I was honored in l995 to be asked to write the liner notes for the original Redneck Jazz Explosion, Live DC, released seven years after its recording and the first posthumous release of Danny's music since his tragic and untimely death on October 4, l994. These original notes will be reproduced with the release of "Redneck Jazz Explosion Volume I" ($11.95) and, I believe, put the importance of this band perspective in terms of Danny's short lived but creative musical history. I thank Holly Gatton of flying Deuces Music and Ed Eastridge of Big Mo Records both for the opportunity to write about Volume Two and, more importantly, for preserving the legacy of Danny's music. So let's waltz back to New Year's Eve, l978, in our nation's capitol. A third-of the way up 36th St., NW. between M and Prospect Streets (a stones throw from the Exorcist steps) in trendy Georgetown is a nondescript door. Herein lies the entranceway to guitar heaven. No glamour, no gloss, but walk through and you've entered The Cellar Door, D.C.'s premier nightclub for a couple of decades. On any given night you'd find an eclectic mix of the best existing or up and coming acts in the entertainment business. Muddy Waters one night, Weather Report the next and for a brief period you could catch Steve Martin as an opening act. This was the place. Whether you took a few steps down to the tables looking up to the stage or a few steps up to the balcony seats, this small space had no bad seats. A guaranteed, intimate experience. Tonight the Cellar Door club, sold out weeks in advance, is owned by Danny Gatton's instrumental aggregate, the Redneck Jazz Explosion. The crowd has come to see not only the guitarist presenting his virtuosic wares in all instrumental jazz setting but his pairing with pedal steel maestro Buddy Emmons. To quote Ralph Heibutzki from his 2003 biography, "Unfinished Business-The Life Times of Danny Gatton," the December 31, l978, Cellar Door gig has assumed legendary proportions for its place in Gatton history. Swearing you were there is akin to saying you saw the Beatles at the Cavern Club or caught the Yardbird's hot, sweaty nights at the Marquee." It's a great tribute to Danny that Buddy Emmons, who had not been on the road for years, did hit the highways with the Explosion. Let's set the stage. It's D.C.'s six string's finest as the Tom Principato-Pete Kennedy duo, propelled by the Explosion's electric Fender bassist Steve Wolf, open the show. They lead you through a mini-history of guitar instrumentals like Les Paul's "The Kangeroo", Merle Travis', "I'll See You in My Dreams" and Roy Nichols’ "Stealin' Corn" (for an audio sampling of eight tunes from this era check out their CD "Fingers on Fire" on Powerhouse records recorded December 30, l978). But the real magic starts after intermission as Danny, Buddy, with trademark derby in town and rhythm section (the aforementioned Steve Wolf and drummer Scott Taylor) uniformly clad in red T-shirts with their names on the front and the words Redneck Jazz Explosion around a cloud and lightning bolt emblazoned on the back assume the stage. The Voice of the Cellar Door, David "Dude" Sless announces, "The Cellar Door is once again proud to present the Redneck Jazz Explosion." The quartet usually kicks it off with a blues and this is no exception as they launch into a brisk version of saxophonist Sony Rollins, "Sonnymoon for Two." Emmons takes the first solo and the first man to record pedal steel jazz album (in l963) and practically the inventor of this instrument shows why steel pickers have crawled out of the woodwork this night to hear his pedal steel tone to die for. Danny follows with a spicy solo flavored with open string licks and Leslie organ sounds produced on his Paul Tester pinstriped trusty "61 black Les Paul custom equipped with the now infamous pre-digital Magic Dingus Box (inspired by his hero Les Paul's "Paulverizer"). This was pre-telecaster, pre-Joe Barden pickup days. Catch the Dixie quote in his solo? Buddy's back to ramp things up a notch higher as Danny's exquisite rhythm work combined with Wolf's bass drive him forward. Danny takes a moment to introduce the band and lets you know that Buddy Emmons is the Guitar Player magazine poll winner as the best pedal steel guitarist with the quartet. Other nights he would introduce Buddy as Eddie Bummons or Walter Melon. Next Danny announces "I think we will play a little funk for you right now" and the foursome continue the Sunny theme with a syncopated rendition of the jazz standard, "When Sunny Gets Blue." Danny's solo starts rapid fire and is decorated with Montgomery octaves and abundant banjo fills. The jazz standards continue with a joyous jaunt through trumpeter Clifford Brown's "Joy Spring." Check out the trading fours at the end and hear the musical bond between Gatton and Emmons. This was not a guitar gunslinging event, but two musical voices thinking as one. These guys were made to play together. Pianist Horace Silver's "Song for My Father" follows which Danny told me he often played with his father, Daniel W. Gatton, Sr. in mind. The Explosion drew quite frequently from pianist Silver's book. "Filthy McNasty" is also included in this set and "Opus de Funk" and "Sister Sadie" were standard Explosion fare. The surprise in "Song for My Father" comes as the band abruptly segues into a fiery hot version of Jack McDuff's "Rock Candy" which became a trademark up-tempo romp for the band. After all, this is the tune that first joined Emmons and Gatton at Audie Ashworth's recording studio in Nashville and it's inclusion on the l978 red vinyl "Redneck" album caused a May, l979, guitar Player magazine reviewer to state, "Gatton and Emmons trade white hot licks all during the number and it's conclusion the listener can't help but envision both guitarists beaded with perspiration and glancing at each other with a mixture of relief and respect." Another Gatton hero and early inspiration, Charlie Christian, is remembered in another highlight of this set, "Homage to Charlie Christian", which Danny first heard on an early Charlie Byrd LP (yet another DC six stringer). Emmons opens the solo with a quote from Sonny Rollins "Oleo" and the race is on ending with some exciting trading fours as the two soloists come together quoting from Christian's "Seven Come Eleven" before returning to the head. The night and the New Year's Eve closes out with a mellow "Canadian Sunset" (with Emmons chiming beautifully behind Danny's melodic statements) and a funkified jazz take on Bobbie Gentry's "Ode to Billie Joe." And another night with the Explosion is yours for the keeping. Two decades after this music was recorded it still sounds modern and timeless, a sign of true art. Years after the band was gone Buddy Emmons told me "Danny Gatton is the only guitarist who ever blew me off the stage and I couldn't do anything about it." Toss this in your CD player and you'll see why. Happy New Year! Brawner Smoot Mixed by Justin Galenski Produced and Edited by Ed Eastridge Executive Producer Holly Gatton The producers wish to thank the following people for their invaluable assistance in preserving these important masters. Greg Hartman Big Mo Recording Services Ron Freeland Burnt Hill Studios Ed Casey Patty Heck Entertainment Sound Production Ralph Staub Entertainment Sound Production Mao Clemmons Avalanche Systems Andre Maquera West Street Digital song composer publisher 1. Sonnymoon For Two 7:00 Sonny Rollins SON ROL Music Co. 2. When Sunny Gets Blue 8:20 Marvin Fisher/jack Segal Sony Tunes 3. Joy Spring 7:00 Clifford Brown CHERIO Corp. SECOND FLOOR MUSIC 4. Song For My Father 4:46 Horace Silver Ecaroh Music /Rock Candy 2:44 /Jack McDuff Pamelarosa Music 5. Homage to Charlie Christian 4:46 Charlie Byrd Screen Gems/EMI Music 6. Filthy McNasty, Horace Silver, Ecaroh Music, 5:35 7. Canadian Sunset, N . Gimbel/E. Heywood, EMI Grove Park Music, Inc./Nelton Corporation, 11:36 8. Ode to Billy Joe, B. Gentry, N orthridge Music Co./Universal MCA Music Pub., 9:00 |
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