"Blues Piano Perfection"

The Cascade Blues Association's review of East Meets Vest:

David Vest continues to carry on the tradition of boogie piano with style and flair that has few equals. Born and raised in Alabama, he learned and played with the absolute best of Gulf Coast and Southern musicians, including the likes of Big Joe Turner, Floyd Dixon, Lavelle White and Jimmy "T-99" Nelson. Later on he spent time in Portland working with the Paul deLay Band and eventually made the move across the border into Canada where he is turning even more heads with his craft, including receiving a Maple Blues Award.

This past February [2012], Vest found himself in Toronto on Mardi Gras Day working with some of the finest blues artists in Canada. Guitarist Teddy Leonard from Fathead and the Downchild Blues Band's rhythm section of Gary Kendall on bass and Mike Fitzpatrick on drums is a mighty force to have at your disposal. (If you are unfamiliar with these bands, make a point to check out their outstanding material.) Vest runs them through an impressive selection of originals and a working history of piano blues. 

Vest offers songs from his mentors. Two from Big Joe Turner and another by T-99 Nelson, not to mention his own reworking of Nelson's classic "Meet Me With Your Black Dress On," which he simply titles "Black Dress." That last number has become a signature song of Vest's in itself with its bouncy rolling riff that makes you want to dance. There are also a handful of numbers from W.C. Handy, Memphis Slim's "Wish Me Well" and a beautiful take on Avery Parish's "After Hours" that closes the disc.

The piano playing is fresh and exceptionally crisp on this recording. I cannot get over how brilliantly the sound of Vest on the keys comes across on the song "Come Clean With Me." It gives the feeling that I'm sitting right next to him as he plays. It is just one stellar song on an album that breathes blues piano perfection.

David Vest has been caressing those keys since the 1950s. He has made plenty of sensational recordings over time, but this one is a master work. It must be heard. Though there are many people today offering piano boogie blues, nobody does it with the authenticity and smooth delivery of David Vest. Outstanding!  

 -- Greg Johnson

Live at the 2013 Waterfront Blues Festival

Photo courtesy of John Rudoff, who was also there with his camera the night Dylan went electric at Newport.

Sointula, BC

The featured entertainer was an old-time boogie woogie/blues player named David Vest, and he certainly lived up to his billing. The only thing better than the music was the stories he told of the origins of the songs he sang, and the music and the people who made it.

It's All Their Fault

CURL has been one of my favorite local (Victoria) bands since I first saw them perform about three years ago. They are funny, sharp, and lots of fun. I don't think of them as an "all girl band" or any kind of novelty act, just a band that plays great music to go dancing to.

The first thing I noticed about them is that this is a real band, not just four people playing music together. By that I mean that they really listen to each other when they perform. Nobody tries to stand out at the expense of the group dynamic. Miles Davis called it "playing attention," and this quality is captured brilliantly on their recently released debut CD, "All My Fault." It has hardly been out of my car stereo since I first got my hands on a copy.

Produced Wynn Gogol did a fine job recording and mixing this album. Just listen to the way bassist Susan Johnson and drummer Christa Rossner lock together in the groove and you'll know what I mean. Johnson's bass tone and perfect intonation are outstanding, and Rossner goes straight to the heart of the beat every time. Dee Cooper's keyboard playing and her arrangements bring out the best in her band mates. Lead vocalist Helen Davies has the pipes to sing anything from Bessie Smith to Axl Rose, but she makes her powerful voice serve the song, not the singer's ego. And she plays guitar like a member of a band, not like someone trying to drown a band out.

In other words, these musicians have got each other's back, and you can't help but feel it.

I would put some of these tracks in heavy rotation if I were a radio deejay. Keyboard player Dee Cooper's "What's His Name" is a song I would kill to have written, and I suspect lots of other songwriters will feel the same way about it. The Davies original "Heavy Stuff" is top-notch writing; the song wouldn't be out of place on a Janiva Magness or a Shemekia Copeland album. The title track (written by the whole band) demonstrates conclusively that wit is one of the sexiest human qualities. (In my book, well-placed wit trumps pole dancing, provocative poses, and flouncing around the stage half-naked, every time.)

But as good as Curl's own songs are, the centerpiece of the album is their astonishingly original take on "St. James Infirmary." There's a reason they call these old songs "standards," because there's a lot to live up to when you perform them. Not to worry: Curl's version can stand beside anyone's. I suspect Louis Armstrong would have loved this track, and I'll be amazed if it doesn't get a ton of air play.

For the time being, as far as I know, you'll have to catch CURL live to get your hands on a copy. Check out their website for gig dates and much more. 

In the meantime, take a look-see.

East Meets Vest

The new CD is out. Read all about it!

And check out the first review.

More from the Shootout on Highway 99

Shootout on Highway 99

This was filmed by an audience member at Highway 99 Blues Club in Seattle. DK Stewart and I were playing our final encore, without the band.

Rock a While

My new CD was released on July 20. Buy it here.

Another Oregon Weekender

I'll be back at Duff's Garage Friday night in Portland. On Saturday it's down to Eugene for a return visit to Mac's at the Vets. Jimi Bott and Chris Miller will be with me on both dates, along with Dave Kahl and Dan Fincher.

An Interview in Oregon Music News

Oregon Music News is currently running an interview with me, in which I try to explain what I'm up to musically these days.

Portland and Eugene

This week I'm heading back down Oregon way for a couple of shows with the expanded version of my band, including the horn section. Working without a net is always fun, but this is way better.

Friday night (Jan. 22) it's a return engagement at Duff's Garage in Portland. We've worked up a bunch of new songs and we'll be pulling out all the stops, with emphasis on Texas blues and Gulf Coast boogie woogie, plus some soulful homage to Sun Ra. It's also an Aquarius Birthday Party night, with all the trimmings. Better bring those dancing shoes!

Saturday night (Jan 23) I'll be making my first appearance in Eugene since the last time I was there with Paul deLay, some years back. The whole high-class sympathy Arkestra will be making the trip with me down to Mac's at the Vets.

Starting at 9:30 pm on both nights, we're gonna party like it's 1959!

Online Again in 2010

I've been quiet lately because my old iMac went into shock after a power spike. For some reason I had it plugged into the cheap strip, not the good one. It's back from the shop and running again, but it's still a little woozie. Guess I'd be woozie too if I had slept for a week.

By the way, there are several new videos of the band on my web site.

Another Touch Down at Duff's Garage

I will unleash the Howlin' Ra project again tonight at Duff's Garage in Portland. Witrh Chris Miller on guitar, and at least one special surprise guest.

Northwest Pianorama Rides Again

I'll be appearing as part of Northwest Pianorama with my pals DK Stewart and Kenny 'Blues Boss' Wayne this coming Thursday (Dec. 3) at the fabulous Triple Door in Seattle. Showtime is 7:30 p.m.

We'll have a terrific band behind us, featuring Peter Dammann on guitar, Don Campbell on bass, and the legendary Jimi Bott on drums.

This will be my only scheduled 2009 Seattle appearance, and I'm looking forward to being back in the Emerald City.

The Howlin' Ra Ship Docks in Duff's Garage

Since my birthday's this week, I'm looking to have a par-tay!

That means I'll be slavin' over a hot piano in good old Duff's Garage down in Portland this Friday (Nov. 6, at 9:30). I'll have the Willing Victims with me, plus the Mythocratic Transformation Horns and the legendary Chris Miller (Irma Thomas, Marcia Ball) on guitar.

I call the whole aggravation my Howlin' Ra project. You sort of have to imagine Howlin' Wolf singing Sun Ra arrangements of Bill Monroe songs, backed by Mud Boy and the Neutrons in a Texas roadhouse. All disguised as boogie-woogie blues. But later for the descriptions -- this is good time music. So turn up the treble and bop cat bop. The less you think about it, the more sense it will make.

And once again, I'm happy to say, this show is a CBA co-sponsored event.

The Santiago Chicken

In his heyday, the fame of "the hardest working bird in show business" extended beyond U.S. waters:

Like every ballpark, Estadio has peculiarities – a lighted foul pole, 'Home Club' painted in English on a dugout, bullpens beyond the outfield fence containing actual bulls. The arrival of a mascot at home plate delights the foreigners. Yellow-feathered, red-combed, the rooster wearing the uniform of the Cuban national team bears a curious resemblance to the San Diego Chicken. "Look, it's the Santiago Chicken," someone quips. The game slipping away from the home side, the rooster takes his head off to peck at home plate, as though casting some weird voodoo spell. "No, it's the Santeria Chicken," another tour member says ...

Canadian Treasure

The great Sun Ra said that he respected "all sincere musicians, whatever kind of music they play." Recently I had a chance to play with someone who embodies that ideal: the great Canadian jazz trombonist/pianist/composer Hugh Fraser.

Hugh and his amazing quintet happened to be appearing at Hermann's Jazz Club in Victoria, B.C. last Saturday night. Hermann's is as fine a venue for jazz as you'll find almost anywhere; no need to bring an electronic keyboard because the club provides a fine grand piano. It was the perfect spot to see Hugh and his combo, playing for people who really appreciated the music.

I had met Hugh briefly at a recent benefit for the Victoria Jazz Society, at which we both performed as part of a blues revue. As soon as our party was seated, someone slipped Hugh a note telling him that I was in the audience, and before I knew it I was sitting down at the piano. I led the band in a Sun Ra number, because after all it was a jazz scene. But before I could leave the stage, Hugh was telling me, "No, no, no, stay where you are, you've got to sing the blues."

And play the blues we did. I've never been made to feel more welcome on somebody else's stage. I did one of my numbers ("Meet Me With Your Black Dress On"), and Hugh's band played it as well as it's ever been played. I've shared the stage with some pretty good bands, but none better than these guys (the combo included Campbell Ryga on alto and soprano saxes, Ross Taggart on piano and tenor, Ken Lister on bass, and Dave Robbins on drums -- all of them certifiable A-listers).

Afterwards, I went back into the audience and Hugh took over at the piano and played "Mode to McCoy," his fabulous tribute to McCoy Tyner. I was glad I played earlier, because (believe me) no one could have followed that!

If you've never heard this man's music, by all means check him out! He's got the kind of energy, talent, and heart that made me want to ever do this thing in the first place.

Summit Meeting in Victoria

I'm looking forward to performing with some great Canadian musicians this Saturday night at the second annual Blues Summit in Victoria, BC. It's a fundraiser for the Victoria Jazz Society, a group I'm very happy to be supporting.

Among those performing will be Tom Lavin from Powder Blues, Lisa Mann up from Portland, and Victoria's own Bill Johnson, with his band. Bill is a legend in these parts, and it's great to get to play with him.

Arkabilly Music: Sun Ra Meets Moon Mullican?

It's back to Portland this Friday for a return engagement at Duff's Garage, a wonderful club I always enjoy visiting. We had a full house last time at Duff's, and we're hoping for another good turnout.

This time around I'll have Jimi Bott on drums, Don Campbell on bass, Paul Brainard on guitar, and the Mythocratic Transformation Horns (Joe McCarthy on trumpet, Brad Ulrich on baritone sax and clarinet, and Dan Fincher on tenor).

To hear a little sample of what we sounded like last time, go here. Yeah, I know: the piano's way back in the mix, but you can sure feel the groove.

As far as what's new in our show, folks can expect to hear a lot more more of the Sun Ra material people seem to like so much. And we're bringing back some of our oldies, including 1948 (Vanport Flood), because people keep requesting them. Plus I've been spending a lot of time listening to Memphis Slim at the Gate of Horn, one of the greatest blues albums ever made.

Ok, Portland -- hope to see you there!

Art, Protest and the Press

In an essay arguing that "artists have a duty to dissent," a self-described "marketing strategist" makes the following point:

" ... the art community, as a counterpart of the press, has been given special rights written into the Bill of Rights, known broadly as freedom of the press ..."

Really? So Picasso was a kind of Heidi Collins? Rene Magritte was the Wolf Blitzer of Belgium?

It's not that I don't think artists have a right, or even a duty, to protest ... but surely their freedom to dissent doesn't derive from defining art as some sort of appendage to journalism.

Does it?