribute act to Jimi Hendrix. Again, if you are a frequent reader of the blog, the name Kiss The Sky may sound familiar, since I covered them before here. The band revolves around Jimi Hendrix tribute artist Jimy Bleu, who actually met Hendrix in 1968 as a teenager. The following year, Bleu attended Woodstock and got one of the guitar straps Hendrix used during his performance there. You can read more about his cool background story in the above post. Kiss The Sky covers music from both the Jimi Hendrix Experience and Band of Gypsys. Bleu’s excellent backing musicians for The Experience include bassist A.J. Hager as Noel Redding and drummer Ted Edwards as Mitch Mitchell. The Band of Gypsys tribute features Jay Powerz as Billy Cox (bass) and James Jaxon as Buddy Miles (drums). You can find more information about this tribute act on their Facebook page. I also encourage you to check out this clip of Voodoo Child I took last October. Filming conditions weren’t ideal, but I think the footage still gives a good impression about this outstanding band.

Pictured in the image on top of the post are (clockwise from upper left corner) Almost Queen, Beginnings, Brit Floyd and Jimy Bleu/Kiss The Sky.

Sources: Almost Queen website and Facebook page; Beginnings website and Facebook page; Brit Floyd website and Facebook page; Decade and John Hathaway Facebook pages; The Doobie Others website and Facebook page; Free Fallin website and Facebook page; Good Stuff website and Facebook page; Kiss The Sky Facebook page; YouTube

 

Clips & Pix: Gino Vannelli/Brother To Brother

If you’ve heard of Gino Vannelli before, chances are it’s because of his 1978 hit I Just Wanna Stop. Whether you like this tune or not, if you’re a music lover, I feel you have to be blown away by the above clip of Brother To Brother, the title track of the album on which I Just Wanna Stop appeared.

Other than obviously being captured during a ’70s show, I have no idea where the footage was taken. But I know one thing. What Vannelli and his backing band were playing on that stage was some crazy shit. Just check out the breaks and all the other complexities in this tune, which was written by Vannelli. Drummer Mark Craney, who unfortunately passed away in November 2005 at just 53 years of age, and guitarist Carlos Rios are just killing it, as do the other musicians. This is Steely Dan grade.

I leave you with a little fun fact. I Just Wanna Stop was written by Gino’s brother Ross Vannelli. Apparently, Gino wasn’t fond of the song at all and initially refused recording it. After he did, it became his biggest hit single, reaching no. 1 in his native Canada and peaking at no. 4 in the U.S. on the Billboard Hot 100. I suppose, it provided a nice income stream, helping to pay for some bills.

I definitely have to do more on Vannelli, who seems to be an incredibly versatile artist. For now, this will have to do it.

Sources: Wikipedia, YouTube

Peter Frampton Releases Covers Album Featuring His Favorite Blues Classics

Peter Frampton these days seems to get the kind of attention I imagine he hasn’t seen since 1976 when he broke through with Frampton Comes Alive!, one of the most acclaimed live rock albums. Unfortunately, the story has been a mixed bag for the 69-year-old rock guitarist. The good news is his new covers album All Blues, which is out via UMe since yesterday. The not so great side of the story: his recently disclosed diagnosis with inclusion body myositis, a progressive autoimmune disease causing muscle inflammation, weakness and atrophy. Since the condition eventually is likely to prevent Frampton from playing guitar, he decided to do a farewell tour and retire from touring thereafter – and ultimately I guess from music altogether.

But let’s focus on the positive. While by its very nature a covers album doesn’t really present anything new, this is a great collection of classic blues tunes, which nicely displays Frampton’s blues chops. And, btw, he’s a pretty decent vocalist as well. The rock guitarist is getting a little from his friends, including Kim Wilson, Larry Carlton, Sonny Landreth and Steve Morse. All Blues was co-produced by Frampton and Chuck Ainlay, and recorded at Frampton’s studio in Nashville, together with his long-time touring band featuring Adam Lester (guitar, vocals), Rob Arthur (keyboards, guitar, vocals) and Dan Wojciechowski (drums).

Peter Frampton

“I have always loved to play the blues,” Frampton explains on his website. “When we formed Humble Pie, the first material we played together was just that. For the last two summers I had been playing a handful of blues numbers every night on stage with Steve Miller Band. I enjoyed this immensely and it gave me the idea of doing an ‘All Blues’ album live in the studio with my band. We started the resulting sessions nine days after coming off the road last year. Over a two-week period, we recorded 23 tracks, all live in the studio. The energy of these tracks is completely different from building a track one instrument at a time…I’m not sure if you can say we had fun playing the blues. But we definitely did.” With that, let’s get to some it!

Here’s the great opener I Just Want To Make Love To You. Written by Willie Dixon in 1954 and first recorded by Muddy Waters, Frampton’s version features great harmonica playing by Kim Wilson, who is best know as the lead vocalist and frontman of The Fabulous Thunderbirds.

Next up: A nice instrumental take of Georgia On My Mind, which was made famous by Ray Charles in 1960. And while as such the tune is mostly associated with Charles, it was actually co-written by Hoagy Carmichael and Stuart Gorrell in 1930 and first recorded that year. A few weeks ago when I first learned about the album, I read somewhere that when the song was proposed to Frampton, he saw no way his voice could give it justice. But since he digs the tune, he decided to cover it as an instrumental – great choice, I really like Frampton’s tone here!

All Blues, the title track, is another beautiful instrumental. It features guitarist extraordinaire Larry Carlton, who has played with artists like Steely Dan and Joni Mitchell, and has been a member of jazz fusion band The Crusaders. All Blues was written by Miles Davis and first appeared on his 1959 album Kind Of Blue. Again, I love the guitar tone on this cover.The smooth jazzy groove is pretty cool as well!

Next up: The Thrill Is Gone, one of my all-time favorite blues tunes I just couldn’t skip. Co-written by Roy Hawkins and Rick Darnell in 1951 and first recorded by Hawkins that same year, it became a signature song and major hit for B.B. King in 1970. The thrill is definitely not gone on this great rendition, which features Louisiana blues guitarist Sonny Landreth.

The final track I’d like to call out is Frampton’s cover of I’m A King Bee. In part I decided to select the 1957 Slim Harpo swamp blues classic since it includes what became a distinct feature of Frampton’s sound in the ’70s – a talk box!

Similar to the great new Santana album I reviewed in the previous post (btw, I can’t remember the last Friday that saw the release of two great albums the same day!),  All Blues on some level makes me feel I should see Frampton during his upcoming tour, especially given it looks like it is going to be the last opportunity. But again, it’s the same old dilemma that I simply can’t see everybody I’d like to see, and I’m probably already going beyond what I should do – unfortunately! And while he’s undoubtedly a great guitarist, I’m not sure I’m enough of a Peter Frampton fan to justify buying a ticket.

Frampton’s farewell tour, which has many dates together Jason Bonham’s Led Zeppelin Evening (sounds like fun to me as well!), kicks off in Tulsa, Olka. on June 18. It won’t be until Sep 13 before they come to New York City’s Madison Square Garden. I guess this means I have some more time to change my mind! 🙂 The current last scheduled show is Oct 12 in Concord, Calif. The full schedule is here.

Sources: Wikipedia, Peter Frampton website, JamBase, YouTube

Santana Celebrates Africa On Seductive New Studio Album

Deep in the jungle, beyond the reach of greed/You hear the voices of spirits/With their frequency of light/Making sounds like the crackling of stars at night/Communicating with plants, animals and mankind/Affirming the universal truth…All and everything was conceived here in Africa/The cradle of civilization. These words, spoken by Carlos Santana, are the intro to his new album Africa Speaks that was released yesterday. After having listened to it for a couple of times, I’m pretty excited about the infectious grooves and Carlos’ guitar-playing, which continues to amaze me. This record is made for summer!

Appearing on Concord Records, Africa Speaks is Santana’s 25th studio album and his first with producer Rick Rubin. It was recorded together with Santana’s band at Rubin’s Shangri La Studios in Malibu. The record also features two female singers with African heritage: Spanish vocalist María Concepción Balboa Buika, who goes by Buika, and on one track British singer Laura Mvula. Santana’s website characterizes the music as inspired by the melodies, sounds and rhythms of Africa, but in many ways, this is a classic Santana album combining Latin Afro-Cuban rhythms with Carlos’ mighty signature guitar sound.

Carlos Santana

In January, Santana told this to Rolling Stone about the upcoming album, which then was supposed to be titled Global Revelation: “I went to Rick to see if he would, as Miles Davis would say, ‘Would you have eyes to do something with me? I know you’ve worked with everybody like Johnny Cash and the Chili Peppers and Metallica,’ And he goes, ‘Well, what are you interested in doing?’ I said, ‘Nothing but African music.’ So can you believe it? We record 49 songs in 10 days. He was very gracious, because it was like a hurricane to record six, seven songs in a day. Rick said, ‘With Clive Davis, you had a bunch of guest stars and singers. Who do you want in here?’ I said, ‘I only want two women: Laura Mvula and Buika.’ And he said, ‘OK.’ So we called them and they said yes.”

Let’s get to some music. Here’s the opener Africa Speaks. The tune has a bit of a mysterious vibe to it. I also like how it builds. And once Santana comes in with his great guitar sound, man, the track just takes off!

Oye Este Mi Canto starts with a smooth laid back Latin jazz feel to it, with Buika shining on vocals. Then check out what happens at around 2 minutes and 28 seconds: Things pick up, with Santana coming in playing a great wah-wah guitar solo. And all for a sudden, it feels like going back 50 years to Woodstock. Then at around 3 minutes and 50 seconds, the song resumes its initial groove – so cool!

Here’s Blue Skies, the track featuring Laura Mvula, who is sharing vocals with Buika. Not sure why Apple Music and YouTube don’t mention her – either an embarrassing oversight or outright disrespectful!

Paraísos Quemados is one of my favorite tunes on the album. I just dig the funky groove and the excellent bassline by Benny Rietveld. As a Hammond fan, I also like what David K. Mathews is doing on the keys. Oh, and did I mention Carlos on guitar?

The last track I’d like to highlight is Breaking Down The Door, which according to a Rolling Stone review is a cover of the Calypso Rose song Abatina, written by Manu Chao. Another nice tune that perhaps is a bit more conventional compared to most other tracks that have more of a fusion feel to it.

This review would be incomplete without acknowledging Santana’s excellent backing band. In addition to the above mentioned bassist and keyboarder Rietveld and Mathews, respectively, the line-up features Carlos’ wife Cindy Blackman Santana (drums),  Tommy Anthony (guitars and vocals), Andy Vargas and Ray Greene (both vocals), as well as percussionists Karl Perazzo and Paoli Mejías.

So what does Rick Rubin think about the album and its making? “I couldn’t believe what I was seeing,” he said during a filmed conversation. “Hearing it on record is one thing, but being in the room and watching it happen was another. I couldn’t imagine anyone who loves music sitting in the position I was in watching this not being blown away.”

“Carlos asked to meet and I had never met him before. He said he wanted to go into to the studio and start recording. And I said, ‘well, let’s talk about the songs and let’s listen to songs’ and he said, ‘well, I don’t really have any songs.’ And I said, ‘okay, interesting,’ and he said, ‘well, I have an idea.’ He played me some pieces of music and then he sent me an iPod filled with African music. And he said, ‘live with this for a little bit and then we’ll talk about it.’ I lived with it and it was fantastic!”

“And he said, ‘I think that’s the energy of what I wanna do, and I wanna start by jamming with the band, using these kinds of rhythms and see where it goes.’ Very unusual to work for me in that way. Usually, the song comes first, and the studio is more about documenting the thing we already know how it’s gonna go. In in this case, it was really, we went to the studio completely blank, jamming on these instrumental pieces, and it was really great – really, really great!” You can watch the full clip here.

I have to say this album has reignited my enthusiasm about Carlos Santana and makes me feel like seeing again.  There would definitely be opportunity this year. Later this month, Santana is embarking on a tour to celebrate the 20th anniversary of his 1999 Supernatural studio album. While it definitely resulted in a resurgence of his career, I’m not particularly fond of this record and much prefer his first three albums with the classic Santana band. Santana is also playing two Woodstock-related festivals in August, which I likely can’t afford. But he told People he is planning a series of dates next year to support his new album. Now, that may be something worthwhile looking into.

Sources: Wikipedia, Santana website, Rolling Stone, People, YouTube