Performing sparks Danny Adler

Veteran rock, blues and jazz musician
Danny Adler performed an eclectic range of songs
on the piano and guitar during a recent show at
Escanaba's 8th Street Coffee House.

By STEVE SEYMOUR

Danny Adler, who performed at the 8th Street Coffee House on Oct. 19, has a resume any musician might envy.

Since picking-up the guitar in the early 1960s, he has played with a host of rock, blues and jazz luminaries. The list includes Memphis Slim, Chuck Berry, Slim Harpo, Charles Brown, Lowell Fulson, Arthur Crudup, Earl Hooker, and many others.

Add to that the 18 albums he's recorded and you might think Adler would have quite an ego. He doesn't.

Now a resident of Charlevoix, I first met Adler when he stopped by my store last summer, the day after an earlier appearance at 8th Street. I told him I regretted not attending his show and vowed not to miss the next one. We had a pleasant conversation and he related a few music stories in a matter-of-fact way.

Born in Cincinnati in 1949, Adler was playing with some of the city's greats while still in high school. The young guitarist gigged with such local favorites as Bootsy Collins and H-Bomb Ferguson, while making his professional debut with Amos Milburn's band.

He moved to San Francisco for a period, playing with John Lee Hooker, T-Bone Walker and Solomon Burke.

Adler served a brief stint in New York's Elephants Memory, a horn-driven outfit which later recorded with John Lennon and Yoko Ono, before going to England in 1971.

In London he played in Smooth Loser before founding the pub rock band Roogalator in 1972. They became one of the first acts to sign with newly-founded Stiff Records, which also launched the career of Elvis Costello. Roogalator's record, "Cincinnati Fatback"/"All Aboard," became the third single released by the innovative label and is still featured on various compilation discs.

Although Roogalator was very popular on the club circuit, by 1978 Adler felt the band had run its course and members went their separate ways.

His prolific songwriting soon led to the formation of the Danny Adler Band. The group was featured on European television's "Rock Palast" and recorded music for the series "World About Us."

By 1979, Adler became an original member of Rocket 88, a boogie-woogie band which included Charlie Watts, drummer for the Rolling Stones; Jack Bruce, bassist for Cream; bluesman Alex Korner; Ian Stewart, the Stones' keyboardist; and other stars. Rocket 88 recorded a live album, released in 1981.

While in Europe, Adler recorded demos with Graham Gouldman of 10cc fame, worked with Nick Lowe and Dave Edmunds, and studied jazz guitar in Paris. Punk legends the Clash and Sex Pistols opened shows for Adler along the way.

When Adler met Bob Brunning, bass player for Fleetwood Mac, they formed the Deluxe Blues Band and recorded four albums during the 1980s. Other band members were Bob Hall (Savoy Brown), Mickey Waller (Jeff Beck, Rod Stewart) and Dick Heckstall-Smith (Graham Bond Organisation).

Although they were together for 12 years, the Deluxe Blues Band broke-up when Adler returned to the United States.

He formed a new version of the Danny Adler Band and recorded six discs of original material during this period. Adler has also recorded an unreleased jazz album and is working on a tribute to the late Bo Diddley called "Boat Diddley."

In recent years, Adler has performed with his band and as a solo act.

Sometimes he makes his way to a show by train, like he did for the Escanaba gig. That's because Adler is also a railroad engineer and makes his living between his twin pursuits. He'll talk just as enthusiastically about music as about driving a new computer-controlled locomotive.

The amiable musician is quick to bond with his audience and just as quick to please them with his vast repertoire of cover tunes and clever originals.

Both attributes were evident during his recent local show.

Adler opened his program with Big Bill Broonzy's "Key to the Highway," a classic blues number. He followed with Count Basie's "Moon Nocturne" before adding "Baby Lemonade," from Syd Barrett, a founding member of Pink Floyd.

Next on the setlist came "Try Me," the first hit by James Brown on Cinncinati's Federal/King label. Adler added his version of "Straighten Up and Fly Right," a 1943 smash for the Andrews Sisters.

The live debut of "Autumn Road," came next, followed by "I'm the Cleaner." Both are Adler originals. The musician added more blues to the mix with "The Sky Is Crying," by Elmore James and "Baby, Please Don't Go," a Big Joe Williams composition from 1935, remade by Van Morrison's Them in 1964.

After he was complimented by an audience member on his Beatles T-shirt, Adler returned the favor by performing "I've Just Seen a Face," "Norwegian Wood," "Rain," and "Please Please Me."

Maintaining an eclectic song selection, Adler played "Opel," another Barrett tune; and tossed in Irving Berlin's "Blue Skies." Three more Adler originals completed the set: "Danny's Grand Central," "When They Shut the Diary Queen," and "Big Women in Memphis."

Following a break, Adler returned with some piano tunes. Showing his prowess on the ivories, he performed "Errol's Squirrel," Thelonious Monk's "Trinkle Tinkle," and "Oden Boogie," Adler's tribute to his father's family. Fats Waller's "Jitterbug Waltz" and a few other obscure (at least to me) numbers completed Adler's stay at the piano.

Adler returned to the guitar for the originals "Even Dirty Old Men Need Lovin'" and "Kickapoo Sand & Gravel and Feed & Grain," a song which evolved after Adler saw a sign in Indiana.

Asked during the break to play tunes by Chuck Berry and Bo Diddley as well as a "train" song, Adler responded with Berry's "Bye, Bye Johnny" and Diddley's "You Can't Judge a Book By The Cover." The railroad request was filled with "Ghost Train," another Adler original, which even included train whistle effects.

Adler ended his set with "Nagasaki," written in 1928 by Harry Warren and Mort Dixon. "Back in Nagasaki where the fellas chew tobaccy and the women wicky-wacky-woo," Adler sang, demonstrating his mastery of the jazz composition.

During his performance I had been keeping a setlist of the songs Adler played and he asked to copy it when the show was over. When he noticed he had performed 31 songs and that the number could be transposed to 13, he insisted on playing a Horace Silver piano song for my wife Sue and me. Then, as we were about to leave the building, Adler brought me back to the showroom to demonstrate a Jimmy Reed song after we discussed our mutual appreciation of the Mississippi bluesman.

Adler, who has hundreds of songs buzzing around in his head, clearly enjoys playing gigs. "I like performing solo, but I'm really a band guy," he said. Either way, the audience wins.

Merle Haggard show sets mark

Country superstar Merle Haggard performed
"Mama Tried," "Okie From Muskogee," and other hits
during two shows at the Island Resort and Casino.

By STEVE SEYMOUR

With a cache of classic songs, Merle Haggard has become one of the greats of country music.

Excited fans began talking to me about his show at the Island Resort & Casino in Harris not long after it was announced.

Of course, I was familiar with the Haggard classic "Mama Tried," but that was because I liked the version by the rock band Grateful Dead. The Dead also covered Haggard's "Sing Me Back Home."

You'd have to be completely oblivious to music not to have heard the tongue-in-cheek "Okie From Muskogee," which even made the pop charts when Haggard crooned: "We don't smoke marijuana in Muskogee; we don't take our trips on LSD."

With those facts in mind, I decided to go to the performance, but I have a confession to make. Although I've been to dozens of rock and blues shows, I've never attended a concert by a major country star.

As a country neophyte, I thought I'd better do some research prior to the concert. So, I listened to a "best of" Haggard compact disc and watched a few of his videos.

I learned a lot about him along the way.

The singer, songwriter and guitarist was born in Bakersfield, California in 1937. (The city would later lend its name to "Bakersfield Sound," a twangy style of country music Haggard defined along with Buck Owens.)

Haggard's life took a tragic turn when his father died when he was nine years old. As a teenager, the future superstar rebelled, committing petty crimes and spending time in juvenile detention.

Then he saw Lefty Frizzell at a concert in Bakersfield. Haggard sang a couple of songs for him and Frizzell brought the young musician with him on stage. When the audience received him enthusiastically, Haggard set his sights on a career in country music.

But, plagued by financial problems, Haggard soon ran afoul of the law again. He was convicted of burglary in 1957 and sentenced to three years at San Quentin Prison. Haggard was an inmate when Johnny Cash staged his first concert there in 1958. (In fact, Cash would play there many times, finally recording a classic live album at the prison in 1969.)

Cash's presence proved to be a pivotal point in Haggard's life. After being released from prison, Haggard rededicated himself to a career as a country singer and songwriter.

He played at a Wynn Stewart show in Las Vegas in 1962 and was taken with Stewart's composition, "Sing a Sad Song." Haggard asked permission to record the tune which became a national hit in 1964.

Haggard had his first No. 1 country record in 1966 with "I'm a Lonesome Fugitive." During the next two decades, he racked up 37 more country chart-toppers, many based on his personal experiences.

"Okie" is probably Haggard's biggest song, even drawing the attention of President Nixon. The record was hailed as an anthem for the "silent majority," and Nixon declared Haggard his favorite country singer.

In 1972, as Haggard's star continued to rise, California Gov. Ronald Reagan granted him a full pardon for his past crimes.

Haggard's highest charting pop hit came when "If We Make Through December," became a cross-over smash. The song, about the 1973 recession, peaked over the Christmas holiday period that year, cementing Haggard's reputation as a spokesman for the working class.

He released scores of successful singles and albums in the 1970s and 1980s. Since then he has continued to record and perform, remaining true to his hardcore country roots.

At Haggard's Oct. 18 show, it was clear the audience loved the California native when he walked on stage to a standing ovation.

Playing a Fender Telecaster guitar, he opened with "Swinging Doors," an early hit from 1966, and followed with "Silver Wings." Then came three No. 1 country smashes from the 1980s: "Big City," "I Think I'll Just Sit Here and Drink," and "A Place to Fall Apart."

Haggard showed his allegiance to folks slaving away at their jobs every day with "Working Man Blues," which topped the chart in 1969. Another No. 1 followed with "That's the Way Love Goes" while his tribute to the road, "White Line Fever," followed.

The 71-year-old Haggard delivered a heartfelt version of "Mama Tried," his No. 1 from 1968 which the Grateful Dead appropriated for their live shows.

Haggard was backed by the 11-piece Strangers which included his 15-year-old son Binion on lead guitar and his wife Theresa on backing vocals. (Son Noel performed a few songs to open the program.)

With dozens of hits to chose from, Haggard delivered "It Always Will Be" and "Rainbow Stew," a live recording from 1981. My sentimental favorite of the evening, "Mama's Prayer," followed.

He ended the show with three No. 1 country hits: "I'm a Lonesome Fugitive," from 1966; the obigatory "Okie From Muskogee," from 1969; and the patriotic "The Fightin' Side of Me," from 1970.

Along with the rest of the audience, my wife Sue and I saluted Haggard with another standing ovation as he walked off the stage.

After attending my first country concert, I have another "confession" to make. In that audience full of admirers, Haggard won a new fan or two.

'Famed autographs' draw interest

Rock 'n' roll pioneer Chuck Berry sang
about an autograph collector in "Sweet Little
Sixteen" and added a drawing of himself to this
signed picture.

By STEVE SEYMOUR

In "Sweet Little Sixteen," a No. 2 smash from early 1958, Chuck Berry sang about a girl who "had to have half a million famed autographs."

Nearly 20 years ago, my wife Sue and I took a cue from that song when we began to collect the signatures of rock 'n' roll's founders, including Chuck Berry, one of the genre's greatest artists. You'll recognize his hits: "Maybellene," "Johnny B. Goode," "Roll Over Beethoven," and so many more. He was voted into the Rock and Roll Hall of Fame in 1986 and was the subject of a concert film the following year.

Still, by 1989, many of rock's pioneers had faded from prominence, as the music and fans moved away from the sounds and personalities of the 1950s.

Thankfully, the Rock and Roll Hall of Fame was founded in the mid-1980s to preserve rock's early history, although the Cleveland museum was still years away.

Two decades ago was also before the Internet and eBay, so Sue and obtained autographs the old-fashioned way, by sending letters to our subjects in the mail.

We had purchased a book of celebrity addresses and dispatched our requests with a self-addressed stamped envelope. The enclosed letter requested an autographed picture which we promised to display on a "wall of fame" at our retail record store.

Less than a week later, we received a package from Paul Anka, who wrote and performed the 1957 chart-topping smash, "Diana." A long-time Las Vegas entertainer, with 50 pop hits to his name, Anka took the time to send us an autographed poster and 8 x 10 photograph. The picture was inscribed "My thanks always" and dated 3-89.

To our surprise, Sue and I found that dozens of our rock 'n' roll heroes were willing to send us signed photos to display.

Remember Johnny Tillotson? The Florida-based teen idol began recording in the 1950s and hit a career peak in 1960 with "Poetry in Motion." Tillotson sent a personally inscribed promo picture which he signed with the addition of "best wishes."

We were delighted to get Fats Domino's signature. His incredible string of hits includes "Ain't It a Shame," "Blueberry Hill" and "I'm Walkin'." The New Orleans-based musician was inducted into the Rock and Roll Hall of Fame in 1986. In his photo, Domino is leaning over a piano. He signed "Luck always, Fats Domino."

Neil Sedaka, who made "Oh! Carol" a smash in 1959, and continued making hits for three more decades, answered our inquiry with an autographed photo and added "Cheers" to the inscription.

Fargo, North Dakota's Bobby Vee responded with a color photo which he inscribed to "Sue, with thanks, Bobby Vee." The pop singer may be best known for "Devil or Angel," "Take Good Care of My Baby," and "Run To Him," among many other hits.

Other early rock stars sent material, too.

Bobby Rydell, who struck gold in 1960 with "Wild One" and "Volare," was another early contributor to our collection. He signed his photo in red marker, adding "Sincerely" before his name. Rydell appeared at the Island Resort and Casino in Harris recently as part of the Golden Boys show, with Frankie Avalon and Lou Christie.

Bobby Vinton, who also played at the local casino this year, has his autographed picture on display. "Roses Are Red (My Love)" and "Blue Velvet," are among Vinton's memorable early hits.

The man who took "The Twist" to the top of the charts two different times, Chubby Checker, has also been responsive to his fans. He signed a photograph for us in 1989.

Brenda Lee, who's biggest hit came in 1960 with "I'm Sorry," signed a color portrait which highlighted her red hair. The pop singer was voted into the Rock and Roll Hall of Fame in 2002 and enjoyed a hit-making career which lasted more than 25 years.

Some of the stars who sent us their autographs have since died.

Rockabilly star Carl Perkins, inducted into the Rock and Roll Hall of Fame in 1987, seemed especially thoughtful. The star who took "Blue Suede Shoes" to No. 2 in 1956, sent along a color photo and a light blue guitar pick. "God bless you. Your friend, Carl Perkins," wrote the Tipton, Tennessee native.

Sadly, Perkins died at the age of 65 on Jan. 19, 1998.

Bo Diddley was another early rock 'n' roll innovator who treated his fans well. Rhythm & blues fans should recognize Diddley's first hit. "Bo Diddley" backed with "I'm a Man" is one of rock's most important records, having influenced performers like Buddy Holly, Jimi Hendrix and Eric Clapton.

Voted into the Rock and Roll Hall of Fame in 1987, Diddley signed his name in gold marker. Unfortunately, he died on June 8, 2008 aged 79.

Coopersville, Michigan native Del Shannon, who made "Runaway" a No. 1 hit in 1961, sent a photo which he autographed in red marker. He wrote: "Love ya and rock & roll."

Tragically, Shannon died of a self-inflicted gunshot wound just a few weeks later, on Feb. 8, 1990. The 55-year-old Shannon was taking anti-depressant drugs at the time. He was added to the Rock and Roll Hall of Fame in 1999.

Some music celebrities were more cooperative than others in providing their "John Hancock."

We sent a letter to Jerry Lee Lewis, famous for "Whole Lotta Shakin' Going On," "Great Balls of Fire," and "Breathless," asking for his autograph, and enclosed a self-addressed stamped envelope.

Lewis was inducted into the Rock and Roll Hall of Fame in 1986 and was the subject of a 1989 movie, starring Dennis Quaid.

His wife responded to our request, telling us Lewis's signature would cost $15. We dispatched the money, but never got the autograph.

Although Sue and I started collecting autographs by mail, this method is no longer effective because some collectors began to take advantage of the celebrities by selling the items for profit on eBay.

But, we've still been able to add autographs by going to concerts, joining fan clubs, and trading with other collectors. We also pick-up pieces from autograph dealers and folks who promote records and concerts.

Over the years we've obtained autographs from rock, country and blues stars from all eras.

One of our prized "famed autographs" is from Chuck Berry, the man who wrote and sang so many important early rock standards. In the photo he autographed, he's depicted doing his famous "duck walk." Berry even added a small mustachioed drawing of himself. That's something he probably would have done for the signature-seeking fan in "Sweet Little Sixteen."

Ex-teen idols keep fans happy

Ex-teen idols Lou Christie, Frankie
Avalon and Bobby Rydell, left to right,
entertained at the Island Resort & Casino
during the first weekend of October.

By STEVE SEYMOUR

A trio of former teen idols kept the hits coming during a weekend show at the Island Resort and Casino in Harris.

Frankie Avalon, Bobby Rydell and Lou Christie performed hits from the 1950s and 60s backed by a ten-man band including guitar, keyboards, bass, drums and a six-piece horn section.

Dubbed Dick Fox's Golden Boys, the three venerable singers performed before a wildly enthusiastic, if older, audience which fondly recalled the trio's early rock 'n' roll hits. My wife Sue and I enjoyed the Saturday, Oct. 4 show from our seats in the third row.

The program started with a history lesson in the form of vintage black & white film clips from Dick Clark's influential American Bandstand television program showing the three stars performing as teenagers.

Avalon, Rydell and Christie followed the nostalgic visuals by opening the concert with "Bandstand Boogie." The familiar theme song was closely tied to the ABC show broadcast nationally from Philadelphia, also Avalon and Rydell's hometown. (Christie, meanwhile, was born in Glen Willard, Pa.)

The singers, all from an Italian-American heritage, followed-up with a spirited version of "Three of a Kind," boasting their common musical, geographical and cultural background.

Following a bit of friendly banter, including some age-related jokes, each performed separately, with 66-year-old Rydell up first. A regular on Paul Whiteman's amateur hour TV show from 1951-54, Rydell later appeared on national programs with Red Skelton, Pat Boone, Danny Thomas and Perry Como.

Although Rydell has 30 hits to his credit, he opened with "Goody Goody," a 1957 doowop hit for Frankie Lyman and the Teenagers.

Next, Rydell delivered a solid version of "Wild One," his No. 2 smash from early 1962 and his biggest hit. Born Robert Ridarelli, the singer was just 19 years old at the time.

As scenes from "Bye Bye Birdie" played in the background, Rydell sang material from the 1963 color motion picture he starred in along with Ann-Margret. Rydell reminisced about portraying Hugo Peabody, Ann-Margret's boyfriend in the film and getting to kiss the Swedish-born actress, who played Kim MacAfee.

Rydell ended his set with faithful renditions of two of his greatest hits: 1963's "Forget Him," and "Volare," from 1960. Both tunes were No. 4 hits, according to Billboard magazine.

Christie launched his portion of the show with a rockin' take on "I'm Gonna Make You Mine," his Top Ten from the summer of 1969. The singer delivered a stunning version of "Love is a Many-Splendored Thing," a song which hit for an amazing five different acts in 1955, including the Four Aces.

By age 15, Christie was already a professional in pop music, having won a statewide scholarship competition while at Moon Township High School, near Pittsburgh. As a young performer, Christie appeared on such TV shows as Hit or Miss, Shivaree, Hollywood a Go Go, and Shebang, as well as American Bandstand.

Now 65, Christie treated his Upper Peninsula audience to two of his earliest hits. Both "The Gypsy Cried" and "Two Faces Have I" featured plenty of "yi, yi, yi" falsetto wailing with the audience eagerly joining in. The latter tune became Christie's opportunity to demonstrate his baritone and falsetto vocal capabilities in the same song. Christie, born Lou Geno Sacco, composed both hits with songwriting partner Twyla Herbert.

"Rhapsody in the Rain," from 1966, and "Hold Me, Thrill Me, Kiss Me," a Mel Carter song from 1965, followed. Christie completed his set with "Lightnin' Strikes," complete with a ripping guitar solo. Another original composition, "Lightnin' Strikes" topped the charts in 1966. The singer received a standing ovation for his efforts.


Frankie Avalon

Avalon opened his part of the program with "Beach Blanket Bingo," a pleasant reminder of the "beach" movies produced by American International Pictures he starred in along with Annette Funicello during the early to mid 1960s. For movie buffs, those titillating titles also included "Beach Party," "Muscle Beach Party" and "Bikini Beach."

Born Francis Avallone, Avalon worked in bands as early as 1953 and was a childhood friend of Rydell's.

David Seville's novelty song, "Witch Doctor," which hit the top of the pop and rhythm & blues charts, came next during Avalon's performance. The singer told the audience the song represented the sound of the 1950s, when he first entered the music scene.

The 69-year-old singer returned to a summer theme for "California Sun," which featured a rousing drum solo by Avalon's son, Frank. The older Avalon recorded the track, originally by the Rivieras, for the 1987 film, "Back to the Beach." Avalon also starred in the movie as the "Big Kahuna," opposite Annette Funicello.

Avalon tackled another soundtrack entry with "Beauty School Drop-Out," his contribution to the motion picture "Grease." Fans will remember Avalon also appeared in the 1978 film as "Teen Angel."

Two 1958 Avalon hits, "DeDe Dinah" and "Ginger Bread," in abbreviated versions, came next. Avalon ramped up the excitement with "Bobby Sox to Stockings," a Top Ten from the following year.

The singer offered earnest versions of "Why" and "Venus," his two No. 1 hits from 1959, much to the delight of the sold-out audience. Avalon closed his segment with "Where or When," originally a hit for Dion and the Belmonts.

All three vocalists contributed to "Rock And Roll Heaven," the 1974 Righteous Brothers tune, which opened the final portion of the show and served as a tribute to four rock legends. Avalon saluted Rick Nelson with "Mary Lou," Christie paid respects to Elvis with "Can't Help Falling in Love," while Rydell reprised Bobby Darin's "Mack the Knife."

Bill Haley's "(We're Gonna) Rock Around the Clock" was given an energetic work-out with all three singers adding to the classic tune.

The stars then returned to "Rock And Roll Heaven," added "Old Time Rock & Roll" and said a humorous goodbye with the closing theme to the Mickey Mouse Club television program.

In an original incarnation including Fabian Forte, instead of Christie, the Golden Boys have been playing together since 1985.

The Avalon, Rydell and Christie package was put together by Dick Fox Entertainment, a New York City-based management firm.

Whether today's newly-minted teen idols will be remembered when they reach their "golden" years is anybody's guess.

As far as these ex-teen idols are concerned, Avalon, Rydell and Christie ably demonstrated their staying power as the "Golden Boys."

Chicago-style blues travel north

Jimmy Johnson brought his Chicago-style
blues to the Upper Peninsula in 1990.

By STEVE SEYMOUR

When guitarist and singer Jimmy Johnson left Chicago on Thursday, Sept. 27, 1990 the Upper Peninsula was on his mind.

His band was scheduled to play that evening in Escanaba, 310 miles down the road from the Windy City, where Johnson toiled for decades to became a premier blues star.

Johnson was understandably apprehensive about the trip.

Less than two years before, on Dec. 2, 1988 two members of Johnson's combo were killed when he swerved off the road in southern Indiana while driving the band's van. The group was decimated with the deaths of bass player Larry Exum and keyboardist St. James Bryant.

Johnson, then 60-years-old, was injured and soon after became dispirited about continuing his career.

By the fall of 1990, however, he agreed to accept the Escanaba gig which was sponsored by Bay de Noc Community College, Radio Station WGLQ, and the Record Rack.

Despite the fact that Chicago is relatively close to the Upper Peninsula, the city's blues stars seldom played in northern Michigan, or anywhere north of Milwaukee for that matter.

Excitement for Johnson's visit had been building among area blues aficionados with the appearance of posters boasting the performer's "funky rhythms and soulful blues." The posters, featuring a black and white photograph of Johnson, also repeated testimonials from the Village Voice, Milwaukee Sentinel and High Fidelity magazine.

"Johnson's guitar and high pitched voice both have the essential 'cry' that distinguish a stellar bluesman from a journeyman," the Sentinel stated. "Original compositions as thoughtful, and every bit as striking as Robert Cray's, sung in dramatic and highly effective fashion," stated Village Voice. "His gospel inflected tenor can growl seductively... warble longingly... and shout on the shuffles," High Fidelity testified.

Tickets for Johnson's performance at the Terrace Bay Inn were offered to Bay students for $3 and to the general public for $5 each. The ducats identified the guitarist and singer with the line: "He plays the blues Chicago style."

Enough tickets were sold to fill the Terrace ballroom, but by the 9 p. m. start time, Johnson had not arrived.

After a few tense minutes, a phone call was received from the traveling musicians, and they arrived not long after, apparently confused over differences in the eastern and central time zones.

Johnson brought along a crack four-piece band including keyboardist Jessie Lockridge, drummer David Russell, saxophonist Hank Ford and bass player James Boyd.

The band made up for their late appearance with a terrific show for their northern audience. I could easily imagine myself in a State Street bar on a sweaty Saturday night listening to one of the Windy City's greatest blues bands.

In fact, Johnson regularly packed his city's top blues clubs, like Blue Chicago, Kingston Mines, Wise Fools Pub and B. L. U. E. S.

Born Jimmy Thompson, Johnson moved to Chicago with his relatives in 1950 from Mississippi. The family thrived on music. Younger brother Syl is an acknowledged soul star, while sibling Mack Thompson made a name for himself as bass player for blues legend Magic Sam.

Johnson was an amateur guitar player until the 1960s when he entered the R&B world. He burst into the blues scene in 1974 when he hired on as Jimmy Dawkins' rhythm guitarist. He toured with Dawkins and Otis Rush, before fronting his own band.

His first full-length domestic album was issued when Johnson was 50-years-old. It was then Johnson signed a contract with Delmark Records, the oldest independent label in the United States.

At the time of the Escanaba show, Johnson's most recent disc was 1983's "Bar Room Preacher," recorded at Sysmo Studios in Paris for France's Blue Phoenix Records. It didn't take Alligator Records owner Bruce Iglauer long to decide to release this stunning five-star album in the United States.

During the Terrace concert, Johnson led his band through satisfying versions of many of the record's outstanding tracks including his original, "Heap See," the songwriter's observation on the human condition. Johnson's guitar attack and vibrant vocals, supplemented by his band's complementary support, grabbed the crowd's attention and kept it all night.

Johnson's energetic playing mixed well with Russell's powerful drumming and Lockridge's jazz and funk- flavored keyboard work.

Eighteen years later, I don't remember exactly which tunes were played that night. Some likely candidates are "When My First Wife Quit Me," written by John Lee Hooker; "You Don't Know What Love Is," by Fenton Robinson; and two other Johnson originals: "Missing Link" and "Happy Home."

At the conclusion of the show, my wife Sue and I were able to get autographs from all the band members, including Johnson. We drove the few miles home with smiles on our faces, having enjoyed an entertaining evening of Chicago-style blues performed by one of the masters.

I don't know if Johnson and his band stayed in the Upper Peninsula overnight or if they immediately headed back to Illinois. A few days later a rumor circulated around Escanaba that Johnson had suffered a heart attack, but that was never confirmed.

In any case, Johnson has continued to release compact discs of new material over the years and I've continued to add some of them to my collection.

Johnson's first trip to the recording studio following his Escanaba visit didn't come until 1995 when he issued the Handy-award winning "I'm a Jockey," featuring guest appearances from harmonica virtuoso Billy Branch and multi-instrumentalist Lucky Peterson. Johnson even returned to France to record "Every Road Ends Somewhere," his 1999 album which included guest star Luther Allison. In 2002, he collaborated with brother Syl on the slyly-titled "Two Johnsons Are Better Than One."

My favorite is still "Bar Room Preacher," an audio remainder of when one of Chicago's greatest blues stars delivered some northern converts to his flock right here in the Upper Peninsula.