Issue April 6, – Blues Blast Magazine
While Willis' lyrics were a simple plea for the lady to “let me see,” Larry's words are a .. In addition to working in his civilian career since , he writes for and .. but joining vocalist Gloria Hardiman and her new band Nightflight cover of Jeannie & Jimmy Cheatham's “Meet Me With Your Black Drawers. Our Teenage Love (Remastered) - The Professors lyrics Meet Me With Your Black Drawers On - The Professor's Blues Review Featuring Gloria Hardiman. We played around on a blues in Bb and she made up song lyrics about being ready to I forgot to mention her name: Gloria Hardiman. No way will I ever live up to those standards, but I'll work hard. "Meet Me With Your Black Drawers On".
King and Muddy Waters tunes to make his performances some of the most unpredictable and musically diverse to be found anywhere on the scene. Moore has recently added vocalist Bonnie Lee to his act, and it was the Moore-Lee combination that performed at Blue Chicago recently in a virtuoso demonstration of the young guitarist's versatility.
The one factor common to all his work is an allegiance to the classic posts west-side guitar style; he intersperses his leads with busy chording and rhythmic patterns, serving as his own second guitarist much of the time.
Given his facility with this technique, another guitar player in the band is somewhat redundant; his band now features three horns--alto sax, tenor sax, and trombone--laid over the usual rhythm section of bass and drums. Over it all soars the guitar mastery of Moore, whose lines shimmer with a steellike hardness despite a playful melodic imagination and a sly sense of fun. Moore's leads are lithe and sensuous, alternately sophisticated--in a manner reminiscent of T-Bone Walker--and gutbucket raunchy, in the grand Chicago tradition.
Behind him, percussionist Cordell Teague lays down an elemental blues backbeat that gives a whiff of back-alley grit to even the smoothest soul ballad. Moore's sparkling lead work provides a graceful counterpart to the sexy soulfulness of pop tunes like Otis Clay's "Turn Back the Hands of Time" and "Cheating in the Next Room.
His playing has all the intensity of classic Chicago blues even as it hints at an underlying tenderness rarely acknowledged in the hard-edged, masculine world of bluesmen. Bonnie Lee has added another dimension to Moore's multifaceted musical personality. If Moore has a weakness, it's his voice. It's adequate for traditional blues and has been improving as he gains confidence, but it still lacks the range and suppleness necessary for the pop and soul numbers in his repertoire.
Lee is a solid Chicago blues veteran who has performed and recorded with the likes of Sunnyland Slim and the late drummer Jump Jackson.
She not only provides some essential vocal versatility but brings a touch of sophistication to the youthful exuberance of Moore's band. Gloria Hardiman usually approaches this tune with an underlying coy sexiness; Lee belts it out aggressively.
What is a flirtatious invitation in Hardiman's hands is a demand, or even a flat-out dare, in Bonnie Lee's. Lee is exemplary on more standard blues as well. She gives a war-horse like "Wonder Why" fresh exuberance, as the horn section riffs soulfully behind her and Moore overlays everything with a delicate, crystalline slide pattern, laying down a rhythm behind his own solo, gradually building up the energy from a moody whisper to a piercing wail.
His playing on a song like this evokes the Delta tradition even as it burns and screams its testimony to the postrock necessities of 80s blues. The full force of Moore's musical abilities, however, is most apparent on instrumental numbers. At Blue Chicago the most dramatic example was a long, complex rendition of "The World Is a Ghetto," which featured Moore's solo work at its most adventuresome. Moore has an instinctive harmonic sense far beyond that of most selftaught musicians, hinting at an underlying jazz sensibility that he continues to develop as his music evolves.
The other musicians also used "The World Is a Ghetto" to strut their stuff. It's always been a great horn-section tune, and alto saxophonist Zeke Stanford exploded into his solo with a series of free-form, Birdlike runs, interspersed with some surprisingly well crafted melodic improvisations.
Tenor man Fred Laster and trombonist William Petties contributed solos that were cooler, more exploratory--no less soulful but more worldly, knowing, and tentative. Moore has honed his entire band, once a somewhat ragged backdrop for his talent, into an increasingly tight group. A blistering pace and some very tight work by the band give this song a cool and different spin. I really enjoyed this one and with each listen I found something new and cool to like about it.
The band and guests are superb and the production is well done. Reviewer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover.
He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career sincehe writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program.
He resides in Byron, IL. The sparseness of the music matches the lyrics, though that same sparseness sometimes comes across as amateurish. For the last six years, he has performed regularly throughout Texas as a one-man-band, utilizing percussion and harmonica to fill out the sound. With two exceptions, he is the sole musician throughout this album in addition to overdubbing his own backing vocals.
Right from the start, Leigh demonstrates that he can wrangle plenty of sound from his instrument, played with a slide. The title cut rocks hard with a multi-tracked vocal wrapped around well-played solo breaks. The title line and the accompanying guitar riff seemed designed to bore directly in your consciousness with the help of a hammer-hard beat.
It adds up to a solid effort from Devin Leigh that uses blues influences to season a musical approach that travels on the rock side of the blues spectrum. Reviewer Mark Thompson lives in Florida, where he is enjoying life without snow.
Letras de The Professors Gratis
Music has been a huge part of his life for the past fifty years — just ask his wife!. The long hours can be rough, the pay alarmingly low, the working conditions sometimes lousy. But when you really prove yourself on your chosen instrument and your peers thoroughly respect you, the phone seldom ceases to ring. The stars know who to track down when they have fresh vacancies in their bands and want to sound their very best.
Guitarist Anthony Palmer has been an in-demand sideman since the s. His versatility is exceptional, his technique immaculate. Palmer stands toe to toe with blues-rocker Joanna Connor one night and expertly backs the more traditional Jimmy Burns the next. A first-rate sideman checks his ego at the door. And you try to find where you belong in there. I can make the comparison. Being a sideman is less stressful, and I think you can really hone your chops a little better as a sideman.
From night to night, you hear different things, the interaction with the other musicians and whatnot. What the lad did know was that he dug live blues. Sometimes in the daytime, they would have their doors open, and I remember many a time I wandered away from my mother and she was wondering where I was at. It was almost like a magnet. That was a big deal to me.
And I was like on top of the world, man. All I had was a music book, and they would tell you, you tune your low E, and then you go up to the fifth fret, put your finger behind it and tune the next one, and so on. This is not right! The first time I heard a guitar tune that I just was over the moon listening to, it was this guy by the name of L. I remember I was like 16, He used to play around at the Majestic Lounge.
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And me and my buddies used to go around there on the weekends, and they would sneak us in. It was almost like being addicted. So I got to know him. So then he got to know me, so he figured I was worthy of him trying to show me things, and I started going over to his house. And we used to sit down on his porch.
He lived across from some railroad tracks. That was the one guy of all that really just grabbed me. I just went up there by myself.
I was very full of myself, very cocky. I had just got a brand new white Stratocaster—time payments, the whole nine yards. I learned a few little things at the house, and I was ready.
So I down there, and Johnny Dollar called me up on stage with his band. I just know I was bad. I think back on it. But I got my head handed to me. I spent hours in my attic, practicing with records and whatever. So one day I decided to have enough nerve to go back to the Majestic.
And I went there this time, and it worked.
Johnny Dollar called me back up. We were from different parts of the West Side. I was in Lawndale. Michael was more toward the East Side, in the projects. Melvin was further west. Melvin played with a band called the Chicago Transistors.
And Michael had a band called the Midnight Sun. My band was called Communication. That was roughly All we knew about was playing. But before that was released, they cut his deal. They got rid of him. So that stuff will probably never be heard. Then to be in that studio—Sigma Sound Studio was just amazing. We had an apartment and bills, and I was gone most of the time. I did that for like a year-and-a-half. Because I always missed it. We worked like six nights a week, and the band was pretty good.
I was sort of leery of it because I was just really getting back into playing.
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After awhile, we got to doing it pretty regular. Hardiman split vocal duties with Willie White, although virtually everyone in the band including Anthony took their turns behind the mic. Just sit over there and listen! All we did, we played it like we played it every night.
Would you be interested? So I jumped at it. And I play off of her really well. I knew he played at the Mines. I knew some of his material.