John Yarling

Nick TrillNick Trill

Doug Carn

Bird Dog Bobby Band

Randy Bernsen Mike MacArthur Taj Mahal

Sean Chambers

SEPTEMBER2010

Larry Coryell

John Yarling

Doug Carn

Bird Dog Bobby Band

Randy Bernsen Mike MacArthur Taj Mahal

Sean Chambers

Larry Coryell

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WINNING SPINSTO CALL LARRY CORYELL A JAZZguitarist isn’t inaccurate, yet it’s a descrip-tion that doesn't exactly paint a full pictureof his artistry. Sure, the 67-year-old icon hasdisplayed the influence of traditional guitarpredecessors like Django Reinhardt, GrantGreen, Wes Montgomery and Barney Kesselover the past 45 years. But Coryell also har-nesses the power of rocker Jimi Hendrix, thephrasing of bluesman Albert King, the lyricismof The Beatles’ George Harrison, and the fleet-fingered Nashville sound of Chet Atkins tocreate his own fusion of jazz, blues, pop andcountry. And all are on display on the newcollection Prime Picks: The Virtuoso Guitarof Larry Coryell (HighNote).

The CD is a compilation drawn fromCoryell’s five HighNote recordings, madebetween 1999 and 2003 and utilizing variouspersonnel. Joe Henderson’s title track fromCoryell’s 2001 disc Inner Urge opens the set.The guitarist and the venerable pianist JohnHicks sound truly inspired by one another.Bassist Santi Debriano and drummer YoronIsrael capably navigate the challengingmelodic line and rhythmic pulse as the twoveterans take memorable solos.

The tune is the first of three tracks fromthe mostly straightahead Inner Urge. On saxo-phonist Harold Land’s composition“Compulsion,” trumpeter Don Sickler joinsthe quartet for an acrobatic romp. Coryelland Sickler play the melody early before theguitarist takes a fluid, Montgomery-influ-enced solo, and with a purpose. The songdates back to Land’s 1960 album West CoastBlues, which featured the guitar pioneer. OnRay Bryant’s “Tonk,” Coryell slows the paceon acoustic guitar in an unorthodox trio for-mat, with lighthearted, sans-bass accompani-ment by only Hicks and Israel.

The standard “Star Eyes” is the only rep-resentative from the 1999 CD Monk, Trane,Miles & Me, but Coryell’s Latin approach takesthe piece beyond standard fare. Featuring thecontributions of Hicks, Debriano and Israelagain, the track showcases the guitarist andthe pianist playing complex chords that driveone another toward exploratory solos.

“Limehouse Blues” is the only track fromthe 2002 release Cedars of Avalon, yet it offers

a two-for-one special. Inspired by Kessel’ssolo-guitar version, Coryell overdubbed twoseparate acoustic tracks. The results echo hisflamenco-inspired side, plus his duo and triowork with John McLaughlin and Paco DeLucia.

Two tracks from the 2000 CD New Highfurther point out Coryell’s multifaceted facility.Vibraphonist Mark Sherman is present onboth, and his composition “Spiral Staircase"sports a traditional feel. Pianist RonnieMathews, bassist Buster Williams and Israelcomplete the quintet, and contribute to thepiece’s playful nature. New High’s title track,the first of two originals by Coryell, addstrumpeter Shunzo Ono within another Latincadence. The guitarist, the trumpeter and thevibist masterfully play the melody in unison.

Three cuts from 2003’s The Power Trio: Livein Chicago further accentuate Coryell’s range.His solo reading of Harrison’s “Something” is

by Bill Meredith

L A R R Y C O R Y E L L

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sublime, complete with rearranged chords and snip-pets of other Beatles hits. Montgomery’s composition“Bumpin’ on Sunset” builds from a Latin-tinged,bluesy simmer to a fusion boil through Coryell’sinteraction with the Chicago-based rhythm sectionof bassist Larry Gray and drummer Paul Wertico.Each player effortlessly downshifts to a lower gearbefore the song’s coda. Coryell’s own “Good CitizenSwallow,” written for bassist Steve Swallow, is atour-de-force of a closer, with powerful solos andtrades worthy of The Eleventh House, Coryell’sinfluential 1970s fusion band.

The continuity in this diverse collectioncomes from Coryell’s tone and phrasing, whichare heard at their expressive best throughoutPrime Picks. The guitarist’s long career has encompassedvarious styles played at varying tempos and volumes, all of which meldinto a cohesive signature style uniquely his own.

Larry Coryell performs 6-9PM Sept. 26 at The Garlic Restaurant as part of theNew Smyrna Beach Jazz Festival. Visit Nsbfla.com for more information.

WINNING SPINS

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TAJ MAHAL & THE PHANTOM BLUES BANDAMERICAN MUSIC FESTIVALBANDSHELL, DAYTONA BEACH/SEPT. 4Blessed with a throaty holler tailor-made for the blues,Taj Mahal has been one of the genre’s most celebratedinterpreters since his 1968 debut recording.Accompanying himself on guitar, banjo and harmonica,and playing in acoustic and electric settings, the NewYork native revived the songs of country-blues greatssuch as Blind Willie McTell, Sleepy John Estes andLeadbelly, and contributed classics of his own (“GoingUp to the Country, Paint My Mailbox Blue,” “She Caughtthe Katy”). Over the years, he’s immersed himself inan encyclopedia of roots music, from Caribbean toHawaiian to African. But out in front of his excellent

Phantom Blues Band, ashe’ll be when he playsDaytona’s AmericanMusic Festival, Tajwill likely focus onrave-up blues and old-school R&B. With prossuch as guitarist JohnnyLee Schell, saxmanJoe Sublett, trumpeterDarrell Leonard, bassistLarry Fulcher and drum-mer Tony Braunagel,it’s no wonder Taj hasbeen revving up thePhantom for morethan 15 years. BW

S P O T L I G H THARMONICA BLOWOFFCHEERS, FORT LAUDERDALE/SEPT. 5Subtitled “A Roomful of Wind,” the South Florida BluesSociety’s eighth annual Harmonica Blowoff showcasesa dozen of the region’s sharpest harpsters. Among thefire-belching Mississippi saxophonists will be long-time faves such as Big City Blues Band’s Jumpin’Jack Bluni and original Groove Thang Cadillac ChuckGrundt. (Check out the GT’s 1985 video of Chuckplaying Jimmy Reed’s “Take Out Some Insurance”with Down Pat and Bonefish Johnny, posted onYouTube and elsewhere.) The Blowoff also featuresarea stalwarts such as Nick Trill (at left), HurricaneHawk, Pix-e Ensign, MuDDfish Mike Edwards andClay Goldstein. Though event participant Josh Rowand

is known as “ThePitbull of the Blues”for his sizzling guitarskills, the Outta daBlues fretshredder alsoblows a mean harp,inspired no doubt bybandmate Nico WayneToussaint. As thebacking band for theeven ing , GrahamDrout’s mighty Iko-Iko wi l l expert ly provide the blues,rock, roots and voodoothey do so well. Musickicks off at 3PM. BW

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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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WILLIE BROWN BLUES BENEFITRICK’S ON THE RIVER, TAMPA/SEPT. 26In his fevered “Cross Road Blues,” Robert Johnsongave a shout-out to his “friend-boy Willie Brown.”While Brown never achieved the posthumous fame ofJohnson, the older artist played a vital role in thedevelopment of country blues. Not only did he performand record with Charley Patton and Son House, hereportedly taught young Robert the basics on guitar.Brown’s classic 1930s Paramount recordings, “FutureBlues” and “M&O Blues,” indicate a sophisticated song-writer and dynamic performer. Largely overlooked, hedied in 1952, and his grave in Prichard, Miss., remainsunmarked. Now, a handful of Florida-based musiciansare coming together to raise money for a headstone.

Those taking part inthe benefit includeguitar-slinger SeanChambers (at left);country-blues pickerEddie Wright; pianowhomper Lee Pons;the raucous BackwaterBlues Band; and rootsspecialist Damon Fowler.Admission is free, butthere will be raffles,auctions and a dona-tion bucket to raisethe $2,100 needed forthe headstone. Visittdblues.com. BW

S P O T L I G H TBIRD DOG BOBBY BLUES BANDTHE BEACH SHACK, COCOA BEACH/SEPT. 4UNDERGROUND BLUZ, ORLANDO/SEPT. 10HARRY’S STARLIGHT LOUNGE, OVIEDO/SEPT. 18THE ALLEY, SANFORD/SEPT. 25“Bird Dog Bobby” Rhoads has had a long love affairwith the gritty textures of amplified blues. From hisfirst gig in a Kansas high school gym to gigging throughcentral Florida, the Bird Dog has clearly picked up thefiner points of his trade. The Orlando area showmanis so well-considered that he’s opened for six-stringmasters such as Gatemouth Brown, Albert Collinsand Ronnie Earl. Backed by bassist Gary Whiteheadand drummer Reno Mussatto, Rhoads rips solos thatconjure the likes of Elmore James, Johnny “Guitar”

Watson and T-BoneWalker, and sings in asmooth yet emotionalcroon. The trio wascaptured live last yearon the CD Live at thePlaza Theatre, playingblues, jump and funkoriginals, and reinter-preting classics by thelikes of Howlin’ Wolfand Elmore James. BirdDog knows his guitarsand amps from theinside out; he repairsthem at his musicstore in Chuluota. BW

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SAXES GONE WILDSKIPPER’S SMOKEHOUSE, TAMPA/SEPT. 12One of Tampa’s longest-standing live music venueshosts a remarkable gathering of saxophonists thismonth. “Saxes Gone Wild” features Tampa Bay areasax stalwarts Mike MacArthur, Jarred Armstrong,Gene Cannon, Alan Darcy, Tim Eddy, Mike Gibilisco,Valerie Gillespie, Jerry Kenney, Jeremy Powell, ButchThomas and Austin Vickrey. Tenor man MacArthurhosts and leads the venue’s house jazz band, whichalso features keyboardist Jeremy Douglass, bassistTim George and drummer Dave Reinhardt. And if thehost and 10 other saxophonists aren’t enough, therewill also be a special bass-saxophone performance byJeremy Carter and a set by local high school group

the Saxophobia SaxQuartet. MacArthur(at left), a formermember of MaynardFerguson’s Big BopNouveau Band, isworth the price ofadmission alone. Thenative New Yorker hasreleased multiple CDs,leads his own band,and often works withnoted internationaltouring artist DianeSchuur. BM

S P O T L I G H TRANDY BERNSENTHE GRATEFUL PALATE, FT. LAUDERDALESEPT. 4 & 11While he makes his home in Ft. Lauderdale, guitaristRandy Bernsen is a globe-traveling superstar with aremarkable résumé. Bernsen’s jazz and fusion expertise,on both guitar and guitar synthesizer, was featured onthree MCA label releases during the 1980s. Music forPeople, Planets & Washing Machines, Mo’ Wasabi andParadise Citizens featured saxophonists WayneShorter and Michael Brecker, keyboardist HerbieHancock, bassist Jaco Pastorius and drummer PeterErskine. The guitarist’s subsequent, self-releasedrecordings include performances captured in hishometown (1997’s Live at Tavern 213) and in Mexico

(2001’s Live in SanMiguel de Allende).He now releases mostof his original materi-al online, and playsquite a bit of it onSaturdays with bassistJeff Carswell anddrummer Steve Ruckerat the Grateful Palate.“ASCAP came in look-ing to collect for thecover songs playedthere,” Bernsen says,“so the owner actuallyrequested that we playall originals.” BM

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JOHN YARLING & CUT-IN/CUT-OUTBASS MUSEUM OF ART, MIAMI BEACH/SEPT. 24When it comes to first-call, all-purpose drummers inSouth Florida, there’s John Yarling and then there’severyone else. The Detroit native made South Floridahis home after studying jazz performance at theUniversity of Miami, where he now teaches jazz per-cussion. Yarling’s seemingly effortless playing hassince enhanced the music of international jazz starslike vocalist Kevin Mahogany and multi-instrumentalicon Ira Sullivan’s Inter-Outer Continental Quintet,plus regional favorites like the South Florida JazzOrchestra, fusion guitarists Randy Bernsen and TomLippincott, and blues and funk groups The Weld and theShack Daddys. His Cut-In/Cut-Out quartet features

tenor saxophonist AlexWeitz, violinist NicoleYarling and bassistChuck Bergeron, andwill play music bycomposers who Yarlingfeels deserve morerecognition. “The firstset will be material byNew York City bassistMark Helias,” he says.“The second is musicfrom the late ’70s andearly ’80s by avant-garde violinist LeroyJenkins [1932-2007].”BM

S P O T L I G H TDOUG CARNEUROPEAN STREET CAFÉLISTENING ROOM, JACKSONVILLE /SEPT. 14NEW SMYRNA BEACH JAZZ FESTIVAL,TRADER’S SPORTS PUB/SEPT. 25Keyboardist Doug Carn was born in New York City, butthat’s where his standard-jazz upbringing ended. Theunique education he received after his family moved toFlorida certainly fueled his original organ sound. Carn’smother taught music in public school, and he startedpiano lessons at age 5. He added alto sax a few yearslater, then oboe in high school, earning a scholarshipto Jacksonville University (where he’d later return toteach). But studies with Larry Young, the organist indrummer Tony Williams’ Lifetime band, cemented

Carn’s status as a key-boardist in the 1970s.So did his propensity forwriting lyrics to instru-mental jazz classics.Carn’s adaptations ofthe Wayne Shortercompositions “InfantEyes” and “AdamsApple” (title tracks tohis 1971 and 1975 LPs)featured former wifeJean Carn’s soulfulvocals and helped todefine an era. Carn’sJacksonville date fea-tures his quartet. BM

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PHOTO CREDITS: Doug Carn cover andSpotlight by Jon Hardison, Larry Coryellcover by Mauro Zanotto, Mike MacArthurcover by Patrick Dean

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