Iko-Iko

Matt Hill

Matt “Guitar” Murphy

Preservation HallJazz Band

Nicholas Payton

Valerie Gillespie

JUNE2010

Vincent Gardner

Alice Day Iko-Iko

Matt Hill

Matt “Guitar” Murphy

Preservation HallJazz Band

Nicholas Payton

Valerie Gillespie

Vincent Gardner

Alice Day

John Carey

Piano Bob Wilder

John Carey

Piano Bob Wilder

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WINNING SPINSWITH HIS ELEGANTLY ROLLICKINGbarrelhouse style, Piano Bob Wilder conjuresa world of dusty Delta jukes and rowdyBourbon Street bars. A familiar figure on theSouth Florida blues scene, Wilder has provideda terrific foil for New Orleans ex-pat vocalistand harmonicist John Carey, who has beenliving in Lake Worth post-HurricaneKatrina. The pair returned to the CrescentCity last year to record the aptly titled Backin New Orleans, an excellent and varied setmostly comprising Carey originals thatshould more than please lovers of theregion’s distinctive soundtrack.

Wilder’s frisky piano greets listeners on theopening title track, as he dances exuberantlyalongside Jimmy Carpenter’s spirited tenor saxand the right-on rhythm section of bassistSean Carey (John’s son) and drummer WillyPanker. John Carey’s smoky tenor vocals areperfectly suited to this brand of old-schoolNew Orleans R&B, as he gives shout-outs to hisbandmates as well as local institutions suchas The Howlin’ Wolf and The Maple Leaf. Asthroughout, guitarist John Fohl providesheated leads and riffs, as required.

Piano Bob references a library of NewOrleans licks on “Doin’ the Big Easy,” aninstrumental piece he wrote and performedyears ago with his former duo partner Ken“Snowman” Minahan. Wilder tips his hat tothe great Professor Longhair with his trillingright hand and triphammer left, and receivesexpert assistance from this crackerjack band,particularly Fohl and Carpenter, who eachunspool concise yet feisty solos.

With a second-line rhythm set in motion bydrums and percussion, “Parade of Injustice”introduces another groove to the Mardi Grasmix. Carpenter’s bottom-bumping baritone saxis fattened up by Eric Ensminger’s trumpetand trombone, as Carey sings a messageabout his neighbors’—and the country’s—indifference to suffering, something he likelywitnessed after Katrina. Once again, Wilderdisplays just the right touch, his piano step-ping smartly alongside Panker’s martial beat.

Carey truly shines on a pair of ballads, hissupple pipes finding just the right emotionaltextures on “Spirit Inside of Me” and “SlowDancin’.” On the former, a slow-cooking soul-

blues punctuated by a Carpenter-arrangedhorn section á la Otis Redding, the vocalistsings of his struggles to be a better man. Onthe latter, Fohl’s quietly reverberating guitarsets the mood for this moonlit love song,which fairly drips with the humidity of asummer night in Louisiana. Carey tenderlysings of clinging tight to his baby on thedancefloor, too enervated to do much morethan sway.

Tracks such as “Soul Surgeon” and “GipsyWoman Blues” utilize Carey’s cutting yetsparsely used harmonica. On the latter,Carey’s harp razors through the swampyslow blues, as Wilder adds pianistic commentsto each desperately sad verse. The heartfelt,autobiographical tune must have providedsome catharsis for Carey, who lost his wife,Gipsy, to cancer last year. Piano Bob alsooffers a bright solo and comps on “Rock-a-ByeBaby,” which spotlights the vocals and guitar oftalented roots and blues artist Eric Lindell.

Cajun spices flavor “Desir’ee,” a charmingwaltz that features Jumpin’ Johnny Sansone onaccordion, and the concluding “Father andSon,” a “harmonica zydeco” tune on which John

By Bob Weinberg

JOHN CAREY & PIANO BOB WILDER

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and Sean Carey trade off on leads and rhythm with greatdexterity and whimsy (dig the snippet of “CaliforniaSun,” originally recorded by New Orleans son Joe Jones)and a commitment to keep booties wagging.

Carey and Piano Bob make a formidable team. Add asuperb crew of Crescent City musical experts to themix, and you’ll feel like you were indeed “Back in NewOrleans,” even if you’ve never set foot in the Big Easy.

John Carey and Piano Bob will perform atCD release parties for Back in New Orleans onJune 12 at Chef John’s in Jupiter and June 26 atTobacco Road in Miami. For more information, visitPianobob.net.

WINNING SPINS

BOSTONS ON THE BEACH .................7BRADFORDVILLE BLUES CLUB .........4BUCKINGHAM BLUES BAR ................8CHEF JOHN’S .....................................5DRUMMERS ONLY .............................4EARL’S HIDEAWAY .............................9

GUANABANAS ....................................3JESSIE JONES, JR. ..........................11JAMIE OUSLEY.................................10JOHN CAREY/PIANO BOB ..................6MAGUIRES HILL 16 .........................10

ORIENTE.............................................8SINGLES TRAVEL INTERNATIONAL ...3SOUTH FLORIDA JAZZ .......................9SUNDAY JAZZ JAM ............................9SUNSHINE JAZZ ORGANIZATION.....11TITO PUENTE JR. ...............................6

D I R E C T O R Y O F A D V E R T I S E R S

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PRESERVATION HALL JAZZ BANDPLAZA THEATRE, ORLANDO/JUNE 1CORAL GABLES CONGREGATIONAL CHURCH/JUNE 3Any music fan who travels to New Orleans knows theycan’t miss Preservation Hall, the legendary site in theFrench Quarter that’s housed the Preservation Hall JazzBand since it opened in 1961. But even if you can’t go tothe Big Easy to see the band, it may just visit an area nearyou. Originally run by tuba player and Hall founder AllanJaffe, the popular touring act is now directed by his son,bassist and tuba player Ben Jaffe. Its multigenerationalmakeup ranges from 36-year-old trumpeter Mark Braudto 77-year-old clarinetist/saxophonist Charlie Gabriel.Hurricane Katrina caused an extended closure of thehall in 2005-2006, commemorated on the 2007 CD

Made in New Orleans:The Hurricane Sessions,but the traditionalDixieland band’s latestrelease is a star-studdedcall to keep its homeopen. Preservation: AnAlbum to Benefit Preser-vation Hall and thePreservation Hall MusicOutreach Program hasthe band in spiritedperformances with thelikes of Tom Waits, AniDiFranco, Pete Seeger,Merle Haggard, RichieHavens and Dr. John. BM

S P O T L I G H TVINCENT GARDNER QUARTETTHOMAS CENTER, GAINESVILLE/JUNE 1Trombonist Vincent Gardner’s latest solo recordingis, quite literally, odd. Three-Five (Steeplechase) isnamed for its 3/4 and 5/4 time signatures on playfulrenditions of compositions like Wayne Shorter’s “Iris”and “Sweet ’N’ Sour”; Sonny Rollins’ “Valse Hot”;Bobby Hutcherson’s “Little B’s Poem” and BobbyTimmons’ “Dat Dere.” The Jazz at Lincoln CenterOrchestra vet and Chicago native started out on vio-lin, saxophone and French horn. However, he dedicat-ed himself to trombone in high school, a decision bol-stered by his meeting legendary jazz trombonist J.J.Johnson. Gardner joined Wynton Marsalis and theJazz At Lincoln Center Orchestra on the heels of his

1998-2000 tour withhip-hop vocalist LaurynHill. The trombonistboasts a solid touringquartet inc ludingpianist Kenny DrewJr., bassist RodneyJordan and drummerRandol Walton. BM

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NICHOLAS PAYTON QUINTETMINIACI PAC, FORT LAUDERDALE/JUNE 12Trumpeter Nicholas Payton is as synonymous with hishometown of New Orleans as he is with his instrument.And that’s largely because of the tradition of heraldedtrumpeters—from Buddy Bolden and Louis Armstrongto Wynton Marsalis and Terence Blanchard—who pre-ceded him in the Crescent City. Payton’s latest recording,Into the Blue (Nonesuch), features his impeccable toneand interaction with a stellar cast of musicians. Thedisc exemplifies the trumpeter’s heritage, and alsodisplays the teachings of one of the patriarchs of modern New Orleans jazz. Pianist Ellis Marsalis(Wynton’s father) taught Payton at the University ofNew Orleans, and the elder statesman also schooled

the trumpet prodigyby letting him sit in at his area gigs.(Payton ’ s f a ther,bassist Walter Payton,served a similar func-tion for young NewOrleans musicians.)Payton ’ s tour inggroup features pianistLawrence F ie lds ,bassist Ben Williams,d r u m m e r C o r e yFonville and percus-s i o n i s t D a n i e lSadownick. BM

S P O T L I G H TVALERIE GILLESPIE ENSEMBLEDELLA’S AFTER DARK, BRANDONJUNE 4-5, 25-26Versatility and vocals may be the keys to singingmulti-instrumentalist Valerie Gillespie’s success. ThePennsylvania-born, Tampa-based touring artist is primarily known for her sax playing, since shemajored in classical saxophone at Carnegie-MellonUniversity in Pittsburgh and earned a master’s inJazz Saxophone from the University of South Florida,where she’s since taught. Yet on her handful of finerecordings (Branded, Once Again, It Takes a Village),she not only plays all four varieties of sax—soprano,alto, tenor and baritone—but also flute, alto flute, piccolo and clarinet. Gillespie’s vocal stylings range

from Shirley Hornand Nancy Wilson toDiane Schuur andDiana Krall. All ofwhich has resulted inwork with artists fromChick Corea andBobby McFerrin toRosemary Clooney andRay Charles. Gillespieis one of only a fewperformers who couldplay with a classicalorchestra, jazz comboand church group, allover the course of aweekend. BM

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Log on to www.bostonsonthebeach.comfor our complete lineup, menus, photos and more!Located on the waterfront in Delray Beach, Boston’s is the ideal place

for casual dining, live music and sports viewing in our first-floor restaurant, The Beach. Or enjoy great cuisine and cocktails

upstairs at our fine dining restaurant, The UpperDeck. And be sure to check out our Back Bay Tiki Bar for a tropical cocktail

while listening to some of the area’s finest musicians on our outdoor stage. Boston’s… something for everyone!

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MATT HILL AND THE BUZZKILLZBRADFORDVILLE BLUES, TALLAHASSEE/JUNE 25BACK ROOM, BOCA/JUNE 26ACE’S LOUNGE, BRADENTON/JUNE 27Matt Hill’s music gleefully celebrates bad behavior.On “Stolen Bride Blues,” the North Carolina-basedbluesman takes great joy in seducing “a pretty little girlon her wedding day,” and on “Red Boots” you can almosthear his, uh, eyes pop when he sees his baby in hertight-fitting thigh-highs. “If you’re into evil,” he sings onthe frisky “Hells Bells,” you’re a friend of mine.”(Hear ’em at Myspace.com/matthillblues.) And, if you’reinto raunchy-sounding country blues with a greasy,rockabilly feel, Hill and his Buzzkillz stock your brand.Cat’s got bona fides, too: He’s served as sideman to blues

royalty such as PinetopPerkins, Bob Margolinand Hubert Sumlin, nodoubt absorbing muchof what these giantshave to teach. In addi-tion to Hill’s howling,countrified vocals andexpertise on standardand lap-steel guitars,the Buzzkills featurethe string-blurring leadsof guitarist Max Drake,the doghouse bass ofFJ Ventre and the ver-satile drumming ofChuck Cotton. BW

S P O T L I G H TALICE DAYSOUTH FLORIDA JAZZ HALL OF FAME CONCERTAMERICAN LEGION HALL, MIAMI/JUNE 4South Florida jazz fans fondly remember when AliceDay was our best-kept secret, charming audiences witha bluesy, brassy style that could seduce you, breakyour heart or bowl you over with its sheer gospelintensity. However, the Miami native found greateropportunities overseas. She’s lived in Bangkok for yearsnow, and is more likely to be playing in Dubai than inDade. Home now for an extended stay, Day has beenin front of local audiences once again, and will be onhand to host the South Florida Jazz Hall of Fameinduction ceremony. Last year, a field of six notableswas chosen: saxophonists Cannonball Adderley and

Jesse Jones Jr., radiohost China Valles, jazzclub enterpriser LennyZeif, steel-pan virtuosoOthello Molineaux andDay herself. This year’sceremony will officiallyinstall these majorcontributors to the localjazz scene, as well asannounce four moreinductees for 2011. Daywill be joined in concertby an all-star roster ofinductees and otherguests for what shouldbe a real treat. BW

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MATT “GUITAR” MURPHYwith THE NOUVEAUX HONKIES

TOBACCO ROAD, MIAMI/JUNE 19Matt “Guitar” Murphy’s signature sound mixesMemphis, Chicago and Delta traditions, his sweetlystinging licks following his life’s journey through thoseregions. From playing juke houses in his nativeSunflower, Miss., to working in Howlin’ Wolf’s band inMemphis and then teaming up with Memphis Slim inChicago, Murphy has been a vital and deeply influentialpart of blues history. His sophisticated, jazzy licks, aswell as the depth of his down-home blues, earned himspots on classic Chess recording sessions with everyonefrom Sonny Boy Williamson to Etta James. Of course,Murphy’s greatest visibility came from his role in The

Blues Brothers movies.At the age of 80, theMiami resident is stillgoing strong. On June11, he’ll reunite withhis old road buddy,James Cotton, for aheadlining perform-ance at the ChicagoBlues Festival. For hisMiami show, Murphywill be joined by No. 1fan, Tim O’Donnell andO’Donnell’s excellentband, The NouveauxHonkies. Iko-Iko alsoshare the bill. BW

S P O T L I G H TIKO-IKOMAGUIRE’S, FORT LAUDERDALE/JUNE 4FRITZ AND FRANZ, CORAL GABLES/JUNE 11VAN DYKE CAFE, MIAMI BEACH/JUNE 14Graham Drout was playing Chicago blues and R&B inMiami before there really was a blues scene in SouthFlorida. His Fat Chance Blues Band evolved into Iko-Iko in 1983, as Drout expanded his concept, blendingtraditional blues with Americana and other forms andtruly stretching his highly individualistic songwritingchops. Over the years, the band has borne the imprintof its fluctuating lineups, going from dual-lead guitarjam band to tight blues combo, although Drout’sgrowling vocals and image-laden lyrics always remaincentral. The band’s current lineup features the ever-

amazing “Good Rockin’Johnny” Wenzel onguitar, Mitch Mestel onbass and Daniel Easton drums. Iko has alsobeen given a greatinfusion of energy withthe addition of key-boardist Ron Taylor, atrue virtuoso who addssome lightning organlicks to the proceedings.Taylor urgently needsa kidney donor; anyonewho can help is urgedto contact the band atLSR@iko-iko.com. BW

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PUBLISHER: Charlie Boyercharlie@JazzBluesFlorida.com

CONTRIBUTING EDITOR: Bob Weinbergbob@JazzBluesFlorida.com

ART DIRECTOR: Hope Jasonhope@JazzBluesFlorida.com

CONTRIBUTING WRITER: Bill Meredith

PHOTO CREDITS: Matt Hill Spotlight byBob Margolin, Iko-Iko cover by Robert Stolpe,

Jazz Blues Florida is published monthly. All copyrights are the property of Charlie Boyer. Allrights reserved. No material may be reproduced without written permission of the Publisher. Nounsolicited manuscripts will be returned unless sent with a self-addressed stamped envelope.

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