Derek Trucks Ferndale, Mi. 9/8/2005

Derek Trucks Ferndale, Mi. 9/8/2005
>
> Hey Y'All,
>
> I received a call from David H., a Michigan taping buddy, earlier in the day reminding me we met 1 year ago this week at the Derek show in 9/04. I had to go again! I met david there shortly after doors as I had to leave from work. I noticed a bunch of Congas and mentioned it to David. The surprise of the night, Count M'Butu sat in on percusiion for the entire show! The first set was very much to my liking, very bluesy. My only complaint was why only a 44 minute set? They are a young band and can certainly kick out an hour of music one would think. It was also Yonrico's old stomping ground.
>
> The second set was more normal length. A very nice Everything is Everything and Feel Like Dancing. The sound was a bit muddy tonight. The keys were not turned up enough during the first set but definately improved for the 2nd set. Where in the world was Matt Kasle tonight? I can't remember seeing Derek recently where he does not do one or all of the following; Make a Joyful Sound, Rastaman Chant, or For My Brother. Tonight, I was shutout, very surprising.
>
> Here is how it went down:
>
> Derek Trucks Band
> The Magic Bag
> Ferndale, Michigan
> 9/8/2005
>
> 9:21
>
> LET'S GO GET STONED 5:20
> WALK AWAY 7:20
> ? 10:57
> HEAR THE MUSIC 5:41
> KEY TO THE HIGHWAY 6:15
> BAND INTODUCTIONS 1:15
> PERCUSSION> 1:23
> ?
>
> 10:05 (44:15)
>
> 10:41
>
> DETROIT STEW?> 5:06
> EVERYTHING IS EVERYTHING 10:15
> THINK ABOUT IT> 8:03
> BLUES TUNE ? 6:05
> TRAVELIN' HOME> 4:51
> ?> 4:52
> ? 4:48
> GREEN SLEEVES> 6:40
> FEEL LIKE DANCIN' 7:45
>
> 11:39 (1:42:46)
>
> 11:41
>
> ? 8:
>
> 11:49 (1:51:16)
>
> *Entire show with Count M'Butu on percussion
>
> GEFELL 210>BEYER MV100>M1>DAP1
>


> On a sad note, I saw this over the weekend on Gatesmouth Brown. I was fortunate to see him several times over the years. One of the more gratifying performances was this year when Gregg Allman played with him at the Variety Playhouse. My buddy David and I went to the show and had a blast! After the show we hit Dave and Busters for a nightcap and talked about the show.
>
> BATON ROUGE, La. - Clarence "Gatemouth" Brown, the singer and guitarist who built a 50-year career playing blues, country, jazz and Cajun music, died Saturday in his hometown of Orange, Texas, where he had gone to escape Hurricane Katrina. He was 81.
>
> Brown, who had been battling lung cancer and heart disease, was in ill health for the past year, said Rick Cady, his booking agent.
>
> Cady said the musician was with his family at his brother's house when he died. Brown's home in Slidell, La., a bedroom community of New Orleans, was destroyed by Katrina, Cady said.
>
> "He was completely devastated," Cady said. "I'm sure he was heartbroken, both literally and figuratively. He evacuated successfully before the hurricane hit, but I'm sure it weighed heavily on his soul."
>
> Although his career first took off in the 1940s with blues hits "Okie Dokie Stomp" and "Ain't That Dandy," Brown bristled when he was labeled a bluesman.
>
> In the second half of his career, he became known as a musical jack-of-all-trades who played a half-dozen instruments and culled from jazz, country, Texas blues, and the zydeco and Cajun music of his native Louisiana.
>
> By the end of his career, Brown had more than 30 recordings and won a Grammy award in 1982.
>
> "I'm so unorthodox, a lot of people can't handle it," Brown said in a 2001 interview.
>
> Brown's versatility came partly from a childhood spent in the musical mishmash of southwestern Louisiana and southeastern Texas. He was born in Vinton, La., and grew up in Orange, Texas.
>
> Brown often said he learned to love music from his father, a railroad worker who sang and played fiddle in a Cajun band. Brown, who was dismissive of most of his contemporary blues players, named his father as his greatest musical influence.
>
> "If I can make my guitar sound like his fiddle, then I know I've got it right," Brown said.
>
> Cady said Brown was quick-witted, "what some would call a 'codger.'"
>
> Brown started playing fiddle by age 5. At 10, he taught himself an odd guitar picking style he used all his life, dragging his long, bony fingers over the strings.
>
> In his teens, Brown toured as a drummer with swing bands and was nicknamed "Gatemouth" for his deep voice. After a brief stint in the Army, he returned in 1945 to Texas, where he was inspired by blues guitarist T-Bone Walker.
>
> Brown's career took off in 1947 when Walker became ill and had to leave the stage at a Houston nightclub. The club owner invited Brown to sing, but Brown grabbed Walker's guitar and thrilled the crowd by tearing through "Gatemouth Boogie" _ a song he claimed to have made up on the spot.
>
> He made dozens of recordings in the 1940s and '50s, including many regional hits _ "Okie Dokie Stomp," "Boogie Rambler," and "Dirty Work at the Crossroads."
>
> But he became frustrated by the limitations of the blues and began carving a new career by recording albums that featured jazz and country songs mixed in with the blues numbers.
>
> "He is one of the most underrated guitarists, musicians and arrangers I've ever met, an absolute prodigy," said Colin Walters, who is working on Brown's biography. "He is truly one of the most gifted musicians out there.
>
> "He never wanted to be called a bluesman, but I used to tell him that though he may not like the blues, he does the blues better than anyone," added Walters. "He inherited the legacy of great bluesmen like Muddy Waters and John Lee Hooker, but he took what they did and made it better."
>
> Brown _ who performed in cowboy boots, cowboy hat and Western-style shirts _ lived in Nashville in the early 1960s, hosting an R&B television show and recording country singles.
>
> In 1979, he and country guitarist Roy Clark recorded "Makin' Music," an album that included blues and country songs and a cover of the Billy Strayhorn-Duke Ellington classic "Take the A-Train."
>
> Brown recorded with Eric Clapton, Ry Cooder, Bonnie Raitt and others, but he took a dim view of most musicians _ and blues guitarists in particular. He called B.B. King one-dimensional. He dismissed his famous Texas blues contemporaries Albert Collins and Johnny Copeland as clones of T-Bone Walker, whom many consider the father of modern Texas blues.
>
> "All those guys always tried to sound like T-Bone," Brown said.
>
> Survivors include three daughters and a son.
>
>
>
> Thank you Frank for this one:
>
> What It Means to Miss New Orleans
>
> By MARK CHILDRESS - NY TIMES
> Published: September 4, 2005
> ALL week we've been watching the immersion of a great old city. We imagine
> another city, less peculiar, will arise in its place. But I have this
> feeling it will never be quite the same nontoxic gumbo again.
>
> For outsiders New Orleans was a place to party and eat food that is way too
> rich. For the folks who live there it's more complicated - it's home.
> Eighty-five percent of them were born there, and they're not going anywhere
> permanently, so forget this idea they're going to move the city somewhere
> else.
>
> It's not going to happen. New Orleans is the opposite of America, and we
> must hold onto places that are the opposite of us. New Orleans is not fast
> or energetic or efficient, not a go-get-'em Calvinist well-ordered city.
> It's slow, lazy, sleepy, sweaty, hot, wet, lazy and exotic.
>
> I had a house there, up until three weeks ago, when I sold it. My friends
> say I'm lucky. I don't feel lucky.
>
> Here are 22 reasons America needs New Orleans, the national capital of
> eccentricity:
>
> 1. The turtle soup at Galatoire's is presented in a white porcelain tureen,
> then ladled into your bowl by a waiter who reveals with a wicked smile that
> the turtle's name was Fred.
>
> 2. The hats in Fleur de Paris, a shop on Royal Street, are perfectly
> frivolous and ridiculous, beautiful visions of silk and lace.
>
> 3. Nowhere else in the country do so many Roman Catholic churches coexist
> peacefully with so many voodoo shops.
>
> 4. If you are a grown man, this is the only place in America where you can
> step off an airplane, and be guaranteed that within 30 minutes a respectable
>
> woman unknown to you will call you "baby," as in, "How you doin', baby!" If
> you are a grown woman, you will be called "darlin' " whether you are the
> least bit darlin' or not.
>
> 5. The beads of sweat on the unlined face of the conductor on the St.
> Charles streetcar.
>
> 6. Mardi Gras beads, but only the ones you catch, thrown by an actual masker
>
> on a float. The ones that hit the ground don't count unless they bounced off
>
> your hand or arm first.
>
> 7. The Lucky Dog is a venerated local frankfurter that has come a long way,
> culinarily speaking, from the days when Ignatius J. Reilly peddled them to
> tourists in "A Confederacy of Dunces." Now they are really good, especially
> if it is 4 a.m. and you are hungry.
>
> 8. I once met Thelma Toole, mother of John Kennedy Toole, author of "A
> Confederacy of Dunces," who asked if I would buy her a "very expensive meal
> at the finest restaurant." This lady rolled her R's like an 1860's stage
> actress to indicate her intellectual superiority to the rest of us. I took
> her to the restaurant of her choice, and by evening's end she had all the
> waiters gathered at our table, spellbound by stories of "Kenny." "My son was
>
> a genius, with a large and oddly-shaped head," she boomed. Imagine what
> other great books Kenny might have written, she said, had he not killed
> himself in a car on that beach in Biloxi.
>
> 9. Every Twelfth Night, Henri Schindler, a local historian and Mardi Gras
> curator, holds a magnificent masked ball on the second floor of the Napoleon
>
> House, at the corner of Chartres and St. Louis Streets. White curtains blow
> in and out of the large empty rooms as masked figures glide past on a
> cushion of mystery.
>
> 10. Locals go to the Maple Leaf and Tipitina's to hear music. Also to
> Frenchmen Street, a cluster of 10 or 12 small bars and clubs featuring, on
> any given night, 10 or 12 kinds of music, about 8 of which will be funky.
> (The other four will be too loud.) Usually at the better places there's a
> Neville involved, or a Marsalis.
>
> 11. My friend Martha Ann Samuels, a real estate agent, revealed to me the
> actual location of Stanley and Blanche's house on Elysian Fields Avenue, a
> secret she learned from Tennessee Williams himself when she helped him buy a
>
> condo in the Quarter. (I'm not telling.)
>
> 12. Oyster loaf at Casamento's on Magazine Street. The crunchy local French
> bread showers crumbs on your hands. Each bite contains bread, mayo and the
> delectable local bivalve, breaded and brilliantly fried. Casamento's closes
> down for the summer because oysters are better other times of the year.
>
> 13. At JazzFest, citizens happily stand in long lines in the blazing sun for
>
> a chance to eat crawfish bread, white boudin sausage and alligator gumbo to
> the thump of Rockin' Dopsy from the Congo Square stage. (Could someone
> please put the JazzFest committee in charge of the Superdome?)
>
> 14. You can stand at the foot of Ursulines Avenue and watch a huge
> oceangoing ship slide by above the level of your head.
>
> 15. Along the promenade where the river passes Jackson Square, tourists
> still fall for one of the oldest New Orleans scams. A friendly fellow
> proposes that for a dollar he can tell you where you got them shoes. When
> you accept the bet, he says, "You got them shoes on your feet!" He keeps the
>
> dollar.
>
> 16. It has the only airport named for a jazz trumpeter, the indelible Louis
> Armstrong.
>
> 17. In the Confederate Museum near Lee Circle is a crown of thorns said to
> have been woven by Pope Pius IX himself, and sent as a gift to Jefferson
> Davis while he was imprisoned shortly after the Civil War. For me this
> artifact represents the height of Southern absurdity, and must be preserved
> for those future generations who will not believe it.
>
> 18. Every Thursday night at Donna's on Rampart Street, Tom McDermott plays
> the fastest, wildest ragtime, Brazilian and stride piano you've ever heard.
> It's scary how fast his fingers move when he gets going. His feet come up
> off the floor.
>
> 19. Rich people live on the high ground. Poorer people live on the low
> ground. Last week some of the rich folks' houses got wet, too.
>
> 20. Piety Street is one block over from Desire. Not a long walk at all.
>
> 21. On a foggy night the moon grows fat and full, and hangs in the sky above
>
> the big old river. It pours light on the water and makes a magical brown
> glitter that doesn't exist anywhere else. The water is the reason the city
> is there. The full moon pulls the tides into Lake Pontchartrain.
>
> 22. The city's sanitation department is considered among the finest in the
> nation. Its work during Mardi Gras is legendary. Can we please get this
> water out of here so they can get to work on this mess? The sooner the
> better.

TONIGHT: GO FALCONS!!!
>
> Late,
> Z-Man
>
>