Antone's 47th Anniversary Shows: Anson Funderburgh, Sugar Ray Norcia, Lou Ann Barton, Bob Margolin & Roomful Horns

 July 14, 2022

The city, Austin.  Breakfast?  Just grab a couple of eggs and find a clean stretch of sidewalk and decide between sunnyside up or over-easy.  Another day of 110 degrees and not a cloud in the sky.  I decide to ditch breakfast completely for a midafternoon outing to the shrine of brisket cuisine, Franklin's Bar-B-Q.  A pound of brisket, 2 sides and a couple of Shiner Bocks later and I understand the meaning of King Khan & the BBQ's "Waddle Around" intimately.

I uber back to my bat cave for that Southwestern tradition, the siesta.  Did I say bat cave?  Chicken coop would be more accurate.  Not for the accommodations, but rather, the cacophony of chicken noise that greets you at dawn every morning as every household near my Air BnB seems to own roosters.

Feeling renewed and refreshed from an air conditioned nap, I am ready to face another night of great music and libations at Antoneland.

 Being a creature of habit I take the short uber trip down to South Sixth Street determined to get corroboration for my side project:  The alleged musician brawl at the 12 Anniversary Show the night of July 16, 1987 . That would make this the 35th Anniversary of the alleged brawl between blues legends over who played second to last (i.e.  just before the headliner). 

Antone's 47th Anniversary Shows: Johnny Nicholas and Friends Turn Antone's Into a Louisiana Roadhouse

July 13, 2022

It was a phenomenal night for midcentury Louisiana music Wednesday night as Johnny Nicholas and his band the Westerlys moved state borders that night putting Antone's smack dab in the middle of Louisiana.

Was there a rip in the fabric of space time Wednesday night in Austin, Texas?  Some physicists are theorizing that a wormhole or portal may have appeared in the vicinity of Antone's Nightclub.  Those fortunate enough to have entered the club that night were teleported back in time to when Louisiana music ruled supreme. The key to the music's appeal was all in its tone.  Tone was everything.  When it comes to authentic midcentury Louisiana music no one around understands it better than Texas blues guitarist and former Asleep at the Wheel singer/musician Johnny Nicholas.  

So just how does a Greek kid from Rhode Island become a legend in Texas blues and western swing

music?  The answer is complicated but it all comes down to one thing, Providence, son.  "Providence?"  But what about Westerly?  And don't call me "son"!  "Fuck Westerly!" someone yells from the crowd.  That is about all I can remember before everything went black. Seriously, if I were to ask Johnny about it I suppose he would describe his lifelong infatuation with Louisiana and the brief time he spent there as a child all played a role in shaping his career.  Personally, I prefer to believe in the rip in space time theory, so we'll call it a draw. (The only reason I bring up Mr. Nicholas' Greek heritage is when I was speaking with Doug James a week before the show I told him that I was so impressed with Johnny Nicholas he had become something of a god to me and Doug quipped "...you mean a Greek God".  Before I booked my trip to see the Antone's Anniversary Shows I was not all that familiar with Mr. Nicholas other than he had great taste in material and musicians he worked with.  But after doing a deep dive into his career and catalog, his show became my raison d'etre for making the trip.)

"...there was a time, not in the too far distant past, when there were more itinerate musicians from Providence washing up on the shores of the Guadalupe River than tech rich Californians. "

By the "Westerlys", I am , of course, jokingly referring to Doug James and Greg Piccolo, original members of the Roomful Horns and just part of that underground railroad of Providence musicians who helped put Austin on the blues music map.  What?  Roomful of Thunderbirds?  Get outta here!  No, you get outta here.  Truth be told, there was a time, not in the too far distant past, when there were more itinerate musicians from Providence washing up on the shores of the Guadalupe River then tech rich Californians.  Fran Christina, Preston Hubbard, Junior Brantley, Duke Robillard and that's just some of the Roomful of Blues / Fabulous Thunderbirds cross pollination.  Then there was the legendary collaboration between Stevie Ray Vaughn and the full, classic version of the Roomful Horn section featuring Porky Cohen, Ritch Latille and Bubba Enos, in addition to Mr. Low and the Pic that appeared along with the Vaughn brothers on Stevie's Carnegie Hall Live LP.

But my favorite collaboration between Rhode Island and Texas are Johnny Nicholas' big band records with the Texas Allstars.  His 2006 record, "Big Band Bash, Rhythms for Rio" featuring Greg Piccolo and produced by Steven Bruton contains a killer version of Bobby Charles (aka Robert Guidry)'s "Before I Grow Too Old".  On a different album Nicholas did with the Texas Allstars, "Rocking My Blues to Sleep," Johnny does my favorite version of "The Hustle Is On" and considering the competition (e.g. T-Bones Walker's original and Kim Wilson's) that is saying a lot!

I arrived at the "new" Antone's a little before the doors opened so I went into Big Henry's Record Shop next door to kill some time.  This became my modus operandi all 3 shows I attended.  To call Big Henry's a record shop would be a misnomer.  More like a boutique of rare blues, soul and local musician vinyl records in amazing condition for their age.  The young woman behind the counter my first night there was very helpful and knowledgeable about music.  Precisely the kind of person you would want running your music establishment and I am not just saying that because she complimented me on my WFMU cap.  "You know about WFMU?" was my startled response.  For the uninitiated, WFMU is a free form radio station broadcasting over the airwaves from New Jersey to metropolitan New York and the rest of the world via the internet.  Woof-Mu boasts one of the best accessible archives of past shows and serves as an important educational resource for aspiring musicians and music aficionados in general.

Enough with the digressions, let's get to the music.

Tone was dripping off the ceiling at Antone's Nightclub tonight.

The night got off to an auspicious start even before the performers took the stage.  The wonderful selection of taped music played through the club's PA literally set the tone for what was to come.  Tone was dripping off the ceiling at Antone's Nightclub tonight.  AnTone, bon Tone, roulette anyone?  I'm so confused.  If you loved the tone on the old Excello 45s by Guitar Slim and Slim Harpo or anything recorded at Cosimo Matassa's J & M studios you would have thought you had died and gone to heaven.

Johnny Nicholas took the stage, starting out on keyboards for one of his best tunes and title track from his 2006 record, "Broke Again", accompanied by his hand picked band (Scrappy Jud Newcomb on guitar, Chris Maresh on bass and Jordan Cook on drums) which grew larger and more varied as the night progressed.  Next up was another original from that album, "My Rice Ain't Got No Gravy".  Nicholas then told a great story about how he was inspired to write "Down in the Alley", his tribute to Austin legend  Doug Sahm, by watching his distinctive walk late one night as he hung out in the alley following a gig.

If you had to choose just one word to describe Johnny Nicholas the musician and the person, I would pick generosity.  Here Nicholas had been given a platform at one of the legendary blues stages to showcase his talents and promote his career, which he absolutely did.  But he also used the opportunity to share the stage and spread the wealth with deserving musicians while educating the audience with the history of the local music scene and by exposing them to artists and genres they might not otherwise cross paths with.

Johnny Nicholas, Scrappy Jud Newcomb, Ruben Ramos

Case in point, Johnny's first special guest, Tejano music legend  and Grammy Award winner Ruben Ramos aka "El Gato Negro".  Mr. Ramos looked and sounded great, showing no ill effects from triple bypass surgery earlier this year.  

Joining Ramos onstage was a three woman choir and Nicholas' band expanded as well.  Taking over from Nicholas on keyboards was Marcia Ball which freed up Johnny to play acoustic guitar and harp.

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One of the set's highlights was a stirring version of "Wasted Days and Wasted Nights".

Marcia Ball continued the Louisiana theme with nods to Smiley Lewis and Fats.  Johnny Nicholas was featured on harp for "Gotta Get You a Woman".  

Other Highlights from Marcia's set included a poignant "Louisiana 1927" before closing with a Little Richard number which made me think of Bob Bell and John Rossi.

Scrappy Jud Newcomb, Anson Funderburgh, Jordon Cook and Marcia Ball

Johnny Nicholas took back the helm and gave the audience a sneak preview of tomorrow night's show by bringing up Anson Funderburgh for a Lonesome Sundown cover, "I'm Glad she's Mine".

                                                                Johnny Nicholas

The emphasis turned to harp for Sonny Boy's "So Sad to be Lonesome".  Nicholas then brought out another of tomorrow night's headliners, Sugar Ray Norcia, who he practically mugged towards the end of his cameo.  

A personal favorite and fan request was up next, Bobby Charles' "Before I Grow Too Old" which show- cased two members of the original Roomful Horn section.  

It was so good to see and hear Greg Piccolo's rich tenor alongside Doug James' classic baritone.  I don't think there is a better two man sax section in the business and no one can touch them for midcentury Texas-Louisiana tone.  

Johnny called next a number the Roomful Horns knew very well, Earl King's "Those Lonely, Lonely Nights" which featured his guitarist Scrappy Jud Newcomb.

Nicholas shifted geography to Chicago for a story about Junior Wells and one of the Windy City's iconic blues bars, Theresa's, and putting $50 on the table before doing "Hoodoo Man's Blues".

And it wouldn't be a night of Louisiana music without Smiley Lewis'  "Ain't Gonna Do it".  It doesn't get any better than the Roomful Horns swinging hard and Marcia Ball's rollicking New Orleans piano.

Luckily Johnny still had enough time for one last story about Clifford and Big Walter Smith before bringing up Lou Ann Barton for one of her first live performances since the Covid pandemic for "Natural Woman".

All in all a great night for music and celebrating the anniversary of the founding of one this country's premier music clubs.  I have to think Clifford would be proud of the way the new club has continued his legacy of fearlessly booking excellence not just what is popular.

After 36 Years, Boy How Austin Has Changed!

 July 13, 2022   Austin, TX

Austin's changed, it's true
Show me what hasn't
Tonight the TV's throwing colors on the wall
As watches cities of the world reduced to ashes
From where I sit, at the bottom of the world
Oh, there used to be a phone booth
Down here on every corner
He used to call me up just to say my name
But now anybody get is a busy signal
No I can't call home, from the bottom of the world...

Alejandro Escovedo "Bottom of the World"

The first time I was in Austin was May of 1986.  I had just graduated law school and rather than study for the bar I bought a brand new motorcycle and decided to live out one of my dreams.  I was a huge music freak and thought how cool it would be to follow one of my favorite bands around the country before settling down to a squaresville legal career.  In 1986 one of the hottest bands on the circuit was The Nighthawks.  I first saw the Hawks in 1977 and have been a diehard fan ever since.

Over the next two weeks I followed the Hawks throughout the Mid and South West racking up over 4,000 miles.  But of all the venues on their itinerary the one that intrigued me the most was the show at Antone's in Austin, Texas.  To blues fans the stories of this club and its legendary owner had reached mythical proportions. So much so, in fact, that I distinctly remember what a let down it was as, based upon its profound influence on the blues music scene, I was expecting the Taj Mahal not a converted Pizza Hut or Country Kitchen.  The physical layout of the modest club was not of importance.  What impressed me was the passion its owner had for the music and his love for the musicians.  I have to admit I was envious watching Clifford Antone introduce the band and hold court.  The sheer joy that Antone exuded was so real and contagious it had me questioning what I was going to do with the rest of my working life.  

Alas, not everyone has balls the size of Clifford Antone and certainly not me circa 1986.  Despite the life changing motorcycle trip, I did return to Minneapolis and embarked on a legal career.

Thirty-six years later I am back in Austin.  Just like my prior visit I came for the music and while the venue is again Antone's it is not the same location or owners.  The good news is the physical amenities at the new location are a big improvement over the converted Pizza Hut and the new owners have done a remarkable job of capturing Clifford and Susan Antone's passion for the music. 

The biggest difference between this trip and my trip 36 years ago is this time I flew.   As much as I wanted to take my motorcycle to relive my youth, the high price of gas and the fact I am now 60 convinced me not to try and make a promise that my body can’t fill.   

For once I would heed my daughter's sound advice, leave the motorcycle at home and have a nice relaxing 2 hour trip by air.   As luck would have it I had booked airfare in the midst of  one of the biggest airline meltdowns in history.

Since I was flying in the same day as my first show I was praying there wouldn't be any flight delays.  Thankfully my darling daughter booked me on one of the first flights of the day out of Minneapolis,  a nonstop on Delta and I arrived on time.  With a half a day to kill and check in time at my AirBnB still hours away, I decided to take the metro bus into downtown Austin and catch a brisket lunch.  

I had of course heard about the legendary Franklin's BBQ and saw that it was on 11th.  I got off the bus by the state capitol and ventured off into the 110 degree Texas midday heat lugging 2 suitcases neither of which had wheels.  God what I would have given for wheels on my luggage!  After walking 5 blocks in the wrong direction I scrapped the idea of Franklin's for lunch and just wanted cold beer and air conditioning. 

That's when I spotted a sign claiming they had the coldest beer in Austin.  Sounds good to me.  At Little Woodrow's  I had a cold beer and a margarita and had a nice chat with Skyler the bartender about this year's Willie Nelson 4th of July picnic.  I grabbed a taco from the food truck, called an Uber and made my way to my AirBnb.  Shout out to my host Robbie for coming to my rescue after the Uber driver dropped me off at the wrong address.  I had just enough time to shower and relax before heading to the show.

So what is my initial impression of Austin 36 years later?  Well, it certainly is true that Austin is no longer the quaint college town.  The food carts along Congress and Guadalupe have been replaced by food trucks.  What was once home to a burgeoning blues scene thanks to Clifford Antone and a slew of transplants from Dallas (the Vaughn Brothers, Doyle Bramhall, Denny Freeman, Lou Ann) Northern Virginia (Evan Johns) Providence (Johnny Nicholas, Fran Christina, Preston Hubbard) and countless other places is no longer the only show in town.  Gone are venues like the Armadillo World Headquarters and musicians like Doug Sahm.  Today's Austin is a sprawling metropolis with big city prices and recognized world wide as a music capital of all genres.  I would be willing to bet there are as many musicians per capita in Austin as there are lawyers per capita in Washington, D.C.  

About the closest (albeit imperfect) analogy I could come up with for what has happened to Austin, is what has happened to Stubbs Bar-B-Q restaurant.  Formerly a red and white checkered vinyl tablecloth hole in the wall  on the first floor of a seedy Rodeway Inn located under the I35 over pass.  The old Stubbs had the greatest old jukebox full of 45s on labels like Excello, Duke and Chess.  

The new Stubbs is now a multi-million dollar amphitheater that, like the HOB chain, rarely books blues acts, but rather is owned by C3 Presents and booked by Live Nation.  

I have a hard time believing its
namesake would feel comfortable at an Anthrax concert in the new version but you have to hand it to his children's marketing and business savvy for taking their father's humble restaurant and turning it into a national brand.

So, yes Austin has changed, it's true, show me what hasn't.....

"I'm going home with the armadillos..."

Antone's 47th Anniversary Shows Finale: Betty Harris, W.C. Clark

 July 16, 2022

Running Bear the Wisconsin Way: Send In the Hounds

August 2021

 It is 4 a.m. on the first Sunday morning in August in the second year of the Covid-19 pandemic, 2021.  It has been a long, hot summer in Minneapolis with very little rain and I need to get the Fuck out of Dodge.  I finish loading my car with the provisions I require for a daytrip, (black licorice, sesame covered cashews, dark chocolate and a six pack of Castle Danger Cream Ale), throw my 4 year old Anatolian Shepherd a couple of doggie treats to distract her and make my escape out the door.  

Finally freed from the confines of my residential prison and its daily grind of re-employment search activity, internet surfing and Netflix, I am greatly looking forward to running bear with hounds over in Wisconsin and reconnecting with my old friend Joe Trumble.  Up until a phone call I made to him about a week earlier, I had not seen or talked to Joe in nearly 20 years.  Why now was it "Trumble time"?  My inner voice spoke to me out of the blue and said to call Joe Trumble and I try and follow my inner voice.  As usual it was right.

I always admired Trumble, and for many reasons.  Not just because he is an avid outdoorsman, expert hunter and widely regarded as the best shot in Western Wisconsin, rifle or shotgun (and that was even before he had all the plaques and trophies to prove it).  I know this would greatly embarrass him  for me to say, (which in itself is another reason I admire him), but Joe always struck me as a guy who had it pretty much figured out.   By "it", of course, I mean life.  No, Joe is not some kind of life coach, a guru or whatever new age moniker you want to put on such nonsense. Trumble isn't the kind of guy to ever tell you how smart he is or to presume to tell others how to live their lives.  But if you are ever lucky enough to spend some time around him and just observe, you'll know exactly what I am talking about.  Low key, self-deprecating to a fault but with a wry sense of humor.  A raconteur of the woodlands.

I also admire Joe for being a patriot in the truest meaning of the word.  Joe knows that we are all incredibly blessed to be American citizens.  But with citizenship comes responsibility.  I am of the personal belief that with all the benefits that come with American citizenship is the duty to answer your nation's call to service.  I am also proud to live in a country where people have the right to disagree with our nation's foreign policy.  Joe, like my good friend Al Avelsgard, my cousin Phil and hundreds of thousands young Americans answered the nation's call to serve in Viet Nam.  We owed them our respect and support whether or not we agreed with the war or the foreign policy du jour.  Unfortunately, we as a nation failed them miserably.   To Joe and all the Viet Nam vets out there our country owes you an apology, should beg your forgiveness and give a heartfelt "Thank you for your service".

A wonderful father and grandfather and one of the few people I know still married after 50 years.  (In truth,  I suppose that speaks more of the virtues of his wife, Sylvia, than anything Trumble could, or would, take credit for.)  Joe not only understands the importance of family to one's happiness in life, but is one of the few men I know that  acts on his understanding.  

After a successful morning of running the hounds culminating in treeing a cub up a large ash tree approximately 650 yards into boggy wetlands in the Crex Meadows public hunting grounds, Joe informed his A-team of bear hunting compatriots that he would not be joining them on their afternoon hunt.  You see Sundays were for gathering the children and grandchildren for dinner.  A tradition he inherited from his parents and grandparents and I have no doubt will be continued by his daughters and grandchildren.  Like I said, Trumble's got it figured out.  

Eat your heart out Jerry Burton!

David Bromberg Turns Concert into Moving Tribute to His Friend and Collaborator, Paul Siebel (September 19, 1937 – April 5, 2022)

The David Bromberg Quintet's covid delayed Big Road tour rolled into Minneapolis for two nights, (April 5th and 6th, 2022) at the Dakota Jazz Club in downtown Minneapolis. David was proud and excited to finally be able to premier his latest project, Big Road, before live audiences after he and his band worked really hard to complete it back in 2020 only to have it get delayed by wave after wave of covid. Although I did not attend the first night on April 5th, word was that David and his band were in good spirits and fine form.

It was not until after his opening number on the second night, (the crowd favorite, Sharon), did a somber Bromberg announce the sad news, the passing of his friend and long time collaborator, Paul Siebel, the gifted singer-songwriter (probably best known to Minnesotans as composer of Louise, which was covered and popularized by Leo Kottke).  Siebel had worked with Bromberg for over 50 years including a live album recorded at McCabe's Guitars in LA back in 1978. Bromberg told the audience that if his band looked a little disorganized between songs it is because they don't operate from a set list. While he tries, if at all possible, not to play the same song two nights in a row, he would be making an exception this night to feature some of his favorites written by Siebel. Highlights included "The Ballad of Honest Sam", Siebel's commentary on Nixon and which David said also bears relevance to a recent administration and David's poignant version of "Any Day Woman".

It was at this point that things took a rather unfortunate turn.  An overly enthusiastic fan who apparently missed David's introduction to the Siebel material kept requesting his Bromberg favorites, much to David's consternation.  Below are three videos I took of the encounter:

THE NIGHTHAWKS "Established 1972": A Fitting Testament to Mark Wenner's Music Legacy

Mark Wenner is no dummy. He earned a bachelor's in English from Columbia. He has taken rusty frames and buckets of nuts and bolts and restored them to vintage American motorcycle glory. But Mark Wenner's greatest legacy is his quiet but persistent leadership and guidance of an American music collective known as the Nighthawks. Part of Wenner's genius is that he has always recognized that the Nighthawks are a collective of the talents of its individual members, whose sum is greater than the parts. Despite numerous changes in personnel over the years, Wenner has shown great agility and adapted yet always stayed true to the integrity of his musical vision. 

 Not to be pigeon holed as a blues band, the Nighthawks have always exemplified the musical influences from which they came. The D.C. area has always been one of the great confluences of American music influences. Living in the D.C. area you are exposed to Bluegrass from Virginia, Country Western and Rockabilly from Maryland and jazz, blues and funk from D.C. and Baltimore.With such a wide range of musical influences, it is no wonder why so many greats call this area home. Duke Ellington, Roy Buchanan, Danny Gatton, Nils Lofgren, Robert Gordon, Mary Chapin Carpenter, and the Seldom Scene are just some of the artists that come to mind. But no group embodies the diverse influences of the D.C. area better than the Nighthawks.

 

 Established in 1972 by Wenner and co-founder Jimmy Thackery, the band started its meteoric rise a few years later after solidifying it's foundation with the addition of the rhythym section of Pete Ragusa on drums and Jan Zukowski on bass. Over the next ten years the band earned its well deserved reputation among fans, critics and fellow musicians alike, playing as many as 200 gigs or more some years, across the U.S., Canada, Europe and Japan. 

 Admirers included Muddy Waters and his Legendary Blues Band, with whom the Nighthawks earned a grammy nomination for their excellent Jacks and Kings volumes and Gregg Allman, who loved them so much he was ready to join the group and booked an East Coast tour.  Unfortunately, the tour was aborted after only one show due to Gregg's personal struggles. I was in line waiting to get into the Bayou in D.C. for the second night of the tour when the bouncer came out and announced to the crowd, which stretched around the block, that the show had been cancelled. The bootleg of the first show at the Scorpion in Happy Valley, PA the night before with special guest Billy Price is legendary, with many people thinking that the stripped down versions of Allman originals are among the best and truest treatments ever recorded.

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The only thing the band lacked was a hit single and the heavy rotation airplay that comes with it to crack the ceiling into the next level. Part of the problem, in my personal opinion, was the commercial radio industry which still suffered from the lingering corruption of the payola system. 

 By 1986 cracks between Wenner and Thackery had developed into fissures and eventually the writing on the wall was becoming apparent.  But not before a tour of the Mid and South West that I was fortunate to follow on my motorcycle. A few months later, in August of 1986, I made the trip back to D.C. for their regrettably-named "Farewell" show at the Carter Baron Amphitheater where they were joined by many fellow travelers and friends. Gregg Allman, John Hammond, Jr., Toru Oki, Pinetop Perkins, Luther  "Guitar Junior" Johnson and Bob Margolin were just some of the luminaries who came out to show their gratitude and respect.

Fast forward 36 years and its 2022 and the Hawks have released "Established 1972" their new studio album on the VizzTone Label Group celebrating the band's 50th Anniversary. Produced by the band and long time collaborator David Earl and the album was recorded at Earl's legendary Severn Sound Studios in Maryland.  The 2022 version of the Nighthawks has Wenner at the helm of course,  the ever lovable Mark Stutso on drums and vocals and the newer members, Don Hovey on guitar and Paul Pisciotta on bass.  Everyone contributes with vocals and songwriting credits.

The album kicks off with Wenner doing a rousing version of Garaint Walker's "Nobody" followed by the record's strongest original composition, Hovey's excellent "You Seem Distant", one of four tracks he contributes.  Stutso takes over lead vocal duties on a solid cover of Eddie Hinton's arrangement of Sam Cooke's "I'll Come Running Back" popularized by his old bandmate Jimmy Thackery.  Stutso is also featured on "Coming and Going" as well as his funky and greasy original contribution "Gas Station Chicken".  You cannot mention chicken without thinking Memphis, which the band does quite nicely on Raiford Starke's "West Memphis".  Hovey's straight ahead rock version of the reggae standard "Johnny Too Bad" works surprisingly well as does the humorous cover of the Coaster's "Run Red Run".  Hell, even the co-producer, Mr. Earl, cannot resist adding some Eddie Taylor inspired guitar licks to the Jimmy Reed classic "Take It Easy".  Always keeping their ears open to good material and wonderful arrangements the Hawks remind us of their great taste in covering John Hammond's version of Mose Allison's "Ask Me Nice",  a perfect fit for Wenner.  

All in all, "Established 1972" is a remarkable product for a band that keeps putting out first class performances of music covering a wide range of genres.  The injection of new blood and strong original contributions, especially from Hovey, show that the Nighthawks are not ready to pull in their wings and nest.

Jon Cleary Has Earned the Title of New Orlean's Preeminent Ambassador

 Kent is a long ways from Louisiana, but if you put in the work, learn your craft and mentor with the greats, even a kid from a small town in the United Kingdom, Cranbrook, can grow up to be the preeminent pianist of New Orleans.  Cleary's solo performance at the Dakota Jazz Club in Minneapolis on March 30, 2022 demonstrated that Cleary is much more than a piano player.  He is also a fine vocalist who knows his range and has an encyclopedic knowledge of New Orlean's standards with stories to match.  Cleary is also a fine songwriter and opened his show with his original, "Frenchmen Street Blues" which is a masterpiece, capturing the essence of the Crescent City in it's beautiful lyrics:  

Sprinkle my ashes on Frenchmen Street.

Don't be upset at the news,

Just cut me loose with a soulful song.

Don't play no Frenchmen Street blues.

Hitch me a ride on a river breeze

To Elysian Fields so green

And I'll join the spirits standin' by to smile,

On the backstreets of old New Orleans.

All those years hanging out in clubs like the Maple Leaf, where James Booker once lived upstairs and would play whenever the feeling struck him, have paid off for Cleary and even come full circle.  For it is Cleary who now holds down a regular slot at the Maple Leaf, often accompanied by his band, the Absolute Monster Gentlemen.  Through hard work, respect for his art and its history, Cleary has truly become an authentic Ambassador for America's greatest soft power to the world, New Orleans and its music.  Another memorable night of fine dining and great music at the Dakota, which along with the more famous First Ave and its family of venues, make Minneapolis the Crescent City of the North.