[Dixielandjazz] The Double W Ranch House Band.

[tcashwigg at aol.com]

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 
musical performer.

  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 
credit for.

  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 
personality.

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.

Cheers,

Tom Wiggins

 -----Original Message-----
 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, 
they're
 sold out.

 Cheers,
 Steve barbone

 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 
guitar solo
  on ³Rainy Day Blues² when everything clicked into place. It was his 
fifth
  song at the Allen Room on Friday night, and the bright young rhythm 
section
  onstage was finally locking in. At Mr. Nelson¹s right elbow Wynton 
Marsalis
 shot the saxophonist Walter Blanding Jr. a knowing glance, one eyebrow
  appreciatively raised. After a somewhat tentative start, the concert 
hit its
 groove.

  Mr. Nelson was performing with Mr. Marsalis¹s quintet in the first of 
four
 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.) 
Because
 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. 
All
  Mr. Nelson brought with him was an acoustic guitar and a trusted 
wingman,
 the harmonica player Mickey Raphael.

  He also brought his intractable style, which posed more of a challenge 
to
  the other musicians than any clash of genre. His conversational way 
with
 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. 
In
  much the same way, he seemed to regard the jump-blues thrust of 
³Caldonia²
 as merely a recommendation, something to heed at will.

  And that, as his fans might say, is typical Willie. Though he has had 
one of
 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 
his
  voice rarely warps or strains to fit a fashion. ³Rainy Day Blues² 
happens to
  be the first track on his current album, ³Songbird² (Lost Highway), 
which
  features anthems by the likes of Leonard Cohen and Fleetwood Mac. 
Though not
 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. 
Nelson¹s
 drifting cadences with an increasing understanding and command.

  There was no such learning curve for Mr. Marsalis, who played his 
trumpet
  with terse, unforced authority right out of the gate. He tinkered a 
fair
  amount with timbre throughout the concert, using an array of different 
mutes
  and techniques. He was pushing toward a vocal quality, singing through 
his
 horn.

 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. 
Nelson
  said sympathetically during a roguish verse by Mr. Marsalis. It was a 
moment
  evocative of the banter between Jack Teagarden and Louis Armstrong. 
And it
  set a playful tone for what followed, including renditions of ³My 
Bucket¹s
 Got a Hole In It² and ³Down by the Riverside.²

  But the concert¹s most transcendent moments conveyed more of a quiet 
ache.
  They were ³Stardust² and ³Georgia on My Mind,² a pair of Hoagy 
Carmichael
  standards that Mr. Nelson long ago personalized. He sang them both 
with a
  forthright intimacy, as if telling a cherished bedtime story. And the 
band
  was right there with him, emphasizing how the blues are as much a 
feeling as
 a form.


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