What's a Rock 'n' Blues Stew II? Glad you asked!

 Paperback (and kindle)

 How to make a rock & blues stew

 Mix together with extreme caution and a touch of frenzy: an insatiable passion for the wild and dangerous smokin’ steamy blues and gutsy rock ‘n’ roll; a healthy measure of renegade rebelliousness and rambunctious mischief; full-moon madness driven by the zodiac and other Cosmic capers; a razor-sharp mind that splashes words like a paintball fight; a call for the open road and skies—and you have the ingredients for the music, the people, the backstage presence and the sights and sounds of Rock ‘n’ Blues Stew II.  Follow what my friends call “Mitch-Tripping the Musical Universe” with the heroes, angels, and devils from the onstage and studio days of Derek and the Dominos, George Harrison, The Band, the J. Geils Band, Delaney and Bonnie & Friends with Eric Clapton, the Mahavishnu Orchestra, Leo Kottke, Richard Thompson, Rory Block, Buddy Guy, and many others of voice and instrument.

 Here are some of the essays, interviews, and articles that brought me friendship and fun through the world of the music circuit and the artists who make it their life calling.  From Nashville and Memphis to the Ozarks, down in the Mississippi Delta, Gadsden, AL, Macon, GA, Muscle Shoals, AL, or Red Bank and Asbury Park, NJ:  if you play it, shake it, or just let it give you the groove, then drop in these stories and let it flow. It’s a stew of rock and blues for your musical news.  Living and loving large as a freelance editor, travel with me to the homes and life stories, concert backstage rooms and sound studios, and the fame and glory of some famous and upcoming drummers, guitar players, vocalists, and songwriters of our time—and the tales they have to tell.

Omissions--these never made the final copy

 I left these out. I had two of Leo Kottke already featured, but I truly enjoyed his work so much that I wrote these as well. The George Gershwin/Mardin Abadi release is no longer in print, but I have the audio. If there's a pianist in your life or someone who is an absolute Gershwin fan, write me at mitchLOP8@yahoo.com and I'll send you the MP3.

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Leo Kottke – Three Albums 

(“Time Step,” Mudlark,” “Self-Titled”)  “Time Step”

Strange to consider writing a Leo Kottke review and starting off about his vocals--but it's plain that his weary/tired groan finally finds its comfort zone. Credit T-Bone Burnett for production wisdom and selection for that--and Leo's ability with his fragmented rambling to minimize damage where possible ("The Bungle Party").

Instead, he pours some warmth into the father-in-law-joke of "Saginaw, Michigan" and the spirit of generosity on Kris Kristofferson's "Here Comes that Rainbow Again." It's not easy but certainly possible, however, to overlook the contemplative "Starving," "Running All Night Long" or the monotonous "The Wrong Track." Better yet, "Rings" and "Julie's House" are vibrant with sensitivity (and Emmylou Harris's background vocals), but the winner is "I'll Break Out Again Tonight," a ballad of a love-and-homesick convict. Points also for polite guitar noodling on "Mr. Fonebone."

I wish though that he had included here the version of "Little Martha" that appeared on the Chrysalis instrumental package; he and Albert Lee made that float on glass slippers.

“Mudlark”

Leo really outdoes his virtuosity here, and there's even room to smile at the few songs with vocals (exceptions allowed for taste with the guest appearance on "Monkey Lust"). Melodically, with "Stealing," this may be his best: one of the most gorgeous songs ever tried throughout Kottke's career; (although truly taken from several sources) it keeps blooming each time it's played. (Hint: on hard-to-find shows from the 70s via collectors, he burned through that on a sizzling 12-string medley that starts with "Last Steam Engine Train.")

Instrumentally, Kottke and mates (among others, a nifty job by either Paul Lagos or Kenny Buttrey on drums) have left as testimony 14 nifty tracks with variety: quick-step dancing jollity and old-fashioned appeal ("Cripple Creek"), humorous bursts of male hormonal desire ("Bumblebee" and "Standing in My Shoes"), and even some J.S. Bach ("Bouree"). Kottke's urge for the bizarre-yet-appealing gets two fine slide features with "June Bug" and even better, a retooled "Machine #2," which shows how much more a song can do with the right percussion backing.

Bukka White (and John Fahey) have their roots (and fingers) in the design of "Poor Boy," but Leo's vocals and lyrics undo whatever magic "Lullaby" is supposed to make. Leave some space for "Room 8" to justify Kottke's serious treatment, because he's back again to sing "hear the Wind Howl," which may be more appropriately called "Hear {Leo} howl."

(Self-titled “Leo Kottke”)

I'd call this Leo's "Romantic Period," because he really shows the creative potential of the 12-string: much like he's painting colors and tones with the notes he's plucking in order to create a landscape-of-sound theme for each song. It's an enigmatic collection--no two songs quite repeat, and thankfully, nothing spoils this by rehashing previously released material.
The energy is very high in his agility; minor chord combinations that enhance effortlessly rather than challenge the ear, and a lush assistance by others on keyboards, woodwinds, and even strings. Cheers to the drummer for giving such melodic textures and interpretations from the kit; my first thought is Kenny Buttrey.

Song-wise, there's something for everyone, and maybe the highlight is the cinematic "Range," or even the appropriate, European-like "Maroon," with a harp and accordion alongside Leo's classical touch. It's followed just as easily by the elasticity of "Waltz," showcasing Leo's unique touch with a slide. I can't quite tag the vibraphone-like sounds on "Death By Reputation," but it works just fine.  Ditto for the poetic-like interpretation (with flute) of "The White Ape" (following as usual the Kottke pattern of strange titles.)  Naturally, there is plenty of the good ol' kick-up-your-heels action ("Buckaroo," "Hayseed Suede," "Airproofing," and the chugging engine of "Up Tempo"). It all comes back home for another quiet farewell with "Shadowland" and a sunset-in-the-desert orchestra supporting his undulating slide and quivering vibes.  Bravo, Leo. This should be framed and hung on a wall for its conceptual artistry and the tunes played on speakers as a backdrop.

George Gershwin – “Rhapsody in Blue &

Six Scenes from Porgy and Bess” – Mardin Abadi, Piano

 

(including "Summertime," "You is my woman now," "My man is gone," and "It Ain't Necessarily So")

 

(In the film, "George Gershwin" is portrayed by Robert Alda (Alan's father). This was not the true debut, but the film presentation. The actual close-ups of the hands playing piano were by Oscar Levant. Still, it is beautiful to see and hear the majesty and brilliance of the composition, as well as the interpretation by Marden Abadi.)

 

(My notes and essay): 

George Gershwin (1898-1937) was one of the most significant and popular American composers of all time. He wrote primarily for the Broadway musical theatre, but important as well are his orchestral and piano compositions in which he blended, in varying degrees, the techniques and forms of classical music with the stylistic nuances and techniques of popular music and jazz.  His classic "Rhapsody in Blue" has been performed thousands of times by musicians and is considered a landmark in the incorporation of jazz into an orchestral format.  His only foray into opera, "Porgy and Bess," is noted for its origins in the history of black America, as well as its English lyrics instead of Italian or German.

 

His untimely death at age 39 from brain cancer cut short a career which was just fulfilling his potential as a composer.  "Summertime," one of his best-known tunes from Porgy and Bess, has been covered by Janis Joplin, Ella Fitzgerald, Sara Vaughan, Nina Simone, Ray Charles, Billie Holiday, John Coltrane--and even the Doors and Ten Years After.

 

A classically trained pianist, Marden Abadi took on the task of interpreting Gershwin's work on Rhapsody and Porgy and Bess.  Originally featured in a cassette version, Abadi explained his ideas about adapting the vocal lines of six pieces from the opera to follow both the original score as well as the vocals.  For Rhapsody, he tried to stay true to the original intent of Gershwin's use of various styles, including ragtime, boogie-woogie, cakewalk, and more, to reflect the variety within Gershwin's writing.

 

I had a copy converted into an MP3 format.  This is the reproduction of that cassette, and it does not exist otherwise--so consider this an exclusive.  (No, it's not "ear-perfect" sound because of the cassette origin--but consider it a rare find and therefore worth the effort.)

For this reason, I called Marden Abadi in 2004 to ask him to consider re-releasing the cassette version in CD format, but he was unable to do so. (When you love music as I do, research is part of the process. I am thankful I could find him.)

 

 

Table of Contents

 Contents

 How to Make a Rock ‘n’ Blue Stew……………………8

Contents…………………………………………………..10

Preface……………………………………………………..14

Foreward……………………………………………........18

Introduction………..……………………………………..20

CD Reviews

Soup: A Tour of Two Cities…………………………….27

Albert King and Stevie Ray Vaughan: In Session…32               

The Mahavishnu Orchestra: Birds of Fire………….36

Duane Allman: An Anthology Vol. I and II…………41

Delaney and Bonnie & Friends: On Tour with

                                                 Eric Clapton……..46                                                             

The J. Geils Band: Full House………………………...48

Danny O’Keefe: Don’t Ask………………………………52

Eddie Hinton: Letters from Mississippi………………54

John Lennon: Imagine…………………………….......  58

Fleetwood Mac: Kiln House……………………………..62

Mr. Lucky: Satisfied………………………………………65

Swag: Catch-all……………………………………...…….67

E.G. Kight: Trouble………………………………………..69

B.J. Thomas: You Call That a Mountain?................72

Richard Thompson: Action Packed – The Best

                            of the Capital Years…….…….…..75

George Harrison: All Things Must Pass

                                                    (Remastered)…….79                                                       

Danny Brooks & the Rockin’ Revelators

Soulsville–Souled out ‘n Sanctified….…………87

Derek and the Dominos: In Concert; Live at the

                                                      Fillmore……….94

Leo Kottke: 6-and-12-string Guitar…………………....95

Leo Kottke: My Feet are Smiling…………………….….98

Barbara Blue: Sell My Jewelry…………………………100

The Allman Brothers Band: The Allman Brothers

      Band; Idewild South; The Allman Brothers Band

      at the Fillmore East; The Fillmore Concerts;

                                     Eat a Peach………………….104

Paul Marshall: Weed and Water…………………………112

Duane Allman: In Memorium: 1946-1971

(bootleg)……………………………………………………….116

The Decoys: Shot From the Saddle…………………..…123

Bobby Whitlock: It’s About Time………………….…….126

Luck Brothers: Pain………………………………………..130

Judi Jetsunn: (untitled studio project)……………..….132

 Honorable Mention for a few good people

     Sly and the Family Stone…………………….……….135

Otis Taylor………………………………….……………136

Edgar Winter’s White Trash w/Jerry LaCroix……137   

Rory Block………………………………………….…….138

John Lisi & Delta Funk……………………………….139

Northernblues Gospel Allstars …………………..…139

Various Artists – From Clarksdale to Heaven –

Remembering John Lee Hooker …………………….140

Joe Richardson Express………………………………141

Jody Williams………………………………..……….…141

Harry Manx……………………………………..……….142

Bill Withers………………………………………….…..142

John Ussery……..………………………………….…..143

Bernie Taupin, Lyricist for Elton John…………….144

Essays and Reflections

Jam for Duane, 2nd Street Music Hall,

Gadsden, AL, 2005…………………………………….…149

Buddy Guy at the Count Basie Theatre,

Red Bank, NJ……………………………………………...156

Women Who Cook; The Count Basie Theatre,

Red Bank, NJ, featuring Koko Taylor,

Deanna Bogart, Janiva Magness, and

Jennifer Wright……………………..………………..…...159

Roy Buchanan: A life-and-death grip on guitar……165

Robert Randolph & the Family Band at the

Stone Pony, Asbury Park, NJ…………………………..170

Jackie Greene (opening for Buddy Guy);

The Count Basie Theatre, Red Bank, NJ……….…..173

Bobby Whitlock – The Domino Effect…………….….176

Fleetwood Mac (featuring Peter Green):

“How Blues can You Get?”……………………………..184

David Crosby and CPR; William Paterson

University, Paterson, NJ ………………………….……189

Wildflower Festival (featuring Judy Collins,

Roger McGuinn, Janis Ian, and Richie Havens);

Count Basie Theatre, Red Bank, NJ…………………193

Rory Block; The Tin Angel, Philadelphia, PA……….196

E.G. Kight; The Tropicana Billiards Room,

Chattanooga, TN ………………………………………….200

Mike Nesmith: From the Monkees to a millionaire,

You can’t argue with a man in a wool hat…………..203

 Led Zeppelin: “When the Levee Breaks”

                       (Led Zeppelin IV)……………………… 206

 Interviews

 Bobby Whitlock (Layla and Other Love Songs;

All Things Must Pass)……………………….………….. 211

Bonnie Bramlett (Delaney and Bonnie & Friends;

On Tour with Eric Clapton)…………………………….247

Levon Helm (Music From Big Pink; Rock of Ages;

After the Flood (with Bob Dylan)……………………...269

Danny O’Keefe (“Good Time Charlie’s Got

the Blues”; “The Road”; “Magdalena”)……………..…279

Delaney Bramlett (Delaney and Bonnie

& Friends; On Tour with Eric Clapton)……………...289

Paul Marshall (Incense and Peppermints – The

Strawberry Alarm Clock)………………………………..309

Dick Cooper (Road manager, Lynyrd Skynrd;

                                       journalist)…………………327

Larry Byrom (lead guitar, Steppenwolf)…………..…344

Jack Tempchin (“Peaceful Easy Feeling”)…………..354

John Wyker (Sailcat; “Baby Ruth”)…………….…….366

James Dalton (solo artist): The Stone Pony 

venue, Asbury Park, New Jersey……....377

About the author…………………………………..…….386