Blue Lester

In Penang to see Jackie perform at Short + Sweet Theatre 2013, I phoned journalist-cum-harpist Kim Gooi and asked him to come watch the show at Penang Performing Arts Centre. Kim came down and we talked music of course; blues, blues, and more blues. Kim had the idea to invite guitarist Joe Goh up from KL for one of our epic jams. The Penang Blues Brothers ride again.

The Penang Blues Brothers jump and wail: Joe Goh, Kim Gooi, Ron Ashkin

Joe caught the Katy up from Kuala Lumpur last Friday. I dropped by Kim’s and the three of us spent the afternoon working out on only three tunes – T-Bone Shuffle, Kidney Stew, and Blue Lester – all from the mid-to-late-1940s. I was on a roll a couple of weeks ago in Lagos and transcribed T-Bone Shuffle and Blue Lester from the original records and this was my chance to play them with others.

I particularly have had an ear worm for Blue Lester and I just can’t get that 1944 slow F-blues out of my head, Count Basie on piano backing Lester Young just prior to his military nightmare. I had first admired the tune on Von Freeman’s The Great Divide, where he calls it Blue Pres, and had half-transcribed it at the time – Vonski plays it at an even slower pace than Pres. A few weeks back I pulled up the original on my iTunes and re-discovered 10 choruses of pure bliss – Pres blows two choruses on the head, a single solo chorus, back to the head again, then Basie enters for three and Pres takes it out with three more, not bothering to return to the theme. Freddie Green anchors the proceedings with his steady rhythm guitar. Not a sound wasted. Nobody plays like that these days, when apparently both pianists and saxophonists are paid by the note. I can’t get the theme and Lester’s first solo chorus out of my head. I've transcribed that chorus and find Lester’s note choices deceptively simple, making me feel like I've been over-thinking my own improvisations.

PPAC echoes (literally) with the sound of 1944.

Unfortunately I left my trusty Zoom recorder back in Lagos and couldn't catch our version on tape. But on Saturday night, the three of us were invited to play for the cast party after Short + Sweet closed and we had a chance to perform Blue Lester in public for the first time. The tempo was set a bit fast and a young crowd more attuned to hip-hop got up and danced. Lester Young’s 16 bars connected with 2013 ears in Malaysia just as they had almost 70 years earlier in WWII-era America. It was not just me with the ear worm.

As Kim is fond of saying, if blues was money, I’d be millionaire.

Ain’t Nobody’s Business

The Penang Blues Brothers reconvened at Kim Gooi’s place for a late night jam last weekend, just prior to my return from Penang to Lagos. I joined Joe Goh on electric guitar and Kim on harp and acoustic. The blues spirit flowed freely as it always does when we get together, helped along in this instance by the product of the Isle of Jura. It is rejuvenating to play with these two – we routinely reach the sought-after (and all too rare) state of mind where the musicians are on the same wavelength, pick up their instruments, begin to play, time suspends, and the clock moves three of four hours ahead before the music pauses. 

I've been tied up with settling back in to work after the holidays and haven’t had sufficient time to go through and master all the recordings from last Friday. Of course, the batteries on my Zoom quit after about 2-1/2 hours, leaving some of the most spontaneous and creative parts of the jam in the air, never to be captured again. I did, however, cut out one track for sharing – Ain't Nobody’s Business – in tribute to the classic 1959 session by Jimmy Witherspoon with Ben Webster on tenor. “I'm three times seven, that makes twenty-one” – the age at which I first appreciated ‘Spoon’s rendition. Long, long ago now, a clear memory in the dim past. An appreciation that survives until today. Fortunately, I edited out most of my insipid vocal.

Stormy Monday - Audio Tracks From Blues Jam

Today being Monday, I will start the week by posting some audio tracks from yesterday's marathon blues jam with Joe and Kim, following on the heels of the "Blues Are Universal" post from a few days ago.

Here are three takes of T-Bone Walker's classic Stormy Monday. I couldn't decide which one to post so all three are available - one instrumental and two with Joe on vocals - you decide. It was an informal jam so each take has its moments as well as its flaws, hopefully more moments than flaws. Played from the heart in any event. These are MP3s at 320K.

Stormy Monday - Take 1

Stormy Monday - Take 2

Stormy Monday - Take 3

And here is a 14-minute jam on Kim's favorite, Big Joe Turner's Flip, Flop and Fly. The vocals were not miked so they are subdued. Kim has to learn to shout like Big Joe! I missed recording the beginning coming down the stairs, so I started the track at the first full chorus.

Flip, Flop and Fly

Old Friends, Blues Jam at Kim's, Penang, Malaysia, recorded March 4, 2012. Joe Goh, guitar and vocals; Kim Gooi, harp and vocals; Ron Ashkin, tenor sax and whisk broom. Recorded on a Zoom H2.

The Blues Are Universal

In addition to practicing at home and playing gigs with the Chicago Jazz Quartet +1, I've had the chance over the past few weeks to jam the blues with a couple of fine musicians just a few minutes away from home. We're all around the same age so there is an element of comradeship to our music; we don't have anything to prove except that we want to play. 

My good friend Kim Gooi tracked me down late last year after we met on a Penang rooftop jamming with some Sape musicians from Sarawak in mid-2010. He is a respected photojournalist and lived in Thailand for about 30 years before returning to his native Malaysia. Kim plays the harp and came upon the blues while working in Bangkok, which has a large expat community and its share of bars with live bands. Close your eyes and you would have no idea that you are listening to a native Penangite and not someone from the South Side of Chicago. Kim said he listened to the blues for about 10 years before picking up the harp and it just came naturally to him after that. 

Two weeks ago, guitarist Joe Goh came to visit from Kuala Lumpur. Joe is originally from Malacca. The first time I met him we were jamming the blues before I could even get my gear fully unpacked. After playing for so many years he just has the sound in his blood. We don't need to talk much, just set up and play. Again, close your eyes and you are on the South Side. We've played everything from T-Bone Walker to Miles Davis over the last couple of weeks as well as hundreds of choruses of blues in every key, tempo, rhythm, and style we can think of, spinning off marathon choruses that have me imagining Paul Gonsalves on stage at Newport 1956 in my own minor-league way. Every chorus different, trying never to repeat, trading leads, playing backings for each other, varying the harmonies - just close your eyes and blow. Amazingly, Joe told me he has never played with a sax before! 

Joe was first exposed to the blues through the British Invasion bands in the 60's; then listening to US Armed Forces Radio broadcast from Vietnam he got to hear James Brown, Ray Charles and such. By the 70's he went to Europe for work and played rock and roll, then returned to Penang where he ran a guest house. One of his guests taught him some guitar and exposed him to jazz. A second stint playing music overseas followed. Along the way he heard T-Bone and B.B. King in person. It wasn't until the 90's that Miles and Trane connected for him, and now he is playing their music too. Joe told me that he has given up on being a full time musician in K.L. because there just aren't enough opportunities for him to play honest music, the music he wants to play. That's the subject of a whole separate blog post, forthcoming. 

Hope to get in at least one more jam before Joe heads back to K.L.