My journey with Jess – An appreciation of The Jess Roden Anthology – Part Two

4 05 2013

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A new day, and I sit back and re-open this splendid anthology, a beautiful hardback ‘coffee table’ book, with 3 of the 6 discs neatly embedded in both the front and back inside covers. It is a great read, and peppered with enough photographic memorabilia and liner notes to have even the most jaded completist salivating. It is against this backdrop that I re-commence my listening. We’re on Disc 4, and despite the Spanish sunshine, “Easy Way” ‘s introduction is heralded by a breaking thunderstorm, dueling with sublime Fretless bass, Rhodes and Soprano saxophone. I’m back in that time tunnel, circa 1982. There’s no vocal, but you ‘hear’ Jess in this track, you feel his soul. It is no exaggeration to posit that tracks such as this pre-dated a great deal of what we now refer to as ‘the ambient genre’. This track just spirits you away. It’s fading Sax figures begin to echo John Barleycorn -era Traffic, then it’s gone, and we’re into ‘Player not the game’ territory, and a track dripping in quality, with a glittering constellation of players doing such justice to a Jess composition that shows just what an amazing writer he really is. “In Me Tonight” just oozes class, and his vocal soars over Leon Pendarvis’ classy arrangement.  “Believe in Me” finally reveals in its digital reproduction, the care that was taken in the recording. Having previously endured a rather unforgiving and worse-for-wear vinyl version of this for the sake of the song, it’s with some pleasure that I let the track wash over me, pristine at last.

The contrast between “Believe in Me” and The Rivits’ “Oo She Do” , recorded just a year apart is striking, 80’s Electronica replacing Pendarvis’ slick production, but once again it is Jess’ consummate vocal that provides the continuity. Another Seven Windows track, and one of my personal favourites, “Parachutes” wraps itself around you like a familiar overcoat, such a deceptively effortless performance, an essay in understatement, it builds almost imperceptibly, but by the middle 8, it is glorious, and it fades beautifully with a muted tribal tattoo on the drums.  The final four tracks of Disc 4 comprise two beauties from The Player not the Game – “The Hardest Blow” and “The Quiet Sound of You & I” – two Roberts/Bronfman compositions that are absolutely stunning examples of songcraft. The former switches beautifully between Jess’s vocal and some soaring tenor sax from Harold Vick, the latter, in this writer’s opinion, one of the finest things Jess Roden has ever committed to tape. On a song like this, no-one can touch him. The other two, are lovely surprises: “Peace within me now” benefits from a very creative arrangement, a lightness of touch and economy of instrumentation serve the song beautifully, as does another cameo on backing vocals by Jaki Whitren. Something of a signature of this Anthology is the signing off on each disc with a bit of a ‘gotcha!’ – and Disc 4 is no exception: Jess’s personal take on Marvin Gaye’s classic “What’s Goin’ On”, just him and his guitar. It’s often said that the acid test of whether a song is good or not, is to sing it with nothing but a simple acoustic guitar, and when you are blessed with a voice like this, “What’s Goin’ On” passes that particular test with flying colours.

Disc 5 begins with “Intro” there’s no info about it, but it’s clearly The Alan Bown Set steamrollering through 42 manic seconds of “Satisfaction” and “I Can’t Explain” – so I’m guessing it’s around ’64. It sets the scene beautifully, because, like the CD says, we’re ‘On the road’.  It’s the JRB up first, they come racing out of the traps, all guns blazing…hell, pick a metaphor and they’ll warrant it…it makes me long for the days when it was possible to see them on stage. then we’re tumbling back to 1966, ( okay, I was two years out with the intro!) a little more rough and ready than the JRB, but the Alan Bown Set had energy to spare and always delivered the goods live. Disc 5 gives us the wonderful opportunity to hear previously unreleased live recordings by the JRB. It’s interesting to hear the Jess Roden Band’s live work (some from ‘Blowin’) juxtaposed with The Alan Bown Set’s tracks from the ‘London Swings’ album. A decade separates them, but the common denominators are many: quality musicianship, energy, and THAT voice.  I always loved Jess’s take on Newman’s “You can leave your hat on”, and it’s a curious fact that the song connects Jess with another of my favourite bands, The Dan Reed Network , who did a great live version of this also. There’s some lovely guitar work on this between Steve Webb and Bruce Roberts, one doubling the bassline, the other chopping out a metronome tight rhythm – just superb, it creates an effortless roll in the track somehow. By the time you hit track 5 “Down in the Valley” by The Alan Bown Set, the distinction between the bands is blurring – you’re simply front row at one helluva gig. One thing that strikes me is how assured and mature Jess sounds on the early tracks…it’s astounding. Like I said in part one, DNA.

Next up, “Can’t get next to you”. as with “Hat on”, the Jess Roden Band were responsible for introducing me to these classics for the first time. I’d never heard the originals. Like the young Beatles fans who lapped up their version of the Isley’s “Twist and shout”, to me, these were the originals. I identify with this previously unreleased version of The Temptations song – it was recorded live at The Marquee on the day I turned 18! The take-down trade off solo between Billy Livesey’s Electric piano and Steve Webb’s guitar is a highlight of this version. You can hear the fun these guys were having as the song draws to a close. It’s celebratory!

The JRB had an innate ability to channel the funk, sometimes their groove was breathtaking, as evidenced by “Get ta Steppin”, “In a Circle”  and “Me & Crystal Eye”, the latter from”Blowin'” the former a previously unreleased cut from The Lyceum. “Get ta Steppin” announces its intent via Pete Hunt and John Cartwright laying down a vicious drum/bass groove – and we’re off, staccato brass, wah-wah guitar, feel the funk y’all! “Crystal Eye” has always been one of my favourite Jess songs – I remember using the bassline as a practice piece as I learned my trade.

Disc 5 see-swas between The Alan Bown Set of ’66 and The Jess Roden Band of ’76, but there is one imposter, from 1996: Jess Roden and The Humans, and Joe Tex’s “You Better Believe it baby” from their “Live at the Robin” album. I remember exactly where I bought The Humans studio album. I was touring with my band in the West Country, and on a day off went into a record shop in Swindon. I was beside myself to find a new Jess Roden album!  Not only that, a glance at the liner notes revealed that his guitarist was Gary Grainger, whose work with the underrated band Strider I loved.  Needless to say, The Humans more than hold their own in the illustrious company of the Alan Bown Set and The JRB. It’s fitting that this Anthology acknowledges the importance and stature of the JRB as a live band with a superb collection of previously unreleased live recording from venues across the UK.

Perhaps the most important disc of The Anthology is Disc 6 – named ‘The Sub’s Bench’. It contains tracks that, set aside for consideration after Neil and Jess had spent so much time poring over hundreds of ours of material, eventually were deemed too good to exclude. It gives us a clue as to the real wealth of music that Jess created throughout four decades, namely that, even with such an all-encompassing project such as this, it is incredibly difficult to do true justice to the legacy of such a diverse, creative and gifted artist.

“Storm and Stone” is fast becoming one of my favourite Jess Roden tracks. Featuring a stellar line-up including Robbie Blunt, Mike Kellie and John ‘Rabbit’ Bundrick, it’s perhaps where Bronco might have gone..at any rate, it’s a scary thought that, were it not for this project, this song would have sat gathering dust in some God-forsaken storeroom somewhere, deteriorating by degrees, while good money goes into promoting the likes of Jedward. Where on earth did we go wrong? A beautifully preserved Alan Bown Set demo is up next, with a lovely brass/keys signature – “Love Me”. I can see Paul Weller frugging to it. This disc offers, along with the previously mentioned “Storm and Stone” several gems from sessions with Rabbit in 1972, “On your Life” and the delicate “Loving in your Sake”. One can only imagine how great an album’s worth of this productive union would have sounded. Also included here is a JRB live favourite – The Eagles’ “Desperado” – illustrating just how well they could take even a well-known song and make it their own.  We’re well over three minutes in, it’s Billy Livesey and Ronnie Taylor on Piano and Sax, holding the room. No-one has set a scene better, then we’re into the verse, and Jess owns it. What’s not to love?  Listening to this, and further live unreleased gems from the JRB on this final disc – including the wonderfully restrained”Too Far gone” and the acoustic led and beautiful “Feelin’ Easy” – I marvel at their mastery of light and shade. They effortlessly move from a whisper to a roar, and back again, at will. There is no greater pleasure  than to observe a band playing with this kind of ease. It is pure joy.

Disc 6 offers a number of lovely surprises, such as an alternate version of The Humans’ “Surrender to your Heart” augmented by Steve Winwood and the late great Jim Capaldi.  Another curio is Jess with “The Muscle Shoals Swampers” on  Capaldi/Winwood track “Let me make something in your life”, produced by Island supremo Chris Blackwell, it seems to channel Alabama, where at least part of it was recorded.

The Anthology closes with a stunning version of Bill Withers’ “Ain’t No Sunshine”. It’s always been a singers song. It’s one of those that sorts the men from the boys. Here, there is no arrangement to hide behind. It is simply Jess, strumming a guitar and singing as only he can. It is the distilled essence of the entire project, of a career. A man with an extraordinary voice.

I flip the page. My name is in the liner notes. I think back to the fourteen year-old boy behind the sun-dappled curtains of a Bournemouth Living room, ‘Bumpers’ on the stereo, listening to his voice for the first time…..what a journey. Thank you, Jess.

Kev Moore

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My Journey with Jess – An appreciation of The Jess Roden Anthology – Part One

3 05 2013

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It’s been well documented on my various sites and blogs that I owe a great debt to Jess Roden, one of the U.K.’s finest ever singers. It might not always be apparent in my diverse live and recorded work, but I assure you, along with a very few others, he was instrumental in igniting the spark that took me from my hometown of Derby to some of the greatest venues in the world. I can count on one hand the musicians that have inspired me to become a professional, and Jess is one of them.  His voice just spoke to me above so many others, from the first time as a 14 year old, holidaying with friends in Bournemouth and discovering the ‘Bumpers’ compilation in a second hand shop. The current generation perhaps cannot understand the pleasure of bringing home a prize such as this: a gatefold-sleeved double LP feast – a cornucopia of diverse artists on the forward-thinking Island label. I immersed myself in it. Bronco’s ‘Love’, written by Jess quickly becoming a firm favourite. He seemed to dip off my radar for a while then, until a friend turned up on my doorstep with a new LP. “Look how COOL this is!” he exclaimed, producing it with a flourish. Cool indeed it was, it looked like a vintage Fender amp, the illusion continued on the back, where you could see the speakers. Closer inspection revealed the amp logo not to be Fender, but rather ‘Butts Band’.

Always blessed with a forensic nature where music was concerned I was delighted discover this album featured Jess and a fair old proportion of The Doors. That album became one of the soundtracks of my life, and I followed Jess’s career diligently from then on.

Let’s dolly back, fade to black and cut to many years later. I have relocated to Spain and I’m surfin’ the internet as us 50 somethings are prone to do in an attempt to remain ‘with it’, whatever ‘it’ is.  I’m searching for info on one Mr. Roden. Except there really isn’t any.  This completely baffled me. I mean, you can find anything on the internet, can’t you? I’d already been managing a fairly widespread online presence myself, both alone and via the bands I work with, and I had an idea.  I began a series on a specially created blog called ‘Unsung Heroes’, as a means of highlighting artists that I considered worthy of attention and not having received the recognition they deserved. Jess was Number One. I just threw it out there, on the cyber winds…and something magical happened.  It was as though I’d wandered down a virtual highway singing ‘Sweet Danger’, and from every corner, every nook and cranny, people poked their heads out and smiled in recognition. One by one, the comments from strangers the world over flooded in, overwhelmingly stating ‘YES!- HE was the man – I thought I was the only one who ‘got’ him!’  – I was staggered at the outpouring of love for Jess’s music. It was heartwarming to find so many people who felt as I did, true appreciation for an artist who emerged from a time when music mattered – and to these people, it matters still. Their enthusiasm, their dynamism powered the engine. We were rolling, and a certain Mr. Neil Storey heard the rumblings, as did Jess’s brother, and soon, there was talk…there were dreams…and it began to unfold.  We had a singer, we had an audience, and we had a curator. Someone who cared about this stuff, who was close to this stuff, and was prepared to work to make something happen against all the odds.

It’s almost impossible to conceive, if you’re not in the music business, the enormity of the task that lay ahead for Neil and Jess. Thousands of hours of tapes to be found, never mind listened to, deteriorating, mislabeled. A task that would have put off many a chap. But, as those of you who now hold The Jess Roden Anthology in your hand are now aware, Neil Storey is no ordinary chap. He cares about the music. Simple as that. I doubt very much there are too many of his ilk left in the industry today, more’s the pity. One of the joys for me is the pieces of pure gold that have been unearthed in the course of compiling the anthology. I can tell you know, I feel a huge amount of pride for having played a small part in helping these songs see the light of day. I would go so far as to say it is one of the things in my musical life of which I am the most proud.

I have begun listening to the Anthology today. I received it on Monday. “Why wait?” you may ask. I needed to give it the time it deserved. I will not allow my first listen of this incredible achievement assume the role of wallpaper while I do something else. It requires, no, demands, my full attention. What struck me immediately is how exactly right Jess was to insist that they not succumb to modernity, simply because they could. As I faded back in time with The Alan Bown recordings, they weren’t so much ‘now’ as opposed to ‘then’, beautifully mastered, as crisp and vibrant as the day they were created. Thereafter, I am in a time tunnel through the 60’s , 70’s and beyond, with Jess’s voice as my guide, as he effortlessly wraps his voice around each era, his take on the times. Sometimes, I’m smiling with familiarity, sometimes delighted when one of those unheard gems I’ve spoken about pops up…Joys & Fears, and Song 3….was ever a title so understated?  It’s an oft used phrase, but Song 3 actually moves me.

As I move through Discs 2 & 3, I re-appraise the Jess Roden Band. No backing band this, an integral, living breathing funkin’ thing, at one with the Voice. Damn! they was funky!  I saw them live in Derby in the 70’s. That’s real live music, and I mourn its loss. But here, they jump right out of the speakers and reclaim their crown, one of the very best British band son the live circuit. Not many could live with them. As I listen to ‘Raise your Head’ they are pushing Jess – his vocal responding to them, the perfect foil, exactly what a band should be.

It’s not just the unheard tracks that are a delight in this collection. Many of the familiar songs are presented on CD for the first time, and getting the treatment they deserve. The Bronco material for instance, sounds beautiful and crystal clear, compared to the ‘double CD’ that’s out there.

As a bass player as well as a singer, I really need  to throw a spotlight on the simply wonderful playing of John  Cartwright – a delight to these ears, listen to the effortless switching back and forth between fluid, funky lines and consummate wah-wah bass on “What took so long?” – just divine! I can’t pretend to be as acquainted with Trombone as I am with the bass, but by God, Chris Gower knows one end of it from the other. His fluid, soulful playing is a huge JRB trademark.

Ray Charles’ “Black Jack” is another fabulous surprise. The number of white English vocalists who can deliver this song so soulfully must be very few and far between indeed. You can’t learn this sort of thing. It is innate, part of Jess Roden’s DNA. Just when you think that’s polished disc  4 off nicely, you’re blown away by a sublime version of  “Blowin'”, right out of a Gospel left field, Jess’s voice accompanied by a beautiful piano courtesy of Billy Livesey. Phew.

Songs from The Rivits and the hugely underrated Seven Windows project which surely deserved to be in as many homes as Windows 7, lead us into Disc 4, and there are some lovely moments, including a brace of songs with superlative B.V.’s from Jaki Whitren. Then, after the familiar yet beautifully arranged “Misty Roses” – another undiscovered gem, the hauntingly beautiful instrumental “Vital Sign” , with Jess on synthesiser and  Peter Wood on synth and Piano.

As I gaze out of the window over the Sierra Cabrera, I notice the sun is going down now as “Bird of Harlem” glides  out of the speakers and seems to blend beautifully with the early evening light.  It’s time to put away this box of treasures until tomorrow. So much more to discover. This is a very, very special collection indeed.

Kev Moore





Jess Roden – The Fantasy Boxed Set?

31 03 2010

Most of you know how much I champion the cause of Jess, who for my money is in the top three British vocalists of all time.  Not to long ago, our efforts throughout the blogosphere led to a raised awareness of this great singer, and the long overdue release of The Best of Jess Roden CD. But I now pose the question: “Can this man’s eclectic career really be done justice on just a single volume?”

I decided to indulge in an exercise – The hypothetical compilation of a definitive boxed set that would highlight Jess’s career in all its forms. I’m calling it the The Jess Roden Fantasy Boxed Set and I’m splitting it into 4 distinct volumes:

Jess Roden Solo

2 The Jess Roden Band

3 Jess and his bands – (Alan Bown,Bronco,Butts Band,Rivits,Seven Windows, The Humans)

4 Jess guest appearances – (Luther Grosvenor, Peter Green, Grace Jones, SAS Band, Sandy Denny, Keef Hartley, Back Street Crawler)

My track listing would be as follows, bearing in mind that I would avoid repeat tracks from the ‘Best of’ CD, making it a great companion piece:

CD 1

Ferry Cross

On Broadway

Feelin’ Easy

Trouble in the Mind

Misty Roses

The Quiet Sound of You and I

Sensation

Hardest Blow

Prime Time Love

Brand New Start

Bird of Harlem

One World, One People


CD2

Can’t get next to you

Stay in Bed

U.S. Dream

Mama Roux

In a Circle (alternate version)

If you don’t get what you want (unreleased)

Can’t get by without you (unreleased)

Raise your hand (unreleased)

Honey don’t worry (unreleased)

Yes indeed (unreleased)

Ratrace (unreleased)

CD3

Gonna Fix you good

Still as Stone

Strange little friend

Lazy Now

New Day Avenue

Love

Sweet Danger

Baja Bus

Love your Brother

Oo she do

Future Soon

Red Light On

Shakey’s got the blues

Light Brown Colour

Parachutes

So Fine, So Young

You’d Better believe it baby

If it takes just a little while

CD4

Cryin’ won’t bring you back

Fire down below

I wanna be free

Losing game

Circles

Australian Lady

I Know Something

I’m Ready

Okay, that’s as far as I’ve got!  Hoping to get another few possibilities for the ‘guest vocal’ CD  – any thoughts folks? Or indeed, what would be your own Jess fantasy box set? Let me know!

Kev Moore







Unsung Heroes No. 9 – Nik Kershaw

5 12 2008
Nik Kershaw - Have guitar, will travel....

Nik Kershaw - Have guitar, will travel....

Eternally damed as a lightweight 80’s designer pop star, Nik Kershaw is, in reality, an incredibly gifted musician and songwriter. His highly catchy 80’s hits a quite deceptive. delve beneath their glossy exterior and you find considered and clever arrangements and changes. take the song ” When a Heart beats” for example – the solo is completely off the wall, worthy of Bill Nelson or Robert Fripp, and the riff has a killer time signature.

When he disappeared off the radar as a solo artist after releasing four excellent albums, he resurfaced alongside Elton John on guitar – recording a duet with him, and wrote the No. 1 hit for Chesney Hawkes “The One and Only”. Success also came his way courtesy of a brace of hits he wrote for teen act Let loose. Further collaborations with Les Rhythm Digitales and Genesis’ Tony Banks further cemented his reputation as musician’s musician.

He returned in the 21st century with a pair of albums any artist would be proud to call their own. Eschewing the sequence/synth heavy production of his past and opting for a more acoustic-led approach, he delivered “15 Minutes” and “To be Frank” . Both albums an embarrassment of riches, a songwriting masterclass.

His latest release – “You’ve got to laugh” is available only on the internet. Forget any 80’s preconceptions, Nik Kershaw is one of the UK’s leading songwriters. He should be declared a National Treasure.

Check out this beautiful version of his biggest hit “Wouldn’t it be good” with more than a little help from Howard Jones.

Kev Moore





Unsung Heroes No.8 – Joyce “Baby Jean” Kennedy

3 12 2008
Joyce "Baby Jean" Kennedy

Joyce "Baby Jean" Kennedy

Back in the musical melting-pot of the early 70’s there was a lot of experimentation going on with different kinds of Fusion, Out of the Heavy bands of the late 60’s and the funk and soul acts of the same era, musicians began creating something greater than the sum of its parts: Funk Rock. Undisputed pioneers of this genre were Atlanta’s Mother’s Finest – a multi-racial band that featured serious grooves, rock guitar – and the unmistakable powerhouse vocals of Baby Jean Kennedy. Criminally underrated as a singer, she and the band, which also features husband Glenn Murdoch as co-vocalist nevertheless enjoy a massive loyal following that remain with them to this day. Admired by countless musicians, a single show for Rockpalast in Germany in 1978 ensured them everlasting cult status. Never ones to shy away from controversy, titles like “Niggizz can’t snag rock’n’roll” and “Black radio won’t play this record” testify to their struggle against the musical pigeon-holing which affects so many of these crossover bands.

The plain fact is, like Living Colour, Dan Reed Network and Glenn Hughes – people shouldn’t waste time trying to work out what it is. It is what it is, man! Now crank those guitars, get into the groove and thrill to Baby Jean’s glorious voice!

Kev Moore





Unsung Heroes No. 7 – Dan Reed

28 11 2008
Melvin,Dan P,Dan R, Blake, Brion

L-R: Melvin,Dan P,Dan R, Blake, Brion

Back in the 80’s, as my Trapeze and Mother’s Finest albums had just about been played into oblivion, and the only funk around was Cameo in a red plastic jock strap, I was lounging at home preparing to watch a new “experiment” on British Television – All night programming. It seems quaint now, doesn’t it? but back then, the Yorkshire region was lucky enough to have been chosen to host “Music Box” – a series of hourly programmes running from midnight ’til six in the morning, consisting almost entirely of the promos that were being spewed forth from this video generation. The music, by this time – mid 80’s, was largely vacuous and disposable. But I remember the moment, the exact moment when the Dan Reed Network burst onto the screen with “Get to You”.

I almost fell out of my chair! This was what I’d been waiting for, the perfect fusion of 80’s technology with rock, funk and soul – the missing link to the funk rock of the 70’s. Dan’s voice was a perfect foil for the great band behind him. Possessed of a great scream, and soulful delivery, he really sold the song. Nasty bass from Melvin Brannon lll and Hendrixian guitar from Brion James really brought something to the party. Keyboard textures and stabs from Blake Sakamoto and wonderful interplay between digital rhythms and drummer Dan Pred completed this hard-hitting package.

Suffice to say, they screamed onto the scene, a great, cosmopolitan image, killer songs, Def Leppards management company, support slots for the Stones and Bon Jovi – they were going to be massive!

But they never were. I like to call it the Kev Moore kiss of death – any band I love never garners mass appeal. But I also think its a lot to do with the genre. People aren’t comfortable with crossover acts. Glenn Hughes and Mothers Finest suffer similarly. Rock fans aren’t comfortable with the danceable funky beats, and the dance freaks don’t want the guitars. Yet to me, this is the highest form of pop music. Rock you can dance to! Is there anything better? Not to me.

The Dan Reed Network released three killer albums, and they’re all worth checking out.

Dan Reed Network (1988)

Slam (1989)

The Heat (1991)

By 1993, the band members were beginning to go their separate ways, Dan Pred and Blake Sakamoto most notably appearing on the Slowrush album “Volume”. Dan Reed formed the band “Adrenaline Sky’ and released an eponymous album which featured 50/50 live and studio cuts. In 2004 he released an EP entitled “Sharp Turn” which was indeed a sharp turn away from the rock funk of his past. An almost eerie collection of electronica, the songs nevertheless shine through, showing that Dan had far from lost his touch.

Dan Reed

Dan Reed

Following a period living in Israel, Dan, a deeply thoughtful and considerate man, has now emerged and undertaken a tour that precedes the release of his new album “Coming up for Air”.

His music was inspiring to me in the 80’s, and to my daughter too, who was too young to ever see DRN live, but in recent years Dan has become a friend of the family, and she realised her dream of seeing him work in his studio in New York.

A musician’s musician, his return to the stage is a welcome one.

Kev Moore





The Jess Roden Poll

19 11 2008

I am very proud and pleased to note that, as a result of my creating this blog, there has been some interest in the possibility of a Jess Roden Compilation being sanctioned for release. With that in mind , I have introduced a poll, based on some of my ideas for tracks, and I want to get some feedback from people so we might be heard by the powers that be. Speaking for myself, my only aim is to see Jess’s music out there and available. There is so much of his work that has until now been passed over for CD release. I have no agenda, other than seeing good music see the light of day. Please participate, and feel free to make your own suggestions. You can only vote for one song – so make it count!

You will notice there are 2 other categories, one will allow you to leave your own suggestion. The other ‘other’ is if you can’t make up your mind! GET VOTING!!

Kev Moore