![]() Your Complete Guide to the Chicago Blues Scene |
ABOUT THE GUIDE ●bands ●radio shows ●record labels ● EVENTS NEWS FEATURES REVIEWS ●Live Shows PHOTOS CONTACT
|
A Night For Magic – A Tribute To Magic Slim
March 28, 2013
Mayne Stage Theater, Chicago
By Bill Dahl
Photos: Dianne Dunklau
It was a magical night at Chicago’s Mayne Stage.
One of the most prodigious lineups of local blues stars in recent
memory gathered March 28 to pay tribute to their departed friend Magic
Slim by doing precisely what they do best: playing tough, no-nonsense
blues in front of a packed, highly appreciative house. There were so
many luminaries in the venue that each set ran no more than two or three
songs, allowing everyone a chance to contribute.
A road warrior to the very end, Morris “Magic Slim” Holt died
February 21, 2013 in Philadelphia in the midst of a tour. He and his
Teardrops were no longer based in Chicago (having relocated to Lincoln,
Nebraska nearly two decades earlier), but the treetop-tall Slim made his
reputation as leader of one of the Windy City’s most powerful blues
bands. Two guitars, bass (Slim’s late brother, Nick Holt, held down that
slot for decades), and drums were all Slim ever needed to crank out the
meanest electrified blues in town. Slim’s repertoire was unfathomably
huge; it was rare indeed to request a blues song he didn’t know.
“A Night For Magic” commenced in true torch-passing fashion with
Slim’s guitar-wielding son,
Shawn “Lil’ Slim” Holt, leading a second-generation lineup of
Teardrops that proved conclusively he has what it takes to maintain the
family legacy. Clearly, Shawn picked up plenty from his treetop-tall
father; the roiling shuffle “It’s Alright” and an easy-surging treatment
of Sonny Boy Williamson’s “Help Me” were loaded with biting guitar from
the Les Paul-wielding Holt, also an effective vocalist over drummer B.J.
Jones’ pounding backbeat.
Emcee duties over the course of the evening were split between
WGN-TV newsman Steve Sanders,
an avowed blues fan, and WXRT-FM deejay
Tom Marker. The duo
introduced another hard-driving devotee of Slim’s sound, guitarist
Nick Moss, who tore up Jimmy
Reed’s “Down In Virginia” and Jimmy McCracklin’s “Think” utilizing a
mean tone that came strikingly close to the Magic Man’s trademark sound.
Two of Moss’ own bandsmen,
Michael Ledbetter (who provided second guitar and harmony vocals)
and bassist Matthew Wilson,
were joined by drummer and blues deejay
Steve
Cushing, who played and
recorded with Slim during the ‘70s.
Next up was guitarist
Linsey Alexander, who raised the volume level noticeably during his
three-song slot (three guitarists on one stage, their posse also
including out-of-towner Zac
Harmon, will definitely have that effect). Alexander was
particularly effective vocally on a revival of Little Junior Parker’s
smooth “Stranded,” pianist Marty
Sammon making his presence felt as he would for much of the evening.
Nattily attired in a dazzling pale blue suit and matching hat,
affable southpaw axeman Eddy
Clearwater brought his red Gibson to the party and tore up his own
romping “Find You A Job” and a grinding “A Good Leavin’ Alone” with
Dave Specter providing crisp
second guitar on a Fender Jazzmaster—Slim’s own lethal weapon of choice
for many a year. They were then joined by feisty chanteuse
Grana’ Louise for a lowdown
reprise of the Willie Dixon-penned “Little Red Rooster,” Specter digging
deep on his slashing two-chorus solo. After the set ended,
Marty Salzman, Slim’s
manager for 21 years and one of the organizers of the star-studded event
along with Dave Katzman and
Michael Blakemore, introduced Slim’s wife of more than half a
century, Ann Holt, seated at a prime booth at the back of the
attractive, spacious room (complete with a balcony).
No one knows Slim’s singular style better than guitarist
John Primer. He stood beside
him as a Teardrop for more than a decade, the two developing an uncanny
musical ESP that saw their guitars interlock in a thick, driving blend
that defined superior electric blues ensemble playing. With
Shawn Holt now standing
beside him to provide a similarly slashing guitar foil, Primer torched
Bo Diddley’s snarling “Before You Accuse Me” and Lefty Dizz’s ominous
downbeat anthem “Bad Avenue” (“One of Magic Slim’s favorite songs—he
would always do this song,” noted Primer in his introduction), providing
the evening’s best pure evocation of Slim’s blistering guitar attack and
earning one of the crowd’s most enthusiastic responses.
Primer stuck around to immaculately play behind ageless harpist
Billy Boy Arnold, who harked
back long before Slim’s generation to rip through Little Walter’s
houserocker “You’re So Fine” and his own mentor John Lee “Sonny Boy”
Williamson’s “Sugar Mama Blues,” inserting delicious unamplified
harmonica solos. Surprisingly, he finished his segment with Chuck
Berry’s “Back In The U.S.A.,” which offered plenty of room for Holt and
Sammon to stretch out.
Speaking of second generation bluesmen, guitar-toting brothers
Ronnie and
Wayne Baker Brooks carried
on their dad Lonnie’s noble tradition during their tandem set; Ronnie
delivering a hard-hitting medley of Little Walter’s “Everything Gonna Be
Alright” and Junior Wells’ “Little By Little” before Wayne grabbed hold
of Muddy Waters’ immortal “Long Distance Call.” Naturally, the two
displayed more than a little of their own ESP on their respective axes,
somehow soloing simultaneously without stepping on one another’s toes.
Wayne sang a rocking “It Don’t Work Like That,” each Brooks brother
peeling off a solo that complimented the other.
Salzman came back out to read some glowing quotes about Slim that
he’d culled from the reams of press clippings the guitarist generated
over the decades. But not for long; too many more musicians waited in
the wings. Though renowned more as one of the Windy City’s greatest
living soul men, Otis Clay
can sing the blues—and proceeded to do so on a melismatic medley of
Lowell Fulson’s “Reconsider Baby” and Z.Z. Hill’s “Down Home Blues” with
Ronnie Baker Brooks back on
guitar. “We’re gonna miss him,” said Clay of his departed friend, noting
that no matter what mood his fans was in when they saw him perform,
“Slim would make you smile.”
Otis had the crowd grinning with an improvised rendition of Al Green’s
soul gem “Love And Happiness,” not an easy piece to pull off without
rehearsal (yet the band did anyway). Midway through,
Big Time Sarah ambled out
onstage, followed by Grana’
Louise, to engage in some musical banter with Clay. Gospel-trained
Otis must have felt a little uncomfortable with the direction the
give-and-take was going, pointing out a fresh-faced lad upfront in the
audience to rein in Sarah’s R-rated repartee before it went too much
further.
Not only did tenor sax blaster
Eddie Shaw have a two-piece horn section in tow when he hit the
proscenium, he was blessed with a three-guitar section as well comprised
of his fleet-fingered son Vaan,
Harmon, and
Daniel Ivankovich of the
Chicago Blues All Stars. He counted off a scorching “Rock This House”
that opened with several choruses of his wildest honks and wails before
he hit the mic vocally; most of his sidemen then made their own
high-energy statements. An excursion through Elmore James’ “Shake Your
Moneymaker” was no less torrid. “Wherever you are, man, you know I love
you,” said Eddie to his departed pal before exiting.
The evening’s oddest moment came when a gray-haired gent,
Nalle from Denmark (who was
said to have journeyed from overseas to attend the festivities), came
out and did a respectable job of singing Sam Cooke’s “Bring It On Home
To Me” in front of Holt,
guitarist Mike Wheeler,
bassist Andre Howard, and
drummer Willie Hayes. As
Jimmy Johnson awaited his
cue to come on, the guy unexpectedly decided to do another one and
segued into Big Joe Turner’s “Shake, Rattle And Roll,” complete with
singalong crowd interaction.
That out of the way,
Jimmy strolled out and lit into Elmore James’ “Dust My Broom,” as
always belying his 84 years on earth with mile-wide string-bending and
soaring vocals. Specter was
back on the other axe (the two have long played gigs together), sharing
the solo space and finding some room for
Sammon’s rippling 88s too.
Johnson has always been at his best on slow, tortured blues; “When My
First Wife Quit Me” has long been one of his favorites, rendered
especially poignantly this night (Jimmy went back longer than most with
Slim; he noted that they shared the bandstand at the Seeley Club during
Johnson’s second gig ever in Chicago).
Running short of time, the show’s organizers sent guitarist
Jimmy Burns out in the
middle of Johnson’s performance, forcing guitarist Mike Wheeler, who had
just contributed a dazzling solo, to unplug so Burns had somewhere to
attach his axe. Burns sang Elmore’s “The Sky Is Crying”—an apt anthem
for the evening—and then “Stand By Me,” his soulful tones doing the Ben
E. King standard full justice. After its conclusion,
Specter testified to Slim’s
heavy influence on his musical and personal development, noting Slim
bought the then-young guitarist his first shot of Wild Turkey, a
libation Slim was known to indulge in from time to time!
The parade of Chicago blues luminaries continued with the
introduction of harp master
Billy Branch, reunited with his longtime Sons of Blues guitarist
Carl Weathersby. They were
joined by bassist Melvin Smith
(rock-solid all night on several sets),
Hayes, and the omnipresent
Sammon. They launched into Sonny Boy Williamson’s rollicking “Don’t
Start Me Talkin’” and the party kept rolling. The show ran an amazing
six hours with no more than a five-minute break in the music at any time
(alas, that didn’t leave much time to venture into the adjoining Act One
Pub, where Moss and his perennially tight band were holding forth).
The finale began with mercurial guitarist
Lurrie Bell (another
second-generation bluesman whose late father Carey remains a Chicago
harmonica legend) and harpist
Matthew Skoller utilizing much the same rhythm section that Branch
had. Lurrie unleashed his gravelly pipes and stinging licks on a reprise
of Muddy’s “Honey Bee,” Skoller riffing prominently in response. Before
the show came to a conclusion, the cast shifted a bit. Vocalist
Zora Young and guitarist
Billy Flynn joined in the
fun, engaging in the second “Dust My Broom” of the evening and then a
rendition of Little Walter’s deliberate “Just A Feeling” tailor-made for
Skoller and Flynn to cut loose on. Zora’s funky “Til The Fat Lady Sings”
provided a witty closing salvo.
It’s hard to imagine a more heartfelt, expansive tribute to one
of Chicago’s most beloved blues giants.
Bill Dahl has been writing about blues, postwar R&B, and soul music for
35 years. He specializes in producing, compiling, and annotating CD
reissue collections and has written for numerous newspapers and
magazines (his Reissue Roundup column appears in Blues
Revue).
His website, www.billdahl.com,
contains features and reviews covering a wide range of vintage music
genres.
## |
|