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