Nowhere Men and the Beatles

The Nowhere Men

Last night was a gift: golden summer evening, bare feet on the grass dance "floor," and the Nowhere Men playing Beatles music! These players, led by George Myers on rhythm guitar, and Rick on bass, capture the real, live sound of the Beatles' foursome.

From their website:

"The group decided early on that they wouldn't try to physically impersonate The Beatles, but rather to concentrate on how to deliver the total sound in a live format within the context of a foursome. This has become the group's challenge and motivation. As a result, their audiences enjoy the interpretations of the early Beatles and the creativity involved in performing some of the more complex arrangements from albums like "Sgt. Pepper" and "Abbey Road.” In 2005 the band played a farewell show, intending to wrap it up after 15 great years, but the pure enjoyment of the music and the fun of sharing the experience with an audience brought them out of “retirement.” Their goal is still the same as it was when they started in 1990 – to create a live musical experience that comes as close as possible to "The Beatles" unforgettable sound."

Passionate players, fine instruments, exeptional electronics, and sophisticated mixing board and tech (thanks, Steve!) bring the Sound home.

One of the best live music experiences in the Northwest.

Experience The Nowhere Men this coming Wednesday, August 3, 2011, at University Village 6:30-8:30.

http://www.nowheremen.com

Little River Band

Wayne Nelson on bass and lead vocals

It’s a Long Way There

Hey everybody…yeah, don't you feel that there's something?
Feel it, feel it?
Hey everybody…yeah, don't you feel that there's something?

People on their own are getting nowhere,
I am on the road to see,
If anything is anywhere and waiting, just for me.

Every night I walk around the city.
Seems like I'll never know,
That feeling of being together when I go.

And it's a long way there, it's a long way to where I'm going,
And it's a long way there, it's a long way to where I'm going.


This is great songwriting, brought to you by Little River Band, one of my favorite--and somewhat unheralded--bands of the '70s.

Their show at Snoqualmie Casino near Seattle last week was testament that good songwriting doesn’t fade with time. Formed in Melbourne, Australia in 1975, Little River Band based their success on good songwriting, guitar harmonies, and powerful vocals. One of the longest running band members, and arranger of most of their material, Wayne Nelson (bass/lead vocals) also hasn’t faded—his playing was just as fresh and vibrant as ever. And he plays that big old custom bass with such authority. You could tell he still felt the words and music pour out of his soul. I have to hand it to him; he really connected with the crowd (in spite of the sing-along, which, on principle, I never participate in—hey, if they want me to sing, they gotta pay me!).

Also of note was Matt Watts; with a name like that he’d better be a good drummer! And he was stellar, although if he had sat any lower in his kit he would have been on the floor, like a catcher at home plate. Turns out he’s played with a constellation of greats including The Allman Brothers, Little Feat, Charlie Daniels, and Badfinger.

It was fun seeing the whole band dressed in their idea of what Seattle-ites wear: lumberjack flannel shirts and torn jeans. C'mon, we're cooler than that.

There were some magical moments: the stunning lead guitar work in "It's a Long Way There;" the lilting and poignant “Reminiscing” and “Lady," and the cracking “Happy Anniversary." It was interesting that over 50% of the crowds’ hands shot up when they asked, “How many are celebrating NOT being married?” A bit of Aussie humor there, or a result of being On The Road for as long as these road warriors.

Steely Dan

Steely Dan graces WAMU Theater in Seattle, July 2, 2011

It’s not possible to exaggerate when describing Steely Dan’s show in Seattle last week. Called the “Shuffle Diplomacy Twenty Eleven” tour, Donald Fagen and Walter Becker and their group couldn’t have played a more astounding concert. Are they Jazz? Rock? Funk? Blues? Pop? The definition of Fusion.

Classics like the poignant “Hey 19,” the simultaneously driving and haunting “Aja,” and a very funky “When Josie Comes Home,” all hit the groove beyond our wildest dreams. With the first notes of each song I was amazed at the breadth and depth of Steely Dan's body of work. No wonder the Wamu Theater was packed to the rafters with about 2,000 lucky fans.

I was mesmerized by Fagen’s tremendous writing and arranging, as all the players proved they are the absolute best of their class, from the crisp horn section to the thunderous bass and spot-on lead guitar of Jon Herington. I happen to love Walter Becker's warm sounding Fender expression, too. And it was fun to watch the three backup singers dance and groove while they added their rich soprano harmonies. It was hard to believe this was the first show of their tour, they were so incredibly sharp and tight.

The group of top players dubbed the “Miles High Band” (ode to Miles Davis?) feature the “Embassy Brats.” The “Band” and “Brats” include Jon Herington (guitar); Freddie Washington (bass); Keith Carlock (drums); Michael Leonhart, Walt Weiskopf, Roger Rosenberg and Jim Pugh (horns); Jim Beard (keys); with singers Tawatha Agee, Carolyn Escoffery and Catherine Russell.

Check out their new song, “The Bear” on YouTube.

Ayron Jones and the Way

Ayron Jones, with Conrad Real on drums, photo courtesy Moonlight Media

Ayron Jones, guitar and vocals
Conrad Real, drums
Deandre Enrico, bass

It’s not often you see a young band, and I mean very young, who are already so good it blows you away. Jar of Rain is one of those, and so is Ayron Jones and the Way.

Last week Ayron Jones and his band were a highlight of the Rock Show to Benefit NW Harvest. After an impressive set by Alan White, legendary drummer for Yes, these young unassuming guys jumped up on the stage. Dylan said you can tell how good a musician is by the way they carry in their guitar case. I say you can tell a lot about a musician by how they tune up. I watched and listened carefully as the bass player thoughtfully, carefully, and oh-so-efficiently tuned his active 5-string, and I knew we were in for it.

I’d just been talking with a drummer friend about dynamics, and how often musicians sacrifice modulation for LOUD. Not these guys; they showed a keen sensitivity to the feeling and tempo of each song, whether a soulful ballad from Hendrix, or a rockin’ blues song from Buddy Guy. Good musicians let the music move them, almost as if the music plays the band, not the other way around. Then POW, all three hit us with their technical chops and blew the roof off the place. It was sheer pleasure to hear their joyful playing of blues and rock classics, with a twist.

From Facebook: “Guitarist, Singer/Songwriter Ayron Jones from Seattle, Washington mixes blues, funk, hip-hop and R&B to deliver his sound. Self taught since the age of 13, Ayron continues to develop an approach to the blues by spanning the guitar styles of legends such as Buddy Guy, Stevie Ray Vaughan, Jimi Hendrix and Albert king. Constantly growing and exploring, Ayron adds his personal touch with rhythms and grooves derived from today's sounds while still paying tribute to the history of the blues. Ayron Jones is a student of the neo-blues evolution.”

Also, Kudos to Conrad Real on drums. I'd heard him play before as an occasional special guest at 88 Keys jams, but with this trio Conrad finds his signature style: superb touch and tasty licks with a smooth groove and punchy cymbal work. I believe he has what it takes to become one of the all-time greats.

It’s hard to say enough about Deandre Enrico on bass. I kept wondering how on earth he could be so good, so young. Few bass players engage the bass as a low-register guitar, with all chords and solos working together, and he’s already got it down!!

For show dates check the Ayron Jones and the Way Facebook page.

Mary McPage and the Assassins

Mary McPage and the Assassins, photo by Steven Seiller ©2011

Recently at Engel’s in Edmonds 

As a little girl, Mary McPage loved singing in church. Later she started singing in blues bands in Idaho and Florida, then Seattle. How do you go from church music to singing in blues bands? “Fear!” she says. “The Blues gets into your soul and won’t let go. It scares me, but I look it straight in the eye and do it anyway.” It’s not fearlessness; with Mary you get the sense that she is fully aware of facing down that fear, and paying her respects.

Mary’s driving low-soprano voice shows all of her influences as she relives memories of sounds from earlier experiences: the reverence of church music; then-pop favorites like Englebert Humperdink; country divas like ”sweet cotton candy soprano” Dolly Parton, Lorretta Lynn, and Tammy Wynette;  rock and roll from Stevie Nicks and Ann Wilson; and real soulful power singing from Janis Joplin and Etta James. 

Part of trying to voice her musical memories is finding the right musicians to help channel the sound. And Mary has a talent for finding and surrounding herself with some of the best musicians in town. With the fabulous Patrick McDanel on bass for the past year, Mary has been able to stretch out and do some deeper, funkier stuff. On guitar and vocals, Honolulu’s Keith Fraser brings a blend of jazz and rock influences from Mike Stern to Jeff Beck to Hendrix. Always searching for that warm sound, Keith delivers masterful chord architecture and superb melodic solos that only the best players can.

A favorite experience for Mary was at the Best of Blues awards show in 2009; her then-band had broken up when she learned they were nominated as Best Band, “which was a total shock!” she laughs. “Wanted to do something different so we did a total acoustic blues set, first acoustic band playing at their awards shows. A really cool moment.”

See Mary McPage and the Assassins. Get their full show calendar here.

Remembering Clarence Clemons

Clarence Clemons whaling with Bruce Springsteen

The Big Man

Although not a huge Springsteen fan, I am a huge fan of Clarence Clemons. To say he was “larger-than-life” is an understatement. At 6’5” and 270 pounds, he owned whatever stage he graced. Every street, including E Street, was a one-way street: his way.

Following last week’s hospitalization for a stroke, Clarence left this earth. Although he’d had serious health problems for years, recently he was improving, even playing at the 2009 Superbowl halftime, and two songs on Lady Gaga’s recent “Born This Way” album.

I’ll never forget that golden evening at the Hollywood Bowl, June 1981, we went to see Bruce Springsteen and the E Street Band, with the original lineup: Steven van Zandt on guitar, Clarence Clemons on sax, Max Weinberg on drums, and Gary Tallent on bass. It was "Survival Sunday," a sort of anti-nukes awareness concert. Clarence came out in an electric blue suit, with his gleaming gold sax, completely anchoring the first set. His signature solo on “Jungleland” took him years to perfect, and will live on in our musical lexicon.

The Guitar Man

Mike Lull: Our Own Local Treasure

I was feeling pretty special when Mike Lull offered to fix up my Fender bass’s intonation; but then again he treats everyone special, including members of Pearl Jam, players with Clapton, Rolling Stones, Rod Stewart, Stevie Wonder, Creedence, and B.B. King, and a constellation of other guitar players from around the world.

Because he is The Man. The Guitar Man. Ask any player and they’ll say go to Mike Lull, he’s the best. That can be dangerous though, because once inside his tech studio, you’ll be seduced by one gorgeous custom guitar after the next, all hanging on the wall ready to play. Mike is happy to design your dream guitar. I’m eyeing the lavender mist 4-string bass, a cool $2200, but a lot more than that out in the retail market.

He also updates pickups and whatever else requires repair wizardry. After only a couple of hours, he fixed up a friend’s Greco and it sounded better than I’ve ever heard it, maybe even as good as Keith Richards’ black version with the pirates etched in the pick guard.

Mike Lull Custom Guitars & Guitar Works
13240 NE 20th St.
Suite #2
Bellevue, WA 98005
Telephone (425) 643-8074
Fax (425) 746-5748
email: service@mikelull.com
Hours: Mon-Fri 9AM to 5PM, Sat 10AM to 5PM (Pacific Time)

Miles Davis' Greats in Seattle

Recorded in 1959, Kind of Blue is woven into our musical lexicon, into the very fabric of our lives. Many say it’s the greatest jazz recording of all time, maybe even the greatest recording of any music genre. Its influence is felt by every living musician.

So when "Four Generations of Miles" played at Jazz Alley last night, it was a poignant and heartfelt tribute.

A sans-trumpet tribute to Miles Davis. "None of these four Miles Davis alumni were ever classmates in the same Miles Davis group, but all are distinguished grads of that most prestigious small college in jazz." - JazzTimes.com

Legendary Miles Davis drummer Jimmy Cobb

The legendary Jimmy Cobb educated us all on how to use brushes—at 82 he is still crisp and tight, and brilliant. I wish my drummer friends could've been there to see how the Master does it. His unique contribution of tasty drum licks will forever be emblazoned on our memories.  Mike Stern, silky smooth across the galaxy of frets, likes his effects pedal, and on most guitars I’m not too fond of the echo-y sound. All was forgiven when they played one of the best versions of My Funny Valentine I’ve ever heard.

Jazz guitarist Mike Stern and Honolulu guitar hero Gomez Fraser after the show

Sonny Fortune, one of the best jazz sax players since Dexter Gordon, is old-school, impeccably dressed in suit vest, tie, and Italian loafers. He’s all business when he plays. White-hot lights glinting off his glasses and golden saxophone, I heard echoes of Kind of Blue in his riffs. Sometimes horns can sound a little out of key compared to the strings, but he was dead on. Was Pink Floyd's sax influenced by Kind of Blue? Absolutely.

 
What can I say about Buster Williams? His lumbering old stand-up bass has probably seen as much action as Stanley Clarke’s, with duct tape-harnessed electronics and age-old scuff marks. With the lightest touch, Buster coaxed bouncing highs and the deepest growling lows. It was a wonder to behold.

If you’re lucky you can still catch one of their shows this weekend:

The Pacific Jazz Institute at Dimitriou’s Jazz Alley presents 4 Generations of Miles. Band members include Jimmy Cobb (drums), Mike Stern (guitar), Buster Williams (bass), and Sonny Fortune (saxophone). Set times on Thursday and Sunday 7:30 pm and Friday through Saturday 7:30pm and 9:30 pm. Doors open at 6:00pm Thursday and 5:30pm Friday through Sunday.

Bios:

Jimmy Cobb: A superb, mostly self-taught musician, drummer Jimmy Cobb is the elder statesman of all the incredible Miles Davis bands. Jimmy’s inspirational work with Miles, John Coltrane, Cannonball Adderly and Co. spanned 1957 until 1963, and included the masterpiece Kind of Blue, the most popular jazz recording in history. He also played on Sketches of Spain, Someday My Prince will Come, Live at Carnegie Hall, Live at the Blackhawk, Porgy and Bess, and many, many other watermark Miles Davis recordings.

Mike Stern: In a career that spans three decades and a discography that includes more than a dozen eclectic and innovative recordings, five-time GRAMMY nominee Mike Stern has established himself as one of the premier jazz and jazz-fusion guitarists and composers of his generation. Stern first met Miles Davis in New York, where he was recruited to play a key role in Miles' celebrated comeback band of 1981. During his three-year period with Miles, Stern appeared on three recordings with the jazz maestro, a Man With a Horn, Star People, and the live We Want Miles.

Buster Williams: Buster Williams is a prodigious bassist whose playing knows no limits. He was 20 years old when he first met jazz greats like Miles Davis, Herbie Hancock, and Tony Williams. Meeting them would later figure heavily into his future. His big, deep, resilient and inventive playing since then has made him the bassist of choice throughout the jazz world. Upon his return to New York in October of 1968 Williams recorded 5 albums with the Jazz Crusaders; worked and recorded with Miles Davis; played with Kenny Durham and was in demand as first call for recording studio; TV, and movie dates.

Sonny Fortune: When critics speak of Sonny Fortune, names like Coltrane, Cannonball, Davis, Young, Bechet, Hawkins and Parker are mentioned. Sonny Fortune embodies all of the finest qualities of those late, great musicians. Lucky for us, Sonny is still here and blowing hard. In September 1974, Miles Davis offered Sonny a job in his fusion group. Fortune had previously turned down the same offer to stay with McCoy Tyner, but he eagerly accepted the opportunity to move on to something completely new. Fortune stayed with Miles for a year, recording four LPs, Big Fun, Agartha, Pangaea, and Get Up With It.

Seattle Bands

We hadn’t seen the Sun since October, until this blue-sky day. So it was about time to celebrate. At the 88 Keys in Seattle Thursday night, it was the first real party of the summer season, with many of our local musicians in attendance, ready to rock. And, it was fabulous to see some legendary luminaries in the audience (you know who you are).

And celebrate we did! All three bands, so distinctly different, had one thing in common: they absolutely played their hearts out! Jar of Rain, a young up-and-coming band featuring the Thornberg brothers, showed us what passion is all about. Russ absolutely owned his driving guitar solos; he played with total commitment and took everyone in the audience with him. Technically, he’s better than a lot of players twice his age, and yet, he is soulful beyond his years. His older brother John, on Drums, exceeded all expectations with his powerfully crisp beat and his ability to reach into our emotions and move us. I’ve seen them play several times and this was definitely the best yet. Any chance you get, I highly recommend seeing Jar of Rain. I still find it touching that John says “Thanks for letting us play.” You’re welcome!!!

Jar of Rain

Next set, Lynn Sorensen wooed us on the violin (in Sex and Violins) and some rocking vocals, while we enjoyed Evan Sheeley on bass. Smaller physically, this guy packs Big Power. Superb jazz rock fusion bass playing. Both Lynn and Evan were a nice complement to Mark Russell on lead guitar, who transfixes with his swaggering leather-grometted virtuosity and hard rock edginess. He is another one to watch. His pretty wife in the audience knowingly smiled and giggled with delight as he played, and rightly so. Drummer Jeff Kathan rocked and held down THE most steady beat in town. No rotary perception creeping there. I was sad their set ended so soon.

Sex and Violins

But, I got over it as beautiful Aury Moore took the stage and began a pulsing, deep-throated version of the Beatles’ “Dear Prudence.” I just about swooned! Dominique D. Stone, as always, was masterful on his 6-string bass. Manuel Morais with the movie-star latin looks, played a scorching lead guitar. Steady Eddie Mendoza on drums. All at the top of their game. Some really interesting hard rock originals in contrast to lovely heart-clenching ballads, Aury can sing them all. It’s hard to put words to her artistry: Soulful. Towering. Velvety. …Royalty.

Aury Moore Band

The word is that 88 Keys is going to be the place for original Seattle bands to rock on Thursday nights. Big, big show coming up on June 23. Stay tuned for details.

Bob Weir's TRIday Outtakes

For those of you who were victims of Blogger's outtage last week, and who received the link to Bob Weir and Friends' TRIday the 13th's historic live netcast too late, here are some outtakes from the gig. I absolutely LOVE this video. Too fun!

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