[Dixielandjazz] The Double W Ranch House Band.
tcashwigg at aol.com
tcashwigg at aol.com
Mon Jan 15 13:07:07 PST 2007
Great review and obviously a great show, wish I could have been there,
worth every dollar of whatever they charged, hope it goes on tour.
Now Folks like either artist or not, this review just Shows to Go Ya
that you don't need to be a member of the IAJE to be a legend or genius
Willie Nelson has his PHD in music and he wrote the cirriculum to get
it and from the way the review stated that Wynton came right out of the
box he too is a lot more of a fine trumpet player than many give him
Bravo for both of them and selling out shows of great music as well.
And they played OKOM too. wow whats up wit dat ?
A Marijuana smoking country boy in Lincoln Center and selling out !!
But the most interesting thing is that they are playing Music for the
PEOPLE, notice all the old war horses in the repertoire, there is no
substitute for quality music folks it is timeless and can be played
with any artists personal touch and personality, as Willie just proved,
by taking it and making it his own. You don't always have to follow
the notes on the paper that the arranger wrote to espress His own
Welcome to the Burger King generation : Have it Your Way :)) Go
Willie & Wynton...
It could only have been better Maybe if it were Willie and Louis
smokin' and blowin' together.
Not that I am endorsing smokin' funny cigarettes here either don't get
me wrong. I don't do that. Not even the unfunny ones.
Let us not throw stones at them but do whatever we all can do to
continue to expand the live performance scene for OKOM, we should all
be so lucky as to do it as well as they just did.
From: barbonestreet at earthlink.net
To: dixielandjazz at ml.islandnet.com
Sent: Mon, 15 Jan 2007 7:48 AM
Subject: [Dixielandjazz] The Double W Ranch House Band.
Willie & Wynton? Who's have thunk it? Don't try and get tickets,
Just a Couple of Guys Dressed in the Blues
NY TIMES - By NATE CHINEN - January 15, 2007
Willie Nelson was halfway through a flinty and casually gripping
on ³Rainy Day Blues² when everything clicked into place. It was his
song at the Allen Room on Friday night, and the bright young rhythm
onstage was finally locking in. At Mr. Nelson¹s right elbow Wynton
shot the saxophonist Walter Blanding Jr. a knowing glance, one eyebrow
appreciatively raised. After a somewhat tentative start, the concert
Mr. Nelson was performing with Mr. Marsalis¹s quintet in the first of
sold-out shows organized by Jazz at Lincoln Center, under the heading
³Willie Nelson Sings the Blues.² (It was a sequel to a brief encounter
several years ago when he played on a gala for the organization.)
the blues are as much of a bedrock for Mr. Nelson as they are for Mr.
Marsalis, this held the simple promise of a meeting on common ground.
Mr. Nelson brought with him was an acoustic guitar and a trusted
the harmonica player Mickey Raphael.
He also brought his intractable style, which posed more of a challenge
the other musicians than any clash of genre. His conversational way
rhythm, in particular, momentarily threw the band. During a series of
stop-time breaks on ³Basin Street Blues,² the second tune, Mr. Nelson¹s
phrasing was almost perversely free of tempo, rustling like a breeze.
much the same way, he seemed to regard the jump-blues thrust of
as merely a recommendation, something to heed at will.
And that, as his fans might say, is typical Willie. Though he has had
the broadest careers in American music, Mr. Nelson is no chameleon. His
colors are the same in any setting; and the calm, comforting tone of
voice rarely warps or strains to fit a fashion. ³Rainy Day Blues²
be the first track on his current album, ³Songbird² (Lost Highway),
features anthems by the likes of Leonard Cohen and Fleetwood Mac.
on his usual turf, Mr. Nelson sounds entirely unfazed, and unchanged.
Because that was true on Friday too, the onus of adapting rested on the
pianist Dan Nimmer, the bassist Carlos Henriquez and the drummer Ali
Jackson. They handled it professionally, attuning themselves to Mr.
drifting cadences with an increasing understanding and command.
There was no such learning curve for Mr. Marsalis, who played his
with terse, unforced authority right out of the gate. He tinkered a
amount with timbre throughout the concert, using an array of different
and techniques. He was pushing toward a vocal quality, singing through
Mr. Marsalis also sang with his voice, on a version of ³Ain¹t Nobody¹s
Business² that quickly turned into a buddy duet. ³I hear you,² Mr.
said sympathetically during a roguish verse by Mr. Marsalis. It was a
evocative of the banter between Jack Teagarden and Louis Armstrong.
set a playful tone for what followed, including renditions of ³My
Got a Hole In It² and ³Down by the Riverside.²
But the concert¹s most transcendent moments conveyed more of a quiet
They were ³Stardust² and ³Georgia on My Mind,² a pair of Hoagy
standards that Mr. Nelson long ago personalized. He sang them both
forthright intimacy, as if telling a cherished bedtime story. And the
was right there with him, emphasizing how the blues are as much a
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