Graham Central Station – All Aboard!

In 1968, Sly and the Family Stone put out an album that probably had the biggest single impact on the music of that era than any other single musical creation of those times.  It was called Dance to the Music.  It was on this album that Sly decided to feature more of the individual members of his multi-cultural group in an effort to appease CBS executive Clive Davis' request for Sly Stone to make his sound more pop-friendly.

“I’m gonna add some bottom, so that the dancers a-just won’t hide …”

It was from the title track of their breakout album, Dance to the Music, when we heard Larry Graham play that funky, fuzzy bass line and introduce us to the purest, richest baritone voice in the Western hemisphere.  And that was only because the Eastern half of the world had not yet heard him. Little did anyone know that the standard for playing bass in R&B, pop, funk, psychedelic, rock, punk, garage band … whatever – would be changed forever.

Over forty years have gone by since we were first mesmerized by Graham’s signature thumb-plucking, slapping, funk-a-fide bass-playing style that has become the norm for anyone who wants to to call himself a bass player to incorporate into his skill set.  There isn’t a bass player on the scene today that does not use Graham’s classic technique.  Not only is Larry Graham the undisputed originator of the “slap-pluck” technique, he is still the undisputed master of it.  Oh yes, he is. I saw it with my own two eyes this past Saturday night at the Ram’s Head On Stage, in Annapolis, Md. If you ride through Annapolis and go past 33 West Street, you can probably still feel the building rumblin’ from all that thumpin’. 

Graham started the show off with some of the GCS favorites, such as “Ain’t No Fun to Me, Feel the Need, Release Yourself, The Jam”, and “It’s All Right”.  He then slowed things down and gave the audience some of that incredible voice with songs like ”Just be my Lady” and of course, there was a house sing-along during his must-do performance of “One in a Million” which was enjoyable even for anyone who might have thought they couldn’t bear to hear it one more time.  Let me tell you something: it’s a whole lot different when you’re hearing the real deal singing it right in front of you - and not some karaoke wannabe at destroying it at your local pub.

Larry Graham and GCS brings so much energy to the stage that for the first fifteen minutes of the show you are literally stunned. Then, just when you think you’ve adjusted to the GCS train coming through, they throw some more coal in the burner and rev it up some more.  Ashley Cole, aka “Biscuit” is the current female vocalist for GCS. Strongly influenced by the late Teena Marie, Biscuit kept the party going (and believe me, it WAS a big ole’ party) with her rendition of “Square Biz”.  She was fantastic as she belted out the tune with incredible authenticity.  If you are a Teena fan, then you would have loved this performance.  The band also accepted a mock challenge from an audience member to perform the song, Moves Like Jagger by Maroon 5. After doing a slam-dunk version of the song, Graham proclaimed , “Don’t mess with The Station! You just never know what we might play up in this camp!”

But it was the final set that really let the joint out. “The Station” went on to do a medley of tunes from the Sly and the Family Stone glory days, including “Family Affair, Everyday People, Dance to the Music” and even an open-mike version of “If You Want Me to Stay”, at which time audience members were invited to the stage to perform a verse or two.  They closed out the show with their encore song “Higher” which left us all wonderfully exhausted. It was a night of good, clean fun that made you glad to be a child of the 70’s, and made you jealous if you were not. This was one of the most electrifying performances that I have ever seen from any band.  After it was all over, all I could say was “Wow”.

G.

Check out this recent video and see for yourself!

Jumpstreet Regroups for Eubie Blake Center Fundraiser

Over the years, I have seen some of the world’s great musicians right here in my own hometown.  No, Baltimore was not -  and will never be New York.  But it was definitely a city that every touring artist would have to make during the heyday of the 60's and 70's.  Baltimore’s Left Bank Jazz Society had regularly featured musicians like Herbie Hancock, John Coltrane, the Jazz Crusaders, Freddie Hubbard, and many more.  Even though I was still a little too young to actually see some of those guys, I can’t help but wax lyrical about the number of talented cats that came through this old town.

    

Today, there are still many musicians in Baltimore who have had the privilege to play alongside those giants, some of whom continue to share their musical chops with today’s contemporary artists. Such is the case with the members of Jumpstreet.  These guys have covered both ends of the musical spectrum, having performed with old-school legends as well as today’s contemporary popular artists. They continue to cultivate longtime friendships with guys who cut their teeth with them right here in Baltimore. Guys like Victor Wooten, Kim Waters, Dennis Chambers, and Greg Karukas can still be seen jamming with members of the Jumpstreet band on touring gigs, or heard on studio recordings, etc.

Last Saturday night's fundraiser for the Eubie Blake Center featured Jumpstreet, a popular jazz group with R&B layers that had kept Baltimore jumping for years, hitting their stride in the late 80's and on into the 90's.  They may have sprouted one or two more gray hairs than when they were regularly rocking the house at The 13^th Floor, or at The Haven, but it was great to see the boys from Jumpstreet still playing their music with the same gusto as they did when they first got together, some thirty years ago. These days Brad Collins fronts the band on sax.  A true master at his instrument, Brad’s style reminds me of David Sanborn; a nice combination of power and savvy, tastefully allowing the music to “breathe” when the song calls for it.  Did I mention that Brad can sing? Oh yes, ladies and gentleman – the man has velvet pipes, okay?  Jeff Wilson is a treasure at the keyboards.  You can hear him regularly at the Prime Rib as he performs solo at the baby grand and delivers jazz classics with a style and finesse that is truly extraordinary.  James “Jimmy” Taylor is rock steady on the drums and knows how to leave “the pocket” and dazzle you for a few minutes, then slide right back into the original groove.  His cousin, Terry Battle, the group’s highly recognized bass player and bandleader, is still cool as ever, never overbearing or pretentious.  He gives you just the right amount of sophistication to seamlessly tie it all together.

I thoroughly enjoyed the event and give big-time kudos to the Executive Director of the Eubie Blake Center, Troy Burton, for putting it all together.  I chatted with him after the show and needless to say, he was very enthusiastic.

“When I got involved six years ago, I wanted to emphasize the potential for the Center to be a performance venue where live jazz can thrive in this city.  My vision is to continue working toward making this a place where musicians can come and showcase their craft and preserve the art of jazz in front of a live audience.  We are not looking to have the Eubie Blake Center to be regarded as a museum ...”

Right on, Troy.  Looking forward to the upcoming shows.

Don’t miss the Jumpstreet Trio at the Prime Rib on weekends, featuring  Terry, Brad, and the incomparable Jeff Wilson on piano, for an evening of fine dining with an elegant, smooth- groove backdrop. You might even see a special celebrity guest sit-in for a surprise performance.

For more information:

Phone: 410-225-3130 - Email: info@eubieblake.org: 847 N. Howard Street Baltimore, Maryland 21201-4605

Jon Cleary Brings the Flavor of New Orleans to Annapolis

When I was growing up in the 60’s it was common for many African-American families to have at least one person in the household learn to play the piano. It was a longstanding tradition that probably dates back to the days of slavery.  Our family was no different.  All of my older brothers and sisters were forced to take piano lessons.  But by the time I came along, that tradition had become a luxury reserved only for those of greater means.  And greater means was not one of our luxuries. I’ve since dabbled here and there on my little keyboard at home, but I know that I will forever be a novice, never to come anywhere close to the caliber of player that I witnessed this past Saturday night at the Ram’s Head Tavern.

Jon Cleary took the stage with his new band “Jon Cleary’s Philthy Phew” and gave the audience an in-depth clinic about what New Orleans jazz is all about.  Cleary dazzled the crowd with his mastery of the blues and jazz piano, combining traditional ragtime and stride styles with updated and jazzier chord structures, elevating his style to an uncategorized place of its own.  So passionate and engaging is Cleary about his love affair with the origin of New Orleans music, he occasionally spent a few moments between songs to give the audience an engaging history lesson regarding the evolution of jazz in America, and why jazz is the great American treasure that it is.  This also gave him the opportunity to introduce his new CD, Occopella, which features the songs of Allen Toussaint, whom I consider to be one of the most underrated and under-recognized songwriters in the history of jazz/ R&B/pop music.  (Toussaint’s music has been performed and covered by scores of musical giants dating back to the early 60’s.  Google Allen Toussaint yourself and be amazed).

As impressive as his piano skills are, Jon Cleary’s ability as a vocalist is nothing to sneeze at either. Cleary delivers each song with all the versatility that jazz and blues requires. As is everything else about his music, Cleary’s voice is also what I would describe as a blend – a natural concoction of styles that somehow combines the rawness of an Otis Redding, the sensitivity of a Boz Scaggs, and the spontaneity and authenticity of a Van Morrison  - all done while not ever using the song as a prop for his voice, thereby keeping the essence of the music authentic and truly soulful.

For those of you who are familiar with the annual event in New Orleans known as Jazzfest, Jon Cleary is as well known as seafood gumbo and po' boy sandwiches.  But if you love the blues, and want to experience what truly defines the soul of New Orleans, Jon Cleary is a must-see upon making your first visit. It assuredly won’t be your last. 

G.

A Week of Legendary Losses in Music

I have always maintained that the greatest and most lasting music of all time was created during the 60’s, and the 70’s.  Today, in remembrance of these lost legends I am going to give the 80’s an honorary inclusion. That’s right, I said the 80’s.   Granted, the music of the 80’s did not have the dramatic influence on American culture as did the music of the previous two decades .  That music was born of socioeconomic injustices that had finally taken its toll on society as a whole. Everyone was sick of the racism, and everyone was sick of the Vietnam war.  The pain and suffering that resulted from that emotional fight for freedom, resulted in some of the greatest musical treasures in the world.  By the end of the 70’s, there were fewer cross-burnings, fewer lynchings, desegregated schools and restaurants (blacks and whites could now use the same restrooms).  Our Vietnam vets were no longer being ordered to kill as many North Vietnamese people as possible while dodging land mines and snipers in the jungles of Cambodia.  America was exhausted but joyous, like an underdog who had just gone fifteen rounds to defeat the reigning champ. 

Well, maybe our country didn't exactly conquer war and bigotry. We still seem to have a little bit of a problem with that to this day.  But the American people got enough love together to join hands and say, "Enough, already!"  All that pain and suffering from so much killing and so much heartbreak; the freedom marches, the sit-ins, the boycotts  – they had all had an everlasting effect on changing the world for the better.  But the warriors for freedom were weary.  Those years were no walk in the park. American freedom fighters all over the country wanted to dance.  And dance they did. I know that a lot of people made fun of the 80's.  That's fine.  But I'd rather dance than fight any day of the week.


Donna Summer – Queen of Disco

Born: December 31, 1948, Boston, MA

Died: May 17, 2012, Florida

La Donna Adrian Gaines, known by the stage name Donna Summer, was an American singer songwriter who gained prominence during the disco era of the late 1970’s.  She had a mezzo-soprano vocal range, and was a five-time Grammy Award winner. 




Robin Gibb – Founding Member of The Bee Gees

Robin Hugh Gibb, CBE (22 December 1949 – 20 May 2012) was a British singer and songwriter. He is best known as a member of the Bee Gees, co-founded with his twin brother Maurice and older brother Barry.

                                                           The Bee Gees, L to R: Robin, Barry, Maurice

Chuck Brown – Godfather of Go-Go

Chuck Brown (August 22, 1936 – May 16, 2012) was a guitarist and singer who is affectionately called "the Godfather of Go-go". Go-go is a subgenre of funk music developed in and around Washington, D.C. in the mid- and late-1970s. While its musical classification influences, and origins are debated, Brown is regarded as the fundamental force behind the creation of go-go music.^[1]

(1), All facts courtesy Wikipedia

The Heart of My Guitar: Part 7 - Black and Blue

I was all of 15 when I was playing in little bars and niteclubs around Baltimore, thanks to our esteemed manager and his self-indoctrinated cohort, the “business agent.” Let’s call them “Mr. Black” and “Mr. Blue.”

Mr. Black was a friend who lived in the neighborhood.  He was a well-liked guy and always had a smile on his face.  He was definitely one of the in-crowd and until he had heard of our band he never had a word to say to me. Hell, he was a big-shot and I was just the nerdy kid who could be seen skateboarding up and down the street, to and from the corner store.

Now, keep in mind that when this band was formed, it was right around the time when the popularity of such musical acts as the Jackson Five, The Osmond Brothers, The Sylvers, and various other family-oriented musical groups were at their peak.  It never occurred to me that someone might actually think they could make money off of us.  For one thing, I never believed we were any good. For another thing, in my mind, we simply were not cute enough.  The Jacksons were cute. The Osmonds were cute. We were just young and poor.

First of all, none of us had the capacity to grow a big afro – the first step in being a young, black, cute, teen music idol. Second, none of us were singers.  We played all instrumental songs. Whho could be interested in a band where there was no lead singer? The very idea that anyone would try to legitimize this kooky little band was, to me, utterly and fantastically ridiculous. But before I knew it, there stood Mr. Black in the corner of our basement, watching us at our rehearsal – whispering and nodding to our new business agent, Mr. Blue, as he explained the massive earning potential of this neighborhood band from Baltimore, led by a 15 year-old kid and his 20 year-old brother.

Black and Blue. I would soon find out who those two guys really were and what those two words really meant.