Rubber City Review

The Ohio Players

This is really just a cheap excuse to share a few samples of some pretty cool tunes I’ve been listening to lately. So if you’re one of those Northern Soul nuts from the UK, don’t expect me to illuminate you on stuff that you don’t already own.

But I can’t help but feel we’re in the midst of a major soul music revival in the U.S. – and since RCR’s research team is currently on vacation, I can only point to a few pieces of second-hand or anecdotal evidence. (If you’re one of our faithful readers, you already know that this is the last place you’d go to calibrate your barometers of hip.)

The first is an article in the New York Times from 2007, which reported that soul music is back with a vengeance. So if I recalculate for Flyoverland and adjust for the paper’s previous inaccuracies, I can say without qualification that the soul music revival may or may not arrive here by 2015.

Aloe Blacc

The second is the theme song to a great new series on HBO: “How To Make It In America.”  My daughter turned me on to the show, which is sort of the NYC equivalent of “Entourage,” but without its constant references to celebrity/showbiz drivel. “Make It” has a lot going for it – a couple of winning lead actors (Bryan Greenberg and Victor Rasuk), crisp writing, sharp images of street life in Manhattan and Brooklyn… And any show that features the luscious Lake Bell and character actor Luis Guzman – not to mention Cleveland native Kid Cudi in a nice supporting role – gets on my preferred list right away.

Back to the music… The theme song, I Need a Dollar, is by Aloe Blacc, an LA native of Panamanian heritage. And it’s an outstanding example of contemporary soul with an ear to the past. In fact, I thought it was recorded in the Seventies until I did a little digging to find out otherwise. And judging from some of the online chatter I’ve come across, the song is probably generating a little more buzz than the show itself (which still hasn’t been greenlighted for a second season on HBO… Don’t make me send the RCR Nation to your doorstep, HBO programmers!). I Need A Dollar/Aloe Blacc

Exhibit C involves a trip I made a few nights ago to a local watering hole. Now the Rubber City’s a lot of things, but trendsetting probably isn’t one of them (unless you count Devo, Chrissie Hynde, The Black Keys, LeBron James and the invention of the zipper). Still, I couldn’t help but notice – beyond the fact that I was easily the oldest person in the room – that the relative youngsters in the bar were listening to vintage soul music, and digging it! I can’t tell you that this same scene is being played out in bars around the country (I’m not allowed to travel out of state). But I have to say this makes me feel slightly less depressed about the future of today’s youth.

I also have a strong hunch that there’s a lot of first-rate soul music out there that remains buried or very hard to find, maybe more so than any other genre. And some of these tunes sound like they sprang from the rich catalogs of Stax-Volt and Motown instead of some obscure label in Nashville.

It could have something to do with the proliferation of smaller, independent studios as recording technology became more widely available and affordable in the Sixties and Seventies – places like Malaco in Jackson, Mississippi, where aspiring, road-tested soul performers could go and spend some gig money to record fairly decent “vanity” projects, either with their own bands or local musicians. It could also have a lot to do with the gospel tradition and the churches, which served as kind of a farm system for up-and-coming talent.

Whatever the reason, I feel like I’m just scratching the surface of America’s greatest musical export… and I could easily spend the rest of my life being surprised by the quality of stuff out there that you can only find in someone’s lettuce crate at a flea market. But my crate-diving days are over, so I’ll continue to count on the kindness of relatives and friends to bring me the goods.

Thankfully, some of these gems are showing up on recent collections like Rhino’s “What It Is! Funky Soul and Rare Grooves.” And one of my favorite cuts on that 4-CD set is the tune Fairchild, written and produced by Allen Toussaint and performed by the relatively unknown Willie West. It was released on the New York-based Josie label in 1970, but it features the fearsome rhythm section of The Meters from New Orleans. I’m not sure what happened to West, who plays acoustic guitar on Fairchild. But it’s a shame he didn’t put out more cuts like this one – a prime slab of southern soul. Fairchild/Willie West

Here’s another tune written and produced by Toussaint (let’s just agree this guy is an American icon). It’s sung by Zilla Mayes, who recorded a few R&B sides on the Mercury label before unleashing this minor soul masterpiece in 1969 on SSS International, based in Nashville. I’ll thank nephew Dan for turning me on to this one… All I Want Is You/Zilla Mayes

Some of you may be familiar with Johnny “Guitar” Watson’s slick funk hits, like Ain’t That A Bitch and A Real Mother For Ya. Others might prefer his legendary blues recordings on the RPM label in the mid-‘50s – amp-melting workouts like She Moves Me, Hot Little Mama and Too Tired (if you don’t have those in your collection, leave the site now and go get them… we’ll wait for you). But Johnny went through a little transition period in the early-‘70s when he recorded a couple of albums for the Fantasy label – home of Creedence Clearwater Revival and whole slew of straight-ahead jazz acts. Although clearly in the soul/funk vein, Johnny’s Fantasy recordings never stray too far from the down-home blues that he perfected on the streets of Houston. Check out his patented, stinging attack on this cut from “Listen”: Why Don’t You Treat Me Like I’m You’re Man/Johnny “Guitar” Watson

Even a well-regarded soul label like Stax-Volt had a few treasures buried in the vaults. Carla Thomas scored big with hits like Gee Whiz and B-A-B-Y, but this tune easily tops both of those with a deep soul groove that only Steve Cropper, Donald “Duck” Dunn and Al Jackson Jr. could deliver. It’s from the appropriately titled “Hidden Gems,” a collection of 20 outtakes recorded for Stax-Volt between 1960 and 1968. Another potent reminder that the Memphis label simply couldn’t miss in its heyday… Sweet Sensation/Carla Thomas

Albert Washington is one of those fine but obscure soul performers who never quite made it to the big time. Born in Rome, GA, and raised in Cincinnati, Washington started out in the gospel tradition (the Gospelaires) but eventually made the move to more secular pleasures, playing for years at local blues joints like the Vet’s Inn near the Ohio River. He cut some first-rate singles in Cincinnati, mostly for the Fraternity label and often with the great Lonnie Mack on second guitar. One of his songs – Turn On the Bright Lights – was even covered by Jerry Garcia for a solo project. This next tune was recorded at King Studios in 1970 (for a nice overview of Washington’s career and the Cincinnati blues and soul music scene, check out “Going to Cincinnati: A History of Blues in the Queen City” by writer/harp-player Steve Tracy). Loosen These Pains And Let Me Go/Albert Washington

If you think you don’t know Fred Wesley, think again. He spent years anchoring James Brown’s horn section, blowing his fine funky ‘bone on cuts like Hot Pants, Doing It To Death (a million-selling single), Mother Popcorn and many other of the Godfather’s hits. And his later recordings – with artists ranging from the Count Basie Orchestra to the Klezmer collaboration Abraham Inc. – betray Wesley’s more adventurous spirit… not to mention a highly eclectic taste in music.  This next cut was released in ’74 (without J.B.) under the name Fred & The New J.B.’s… It’s a steamy slice of funk from a true master of the form. Breakin’ Bread/Fred Wesley & The New J.B.’s

Eddie Hinton might be the most unsung hero in the history of soul music. He spent most of his career as a session guitarist and songwriter, most notably at the fabled Muscle Shoals Sound Studio, where he contributed to a string of hits recorded by other artists. You can hear his tasty guitar on a cut we featured in a previous post (“Those Chimeless Holiday Classics”) – Every Day Will Be Like A Holiday by the Sweet Inspirations. But he saved the best stuff for himself, and some of his demos blow away tunes that other artists were recording as singles on major labels. Build Your Own Fire and 18 other demos are included on “Dear Y’all: The Songwriting Sessions.” If you’re a fan of deep southern soul, just get it… Build Your Own Fire/Eddie Hinton

I’ll close this out with a recent release on the wonderful Daptone label (for a great piece on the label and its driving force, Gabriel Roth, go here). For a short period of time, the label was offering a generous sampler for free on amazon’s mp3 site – definitely the best (legitimate) steal I’ve ever come across online. Based on a near-religious experience I had seeing Sharon Jones live at a small club in Cleveland, I view these folks as modern-day missionaries, spreading the good word of true funk and soul while struggling against the forces of evil unleashed by antichrists like the Black Eyed Peas. And guitarist Binky Griptite must host one hell of a radio show. If you don’t have any Sharon Jones in your life, you should fix that right now. This next tune features one of her labelmates – Lee Fields, a former chitlin’-circuit performer who seems to epitomize the term “rare soul.” Here’s the title song to his excellent new release, “My World”… Enjoy! My World/Lee Fields

Sharon Jones & The Dap-Kings on the BBC’s Later with Jools Holland… Accept no substitutes — this is how it’s done:

Since Brother Jack did such a great job of taking us down to New Orleans in his last post on James Booker, I decided to stay there – and offer up a few of my favorite examples of Crescent City Soul.

The history of New Orleans R&B is filled with characters like Roy Montrell – incredibly talented musicians who kept the tradition alive but received little or no recognition for their efforts.  Montrell played on countless sides during his 20-some years as a session guitarist and toured with New Orleans elite, including Fats Domino.  But he only recorded two singles under his own name.  My first pick makes the case that they should’ve kept the tape running a lot longer…  It features some of the Crescent City’s best players – including the great Earl Palmer on drums and the one-two punch of Red Tyler (baritone) and Lee Allen (tenor) on saxes.  Don’t let the title fool you… (Every Time I Hear) That Mellow Saxophone is a masterpiece of manic energy. (Every Time I Hear) That Mellow Saxophone

Even casual fans of the New Orleans tradition are aware of Dr. John’s legacy as a first-rate piano player, soulful singer and conjurer of dark spirits.  But few know that the man who started his career as Mac Rebennack was an equally dangerous guitar player with a slashing style.  (In his highly entertaining autobiography, “Under a Hoodoo Moon: The Life of Dr. John the Night Tripper,” Rebennack notes that he switched to piano after someone shot the ring finger on his left hand.)   The best of Rebennack’s guitar-driven singles, along with a few other novelties, can be found on “Medical School: The Early Sessions of Mac ‘Dr. John’ Rebennack” on the Music Club label.  Listen to him work out on the aptly titled Storm Warning… Storm Warning

The legendary Professor Longhair cast a long shadow over every Crescent City keyboard player who fell under his spell (although he may have been outdone by the ridiculously talented James Booker).  Thankfully, we can find many examples of his masterful playing on a number of releases, including a fine anthology on Rhino.  But I keep coming back to a classic version of Big Chief, recorded in 1964 at the studio of famed New Orleans engineer Cosimo Matassa.  Oddly enough, this tough-as-nails single features Dr. John on guitar and relegates an even better guitar player, Earl King, to the role of “whistler” – while Longhair sounds a little buried under the stabbing horns.  But it all works… and it’s hard to find better examples of what n’yawlins rhythm is all about… Big Chief

The easiest way to describe the Meters is “Booker T & the MGs filtered through New Orleans”… but it doesn’t begin to capture the essence of a band that churned out one monstrous groove after another during an incredible run from 1965 to 1977.  Although singer and keyboard player Art Neville went on to join his brothers in forming the city’s most famous family band, he continues to perform today with other original Meters in various lineups.  But their output from the late ‘60s to the early ‘70s is like raw meat to the world’s greatest rhythm sections – the stuff you dive into when you’ve had your fill of the rest.  Listen to how guitar player Leo Nocentelli teases the beat on this funky little gem from 1969. Cardova

In 2005, Nonesuch Records released “Our New Orleans,” a post-Katrina benefit to raise funds for the relief efforts of Habitat for Humanity.  It featured newly recorded songs by a number of musicians identified with the New Orleans sound, including the Dirty Dozen Brass Band, Allen Toussaint and Eddie Bo.  But my favorite cut is by the Queen of Crescent City Soul, Irma Thomas.  She’s been covered by artists ranging from the Rolling Stones (Time Is On My Side) to Norah Jones (Ruler Of My Heart, backed by the Dirty Dozen).  Although bowed by a music biz doesn’t seem to have much use for a 68-year-old R&B legend, Irma is far from broken.  She remains one of New Orleans’ most vital artists — as evidenced by her emotional take on this original by a prescient Bessie Smith.  Back Water Blues

Although famous for his hit Working in a Coal Mine, Lee Dorsey recorded far-funkier sides during his 25-year career – usually under the production of New Orleans renaissance man Allen Toussaint.  And, like virtually every other artist in this list, Dorsey kept cranking out one gem after another while remaining virtually unnoticed by the music industry.  But he’s making a posthumous comeback, with the Obama Nation and several indie rockers adopting his classic anthem Yes We Can Can (written by Toussaint) as a tribute to the power of positive thinking.  But I’m partial to the deep groove laid down by – who else – the Meters on a song from 1970 that seems like a raw prelude to Marvin Gaye’s What’s Going On. Who’s Gonna Help Brother Get Further

The New Orleans sound continues to evolve, thanks to artists like drummer Stanton Moore.  He’d already mastered the city’s highly syncopated rhythms by the time he formed Galactic in 1994 – another jam-band with a rabid following.  And he’s a restless innovator who seems to jump from one lineup of musicians to another at the drop of a drumstick.  But the recordings he’s made under his own name seem a little closer to the root, and I love the way he turns the tradition inside out on this cut from “Flyin’ the Coop.”  It also features Chris Wood from Medeski, Martin & Wood, as well as a sampled chant from the Wild Magnolias Mardi Gras Indians.  Modern New Orleans music doesn’t get much better than this… Fallin’ Off the Floor

Dr. John with the Baby Dolls at Mardi Gras, 2008 (Photos: James Quine)

Brother Jack takes us from the Rubber City down to New Orleans — home of the world’s greatest piano players and the gonzo king who ruled them all, James Booker.  Jack also gives us a few basic tips on how to play like Booker.

Growing up in Akron, there wasn’t much chance to hear live jazz piano, but Dad had some records.  Not the spacey bop stuff.  He listened to players like Erroll Garner who had a strong sense of melody.  This was a style I could relate to… On the Sunny Side of the Street

One guy who played locally, Pat Pace, was a major talent with a singular style.  I used to get real close to watch him play, wondering what the heck he was doing, until he would give me that “get lost” stare.  At one gig, he transformed a classical piece — Pavane for a Dead Princess by Ravel — into a jazz improvisation.  It was stunning.

Our uncle Joe lived in New York City.  He claimed it was the best place to hear jazz piano.  Joe’s favorite was Dave McKenna, who was quoted as saying “I play saloon piano — I like to stay close to the melody.”

Fats with the Fab Four

New York was the epicenter of jazz piano, but New Orleans was home of an engaging style closer to the roots of jazz.  You could hear it in the pop music of the day, most notably Fats Domino.  If you were listening closely to everything on the charts, your ears might have perked up to the organ solo recorded in 1960 in New Orleans by a 20-year-old James Booker on a funky single, Gonzo. Gonzo

The song hit the charts in November and remained there for seven weeks.  This was two years before the organ-driven Green Onions by Booker T & the MGs was a huge hit.  The word “gonzo” wasn’t used to describe the journalism of Hunter S. Thompson until 1970… Booker was ahead of the curve.

Booker was a great organist, but he is best known for his piano playing.  Actually, what you thought was Fats Domino playing piano on a record might have been Booker.  Fats was too busy touring to spend much time in the studio, so Booker would lay down the piano tracks and have them ready for Fats to add the vocals to when he got back to town.  Booker also toured posing as New Orleans legend Huey “Piano” Smith because the real Smith hated to tour.

I just missed seeing Booker live.  I was in New Orleans around 1981 when I heard that an incredible player had a regular gig at the Maple Leaf Bar.  I had to go and hear that.  Unfortunately, I heard nothing.  Nothing that I can remember.  The Booker I saw was dazed and confused.  The man playing was not Booker, but the remains of Booker after a life of drugs and alcohol.  He died shortly after that of liver failure in 1983.

When I finally picked up a Booker CD, I was amazed.  What took me so long to find him?  Here was the music I was looking for.  Here was the master of the New Orleans piano tradition, and a lot more.  He loved Erroll Garner and knew his solos by heart.   Here is his take on Sunny Side of the Street.  Compare it with the clip above and you can hear the influence of Garner.  But also hear this:  Garner has a bass and drums; Booker is playing solo and keeping the rhythm with a powerful left-hand stride. Booker Street

Booker could play so it sounded like two pianos.  By himself, he could juggle as many riffs as the boogie-woogie duo Albert Ammons and Pete Johnson pounded out together.

As you would expect from a New Orleans pianist, he had Professor Longhair down.  But his other influences put him beyond that.  He was classically trained and had a big repertoire of classical pieces that he could play.  In performance he improvised on them in the New Orleans style.  Here he stretches out on Chopin’s Minute Waltz in an improvisation he called the Black Minute Waltz. Black Minute Waltz

Among his influences was Liberace, that popular pianist and showman that piano players loved to hate but secretly wished they could play like.  Liberace would string together medleys in an entertaining fashion and could morph chopsticks into Franz Liszt in just a few bars.

Booker had memorized Liberace solos, and the influence is clear in the way he would string medleys together such as Blues Minuet/Until The Real Thing Comes Along/Baby Won’t You Please Come Home from his album “Junco Partner.”  On this album he plays an affectionate rendition of the Liberace theme song I’ll be Seeing You.

Listen to the manic intro… I’ll Be Seeing You

No discussion of Booker would be complete without a mention of his singing, which was great.  His crackly vocals gave an emotional edge to songs that a more refined performance might lack.  Here’s a perfect example of Booker’s unique vocal style… Black Night

The high point in Booker’s career was his European tour in 1977 and 1978, including an appearance in ’78 at the Montreux International Jazz Festival.  Recordings made during one of the trips were issued on “New Orleans Piano Wizard: Live!” which won the French Grad Prix de Disque de Jazz as best live album.  When Booker was feeling down, he would listen to the enthusiastic applause from this album to lift his spirits.  But although he flourished in Europe, he remained widely unappreciated in the U. S.  And the lure of drugs was something he could not escape from on this side of the pond.

Want to play like Booker?  There is help.  The Joshua Paxton transcriptions published by Hal Leonard are excellent, and the introduction is a great analysis of the Booker style.  Since I have tried to play them I will offer some hard-earned advice.  Play lightly.  Bounce your fingers on the keys.  Use the transcription as your guide, but remember that not all notes are of equal importance.  Listen to the recordings.   It don’t mean a thing if it ain’t got that swing.  And remember, you’ll never play as good as James Booker.

Finally, here is a youtube video of a performance from the European Tour.  Booker plays a composition of his own, Pixie.  Notice the impassive calm in his face as he rolls off one intricate riff after another.  Notice how his hands barely move.  No flying hands a la Liberace.  So many notes with seeming ease.  And then notice the delight expressed by the crowd at the end.  Here they had found the true master.

Strung Out for the Holidays… Times are still tough, especially here in Northeast Ohio.  If you can find a way to give during this holiday season, think about donating to your local foodbank.  And, if you live in the Rubber City, musician Ryan Humbert has an offer you can’t refuse:  join him and his 13-piece acoustic band on Saturday, December 12, at the historic Civic Theater for a special holiday-themed show benefitting the Akron Canton Regional Foodbank.  Tickets are $20 reserved ($15 group reserved) and $15 general admission.  For more information, go here.