Springing the Blues Festival Friday Night
Nicole Hart and Eric Steckel with The Craig Thatcher Band
By Rick Grant
Time moves inexorably on, and suddenly 18 years have passed since I covered the first George’s music Springing the Blues Festival (GMSTBF). The event is still near and dear to my heart since I’m a blues aficionado. Over the years, I’ve witnessed many blues legends perform at GMSTBF. Some of them are no longer with us, but their legacy lives on through this festival.
My motivation to cover the Friday night schedule was to check out Eric Steckel and The Craig Thatcher Band. This seasoned group needed a frontman, so they joined forces with Eric, who is truly a phenomenon. Eric’s contacts in Europe, having toured with John Mayall, give CTB a boost in exposure. Likewise, the veteran band gives Eric a solid foundation to showcase his monster talent. It’s quid pro quo for Eric and CTB.
Eric looks so unassuming in person, but when he straps on his Stratocaster, and unleashes his mighty chops, every member of the audience’s jaw drops into their laps. When I hear the word prodigy, I say “ho-hum.” These days, it seems guitar prodigies are coming out of the woodwork. But when one uses the term “prodigy” to describe Eric it resonates as something special. The truth is, where ever Eric came from, now he can hold his own with any guitar idol on the planet.
For Eric, the future looks bright indeed. He will soon graduate from high school and plans to go to Flagler College, while continuing his busy touring schedule during the summers. When I witnessed him perform with CTB, I hadn’t seen his act in over a year. Wow, his playing has ascended into the deep space of solo guitar since then. His solos with Craig Thatcher on a Les Paul were truly inspiring.
Overall, CTB has broadened Eric’s musical horizons since this well established rock band blends Southern Rock with blues and originals. CTB has opened for Robin Trower and a legion of other rock legends. Frankly, I think Eric’s advanced guitar technique has been greatly expanded under Craig Thatcher’s influence. The two guitar slingers often trade off runs and play unison riffs. It was a wonder to behold.
When I arrived on the scene, Nicole Hart and The NRG Band was into its set. Witnessing Nicole’s vocal skill was a bonus for this 18th GSTBF experience. Clearly, Nicole has the chops to compete in the big time blues and R&B circuits. And, she’s pretty as well. So having a beautiful chick blues artist gave the Friday night schedule some class and sass. Her voice harkens back to her gospel roots, exuding blues soul. The band’s funky rhythms give Nicole a chance to strut her stuff with authority.
Nicole’s band and career are directed by producer, arranger, and keyboardist Lance Ong, who has produced David Sanborn and Andre Crouch. Hailing from Atlanta, Georgia, Nicole is a talent who is on the move up in the biz. At the festival, Nicole was blues enough to get the partisan blues crowd moving, and funky enough to get anyone else on their feet doing the boogie-woogie.
In the past, Nicole has worked with Billy Joel, Michael Bolton, Chuck Berry and Bo Diddley. But now, she’s out touring making a name for herself. At her GMSTBF appearance, I was impressed by her ability to work the crowd into a frenzy with her voice and stage antics. This gal knows how to use her beauty to enhance her talent without turning it into a distraction.
Rod MacDonald Live at European Street Beach Blvd.
Mobile Renaissance Man
By Rick Grant
Rod MacDonald is an icon of American music with 30 years on the road as a legendary troubadour. I caught Rod live at the European Street Songwriter’s Circle with Larry Mangum joining Rod as host and impromptu duo partner. Rod’s vast body of work covers a myriad of topics, including his stories of love, politics, and humorous social commentary on modern American life. His protest songs are unusual in that he, like a seasoned journalist, presents the facts, and lets his audience draw their own conclusions.
Residing in Delray Beach, Florida since the mid-90s, Rod just released his latest CD, A Tale of Two Americas, on Wind River Records in the U.S. and Brambus Records in Europe. Although Rod is a veteran road dog, he is still writing songs and just became a father for the second time. More importantly, Rod’s advanced guitar technique, unwaveringly crystal clear voice, and positive attitude separate him from legions of other signer/songwriters–past and present.
Rod was here in town for the European Street gig and on Sunday for a special engagement at the Universalist Unitarian Church where there was an Iraq War moratorium. In addition to touring and writing songs, Rod teaches a workshop titled “Songwriting for Self Expression” at Common Ground on the Hill, McDaniel College in Westminster, MD and New York Open Center in NYC.
While listening to Rod perform it struck me that his material is eclectic and covers many different musical styles and genres. It’s a misnomer to use the cliche tag “folk signer” to describe Rod’s music. To stress this point, Rod uses friends and collaborators in groups he’s named “Big Brass Bed,” “Corporate Noodle,” and “My Life in the Brill Building.” In a song, Rod jokes about his resemblance to Bob Dylan “I Am Bob Dylan.” However, Rod’s songs are fiercely original and express his views and opinions. On the road, Rod usually plays solo with his guitar, voice, and harmonica playing. Yeah, if you show up with a guitar and harmonica some dunderhead will call you a “folk singer.”
Clearly, Rod was comfortable with Larry Mangum’s Songwriter Circle format. The two songwriters each played a variety of their music. Larry’s material is also eclectic and crosses-over into Western swing, honky-tonk rock, and country. Larry’s rare performances with his Cowboy Orchestra are something special to experience live.
During Rod and Larry’s set, a cadre of Jacksonville’s finest came in to chow down. They were polite and seemed to enjoy the music. The odd time frame of 7:00 pm to 9:00 pm means that the show begins while its still daylight, which for musicians is odd indeed. Yet, Rod delivered a random sampling of his vast repertoire of quality songs with his usual high standards.
On Rod’s “An Unearthly Fire” (No Commercial Traffic) Rod tells a haunting tale of a terrible conflagration of humans poisoning the earth. “He who hears the earth, he who breathes deep.....he who seeks peace will not be blackened by the unearthly fire.” Like all Rod’s songs, his melody reigns supreme and his poetry is full of vivid imagery. On Rod’s classic “American Jerusalem” he tells the story of his stay in NYC and being stranded because the subways were not running. “The sign said ‘Welcome to American Jerusalem’” Rod reflects on the city’s immigrants and people who come here looking for the American Dream but may find strife and homelessness instead.
Yes, despite Rod’s high road milage, he continues to win new fans and delight audiences with his special songwriting and performing talent. Perhaps, I can get the term “folk singer” stricken from the lexicon. It’s way too 60s for someone of Rod’s stature. Call him a mobile renaissance man who tells stories in song.
Jason Isbell Live at Mojos Kitchen
Power- Pop Player on The Road to Glory
By Rick Grant
Back at Mojos Kitchen again, my wife and I almost didn’t get seats the place was so crowded. Finally, we found seats with a nice young couple who were obviously rabid fans of Jason Isbell’s former band the Drive-By Truckers (DBT). It took guts to leave such a successful band, but Jason had written material that didn’t fit-in with the DBT’s sound. Thus, Jason is out touring as a duo with either Will Hoge or Corey Smith as his acoustic partner.
For his Mojos gig, Jason had Corey with him on second acoustic guitar. Jason was presenting his new songs off his solo album, Sirens Of The Ditch, which was co-produced by Jason and DBT’s Patterson Hood. The duo idea showcased the songs in their simplest form, with amplified acoustic guitars providing the orchestration. Since I loathe overproduction, I was ecstatic that Jason had chosen to present his new songs in this scaled down format. Indeed, performing songs this way is the true test of their greatness. Yes, Jason’s new material passed that test. Jason’s new songs are in the power-pop bag, with catchy changes–more like Bryan Adams than DBT.
“I think in a lot of ways these songs are different than the stuff I wrote for the Truckers,” Jason said from his home in Muscle Shoals, Alabama on his website. Jason went on to say, “Usually when I write, it’s pretty obvious if I’m writing a Truckers song or I’m writing a song for some other purpose. Sirens Of The Ditch is more of a power-pop record than what the Truckers would normally write. The songs are more hook-oriented and they’re not necessarily as story driven (as DBT’s songs).”
At 28, Jason grew up in a family of musicians, channeling everything he heard into his guitar and piano playing from age 12. Over the years, Jason played in innumerable bands and was one of three DBT frontmen. Based on my impression of Jason’s music after witnessing his two live acoustic sets at Mojos, his material has mass appeal and strong hit potential. Yet, the songs have soul–infused with blues and R&B--and are not necessarily radio friendly, which allows Jason to hold on to his hip factor with his fans from DBT. The guy sitting next to me was very enthusiastic about Jason’s new songs. In fact, from the first song, the audience was into his songs and the overtone-rich acoustic presentation. Yeah man, Mojos combination of fine barbecue, great music, and for me, plenty of beer is hard to beat.
Interestingly, Jason did not alienate his former bandmates in DBT. Sirens Of The Ditch on New West Records was recorded at Fame Studio in Muscle Shoals, with DBT’s Shonna Tucker on bass, Brad Morgan on drums, Patterson Hood, his father David Hood, Sponner Oldham, and John Neff. The SOTD’s final cut launches Jason Isbell as a power-pop player on the charts and on-stage, touring the listening rooms, honky-tonks, and blues clubs across the nation.
After listening to Jason play the material live and then listening to the album off Rhapsody, I liked his live version better. I love the crisp sounds of the two acoustic guitars and Jason’s quality voice. I think Jason could have recorded the entire album this way and it would have been well received. Ah yes, but having the full band orchestration helps the record complete on the charts in the realm of national marketing. Still, I’m always willing to check out an acoustic album as opposed to a full band recording. As far as I’m concerned, cut the crap off the record and get down to the artist with an acoustic guitar or piano. Hey, that’s just me.
Jonathan Byrd
Live at European Street Beach Blvd.
Catchy Songs with True Grit
By Rick Grant
Last Saturday night, I checked out Jonathan Byrd at the European Street on Beach Blvd. with Larry Mangum sitting in. On first blush, Jonathan’s material conjured up images of bygone Americana before the superhighway system, when travelers drove down to Florida on US 1, going through town after town, discovering America’s South one town at a time. His music is inspired by his uniquely diverse past and a life on the road. It shines with colorful metaphors and image rich poetry. His songs are clever, fiercely original, humorous, and melodically pleasing–coming off with true grit.
Fittingly, Jonathan comes from a real log cabin in the woods outside Chapel Hill, North Carolina where, as a kid, he roamed, skipped school, and searched for something meaningful in which to believe. In his teens, he took up guitar and participated in his school music program, while writing songs in his spare time. This interest in songwriting literally saved Jonathan from himself.
In 2000, Jonathan started touring the folk circuit and learned that the scene was crowded with so called folk artists. Ah yes, it didn’t take Jonathan long to discover that the term “folk” had become ambiguous, and anyone with an instrument like an tuba who told hokey stories was considered a “folk” artist.
In 2002, Jonathan attended the Kerrville Folk Festival in Texas, which was a revelation.. He has played or attended this festival for all 18 days every year since. In 2003, Jonathan won the New Folk competition and was hired as a performer for the next three years. Most recently, Jonathan teamed up with the group Dromedary and recorded an album The Sea and the Sky. Jonathan’s newest album is steeped in rock’n’roll tradition, called This is the New That with Dromedary joining him in the studio.
Of course, for his European Street concert, Jonathan performed solo, but was joined by the great Florida songwriter and music producer, Larry Mangum, who played some of his repertoire of intelligently conceived original songs and acted as congenial host. Larry crosses-over musical boundaries with his western swing tunes and honky-tonk rock’n’roll.
Jonathan played a lot of material off his new album, This is the New That. Even without the members of Dromedary, Jonathan’s songs didn’t lose any of their impact, which is a true test of a quality song. If it moves the listener with its catchy hooks, as the artist plays just a guitar or piano, then it will sound great in any genre or with any instrumentation.
Like Larry, Jonathan’s music blurs genre boundaries from country, bluegrass, rock, to folk. The opening song of This is the New That, Jonathan unleashes his fast talking blues song about the “Cocaine Kid” playing in the subway with duck taped shoes. This could be Jonathan’s homage to rap--rock style. The song laments that anything can be the “new that.”
“Colleen” has a country music feel. It’s about a gal who went away so long, all her clothes were new. “Hey Colleen you are going to kill us all with your running around....Colleen come clean, please don’t make a scene, I’ve got the sheriff on the phone...” Yes, it will rock your underwear into a knot.
In respect to Jonathan’s father being an alcoholic preacher, he wrote a song that again comes across as pure country, “Jesus was a Bootlegger.” Well, “ he turned the water into wine,” Jonathan sings, suggesting that Jesus was a cool wine merchant of the prophet variety.
All these songs deal with real lives gone wrong or astray based on Jonathan’s road seasoned experiences. Recently, Jonathon hooked up with John Laird at the Americana Agency. In a recent collaboration, Jonathan recorded with Diana Jones on her album Radio Soul.
Indeed, there are legions of folk artists touring the festivals and small-club circuits, but Jonathan travels with a vast repertoire of memorable songs about real people on their earth journey. He has transcended the limited label “folk.” Jonathan is a prolific noteworthy songwriter and performer of his own songs. Go to www.jonathanbyrd.com for his CDs and other cool stuff.
Chris Duarte Group Live at Mojos Kitchen
Texas Rolling Thunder
By Rick Grant
Witnessing Chris Duarte’s electric guitar showcase at Mojos Kitchen last Friday night, I could hear many influences guiding his improvisations, but not the usual ones, like Hendrix or Stevie Ray Vaughan. Indeed, Duarte is a master blaster, weaving John McLaughlin, Pat Matheny, Miles Davis, John Coltrane, and other jazz icons into his eclectic style. Duarte avoids Hendrix riffs by going for a more original sound built on his long career as a solo artist. He digs Hendrix, but didn’t want to be another Hendrix clone.
Duarte’s presentation is all over the spectrum–from jazz, blues, rock, and funk. Yes, Duarte loves funky grooves to launch his incredible solo energy. In addition to his lightning-fast single note runs, Duarte has learned the art of musical space and nuance, slowing down the pace and injecting octaves and other subtle techniques to break up the sameness of a whole evening of showcase guitar.
As a premier trio, Duarte plays with a killer bassist, Joseph Patrick Moore and Jeff Reilly on drums. The challenge for him is to overcome the monotony of the overpowering electric guitar. Sure, he uses a variety of tones and modulations, but there is just so much one can do with those six strings and a stack of amps, pedals, and speakers. For the most part, Duarte balances his sound with enough variety to hold the listener’s interest. I would have liked to hear a B3 come into the mix or even a saxophone.
However, at Mojos, Duarte decided to play straight through the evening without a break which was a mistake. The audience needed a short break from the onslaught of his omnipresent guitar sound. For me, I was just about to walk outside to puff on my cigar, when I met drummer Mike Maple, who has been out touring with Wynonna.. So, I chatted with him outside to take a break from Duarte’s rolling thunder revue. Mike said Wynonna is in the studio recording a new album, so he is taking some much needed time off. Finally, Mike got the gig he truly deserves. He’s the best damn drummer on the planet–and that’s not hyperbole.
This Duarte cat has been around since 1979, when, at the age of 16, he moved to Austin, Texas. At that time, Duarte liked jazz and blues, which have been his major influences for his entire career. He spent the 80s playing musical chairs with various bands. In the early 90s, Duarte fell into the drug addiction trap while touring continuously. Oddly, he stayed clean on the road but when he was home he used heavily. Despite his drug problems, the 90s was a period of great success for this rising star. In 94, Duarte recorded his first album, Texas Sugar/Strat Magik, which was critically acclaimed and in 95 he was named Best New Talent in Guitar Player Magazine.
In 97, Duarte released Tailspin Headwhack, which was an experimental album that was a hit with critics but didn’t impress his label Silvertone Records, that promptly dropped him off its roster. Then it was time for a reality check. His wife gave him the dreaded ultimatum–her or the drugs. Yes, it was time to get clean. His rebirth as a sober person got him a deal with Rounder Records and he released an album in 2000 titled Romp. Duarte has been on the comeback trail ever since. Now on Intrepid Artists International label, Duarte is making big waves in the jazz-blues guitar markets as a bonafide virtuoso.
If there are two things that separate Duarte from the legions of other guitar idols is his love of jazz and funk, (feel it baby) infused with his original improvisations which present new ideas that come from playing at a high level of artistry. Overall, Duarte is up there on the guitar summit with Jeff Beck, Pat Matheny, Eric Clapton, and John McLaughlin, who recorded the most influential jazz-rock album of our time, Bitches Brew with Miles Davis.
Jason Ricci & the New Blood
Live Mojos Kitchen
Harmonica Further-Out
By Rick Grant
Jason Ricci dazzled his audience with his blistering set at Mojos Kitchen last Saturday night. He takes the harmonica to places it has never been, playing the harp more like a saxophone. He solos with intelligently conceived improvisations, while his smoking band grinds out a variety of tight grooves. Everywhere Jason performs he changes the way audiences perceive a harp player. He has taken the instrument out of the limitations of the blues genre and into an unlimited realm of his supercharged virtuosity. Unquestionably, Jason is in a class by myself as the best harmonica player on the planet. Jason is to harmonica as John Coltrane was to the saxophone.
Like his diverse soloing style, Jason’s music is eclectic, including rock, blues, jazz, and pop. He features many original songs that showcase his improvisational skills and wide spectrum of sounds. He refuses to be pigeonholed into one genre. For eons, the harmonica has been identified with blues. But Jason transcends that worn-out stereotype. As I listened to Jason play, I heard sounds coming from his harmonica that defy the harp’s intrinsic capability. And, he uses no electronic augmentation. It’s all technique.
At Jason’s Mojos’ show, his band kicked butt with guitarist Shawn Starski cutting loose with some mind blowing solos. Jason is generous to his band members, allowing them plenty of space to showcase their respective chops. Jason’s voice is gritty and powerful, cutting through the mix with ballsy authority. Mojos’ audience was spellbound by Jason’s incredible mastery of the harmonica and his rock-star persona.
Since 1995 , Jason has been slugging away on the blues circuits when, at 21 years old, he started to win important contests, placing first in the Blues Society contest in Helena, Ark.. He went on to perform on tour and made a big splash at the King Biscuit Blues Festival. He then filled in for Annie Raines and performed at The Black Diamond with Susan Tedeschi. That same year Jason recorded his debut album produced by Billy Gibson with ex-Earl Hooker drummer Bobby Little. By the end of the year, many blues devotees and record moguls were buzzing about Jason’s highly innovative harmonica technique making him a true virtuoso of the instrument.
By 1996, Jason had launched his full blown career as a blues frontman, wowing the crowds with his gritty vocals and his further-out harmonica solos. Since then. Jason has continued to stay on the road with various band incarnations playing a grueling 300 dates a year. From 2003-2006 Jason has jammed with or been a member of an elite cadre of famous artists such as the Dirty Dozen Brass Band, James Brown, Fred Wesley, Chris Potter and many others.
During that crucial period, Jason won the coveted Muddy Waters Award for the best new artist and signed with U.T.R. Management. Since then, now 34, Jason has been working with Miki Nord who pushed the careers of Susan Tedeschi, Johnny Lang, Tommy Castro, Luther Allison and other major dudes.
In a recent unpublished interview, (that gig was cancelled) I asked Jason why he wasn’t signed with blues labels like Blind Pig or Alligator. His answer was surprisingly candid.
“I turned them all down. I wasn’t willing to give up as much as they wanted. Yes, some say I’m being too picky, but I’m the one out on the road struggling for recognition. I just want a fair deal that I can live with. But, things have been going well. My band has been great and we get along. But some of the venues book a blues band thinking we are just filler for their food and drink. Then when we play festivals people go nuts over our music. So it balances out.”
“Of course, being independent has it’s advantages, however I’m hoping I can pull off the deal I’m working on now, so I can have record company support. In regard to the W.C. Handy awards, (now called The Blues Awards) the blues community has their favorites and it’s hard to break through their narrow perceptions of what blues is today. There is a whole new generation of blues artists fusing different styles into a new sound, that includes the old school tradition with the hot new fusions, ” Jason said.
If you missed Jason Ricci’s killer Mojos performance, he will be featured at the George’s Music Springing the Blues Festival, April 4-6, 2008. Jason performs on Saturday, April 5, from 2:15 to 3:15 pm. Meanwhile, Jason is out there on the road blowing minds and winning fanatical fans.
Adam D. Tucker Live at Cliffs
100 Proof Country on The Rocks
By Rick Grant
Cliffs was rocking Wednesday night when I arrived to check out Adam D. Tucker and schmooze with my friends, owners Lori and Jim Rose. Tucker is a rising unsigned star who has the right stuff to make it in the viciously competitive country music genre. He looks like a star with his hunky good looks and animated stage persona. And he’s been out touring nationally and relentlessly pursuing record company contacts.
For Lori and Jim booking an artist of Tucker’s status was fortuitous since he was passing through town on his way to Tampa to perform at the Florida State Fair. Lori said that she decided to continue her policy of not charging a cover. Tucker’s show was a thank-you to their loyal clientele, who all know each other and consider Cliff’s their neighborhood watering hole. Indeed, Cliff’s is one of my favorite haunts. There is never any trouble and the wait staff and clientele are friendly. Wednesday night it was packed with a mid-week party crowd. Hey, Wednesday is the new Friday. Well, at Cliff’s it is!
Tucker mixed it up for his Cliff’s sets. He played some of his originals, but since his material is not widely known yet, he wisely played crowd pleasing cover material, including a rousing Skynyrd medley. Tucker also loves to play Johnny Cash, mimicking his voice. He read the crowd correctly-- his Johnny Cash impression went over well with Cliff’s regulars.
Tucker’s own material is fiercely original delivered with his Southern good-‘ol-boy charm. “Countrier than That” is a rocker with references to Southern lifestyles. “Boys in the barn... another Friday night at the shindig in the shack.. bed springs are hillbilly trampolines....it don’t get much countrier than that.” This song is hooky fusion of country and rock.
“Redneck Girl” celebrates the free-spirited Southern female. “There ain’t nothing better than my Redneck Girl.” Again Tucker pays homage to his Southern Rock roots with a Charlie Daniels styled fiddle break. It’s impossible to be down listening to this redneck anthem.
The title cut from Tucker’s new album is “What Makes A Man” “What makes a man like me... when it’s you and me lying together, making us a night to remember, skin on skin surrendering.... makes me understand what makes a man. Yes, the imagery of this song plays to young singles looking for love beyond a one night stand.
“On My Way”( to loving you) is a typical country love song from Tucker’s past as he had to decide what was important to him at that time in his life as his career started to take off. The song has a memorable fiddle solo break that sinks the hook into this love gone good, then gone bad country song.
As the beer and drinks flowed across the bar at Cliff’s, I was reminded of how great it is to see major artists on their way up or way down in small clubs with intimate settings. Clubs like Cliff’s are steadfast venues where artists get their most respect, whether they play covers or originals When all the hoopla dies down and an artist’s career starts to wane, they all end up in their home towns playing in club bands. It is the bread and butter of the music biz.
Cosy Sheridan Live at European Street– Exceptional Songwriting with A Keen Sense of Humor
By Rick Grant
Two week ago, I got to know Cosy Sheridan during our phone interview. We connected on the same wavelength, sharing certain consciousness raising life experiences. Last Thursday, I met Cosy in person before her live set at the European Street, in San Marco. It was like meeting an old friend. Cosy is accessible and charming, as I expected she would be. However, her live music exceeded my expectations. This is why, for me, it’s imperative to see singer/songwriters live to appreciate the full scope of their artistry.
Prior to Cosy’s set, Pete Kennedy performed a solo act. Pete and his wife Maura Kennedy frequently tour with Cosy and her bassist/covivant, J.R. Richie. Sadly, Maura had a family emergency and was in New York. Nonetheless, Pete is a trip to watch. He’s a skilled six-string innovator who possesses advanced chops on guitar and his Ovation ukelele. The highlight of his set was his virtuoso performance on the ukelele playing Gershwin and other non-ukelele compositions. Yes, Pete greatly expands the range of this funky looking four-string instrument.
Cosy and J.R. Richie launched their set with a selection of Cosy’s massive repertoire of original material. She said she was trying to read the audience and figure out what best to play, but she was befuddled by such an eclectic group, representing a diverse age-group.
“I had a consultant view one of my shows to see what I could do to improve my stage image. She said everything was fine from the neck down but I’d given up on my face. So this led me to writing the song ‘Botox Tango,’” Cosy said from the stage.
Interestingly, Cosy’s material falls into two categories-- songs using Greek mythology applied to modern situations and satire of modern life, like the Botox song. She connects with the audience with her sharp sense of humor and keen understanding of human nature. Many of Cosy’s songs elicited laughter from her Euro St. audience.
On “The Land of 10,000 Mothers” Cosy imagines a world run by mothers. It’s a utopia in which there are no wars or strife. “Someone loves you and knows you are good.” This song drips with satire. Of course, there is no world like the world of mothers of her imagination.
“Walk On” (through) supposes that all roads through life are hard, so press on into the fire just “Walk on through” the hot coals and grin and bare it. It’s a little sage wisdom from someone who has traveled far and experienced life to the fullest.
In between her songs, Cosy chats about the origin of her songs or just expresses anecdotes of her life on the road. To the Euro St. Audience she asks, “ Is Florida considered the south or do you Floridians consider you apart from the South,” Of course, the answer came back loud and clear, Florida is not the South but a separate entity.
”There are fires you have to keep tending and those that you let burn,” Cosy sings on “Some Fires” Yes, her wisdom comes through in her savvy songwriting, tempered with humor like in the “Botox Tango,” which got a big laugh. “I’m thinking of getting injected I”m getting older than expected.” J.R. is Cosy’s straight person, like George Burns was Gracie’s straight person. When Gracie died, George had to take over her material and become a solo comic, which was very difficult. Yet, he lived to be a 100 years old and was still booked.
Many of Cosy’s songs are little vignettes–poetry of mythology and reality sung with her unwaveringly clear voice which is a joyful instrument of her soulful art.
On “Cannibal Crossed The Alps,” Cosy tells the story will humor, imagining the sight of those elephants trudging through the snow, “His men were very cold...in those sandals... Cannibal crossed the Alps, that’s all you need to know.”
Ah yes, witnessing Cosy live was a gloriously uplifting experience. Her live album Cosy Sheridan Live at Cedar House lets anyone relive that live experience. Go to www.cosysheridan.com for all things Cosy. This saucy troubadour brings the light of exceptional songwriting to the people across the land. “Long may she run.”
The Legendary JCs Band on The Run with Original Soul
By Rick Grant
The air was heavy with moisture and temperatures were plummeting when I made the Mojos Kitchen scene to check out The Legendary JCs (JCs ) – a smoking soul band that is winning new fans as it spreads its gospel of R&B nationwide. The 7 piece band features a top-tier lineup, consisting of Brian Mackie on saxophone, Clay Watson on trombone, Ralph Ameduri on bass, Brian Chodorcoff on guitar, Anthony Cole on drums and backing vocals, and Eugene Snowden on lead vocals and percussion.
This balls-to-the-wall horn band showcases original soul-blues that gets its audience on their feet from the first song to the last. It was a standing room only crowd near the stage at Mojos Kitchen last Saturday night as the band plowed through its massive repertoire of original music and classic Motown tribute medley.
Since 2000, the band has been on the road proving that it never takes any audience for granted. These guys work hard on every gig to impress their listeners. Fortified with Mojo’s excellent barbecue, the band launched its first set with the enthusiasm of a group of musicians who love playing soul music and pass-on that joy to their listeners. The JCs ensemble came to the stage pre-warmed up with funky grooves and tasty horn voicing. Man, I love horns in this type of band, especially Clay Watson’s right-on bone-grooving vibrating lips.
Lead singer Eugene Snowmen is the preacher-man of the Church of What’s Happening Now. He moves to the music and plays a mean set of bongos as well. His premier vocals cut through the funkadelic mix with authority, as the rhythm section pounds out the hot grooves and that ever-present trombone kicks-in with penetrating vibrations. If this band doesn’t get you up on your feet, then you’re dead. Man, the JCs rolling thunder caught me by surprise and I was out on that dance floor taking photographs and moving the beat.
The JCs original songs are modern yet they pay homage to their soul roots.”Luella” opens with a blast of horns and rhythm and Brian’s guitar comping kicks in as Eugene leads the dance parade into the night. “New Man” opens with a gutsy guitar intro and the horns kick in as Eugene gets down with his vocals. “Let me tell you girl I’m here to change the world, and I’ll be a new man” It’s a mojo sound of rhtythm and blues wizardry. A B3 comes in with the horns and rhythm section playing a tight modern arrangement. “Down This Road Before” opens with Brian strumming chords with the mighty B3 coming in, “Been down this road before...keep running back to another night. I’ve been down before, and running for the door... I’ve been down this road before, I can’t take it anymore.” The song has a gospel feel with a country twang. “Lifting Me” opens with Brian’s funky guitar comping and a whirling B3 sound to a funky rhythm. It’s infectious and a butt-jiggling machine. Yes, butt jiggling is a good sign the band is getting to the crowd, and these soul-men have the secret to keeping the crowd on their feet, grooving to the music.
For 8 years, the JCs have been headlining shows at many major events across the country, such as, the NOLA Jazz Fest late-nights, Florida Music Festival, and Macon’s Bragg Jam. The JCs have also headlined a month at the Monte Carlo Casino in Las Vegas, Tropical Heatwave in Tampa, and many other big clubs. The band has also opened for James Brown, B.B. King, Al Green, Sam Rivers and many other national acts. And, if you missed the JCs Mojo’s show, the band is booked for the George’s Music Springing the Blues Festival on April 6th.
kLoB Live at Café 331
Inventive New Music with Old School Roots
By Rick Grant
My first trip to Café 331 was to check out Kip Klob’s all original five piece band kLoB The upscale room was a fitting place to present this class act. Hatched from Kip Klob’s creative musical mind, kLoB got its start ten years ago as a vehicle for Kip’s inventive songwriting. Today, kLoB defies categorization as a modern rock band that crosses-over many musical genres.
Over its tenure as a working band, kLoB has evolved into a tautly wired ensemble which is more than the sum its parts. Indeed, it’s is a musical force that attracts all age groups to its hot modern sound, which is an alchemy of avant garde ideas and old school concepts, distilled into a unique trademark sound.
Kip leads the group with his advanced keyboard playing, gritty vocals, and harmonica improvisations. Brian Jenkins plays drums, Louie LeClaire plays bass, Mike Kiramarios plays saxophone, and Mike Bowman plays guitar, vocals, and percussion. Together this assemblage of top-tier musicians cranks out a repertoire of Kip’s original songs, which evoke old school imagery fused with new ideas.
The band is full of surprises, yet Kip‘s songs make sense, never straying too far from Kip’s main themes. In other words, kLoB is a group of sophisticated musicians who have matured into a cohesive ensemble, yet avoiding full-scale jazz improvisation. Catchy songs with funky beats and soulful sounds define Kip’s concept. I could hear the master of funkadelic, George Clinton and Chaka Kahn’s influences in Kip’s bag of songwriting tricks. Kip’s gravely world-worn voice sounds like a cross between Tom Waits and Bruce Springsteen. These players are experienced and savvy enough to appeal to a wide spectrum of music devotees, without coming off as elitist. KloB is fun to listen to and Kip’s repartee with the audience is witty with a tinge of sardonic tone.
Kip’s songs come off with foot tapping energy. “Tired but Good”is imbued with a funky rhythm, which sets the tone for Kip’s vocals, accented with his mournful harmonica. The music gets into your blood like a jolt of good ‘jhit, making one “tired but good, and this is how I’m supposed to feel.” And sure, we know what he’s talking about, but the song itself is worth inhaling, causing a musical high.
“Tree” utilizes Mike Kiramarios smooth-as-silk saxophone playing which is prominent in the mix. “When it all comes crashing down... it could be my last time,” as the song builds momentum to a climax, accented by Mike’s saxophone improvisations. The result is a moving anthem of love gone bad. Well, love always goes wrong, doesn’t it?”
“Of a Story” begins with Kip’s haunting chordal rhythm on his B3 facsimile. “I could tell you anything that was going on in my life and you knew just what to say to make it go away...” all the while he relentless organ chords played in the rhythm of the song. It’s a powerful technique to hold the listener in Kip’s musical spell. The song builds crescendo to the end, leaving that organ sound stamped on one’s brain. It’s funky hipness that turns into hypnosis.
“All the Time” begins as an parody of a Beatles song that suddenly veers away from the Fab Four’s concept. Wow, it then becomes a quasi-rap song. Here is a good example of unexpected surprises in Kip’ music that clears out the cobwebs from one’s brain. Yes, this is tasty stuff that gets attention from kLoB’ audiences.
From the stage, Kip said the band is going into the studio in February to record second album of original music. Then, wisely, the band is hitting the road, expanding is horizons. Put simply, kLoB is a band that never goes out of style because it presents Kip’s songs which are hits waiting to happen. More importantly, kLoB’s music appeals to diverse demographic. Once the kLoB door is opened to the outside world beyond Jax, there is no stopping it. Intelligent songwriting is the fuel that will drive this band to glory.
Louie LeClaire
Quality Original Music at Starlite Café
By Rick Grant
The “wild night was calling”when I visited the Starlite Café in 5 Points to check out the Louie LeClaire acoustic trio. Formed 5 years ago by singer/songwriter Louie LeClaire with Jonathan Plant on upright bass, and Brian Jenkins on drums. The acoustic pop/blues trio presents mostly original music with selected covers showcasing taut-as-wit presentation and Louie’s witty repartee. It’s a hip trip to the magical LeClaireville, featuring Louie’s savvy guitar playing and distinctive voice articulated by Jonathan’s advanced bass playing and Brian’s masterful drumming.
Louie began his music career by playing bass 12 years ago, then studying bass at UNF Now Louie has a full time job at Nice Music teaching bass and playing out with his own trio. Recently, Louie formed a new band performing modern blues/rock called Klob (more on that later). Clearly, Louie’s trio of experienced musicians are into intelligently conceived original music using various rhythms, modulations, and modes which is difficult to categorize. Louie said at the gig they are planning to record an album at Jimmy DeVito’s studio in Crescent Beach.
Meanwhile, the trio gigs regularly around town at selected venues to a growing fan base. The success of the Louie LeClaire Trio is based on quality musicianship and Louie’s savvy songwriting talent complimented by his all-star players. Louie’s original songs are available on his MySpace website. It gives the listener insight into Louie’s musical ideas.
“Who Will We Love” is a straight ahead pop song with the refrain “It’s about who we will love.” The song has a Beatlesque spin, proving that sometimes a simple 3-chord song can be effective, like the Beatles “All You Need is Love”–a universal theme and memorable.
“Blue Skies” has a catchy descending bass groove with a shuffle-like rhythm. It’s almost jazzy but comes across as a hip little ditty.
“A Better Way” is an acoustic folk song with Louie’s tasty finger picking style accenting the clever lyrics. “Oh that’s life, hold on tight.”
“Jamie” comes across with a melancholy Latin mood, conjuring up an image of lonely guy looking out from a hotel room balcony in La Paz, Bolivia wondering if romance is worth the heartache, or does it make life truly worth living. Ah yes, the love–the pain! You can’t have one with out the other. And, you can’t live with them, and you can’t live without them. Life’s romantic conundrum.
As for Louie’s other project, Kolb, it’s a gritty blues/rock band with a tongue-in-cheek attitude. The 5 piece ensemble consists of Kip Klob on lead vocals and keyboards, Brian Jenkins on drums, Louie LeClaire on bass, Mike Kiramarios on saxophone, and Mike Bowman on guitar, vocals, and other instruments. I haven’t had the opportunity to catch this band live, but I checked out its music on its website Klobsong.com and was impressed by its hip groove blues sound. Klob has unlimited commercial possibilities if the band members want to go in that direction.
Overall, both groups include experienced, talented, and professional musicians and songwriters who offer memorable original music which have attracted a large fan base. It’s the first step towards a run at national recognition. If that’s what they want. Not all professional musicians want fame and fortune, believe it or not.
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May 15, 2008
