Bettye and Shuggie in San Javier

In the stage-side cafe at San Javier Jazz festival

Hot on the heels of the Cazorla Blues Festival comes the San Javier Jazz festival. The name is somewhat redundant, as Uriah Heep are appearing this year, and if they’re jazz then I’m a teapot. but, be that as it may, at least the festival, strung out over an entire month and situated in a town only a couple of hours away from where we live, affords the possibility of seeing world-class talent under the Spanish sun.

The night we picked featured Bettye LaVette, a singer who’d only come to my attention via Jools Holland’s BBC2 show ‘Later’, and who’d greatly impressed. As Bettye herself said on the night, “It’s only taken me 50 years to become an overnight success..” Approaching 70, she’s had a long, hard career in the music business, starting with her debut single in 1962: “My man- he’s a lovin’ man”. Raised in Detroit, she flirted with fame over the years. A brief stint with James Brown, a stage musical with Cab Calloway…but for the most part Bettye languished in obscurity.

It was the interest of Gilles Petard, a French soul music collector, that began to shine a light on Bettye, after he sought out and acquired the rights to her unreleased Child of the Seventies masters, having been played the mono recordings by Bettye herself. It was finally released, decades after its creation, as Souvenirs in 2000.

But it was LaVette’s appearance at the Kennedy Centre Honors, where The Who were honorees, that really gave Bettye’s career the necessary momentum. An amazing performance of Love reign o’er me had the Kennedy centre audience, most unaware of Lavette at that point, on their feet, and Townsend and Daltrey moved to tears. Just check it out:

It highlighted her ability to turn a song inside out, de-construct it, and make it her own. This led to The British Rock Songbook, a wonderful collection of British rock classics that Bettye performs as if her life depends on it.

Bettye at San Javier Jazz – Photo by Rafe Marquez

Seeing her live was a privilege. Her band, tight and funky, and able to draw subtle nuances out of every arrangement were a perfect complement to her rich raw vocals. Opening with Lennon and McCartney’s ‘The Word‘ she simply stole the show.  ‘Love reign o’er me’ sent shivers down my spine, and when she announced a Neil Young cover “Heart of Gold” with the tongue-in cheek statement “but I sing it better”, you damn well believed her before she’d even sang a note.

I met and chatted with her bassist, James Simonson after the show, a real nice guy, who was still buzzing about meeting Marcus Miller at the North Sea Jazz fest just days ago.  We got into ‘bassist’ talk for a while.  I asked him to pass on my compliments to Bettye and the band, and I bought The British Rock Songbook that very night.  Bettye’s message, throughout her long career is an unspoken, yet potent one: If you’re good, believe in it, and don’t give up. ever. As she approaches 70, Bettye LaVette’s got a helluva lot more to give.

Shuggie Otis

Shuggie Otis. I knew the name, but was fairly unacquainted with his music. However, a quick rummage through my record collection revealed that I owned “Strawberry letter 23” by The Brothers Johnson on their greatest hits CD. This was a Shuggie-penned tune, and this recording of it gave Shuggie his big break. Just listening to it, you can hear how he was to become a huge influence on the likes of Prince and Lenny Kravitz. It’s a great piece of pop-funk-psychedelia. I awaited his performance with interest.  With a 9 piece band, the arrangements were superb, and the musicianship absolutely top-notch. Shuggie’s fluid guitar playing, especially when he played the blues was also pretty impressive. But…..

….the guy was on another planet. I don’t know what he’d been smoking, but the end result was that it seemed like he just couldn’t be bothered to reach the notes when he was singing (or finish sentences when he was talking) in contrast to Bettye, who, although not speaking Spanish spoke slowly and clearly to the audience. Shuggie was a disaster. I was willing him to sing properly. Every now and again he would seem to remember where he was and a couple of lines would suddenly leap out clear and powerful, then just lapse away again.  When they played ‘Wings of Love’, a fine song with a fantastic arrangement, beautifully performed, his voice just destroyed it. He also looked like he couldn’t get away fast enough, and his son and brother who were band members sort of hung around on stage to try and get everybody to ask for an encore, which he eventually gave.  These people paid to see you man. You are an undeniable talent. Stay focused, and make the effort.

Kev Moore

Masterclass – Joe Bonamassa in Murcia

Photo by Miki

There are expressions for this kind of thing; “Selling sand to the arabs” – “Taking coals to Newcastle”.  But “Bringing guitar to Andalucia”, at least to my knowledge, is not one of them.  Joe Bonamassa had the balls to do just that when he and his band performed for well over 2 hours in Murcia last week, and the Spanish loved him for it. It was his first visit there, and me and my partner Miki welcomed it, loving his music, and the fact that it was only an hour or so’s drive from where we live. Miki, being a painter was inspired to capture him. Check out her take on things HERE.

Photo by Miki

The late English entertainer Roy Castle had a catchphrase: “Dedication’s what you need” and boy, is Joe the living embodiment of that. He plays guitar around 6 hours a day without fail, and since he was knee-high to a grasshopper, and it shows. He is the master of his instrument. The guitar is a living thing in his hands. He caresses it, coaxes, cajoles it, and he makes it sing. From a whisper to a roar, a blinding flurry of runs, or that single sonorous note, perfectly plucked, hanging in the air, beautifully formed – an auditory equivalent of the first drop of morning dew falling from a leaf, a moment of wonder.

Me outside the auditorium in Murcia before Joe's gig

He paints pictures in the air, does Joe. There are very, very few guitarists that come close to his artistry, perhaps Jeff Beck, but few others have the skill and the soul.

Me and Joe in Loket, Czech Republic, for the Black Country Communion gig

His work ethic is amazing. He tours, and tours and tours. Fantastically organised and marshalled by his Manager Roy Wiseman, (who I admire enormously for his attitude to the Major labels and his commitment to Joe)- he can move around Europe with ease day after day, getting to his public, and winning over new fans. Does he get on the radio much? Not really. Has he had any hits. Um, not really.  He is a musician apart. Apart from the sickening conveyor belt of dross that is served up via the media and airwaves of five minute wonders and meagre talents, that the rest of us are expected to eat up like conditioned sheep.

In the real world, where there are real music fans, and music matters, Joe Bonamassa is King.

Kev Moore