Time: 59:31
Size: 136.3 MB
Styles: Jazz-blues
Year: 2003
Art: Front
[3:55] 1. Leigh Harris - All Around The World
[3:37] 2. Henry Butler - Dr. James
[4:29] 3. Josh Paxton - Papa Was A Rascal
[3:15] 4. Marcia Ball - If You're Lonely
[3:28] 5. Tom McDermott - Keep On Gwine
[5:14] 6. Leigh Harris - Please Send Me Someone To Love
[4:52] 7. Sandford Hinderlie - Angel Eyes
[4:03] 8. Josh Paxton - On The Sunny Side Of The Street
[2:35] 9. Marcia Ball - Classified
[3:37] 10. Tom McDermott - Pops Dilemma
[3:58] 11. Josh Paxton - Minuet In Funk
[3:09] 12. Marcia Ball - All By Myself
[4:03] 13. Henry Butler - Booker Time
[2:55] 14. Joe Krown - Miss Celie's Mood
[3:01] 15. Tom McDermott - One For Booker
[3:14] 16. Leigh Harris - Providence Provides
Certainly one of the most flamboyant New Orleans pianists in recent memory, James Carroll Booker III was a major influence on the local rhythm & blues scene in the '50s and '60s. Booker's training included classical instruction until age 12, by which time he had already begun to gain recognition as a blues and gospel organist on radio station WMRY every Sunday. By the time he was out of high school he had recorded on several occasions, including his own first release, "Doing the Hambone," in 1953. In 1960, he made the national charts with "Gonzo," an organ instrumental, and over the course of the next two decades played and recorded with artists as varied as Lloyd Price, Aretha Franklin, Ringo Starr, the Doobie Brothers, and B.B. King. In 1967, he was convicted of possession of heroin and served a one-year sentence at Angola Penitentiary (referred to as the "Ponderosa"), which took the momentum out of an otherwise promising career. The rediscovery of "roots" music by college students during the '70s (focusing primarily on "Fess" by Professor Longhair) provided the opportunity for a comeback by 1974, with numerous engagements at local clubs like Tipitina's, The Maple Leaf, and Snug Harbor. As with "Fess," Booker's performances at the New Orleans Jazz & Heritage Festivals took on the trappings of legendary "happenings," and he often spent his festival earnings to arrive in style, pulling up to the stage in a rented Rolls Royce and attired in costumes befitting the "Piano Prince of New Orleans," complete with a cape. Such performances tended to be unpredictable: he might easily plant some Chopin into a blues tune or launch into a jeremiad on the CIA with all the fervor of a "Reverend Ike-meets-Moms Mabley" tag-team match.
Patchwork:A Tribute To James Booker