Artists
Album Info
Release Date: 2020-12-04Label: Big Mo Records
Shortly before his untimely death on Oct. 4th, 1994,1 received a late-night phone call from Danny Gatton. He had been working on his cars all day, had a beer or two and wanted to talk. We spoke at length about his upcoming session to be recorded at drummer Timm Biery's studio. It was to be his next Big Mo Records release, an R&B recording featuring the great DC vocalist Tommy Lepson. He talked about wanting to produce more, he wanted to get Robert Gordon and his sister Jackie into the studio. He also wanted to work with a guitarist from Kentucky, Scotty Anderson, who he said was unbelievably good. Danny seemed happy and the future looked like fun. Sadly these projects were never to be. What we were left with, however, was a vast collection of recorded material spanning a period of 12 years. Together, he and engineer Ed Eastridge logged thousands of hours, sometimes going 16 -17 hours straight for days, trying to capture something that only Danny could hear. We offer these rare gems which we feel are among the very best, unreleased recordings from those sessions. We have also included an especially exciting live segment, guaranteed to give you chills and thrills. The following liner notes are some recollections, by Ed, of those sessions. We hope that the sheer joy of playing displayed on these musical 'portraits,' along with Danny's absolutely mind boggling talent, brings you a little closer to this true giant of American music.Dixie Eastridge (President Big Mo Records) 1998
Rambunctious: Recorded at the studio in MD around 1990, Rambunctious is a good example of the R&B style that Danny embraced. The organ-style rhythm guitar in the left was one of his trademarks. He achieved this sound with a regular Fender Deluxe, with tremolo and the tone turned all the way off on the Tele, on the front pick up. We spent several days getting the rhythm guitars just so, as was customary with Danny. The band on this and the following 2 tracks are Bill Holloman (B3, piano, horns) Shannon Ford (drums and percussion), and John Preveti (Bass).
Chessplayers: From the same era as Rambunctious, this is another great example of how Danny could mix jazz and R&B so well. I always picture kids from the 50's line dancing to this kind of groove. This features a really sweet tenor solo by Bill Holloman that builds into a high note which Danny takes off from. Also present are the hand claps that Danny was so fond of adding to this style of groove. Note the finger picked arpeggios in the vamp.
Pretty Blue: This song really shows off how Danny could create a nice fat pad with his rhythm guitars. There are no keyboards on this version that later went onto the Grammy nominated 88 Elmira St. This version is actually better... a little slower and groovier. Danny also played the drums on this song. It took weeks but I think he pulled it off nicely. A great twin slide solo just after a sweet tenor sax solo by Bruce Swaim, is the high point of this take. With a quote from Chuck Berry's 'Deep Feelings- followed by one of Danny's trademark staccato solos where he flat picks rapid triplet E notes high up on the D string and finger picks the solo with the middle and ring fingers. How did he do that?
Fine: A great shuffle groove. Check out the 6-string bass rhythm guitar. He loved the Jerry Jones which inspired him to get the Fender Custom Shop to build the double neck 6 over 6 Tele.
Lotta Lavin'. The following 2 songs demonstrate Danny's proficiency of the Rockabilly style. The vocals are by his
Lotta Lavin'. The following 2 songs demonstrate Danny's proficiency of the Rockabilly style. The vocals are by his long-time band singer and good friend Billy Windsor. This song features a wonderful lap steel solo. Drums are by Dave Elliot and Bass by John Preveti on this and the following song.
Dancin' Shoes: Another great rockabilly tune, written by Danny and Billy. Danny overdubbed the snare drum on this take.
7 Come 11: Charlie Christian was one of Danny's favorite guitarists from Benny Goodman's legendary sextet, Danny has always drawn on Charlie's influence in the jazz genre. The rest of this CD was taken from a session at the 'Roxy' nightclub in downtown Washington DC from 1989. I think Danny was at the top of his form in this period, and John Preveti agrees. This session was part of a 5 camera video shoot which made it to mixing and editing but has never been released.
I’m hopeful that Virginia Quesada will use some of it in her upcoming documentary. (The Humbler) On drums was Dave Elliot and Bruce Swaim on tenor sax with John Preveti on bass. Toward the end of the drum solo you can hear Danny coaxing Dave to work around his kit and start playing on JP's bass with his sticks. He and John play a remarkable bass/drum solo. These last two songs are for Danny's fans who crave to hear the speed.
Linus & Lucy: The hallmark of any Danny Gatton show, I think it does not The any better than this. I said before Danny was in top form during the late 80 s and particularly on this night. The guitar work is very fast and extremely clean. You can feel the excitement.
Credits:
Danny Gatton: guitars, lap steel, Jerry Jones 6 string guitar bass, drums
John Previti: acoustic and electric bass on all songs
Bill Holloman: sax, B3, piano trumpet
Shannon Ford: drums, percussion Dave Elliot: drums
Bruce Swaim: tenor sax
Billy Windsor: vocals
Recorded at Big Mo Studios-Kensington MD
and live at The Roxy-Washington DC
Engineer: Ed Eastridge
Assistant Engineers, Ron Freeland, Greg Hartman, Peter Ellena
CD Design: Dixie Eastridge
Photos: Hugh Talman/Jessica Fishman
Cover Art by Josh Yunger