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VOLUME 136, sent July 23, 1998

Topics in this issue:
  1. chords for (sometimes I feel so) uninspired
  2. Los Lobos
  3. SW/Traffic Weed Dubs offer
  4. Sitcom
  5. our man goes latin
  6. Session Studio
  7. "Latin Crossings" in Barcelona
  8. Latin Crossings CD???????
  9. Woodstock Tickets
 10. Alan Merrill CD and Will Powers
 11. Rock & Roll Stew vocalist
 12. Mojo diary review

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1*1*1*1*1*1*1*1*1*1*1*1*1
From: "Reis, Andre" [amr75369@GlaxoWellcome.co.uk
Subject: chords for (sometimes I feel so) uninspired
Date: Thu, 2 Jul 1998 13:37:31 +0100

Dear friend,

Could you please help me to find it?

Tks for your help,

Andre Reis


2*2*2*2*2*2*2*2*2*2*2*2*2
From: DREEMWYVR@aol.com
Date: Thu, 2 Jul 1998 22:07:57 EDT
Subject: Los Lobos

Last Sunday I attended the Fleadh, the Irish festival that toured New York,
Chicago, and the Bay Area (it was greaaaat!).  I know I'll get shot down on
this comment, but had never heard Los Lobos perform before, and commented to
my companion how in this particular song the singer (heck, I don't know his
name!) sounded so much like Steve Winwood.  My friend wasn't familiar with
Steve Winwood (he grew up in Ireland, should we forgive him?), and as I was
attempting to explain who he was, Los Lobos cuts loose with "Dear Mr.
Fantasy"...wow!  They did a great job, and apparently I wasn't the only one
who thought there were similarities enough in the voice to pull it off
well...so did Los Lobos.  If we couldn't have Steve there, it was certainly a
nice treat...oh, and I have no idea what "Irish roots" Los Lobos could be
considered to have, I felt it odd they were there, but enjoyed them
nontheless!

--Laura Bone`, aka Dreemwyvr@aol.com

[The lead singer is David Hidalgo. --BG]


3*3*3*3*3*3*3*3*3*3*3*3*3
Date: Fri, 03 Jul 1998 12:06:06 -0700
From: Mike Teel [mt6@inreach.com
Subject: SW/Traffic Weed Dubs offer

I too recently rec'd the SW & Traffic shows from
Bob Craig and will dub these shows for the first
three list members who respond to this offer.

Mike Teel
mt6@aol.com
mt6@inreach.co


4*4*4*4*4*4*4*4*4*4*4*4*4
Subject: Sitcom
Date: Sun, 5 Jul 1998 23:21:33 -0500
From: Dawn [koki9@bellatlantic.net

Here's a newspaper article that caught my eye in the local paper, due to the
title of the sitcom discussed. I wonder, if this thing actually makes it off
the ground, will we be hearing any familiar background music?

June 30, 1998  New York Daily News, "Now" Column:

"Sitcom co-star has mixed 'Feelin's'"

The controversy surrounding Fox's forthcoming "Feelin' All Right" sitcom
continues, and one of the co-stars admits concern over the pilot's portrayal
of '70's teens getting stoned as a point of humor.

"I definitely don't think drug abuse should be glorified," says 22-year-old
Danny Masterson, who plays one of a group of teens around whom the action
revolves.  He notes, "I've got friends who can barely finish sentences from
doing too many drugs... It grosses me out.  But this is a show that takes
place when things were different, morals were different."

As far as this column is concerned, the show is making a statement that this
is what the parents of today's teens did when they were young - ergo, why
shouldn't young people today do the same?  For instance, in the pilot, one of
the kids steals beer from his parents' party for his friends' consumption.
Later, he and his buddies get the giggles in what is obviously a marijuana-
smoking sequence, though the marijuana is never seen.


It seems a sure shot that "Feelin' All Right" will be a lure for young teens -
and even younger.

Fox Entertainment President Peter Roth has reportedly been in discussions with
the producers about "tweaking" some of the scenes in the pilot to show the
consequences of the drug use."

Peace,
Dawn


5*5*5*5*5*5*5*5*5*5*5*5*5
From: pawlyshyn@mindless.com
Date: Mon, 6 Jul 1998 18:14:50 -0400 (EDT)
Subject: our man goes latin

Hi. This is from the Montreal Gazette, Saturday, July 4. Cheers, Roman.

Higher love
Latin Crossings is where souls and music meet

JOHN GRIFFIN
The Gazette

At first glance, it looked like a gimmick. When the Montreal International
Jazz Festival announced its indoor ticketed lineup on May 5, the biggest weird
rabbit it pulled out of its top hat was a concert called Latin Crossings,
featuring British rock legend Steve Winwood, timbales master and Latin
American elder statesman Tito Puente, and Cuban jazz-trumpet firebrand Arturo
Sandoval, making music together at Metropolis July 3.

What was Winwood doing hitching a ride on a concert tour with the entirely
imaginable pairing of two great Afro-Latin stars? I think the unspoken thing
in some polite circles was that Winwood belonged with '60s Spencer Davis
Group, '70s seminal but self-indulgent Traffic and Blind Faith, and again
briefly with 1981's fine solo shot Arc of a Diver. Since then, not exactly a
household name.

But those of us old enough to remember when he was the resident 16-year-old
genius in Spencer Davis's R&B band, playing Hammond B3, singing like his
boyhood idol Ray Charles and writing classics like I'm a Man before he had a
driver's license, riffed through his CV and thought, "Stranger things have
happened."

That question was answered early yesterday morning when Winwood, Puente,
Sandoval and their nine-piece band capped three days of woodshedding at Club
Soda with an explosive midnight show before 500 of the invited anointed.

It was billed as a dress rehearsal for last night's performance at Metropolis,
but it's hard to imagine room for improvement. It was a heroic, happy set, one
for both festival and Soda archives, and all the proof the doubtful ever
needed to restore their faith in music as an eternal healing force and
custodian of the secret to perpetual youth.

Puente will never see his 75th birthday again, but he splayed over his array
of bottomless drums and xylophone like the "king of timbales" Sandoval crowned
him in his floor-burning chanted tribute Tito. A great showman, ambassador of
salsa,
Afro-Cuban rhythms, Latin jazz and Latin American culture in general, Puente
was not so much a musical presence as an aural runway upon which everything
else took flight.

I don't know how old Winwood is - 48?, 50 maybe? - but somewhere's he's got a
portrait that's fusting up an attic. From the back of the hall at 1 a.m.
yesterday, he looked not a day older than he was on BBC's Top of the Pops back
in 1965.

So my eyes are going. The important, scary thing is that the fabulous R&B
voice has not altered in richness or accuracy by a semi-tone despite all the
torrents of water that have flowed under the bridge of his life in the decades
between Swinging London's Carnaby Street and Park Ave. on a sweaty July night
in 1998.

As remarkable a thing as his unchanging pipes - and a forgotten, Carlos
Santana-like stinging virtuosity on electric guitar, signature B3 and keys -
was how his old songs have effortlessly expanded to fit the occasion.

I'm a Man, Higher Ground, The Low Spark of High-Heeled Boys - the most recent
was written in 1981 - were all opened up to fit the Latin/soul/R&B/jazz
crossing like they'd been penned for this great ensemble yesterday.

Low Spark especially (no, that's not true, Winwood's material all went up like
gasoline, but this song was a more complex workout for the band) offered
opportunities for pedal-to-the-metal playing, pianissimo control, major builds
in volume and intensity, Winwood's haunted vocals, and a shamelessly lyrical,
technically jaw-dropping muted trumpet solo by Sandoval to reinforce the well-
known fact that Cuba's loss is our gain.

Upfront and talkative with his gifted compadre Eddie Calles on saxophones,
Sandoval directed the evening to its avowed goal of blowing out the walls that
separate a music, people and culture from others.

Years after he first defected to gigs at the briefly revived Rockhead's
Paradise in the early '80s, Sandoval has evolved into a citizen of the world
whose language is one love, many rhythms.

The collective, ego-free energy of the marquee leaders, fused with a dream
section that included versatile drummer Horacio "El Negro" Hernandez, superior
guitarist and singer Tommy Anthony, Ottmaro Ruiz on keys, Manuel Egui
Castrillo on Latin percussion and Oskar Cartaya on bass, worked on the crowd
like something in the water supply.

This was not necessarily an audience of true believers - way too many media
hacks, fellow musicians and people with no other plans between midnight and
1:30 a.m.  But it took maybe two minutes, if that, for the place to reach
boiling and overflow into what had to pass for dancing in a room with far too
many tables and not nearly enough floor for a night of Latin crossings.

Part of the magic was being there, part the pharmaceutical ability of that
music, well-played, to elevate the spirits of the most clinical depressive.
Latin soul is positively homeopathic.

But for those of us who see Sandoval and Puente on an semi-regular basis, the
miracle was the active, ongoing, immutable musicality of Steve Winwood. At a
time when all our childhood rock'n' roll heroes are dead, dying or riding
sidesaddle on rheumatic memories, he's playing with the vigour, inspiration
and joy of either a kid or a lifer.

Because he's a consummate musician on his own terms, and blessed with a voice
that was given him in a one-off deal by the Creator, there's no reason to
think that Winwood in the company of his new friends and 2,500 Metropolites
would give anything less than more of his best at that club last night.

If you managed to hear Higher Love or Puente's own trademark tune Oye Como Va
without lubricating a joint in your body, you're more disciplined or
rhythmically challenged than the person dancing next to you.

Gap please ED: After this particular piece of love-in-ism, a mini bitch fest.
Club Soda continued a festival pattern of loading tables to the lip of the
stage for shows that scream "DANCE FLOOR."

The Spectrum was a particularly annoying example of that retentive mindset
during Keb' Mo' and Olu Dara. I know there are a lot of live-music amateurs at
this festival, accustomed to parking themselves in a chair for their
entertainment, but this is Montreal. Get up and shake it. You'll feel so much
better. And the festival gets more people into the place, too.



6*6*6*6*6*6*6*6*6*6*6*6*6
From: Stephen Smith [smith@dol.net
Subject: Session Studio
Date: Tue, 7 Jul 1998 23:30:50 -0400

Lots of news about Steve's session work. First, I'm absolutely ecstatic about
the prospect of a new live Chic album, with Winwood's involvement to  boot!
The Chic fans among us were saddened by the sudden passing of Bernard Edwards,
but a (first ever for Chic) live release would be a fitting tribute to him and
the legacy in which he played a key role.

Second, I checked the official Ijahman Levi site recently, and they now
clearly list Steve as playing organ on _Are We A Warrior_, Ijahman's 1979
album. I was previously aware that this album came from the same sessions as
_Haile I Hymn_ (1978), on which Steve is credited, but his involvement on the
1979 release was unclear until now.

Third, I've added a new section to the Sessions page - WANNABE SESSIONS -
and the name pretty much says it all. These are sessions that Steve may have
been involved with, but we don't really know. I've included most in  formation
that I've been able to find for each title. So far, they include Reebop's
_Melodies In A Jungle Mans Head_ and the Rick Grech bonus tracks on the early
Blind Faith CD, both of which were discussed in SP a long time ago. A more
recent addition is Shawn Phillips' _Second Contribution_. Scott Tribble
received an e-mail a few months ago indicating that Steve may have been
heavily involved with this album, but that's all we have right now.

Speaking of Shawn Phillips, the long-awaited re-release of his other A&M
albums is supposedly on again, this time beginning in fall 1998. Steve played
on _Contribution_, which will be in the first batch, and _Faces_, which will
be in some later batch, according to the official site.

The Sessions page on Bobbie's Smiling Phases site was updated with these items
- check it out!
http://www.azstarnet.com/~bobbieg/sessions.htm

Please let me know if you have something you'd like to contribute, especially
on the Wannabe Sessions. I'm clearing out a backlog of searches and
researches, so there'll be more to come soon?

Steve


7*7*7*7*7*7*7*7*7*7*7*7*7
Date: Fri, 10 Jul 1998 15:11:29 +0200
From: Javier Fernandez Garcia [jfernan1@pie.xtec.es
Subject: "Latin Crossings" in Barcelona

Dear Steve Winwood followers,
        Two days ago, on July 8th, 1998, I attended the concert that Steve
Winwood, Tito Puente and Arturo Sandoval, backed by a great seven piece band,
including Ed Calle on sax and flute and Horacio "El Negro" Hern=E1ndez on
drums, played in Barcelona, Spain. The concert was rather Latin oriented than
on Winwood's music, since "Higher Love", "Low Spark of High-Heeled Boys", "I'm
a Man", and the two encores, "Gotta Get Back To My Baby" and "Gimme Some
Lovin' " were the only Steve=B4s originals heard. However, he played guitar
and organ and sang in Spanish, which was one of the highlights of the concert,
in most of the Tito Puente's songs, such as "Oye Como Va", "Tito, El Rey Del
Timbal", "La Rumba Va a Empezar" and many others. The Latin musicians took
over the music and the show. Tito Puente is a strong band leader, Arturo
Sandoval is a great trumpet player, and Steve is humble enough to understand
his role as a member of the "Latin Crossings" in spite of his terrific
singing, joining vocals with the rest of the band. Another highlight was "Low
Spark...", as it was during Steve's last tour. Most of his solos on the Latin
songs were played on guitar, rather than on organ which he did on "Oye Como
Va". The last encore, "Gimme Some Lovin' " became a Latin rendition, after a
great organ solo by Steve.

Take care.
                                                                Javier
Fern1ndez


8*8*8*8*8*8*8*8*8*8*8*8*8
Date: Sat, 11 Jul 1998 12:50:06 -0400
From: "R. E. Kastner" [rkastner@wam.umd.edu
Subject: Latin Crossings CD???????

Having read the fantastic review of the Montreal show, I REALLY would like to
hear some this stuff!! Is there going to be a recording made on this tour? If
not, WHY NOT?

-Ruth


9*9*9*9*9*9*9*9*9*9*9*9*9
Date: Wed, 15 Jul 1998 18:27:23 -0400
From: Mike Armstrong & Anne Park [amfap@netcom.ca
Subject: Woodstock Tickets

Do you have any idea what two sets, unused, of tickets to the original
Woodstock concert with accompanying documentation (order form, correspondence)
would be worth and/or where I might find a buyer - a friend, not on the net,
has them - went to the concert but arrived after they stopped taking the
tickets!

Thanks for any help,
Mike.


10*10*10*10*10*10*10*10*10
From: Stephen Smith [smith@dol.net
Subject: Alan Merrill CD and Will Powers
Date: Thu, 16 Jul 1998 01:26:55 -0400

I've learned that Alan Merrill is planning to release a limited edition CD of
his self-titled album from 1985. Winwood played on at least one track of that
album. The scheduled release date is late this year, but still tentative at
this point. I would like to give his people some idea about how many of us
Winwood fans would be interested in the CD. The original LP seems to be
extraordinarily difficult to find! If you're interested in the CD, please e-
mail me soon!

Alan is currently touring as frontman with the Jon Tiven Group, and their
debut CD is called Blue Guru.

In other session news, Murray Dreyer was kind enough to send some old
clippings concerning the Will Powers album. The project was the brainchild of
New York rock photographer Lynn Goldsmith, who was fascinated with mental
health literature. Her contacts in the music world helped to attract literally
dozens of famous musicians to participate, including Winwood. The songs are
basically psychological advice, in Lynn's electronically altered male voice,
set to dance music. Critics rridiculed the record, but the involvement of so
many big names lent some credibility to it. In the words of one article, "This
is the record that actually promises to cure your problems if you buy it".

Steve


11*11*11*11*11*11*11*11*11*11
Date: Thu, 16 Jul 1998 11:05:09 -0400
From: Ted G
Subject:  Rock & Roll Stew vocalist (i.e., JC)

Alas, I have repented of my former ignorance on the above matter. Kindly
disregard my unlearned blatherings!



12*12*12*12*12*12*12*12*12*12
From: "Eddie" [Ejg300453@btinternet.com
Subject: Mojo diary review
Date: Thu, 16 Jul 1998 23:29:49 +0100

Piece found in this months August edition of Mojo published in UK today (July
16) in Diary section (Forthcoming gig guide)

Latin Crossings featuring Steve Winwood, Tito Puente & Arturo Sandoval.

The three names leading this  nine-piece latin jazz group may be the ones
pulling in the punters, but they're merely the tip of the talentberg, with the
likes of Ed Calle (sax/vocals) and Horacio 'El Negro' Hernandez (drums)
bringing their considerable skills to the party.  This is the only UK date and
the last of a festival tour that started in Montreal earlier this month.

London Shepherds Bush Empire (July 24)

For information.

Eddie

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END OF SMILING PHASES, VOL 136