The boogie is alive and well in Honolulu. Canned Heat put on one absolutely smokin' show at "The Boogie Blues Dance Party" Friday night August 31st that had everybody in the Hawaiian Hut rocking. It's the same all over, everywhere Canned Heat goes, they get their crowd to boogieing and Honolulu is no different. This band has been around for well over thirty years, so it's sincerely amazing how fresh they sound while still evoking the spirit of members past. Fito de la Parra, the "Survivor in Charge" who was "born to play in Canned Heat", has been with the band since 1967. He does a remarkable job of finding and recruiting the right musicians to carry on the Canned Heat tradition, while continually moving forward into this new millenium. This current line up certainly proved to be more than up to the task and it will be a real pleasure to hear their first CD which is apparently now in the works.
The "Boogie Blues Dance Party" began with local band, Factor X. They are comprised of guitarist Jam Acquino (who also plays with Bluzilla), a singer named Tony, and Bluzilla's previous rhythm section. Jam is moving to the mainland later this month, so it's too bad we won't get to watch this group develop. They split their vocal chores pretty equally for a well chosen set of covers that included Cream's "Politician", "The Sky Is Crying" by Elmore James, and Jam's showcase "Voodoo Chile". They did a very fine job of setting the stage for Fito and Canned Heat. Good luck to Jam on his venture to the mainland!
Canned Heat opened their first set with one of my favorites from their "Internal Combustion" CD: Dallas Hodge takes the vocal of "I Used To Be Bad" and, because of Hodge's sheer size, you believe him! :-) Next up was the old Canned Heat favorite "Bullfrog Blues" from their self titled debut album which was released on Liberty Records back in July 1967. While I never did get the chance to ask Fito exactly what the heck "Bullfrog Blues" are, I think we all had 'em by the end of the song. Similar to Fito's uncanny ability to find the right musicians for the band is his ability to mix up the old favorites along with enough new material to keep all of it sounding fresh. The enthusiastic crowd was treated to all three of Canned Heat's biggest hits "On The Road Again", "Goin' Up The Country", and "Let's Work Together", as well as several new songs by this new edition; In particular, a slow blues about a couple who fight all the time called "1-2-3, Here We Go Again". Stanley "The Baron" Behrens was featured on saxophone during an unusual arrangement of Freddie King's "Tore Down".
To open the second set, the Heat played "Amphetamine Annie", a song that is still topical thirty two years after it's initial release on the "Boogie With Canned Heat" album released in January 1968: Speed kills! Clearly John Lee Hooker was one of Canned Heat's primary influences and they performed together frequently. This show was appropriately dedicated to him and the "John Lee Hooker Boogie", also from the "Internal Combustion" CD, was another highlight of this show. Dallas Hodge (brother of bluesman "Catfish" Hodge) changed the lyrics to explain how a boogie is like a gumbo and the ingredients must be added one at a time and allowed to simmer. Each member of the band got a chance to solo, including Fito and bassist Greg "Gator" Kage. John "J.P." Paulus exchanged his Strat for a capoed Gibson SG which nicely captured the low down dirty sound necessary to spice up this hot can o' gumbo. Only one of the songs from Canned Heat's latest album "Boogie 2000" was part of either set. Towards the end of the first set Greg Kage sang his composition "World Of Make Believe" that also employed some nice "psychedelic" guitar by J.P.
After two generous sets, Canned Heat returned for a final encore of "It's The Same All Over" from 1969's "Halleluja" album and gave Honolulu the Canned Heat Boogie Seal Of Approval. :-)
.....and Don't Forget To Boogie!"
The Honolulu Academy of Arts Theatre probably isn't the first venue that comes to mind for a blues gig but it sure is a great showcase to display the virtuosity of the musicians who choose to pursue this muse. On Friday night August 3rd, 2001 Honolulu's premier Blues band, Third Degree, supported stellar Chicago guitar slinger Steve Freund at this intimate venue to the delight of a near capacity crowd. You can't help but be impressed with Third Degree, no matter how many times you've seen them. They were in exceptional form on this night and proved to be quite durable as well. The show clocked in at almost three hours and the rhythm section of James Ganeko and Milan Bertosa sounded nearly as fresh during the second encore as they did for the opening number! For their opening set, Third Degree played most of the songs from their excellent debut CD. Some highlights of their set were James Ronstadt's "Back In Memphis" and the anecdote that he told about the Memphis geese that attacked him on the banks of the Mississippi River a few years ago (and he still wants to go back there ;-), a cool new song from Chris called "One Good Reason" and their version of Muddy Waters's "Long Distance Call" before the intermission. Following the short intermission, Third Degree took the stage again and played Junior Wells' classic "Little By Little" before it was time for Chris to introduce the night's headliner, Steve Freund. If celebrity were based on talent, we'd never have the chance to see Steve Freund in a venue as small as The Honolulu Academy of Arts Theatre, we'd be seeing him at Aloha Stadium! This was his first trip to Hawaii but he showed a remarkable amount of aloha and seemed genuinely happy to be here. He started with "Every Day I Have The Blues" and his Strat sounded remarkably like B.B. King's Lucille for this number. Next up was Otis Rush, Steve and Third Degree ran through an absolutely smokin' version of "All Your Love"! The next tune offered up by Steve was "I Love Money" from his first Delmark CD "'C' For Chicago". This is one of my personal favorites because "Money just don't seem to care for me" either. ;-( If you haven't heard it yet, buy the CD! :-)
There were many highlights in his generous set but the semi autobiographical title track of "C For Chicago" stood out. He treated the Peter Green fans in attendance by doing his cover of Duster Bennett's "Jumpin' At Shadows" from "C For Chicago" and Greenie's "Long Grey Mare" from "Wild Cards" a 1995 disc that Steve played on with Delmark labelmate Al Miller. "Fine Looking Woman" is a cool original, based on the "Killing Floor" riff, that is off of Steve's latest CD "I'll Be Your Mule". The title track to that disc was also very enjoyable. "Cool Dream" is an instrumental that is appropriately named. He also did Mike Bloomfield's "Working Man" and Albert King's "Wild Woman". The enthusiastic crowd summoned the band back for an encore of Tampa Red's "Rambler's Blues" and another one of Steve's original instrumentals called "Fittin' To Go" which featured some fine guitar playing from both Steve Freund and Chris Planas. One of these days one of these guitar slingers is going to be so impressed with Third Degree that they are gonna try to take them away from Hawaii, they're that good.
A big mahalo goes out to Kevan Scott
and Mudman Productions for bringing Steve Freund
, Dave Specter
and other great musicians to Hawaii for all of us to appreciate and enjoy!
The King of the Blues demonstrated once again that he is also one of the best Ambassadors of the Blues at the Neal Blaisdell Center on Friday night March 9, 2001. His show drew a widely diverse crowd of people and proved that, although he might be 75 years old and has been recording since (at least ;-) 1949, the Thrill is most definitely NOT Gone!
Local favorite Willie K, who just got back from a tour with Willie Nelson, fulfilled one of his lifelong dreams by opening for the King. Willie (a Maui resident) hasn't played as a solo artist on Oahu in a few years and his local fans roared their approval as soon as he stepped up on the stage in his slippers and farmer's overalls and plugged his hollow body guitar in. His set was only about a half hour long, but covered an awful lot of musical ground in that brief period of time. A powerful version of "Stormy Monday" was followed by a jazzy "Summertime" with some scat singing that mimicked an entire band including horns,bass and drums.
The beautiful Jimi Hendrix inspired "Waterfall" from his 1992 "Here's My Heart" CD was the only song that he performed from one of his five CDs as a solo artist (not including "Greatest Hits" compilations). His set ended with Willie singing a Hawaiian song (forgive my ignorance for not knowing it's title) in a gorgeous falsetto and for, all of his formidable guitar playing skills, he has a heavenly voice. The shouts of "Hana Hou" brought him back to the stage and for the encore he did his version of "We Are The World" in which he does ALL of the celebrity voices of the original recording. Let's hope he (and Amy Gilliom) will have time to play on Oahu more regularly again.
The B.B.King Blues Band: James "Boogaloo" Bolden-Bandleader and trumpet, Walter R. King (B.B.'s nephew)-Saxophones and flute, Melvin Jackson-Saxophones, Stanley Abernathy-Trumpet, Leon Warren-Guitar, James Toney-Piano/Organ, Michael Doster-Bass and Calep Emphrey, Jr.-Drums showed off their considerable chops with a couple of instrumentals that left plenty of room for each of them to solo. When B.B. sat down with Lucille and joined the rest of his band for Louis Jordan's "Let The Good Times Roll" the crowd jumped to their feet and sang along with him. B.B obviously enjoys what he does and he has been doing it for so long that he makes it seem almost effortless. Some of the other songs in the set were "I'll Survive" and "Bad Case Of Love" from 1998s "Blues OnThe Bayou," "Piece Of Mind" from 2000's "Making Love Is Good For You" and yet another Louis Jordan classic: "Caledonia".
The horn section took an extended break while B.B. and Leon Warren's guitars along with James Toney's piano and organ (no d#*n synthesizers-how refreshing!) were featured on a couple more Louis Jordan tunes ("Early In The Morning:" and "Ain't That Just Like A Woman" which led him to play "You Are My Sunshine" for the ladies :-) and then we were treated to one of his most well known classics: "How Blue Can You Get?" A couple of songs that B.B. performed with Eric Clapton and his band on their 2001 Grammy Award Winning "Riding With The King" were up next and B.B. asked the audience to pretend that Eric and his band were there. There was no need for that, as far as I was concerned, we were listening to a much better band anyway ;-) B.B. wrote "Three O'Clock Blues" in the first place and he sure didn't need Clapton (or anybody else) on Little Walter's "Key To The Highway" either.
The horns re-emerged from their break and the whole band played the by now obligatory "Thrill Is Gone." They still bring excitement out of that chestnut. "I Know", "I've Got To Love Somebody," "Please Accept My Love," and "Making Love Is Good For You" rounded out the show before the lights went on and ended his generous two hour set.
At the end of each show, B.B. throws guitar picks and trinkets to the audience. Unfortunately some drunken little, low life punk shoved and knocked my wife down and hit several other women in his attempts to steal these souvenirs from them. A complaint was filed with the HPD and he was subsequently arrested, but it's too bad this had to happen and nearly spoil an otherwise very enjoyable evening.
A force of nature swept over Kakaako Waterfront Park on Friday night February 9, 2001 and, fortunately for the thousands of fans gathered at the outdoor venue, it wasn't the predicted rain. Jonny Lang's third appearance on Oahu was one that will certainly not be forgotten any time soon and will likely be fondly remembered years from now.
Before the lights go down and the show begins, Jonny appears to be a bit shy and more than a little uncomfortable with all of the trappings of the tremendous success he has enjoyed at such a tender age. He has been vacationing here in the Islands and, in fact, has celebrated his last two birthdays in Hawaii! While we are indeed fortunate to have him play here regularly, his staff could sure use a refresher course in ALOHA! He wasn't allowed to (or just plain wouldn't) sign autographs and he didn't talk to the media (not even the Honolulu Advertiser ;-). My wife was even admonished about taking pictures during the sound check by one of his representatives, who condescendingly informed her that this is "'pop', not blues!" Well, excu-u-use me! ;-)
Oooh...but when those lights go down and it's showtime, it's almost as if Jonny becomes possessed and the intensity of his performance is practically stunning. His frenetic guitar playing is surpassed only by his impassioned vocals. This young man can sing way beyond his twenty years!
His opening number, "Still Raining," didn't unleash a downpour, but did manage to get the entire audience up on it's feet, swaying and dancing to the music of this dynamic young man and his quintet! Their set showcased songs from both of Jonny's A&M releases, as well as a few new numbers ("Two Very Different Things", "It's Only The Wind", and "My Irish Angel") from his upcoming album.
Despite the earlier admonishments by his lackie, Jonny dipped deep into his blues bag and pulled out Sonny Boy Williamson's "Good Morning Little School Girl" and Tinsley Ellis' "A Quitter Never Wins". He is not bound by any musical category, however, and the band also gave us the swamp blues rock of "The Levee", the jazzy "Rack 'Em Up", the Prince penned funk of "I Am" (which featured Jonny and the sax player in an incendiary duel), the soulfull "Everything Your Looking For" and, of course, some of the hard blues-rocking that he's noted for, like "Before You Hit The Ground", "Walkin' Away", "Right Back", and "Second Guessing". They brought their set to a close with "Wander This World" and Paul Diethelm getting to play his National Steel guitar. The enthusiatic audience was then treated to an encore of "Breaking Me", plus his blockbuster hit "Lie To Me".
Bob Jones and Hard Drive (augmented with the Kakaako Horns) opened the evening's festivities and gained themselves some new fans in the process. Their set began with their take on Nick Gravenites' "Born In Chicago", included a cool update of the old Steely Dan tune "Black Friday", along with Albert King's "Crosscut Saw", Stevie Ray's "Cross Fire", and Jimi's splendid "Little Wing". We're looking forward to seeing them again at the Eighth KIPO Blues Night on February 24 at Sand Island R&B!
(Mahalo to Lou Wolfenson for this picture of Little Charlie & The Nightcats on Maui)
Little Charlie and the Nightcats and John Mayall's Bluesbreakers Les Hershorn's Blue Rooster Productions and the Kona Brewing Company brought Little Charlie and the Nightcats and John Mayall's Bluesbreakers back to Hawaii on an incendiary twin bill on January 12, 2001. As is typical of Les' shows, either one of these bands could have been the headliner! Someone had to open the show though, and in this case it was one of the most exciting live blues shows on the road today, Little Charlie and the Nightcats. Led by the "dangerous" guitar of Little Charlie Baty and the dynamic harp, vocals, and hipster personae of Rick Estrin, it is nearly impossible to describe this band's sound, but it has been likened to "Louis Jordan and Little Walter jamming with Charlie Christian in front of the Five Royales' rhythm section" and I can't do any better than that! :-)
The Nightcats played most of their favorites, "Clothes Line", "My Next Ex-Wife", "Don't Do It", and "Dump That Chump", while putting on one of the best shows seen in Hawaii in some time. During a slow blues number, Charlie and Rick exchanged instruments with both musicians doing a credible job with each others axe; although Rick did joke that he didn't know what the hell he was doing with that guitar anyway and upon getting his harp back, he asked Charlie if that was a speck of spam he saw stuck in it's reeds. He then proceeded to stick his harp into his mouth sideways and play a solo. Don't get me wrong, these guys are outstanding musicians who also believe in giving their audience their money's worth by entertaining them. Their encore was kind of a surf guitar tribute to Hawaii by Little Charlie Baty that might have even made Dick Dale envious. Judging from the reactions of people that I spoke with, this band won themselves a lot of new fans here in Hawaii. Some folks may not have known who Little Charlie and the Nightcats were when they walked into the Hawaiian Hut on Friday night, but they sure won't be forgetting them anytime soon. I give John Mayall's Bluesbreakers a lot of credit for touring with Little Charlie and the Nightcats because that is not an easy act to follow. They don't call John Mayall the "Father of English Blues" for nothing though and his Bluesbreakers managed to get almost every one of the 500-600 butts out of their seats. By now everyone knows that this is a band that has employed some of the "heaviest" guitarist players in the business, (Eric Clapton, Peter Green, Mick Taylor, Harvey Mandel, Coco Montoya, Walter Trout, etc, etc, etc. Their successor, Buddy Whittington, should be elevated to similar heights, he is that good! Buddy opened the show with a song called "Out Of Our System" before they brought out the familiar figure of their boss, John Mayall. The band then tore into "White Line Fever" and "Always A Brand New Road" from their latest CD "Padlock on the Blues". It has been a more than thirty year tradition for Bluesbreakers guitarists to cover one of Freddie King's tunes and Buddy has siezed "Sen-Sa-Shun". For this night's show, "Sen-Sa-Shun" evolved into a wild Freddie King medley that was truly a highlight of the show. John invited some of the dancers to come up and dance onstage while he played a solo boogie-woogie number on his electric piano. Both John and Buddy sang on "Big Leg Woman".
A couple of other real crowd pleasers were "A Hard Road", also from his latest CD, and a radically rearranged "Room To Move" from the classic 1969 album "The Turning Point".
Unfortunately though, this gig once again demonstrated the lack of a decent venue in Honolulu that can accommodate crowds of this size. The Hawaiian Hut probably only has room to comfortably seat about 400 people, so if you weren't there, you can imagine how overcrowded it was. There were many people who were unable to find any seating, which forced them to stand where they were blocking other people's $35.00 views. After a few (or in some cases, more than a few) of them Kona beers, I heard a few heated exchanges. Thankfully, everyone kept their cool. On the bright side, the next couple of shows will be in larger venues: Jonny Lang will be outdoors at Kaakako Park and B.B. King will be at the Blaisdell.
Dave Specter with Third Degree
Oahu's small (but vocal ;-) blues community came in out of the rain on Saturday night November 4th and packed Anna Bannana's to the rafters. It was a real treat to see such a large crowd in attendance and Dave Specter, along with Chris Planas and Third Degree blew the roof and doors off the joint! What a night!
Third Degree, who have recently completed and released their debut CD on King St. Records, opened the night with vocalist and harp player, James Ronstadt's take on the classic Tommy Tucker hit, "High Heel Sneakers" and vocalist and guitarist Chris Planas original, "I Will Be There", both from their new disc. We've been following these guys for a few years now and they just keep getting better and more confident with each and every outing. If you haven't seen them yet, why not?
Delmark recording artist, Dave Specter was announced and it was time for some "Blues A-La-King" from Dave's newest release "Speculatin'" which led to some "Boss Funk" from Dave's "Blues Spoken Here" CD. Dave loves Hawaii and (fortunately for us ;-) comes here often, but he is from Chicago, home of the urban Blues legends, and we all came to hear him play some real Chicago Blues so they threw down Junior Wells' "Little By Little", an updated version of the Muddy Waters classic "Long Distance Call", Johnny Winter's "Tired Of Tryin'", and Willie Dixon's "300 Pounds of Joy". They threw in a little Freddy King before taking a well deserved, short break.
When Third Degree returned to the stage, James Ronstadt reminisced about being "Back In Memphis" and Chris sang his heartfelt blues about a part time lover , "Every Other Day" from their new CD. When Dave rejoined the band, he was still in the mood to pay tribute to Freddy King with "San Ho Zay". He then threw us a curve by announcing that they would play the hit single "Haleiwa Shuffle" :- ) off of "Speculatin'" but gave us the haunting "Dark Hour Blues" from the same CD instead, followed by the late, great, Magic Sam's "All Your Love" This set was decidedly more eclectic than the first with Dave with the band exhibiting their prowess in the many facets of blues and jazz musics and next we were treated to "Just Like A Fish", then "Little Red Rooster" another Willie Dixon tune made famous by Howlin' Wolf. The dance floor was swinging with "Rock With Me Tonight" but was really reelin' and rockin' for the Willie Dixon penned, Muddy Waters chart topper, "Got My Mojo Workin'". "Messin' With The Kid" was intended to be the closer but the wildly enthusiatic crowd cheered for more until they delivered Lowell Fulson's "Reconsider Baby" and finally "At Whit's End" from "Speculatin'". For a few hours it seemed like Anna Bannanas was in Chicago and that was a good thing for one rainy night in Honolulu.
The Academy Theatre may not be the most accessible place in town these days, what with the remodeling and construction currently going on at the Honolulu Academy of Arts but it was certainly well worth the extra effort it took to get in to see local virtuoso jazz guitarist, Vernon Sakata perform there on Saturday night October 14th.
The wildly ecclectic Sakata had an all star band of local talent backing him; veteran drummer Noel Okimoto, keyboard player Hal Mita, saxophonist Tim Tsukiyama, bassist Dayton Arima and percussionist Sallam Tillman.
Due to the harsh economic realities of trying to keep a band, Vernon plays all of the instruments on his two Woofy Doof Records CD releases "Millenium" (1998) and "Pandora's Box" (1999) so this was the first time this music had been played by these musicians but that was part of what made it so unpredictable and exciting!
"Cuckoo Jazz" as he likes to call it. :-) or "World Jazz Accoustic-Electric Guitar Instrumentals", whatever you wanna call it, it's damned good music!
When a few "little things", like the battery pack he had plugged into this hollow body guitar acted up, or he broke a string on his Strat, Sakata demonstrated his "stand up" talent, engaging the audience in a few good laughs, setting the mood.
They opened their set with "Le Chicken Prance", a cool, funky jazz tune from "Millenium" and during the course of the evening's performance (of over an hour and a half) the audience of about a hundred were treated to masterful interpretations of almost every style of music imaginable. The calypso like "Juju Boy" and the smooth jazz of "Booboo's Day Out" were two of the other tunes from "Millenium" that we were treated to.
From the more recent "Pandora's Box" we heard "Dreaming of Sleep", a beautiful song that sounds pleasantly reminiscent of Jimi Hendrix "May This Be Love" which he performed on a nylon stringed hollow bodied guitar. In celebration of Puerto Rico Day, "Chili's Cha Cha", some mui caliente latin jazz in the Santana vein. "Hippity Hop" is one of those things that would be pretty difficult to categorize but has a nice "A Go-Go" vibe like John Scofield on his latest recording with Medeski, Martin & Wood, "A Go-Go".
A "Special Guest" female vocalist delivered a touching "Wait In Vain" by Bob Marley which was well received but even more surprisingly they delivered a killer version of "Red House" which mutated further into an incredibly adrenaline charged "Johnny B. Goode".
When the audience demanded yet another encore, Vernon protested that they did not know any more songs so would have to repeat one that we had already heard and closed with a grand finale of "Le Chicken Prance" (Revisited ;-).
Both CDs are currently available at Tower Records and we recommend that you buy both of them. Help support Vernon Sakata and our other talented local artists!
Blue Rooster Productions and the Kona Brewing Co. threw a Blues Bash and Dance Party at the Hawaiian Hut in the Ala Moana Hotel on Wednesday night, September 20th featuring the Legendary Guitar Shorty and his rock solid backing band, the Central Avenue Rythm & Blues Band with bassist Howard Deere. Howard has made all three trips to the Islands with Shorty but on this night he had laryngitis which unfortunately prevented us from hearing his amazing vocal range. He did open the show with B.B. King's "Everyday I Have The Blues" but handed the vocal duties over to the band's rhythm guitarist for the next tune. While Shorty was being introduced to the audience, he could be heard playing from behind the curtains, he emerged playing a turbo-charged version of another B.B. King staple . Shorty was already "on fire" and needed to swallow a full glass of water after this rendition of "Why I Sing The Blues" and I thought I saw steam coming out of his ears :-). He then changed the pace a bit with the smoldering slow blues "I Wonder Who's Sleeping In My Bed" from his latest release, 1998's "Roll Over Baby" on Black Top Records .
Guitar Shorty was married to Jimi Hendrix' sister-in-law, Marsha from 1962 until 1970 and somehow, on this occasion, two nights after the thirtieth anniversary of Jimi's untimely demise he summoned up the Holy Ghost with "Hey Joe", Jimi was in the house! Shorty walked through the crowd, stopping at tables to play the guitar behind his back, with his teeth, his arm, his okole and even his feet! The man puts on a show!!! They closed out the first set with "Roll Over Baby" and Shorty's version of "Johnny Guitar"-"They Call Me Guitar Shorty and I've Come To Play In Your Town" and then resurrected Jimi again with a powerfull "Star Spangled Banner" which mutated into "The Battle Hymn of the Republic". He could presumably improvise all night long, what an imaginative guitarist.
Shorty was very generous with his time, signing countless autographs and "talking story" with anyone and everyone who approached him during the set break. When the band returned, the rhythm guitarist got the second set going with Little Johnny Taylor's "If You Love Me Like You Say".
Shorty fortunately did not get "writer's cramp" signing all of those autographs and after a (relatively) short instrumental, Jimi was summoned one more time with a long jam on "Voodoo Chile" (with a shot of "Third Stone From The Sun"). Next up was Shorty's own "Sugar Wugar" also from "Roll Over Baby". He brought things down to a slow boil with a soulful "I Ain't Gonna Worry My Life Anymore". Some cool "Hendrixian" sky church surf guitar music which will be on Shorty's upcoming release "Guitar Shorty Is On A Mission" gave us something to look forward to. A broken string during "The Blues Done Got Me" from his second Black Top Records release .
"Get Wise To Yourself" gave the rhythm guitarist another chance to show his stuff while Shorty restrung his axe. The set ended with an absolutely outasight instrumental version of Curtis Mayfield's "People Get Ready". Shorty and his band even returned for an instrumental encore. There undoubtedly were some in the audience who may have been a little disappointed that he didn't perform any of his acrobatic stunts at this particular show I still think that Guitar Shorty may deserve the title of "Hardest Working Man In Show Business"!
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