Thanks to a horrible night's sleep and a parental errand, I didn't get to catch the conferences in the morning.
Highlights... mostly the really quick acts.
I was pretty meh about Deke Dickerson but Joe Clay flew on stage for a mere three songs but all of them full throttle. He was swinging around the stage and singing rockabilly in the rockabilliest way out of all the stars that graced the parish stage. Apparently he disappeared for years and somebody found him driving school buses on the westbank. Well, back into obscurity he went; immediately after finishing (I just happened to be going the way he was so I watched him do it) he went off stage, through the door between stages, down the stairs and through the exit, not stopping for anybody congratulating him on a good show. You wouldn't have expected it from his grade-A performance, but that's just the way some people are.
Robert Parker was actually better than he is recorded... but I really only say this because his backing band, lil Buck & and the Top Cats (though I think they were going by something else. Buckingtons?) were loud and lively. I've always thought Robert Parker's stuff was sort of mute, so he had no trouble sounding more or less exactly as he once did. I'll give this to him though: he clearly enjoyed doing it and, even in his toned down way, played entertainer pretty well.
About this lil' Buck band. Nobody really mentioned it, but tucked away on the back at the organ was Stanley Buckwheat Zydeco Dural. He actually started out doing organ in funk bands, so it wasn't THAT much of a surprise, but it was cool to see. Anyway, he and Lil' Buck's band backed up a ton of artists in a New Orleans\Eddie Bo tribute. The standouts to me were Little Freddie King doing some pretty impressive stunts on that guitar. Much more lively than he looks. He only did one song but I'll see him tomorrow at Jazz Fest. David Batiste only did one song as well but it was the best out of this sizeable bunch. He had to kick Buckwheat off the organ but goddamn was it excused! Three times the funk, and great to watch too, spinning around as he played.
Little Willie Littlefield played again. And I saw him again. It's surprising that they give this guy so much time, but I can't condemn them, I dearly love the guy. This is the best video I could find to show you what he's like. Though you should imagine more sweat.
Wanda Jackson sort of sounded like a chipmunk now, but you'd be amazed at how fire that that chipmunk had left in her. She still growled when she wanted to and was clearly so happy to be there and, 50 years later, get the recognition she knows she deserves.
Wiley and the Checkmates were excellent from what I could tell but the truth was I'm kind of beat. I don't know whether I'm actually sick right now or just tired, but I needed to go home and recooperate since I'll be back out at Jazz Fest tomorrow burning off another layer of skin. Nope, no Lattimore Brown, no Flamin' Groovies, no ? and the Mysterians. It was a tough call but I had to do it. If any of y'all saw them or any of the other acts, I'd love to hear your thoughts. Everybody I talked to about last night didn't get to see Lady Bo, so I'd like to know whether she pulled that act out of the nosedive.
Showing posts with label Little Willie Littlefield. Show all posts
Showing posts with label Little Willie Littlefield. Show all posts
Thursday, April 30, 2009
Wednesday, April 29, 2009
Very Quick Ponderosa Stomp Impressions
Despite this being in my hometown I've done a really poor job covering the Ponderosa Stomp. I guess I've been doing serious blogging for Jazz Fest and want to sit back, learn and enjoy this sacred event even more tailored to my tastes. But I'll check in on night one (though going to bed would be a better idea)
Little Willie Littlefield was on when I came in and really got things started just right. It was a simple setup, just him and a keyboard and a mic that the kept missing when he's turn to the audience and sputter something. And I mean sputter, the old man was covering himself in his own spittle as he played and dousing himself with water in-between sets despite the main stage being a freezer the entire night. High point: "Do y'all want some boogie-woogie?" he says smiling with a set of teeth seemingly offset to the right about five teeth. He proceeds to slam on the keys with what appeared to be his right hand, left hand, and stomping foot all in a different time, and I don't think he meant it. He's slamming down on the wrong chords all over the place and oddly enough it all fit. This old dude was pure rock & roll and I cracked up the entire time while he would play some boogie woogie, then Mary Had A Little Lamb, then turn to you and go "YEAH!" and bust into something else before London Bridge (followed by another YEAH). He came on later that night and though I went out for pizza after seeing about three songs, I hear he started playing the piano by banging it with a shoe in his hand.
I was really excited for Classie Ballou after seeing him talk during the conferences. This man was busting out world-class rock & roll instrumentals like "Classie's Whip" way down in Cajun country, yet thought his interview was talking about "Syrup" music before he got it and busted out a little Wipeout. It's not that Classie couldn't play, the way it was amplified and mixed, the guitar was thin and the drums were super-huge, sounding like a bad 80's comeback album. Speaking of which, check out Classie's myspace for a good laugh. Regardless of his performance, his past work and his general character stands: this guy is an overlooked legend of Louisiana music.
Little Joe Washington knocked just about everybody out. You see, a the problem with a lot of the more ho-hum artists is that they've lost their sense of adventure. Little Joe Washington just lost all semblance of giving a shit and has turned out better for it. You have this man of mysterious age and limited teeth busting out all-over-the-place guitar solos that fall out but eventually back into time (much to the relief of his seemingly worried sidemen). Meanwhile he squeaks out typically blues lyrics while plucking and often just straight up rubbing the guitar against his teeth. Or hat. Or leg. At least half of that show was played with the guitar being "played" in some unconventional manner, but he really truly could still play guitar. After Dr. Ike came out for everybody to give him a round of applause he hopped off the front of the stage and extended his hat for tips.
Dale Hawkins, reunited with his guitarist James Burton after ~50 years, just straight out tore it up. Dale was in good spirits and damn James Burton just spits out these fiery rockabilly solos as if he were talking. Of course, he traded them off with Deke Dickerson, who despite playing with a few other acts seem to have a little more color brought out in his playing given who he was playing for.
The first few songs I saw of the Remains were pretty boring, but I hear that's what everybody thought, and then it got better. Well, instead I saw The Bo-Keys who played some very tight funk... until Dennis Coffey came out. Listen, that guy is worth a $50 ticket alone. I can't think of a good way to put it at this out, but Coffey had all the technical ability of Yngwie Maalmsteen, except it's actually listenable and he could even play nicely within the songs the Bo-Keys were playing.
The Legendary Stardust Cowboy was another oddball act, though predictably so. Imagine you typical middle-class 50-year old, kicking in the air, yelling "ARE YOU KNOCKING ON MY DOORKNOB? YOU CAN KEEP KNOCKING UNTIL YOUR KNUCKLES ARE SORE. DOODLEY-DOO! WE'RE IN THE DESERT BOYS!"
Ray Sharpe (with the A-Bones backing him up) was cute. He sort of looked like a fish and really enjoyed the little phrases he would say. I did too. He would start out songs saying "this was supposed to be my big hit... but it missed!" But he doesn't sound bitter, it sounds more like "whoopsie!". He would make us shout out "but Goodie!" after he said one of his songs were an oldie. He would end all of his songs either really drawn out or abrupt ways and "the A-Bone band by way of Brooklyn" (as he called them) were visibly really confused. But he could really bust out some great licks and more so than any other group, including the Bo-Keys, he turned the House of Blues into a sock hop.
And then Lady Bo... I was a little skeptical after the interview session. She had a very "I'm a professional, playing music since three, doing dance in Giuliard" blah blah sort of person, rather than the Rock & Roll attitude a lot of people showed. So when she takes stage, we were treated to 5 minutes of her getting the sound "just right", then screwing around to a Bo Diddley beat, a little bit of Bo Diddley medley except her guitar is running through some oscillating pedal so it sounds like a slow siren, then she wants the audience to clap the half-notes to the Bo Diddley beat. Yeah, people clapping everywhere. Second song was a slow, slow number and... I was out of there.
I'm omitting some things that I didn't catch much of or didn't have much to say about, but really it was still a pretty great night.
Little Willie Littlefield was on when I came in and really got things started just right. It was a simple setup, just him and a keyboard and a mic that the kept missing when he's turn to the audience and sputter something. And I mean sputter, the old man was covering himself in his own spittle as he played and dousing himself with water in-between sets despite the main stage being a freezer the entire night. High point: "Do y'all want some boogie-woogie?" he says smiling with a set of teeth seemingly offset to the right about five teeth. He proceeds to slam on the keys with what appeared to be his right hand, left hand, and stomping foot all in a different time, and I don't think he meant it. He's slamming down on the wrong chords all over the place and oddly enough it all fit. This old dude was pure rock & roll and I cracked up the entire time while he would play some boogie woogie, then Mary Had A Little Lamb, then turn to you and go "YEAH!" and bust into something else before London Bridge (followed by another YEAH). He came on later that night and though I went out for pizza after seeing about three songs, I hear he started playing the piano by banging it with a shoe in his hand.
I was really excited for Classie Ballou after seeing him talk during the conferences. This man was busting out world-class rock & roll instrumentals like "Classie's Whip" way down in Cajun country, yet thought his interview was talking about "Syrup" music before he got it and busted out a little Wipeout. It's not that Classie couldn't play, the way it was amplified and mixed, the guitar was thin and the drums were super-huge, sounding like a bad 80's comeback album. Speaking of which, check out Classie's myspace for a good laugh. Regardless of his performance, his past work and his general character stands: this guy is an overlooked legend of Louisiana music.
Little Joe Washington knocked just about everybody out. You see, a the problem with a lot of the more ho-hum artists is that they've lost their sense of adventure. Little Joe Washington just lost all semblance of giving a shit and has turned out better for it. You have this man of mysterious age and limited teeth busting out all-over-the-place guitar solos that fall out but eventually back into time (much to the relief of his seemingly worried sidemen). Meanwhile he squeaks out typically blues lyrics while plucking and often just straight up rubbing the guitar against his teeth. Or hat. Or leg. At least half of that show was played with the guitar being "played" in some unconventional manner, but he really truly could still play guitar. After Dr. Ike came out for everybody to give him a round of applause he hopped off the front of the stage and extended his hat for tips.
Dale Hawkins, reunited with his guitarist James Burton after ~50 years, just straight out tore it up. Dale was in good spirits and damn James Burton just spits out these fiery rockabilly solos as if he were talking. Of course, he traded them off with Deke Dickerson, who despite playing with a few other acts seem to have a little more color brought out in his playing given who he was playing for.
The first few songs I saw of the Remains were pretty boring, but I hear that's what everybody thought, and then it got better. Well, instead I saw The Bo-Keys who played some very tight funk... until Dennis Coffey came out. Listen, that guy is worth a $50 ticket alone. I can't think of a good way to put it at this out, but Coffey had all the technical ability of Yngwie Maalmsteen, except it's actually listenable and he could even play nicely within the songs the Bo-Keys were playing.
The Legendary Stardust Cowboy was another oddball act, though predictably so. Imagine you typical middle-class 50-year old, kicking in the air, yelling "ARE YOU KNOCKING ON MY DOORKNOB? YOU CAN KEEP KNOCKING UNTIL YOUR KNUCKLES ARE SORE. DOODLEY-DOO! WE'RE IN THE DESERT BOYS!"
Ray Sharpe (with the A-Bones backing him up) was cute. He sort of looked like a fish and really enjoyed the little phrases he would say. I did too. He would start out songs saying "this was supposed to be my big hit... but it missed!" But he doesn't sound bitter, it sounds more like "whoopsie!". He would make us shout out "but Goodie!" after he said one of his songs were an oldie. He would end all of his songs either really drawn out or abrupt ways and "the A-Bone band by way of Brooklyn" (as he called them) were visibly really confused. But he could really bust out some great licks and more so than any other group, including the Bo-Keys, he turned the House of Blues into a sock hop.
And then Lady Bo... I was a little skeptical after the interview session. She had a very "I'm a professional, playing music since three, doing dance in Giuliard" blah blah sort of person, rather than the Rock & Roll attitude a lot of people showed. So when she takes stage, we were treated to 5 minutes of her getting the sound "just right", then screwing around to a Bo Diddley beat, a little bit of Bo Diddley medley except her guitar is running through some oscillating pedal so it sounds like a slow siren, then she wants the audience to clap the half-notes to the Bo Diddley beat. Yeah, people clapping everywhere. Second song was a slow, slow number and... I was out of there.
I'm omitting some things that I didn't catch much of or didn't have much to say about, but really it was still a pretty great night.
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