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.