Archives for posts with tag: Brad Hardisty

Michael Des Barres and Brad Hardisty at Americana Festival

This Sunday Dec. 2nd, at 11AM Central Time, that would be 10 AM Mountain Time, 9AM in sunny California and 12 Noon in Atlanta, Brad Hardisty of The Nashville Bridge and Performer Magazine is live on the air with Music News With Kat Pat on Blog Talk Radio.

Brad Hardisty, Tootsie’s on Lower Broad, photo – Tristan Dunn

“Recently, I interviewed Ricky Skaggs for Performer Magazine and it was kind of a mind expansion experience talking about Bill Monroe, Emmylou Harris, Barry Gibb and recording with Jack White and The Raconteurs all in the same hour. I look forward to talking to Kat Pat about that as a preview to the January edition as well as Nashville, Music City, today and the explosion of all things happening musically from Punk Rock to the Blues. I don’t have any idea where we will stray and ramble; there are so many different directions we can go. There is a lot of new music around here and then there is always history like Jimi Hendrix at The Del Morocco. I’m looking forward to this.” – Brad Hardisty, The Nashville Bridge, Performer Magazine

Kat Pat has a couple of rare guitar tracks of Brad Hardisty as well as a never before heard version of “Spark The Flame” recorded live at The Nick in Birmingham, Alabama in 2006 with the band Furthermore featuring Brad on guitar as well as Danny Everitt on Bass, Peter Davenport on vocals and Daniel Long on drums.

Listeners can call in at (818) 369-0352.

Brad with Southside Gentlemens Club, Burt’s Tiki Lounge, Salt Lake City, 2009

Kat Pat has interviewed several bands including regional acts, Skinny Molly (featuring Mike Estes of Lynyrd Skynyrd) and Robert Nix, one of the founders of The Atlanta Rhythm Section.

You can get to information here.

Also you can link to Music News with Kat Pat here.

The interview will be up for some time after Sunday for later listening.

Brad Hardisty Live at The Nick, Birmingham, AL with Furthermore, 2006

– The Nashville Bridge, Nashville, TN     thenashvillebridge@hotmail.com

On an unusually hot June night, Dead Fingers from Birmingham, Alabama, played the Basement underneath Grimeys New and Preloved Music, in a stripped down Trio with “really married” Taylor Hollingsworth and Kate Taylor backed by minimalist drums of Alan Rosser, as part of their mini-tour last Sunday the 24th.

Dead Fingers Opened up with the classic Taylor song, “Bonnie and Clyde” from his 2005 Brash Music release, Tragic City,  before going into the line up from the first Dead Fingers – Fat Possum release.

Playing to an intimate crowd including some friends who made the drive from Birmingham, Kate and Taylor matched song for song on “Closet Full Of Bones”, “Another Planet” with the different blend of almost Spanky & Our Gang meets southern Americana, Dead Fingers managed to break down a lot of barriers between styles and periods to create their own matchbox of sound.

Taylor stuck mainly to finger picking almost Piedmont style most of the night going from the bluesy slide of “Lost In Mississippi” to primitive western a la Rose Maddox and The Maddox Brothers rather than the current Fleetwood Mac radio country for “On My Way.”

There was a hint of classic Taylor Hollingsworth writing when going into “Against The River” riffing.

Kate and Taylor looked real comfortable together as well as baby bump makes three, Taylor and Kate, who have been married for a while now, are expecting a girl towards the end of the year.

It looks like the child will have music in her DNA taking in the tour from the stage, listening to musical vibrations.

Kate comes from a big Birmingham musical family, with sister Maria Taylor , an artist on Conor Oberst’s  Saddle Creek Records , as well as brother Macey Taylor who has played Bass for Maria, Taylor, Conor Oberst and several other bands and music projects.

Kate is no stranger to the stage, having played in Maria Taylor’s touring band on drums as well as other instruments and supporting vocals.   

Mystic Valley Band at Coachella 2009, Macey on bass, Taylor on Acoustic

Macey and Taylor both played in the two album project that Conor Oberst ended up putting together, The Mystic Valley Band where Taylor sang at least one of his own originals at every tour stop.  They ended up playing some big shows in 2009 including Coachella. Following that project, Taylor released the acoustic project, Life With A Slow Ear, Team Love Records in 2009.

Dead Fingers became the project as Kate and Taylor started taking life on together as a couple.

Kate’s brother Macey at Coachella / Photo- Brad Hardisty

Taylor, even in the stripped down mode, showed plenty of flash, using a harmonizer pedal to get some cool neo-pedal steel type leads going on the country material, and some intense slide work through the night.

Taylor Hollingsworth singing “Air Mattress” at Coachella 2009 / Photo – Brad Hardisty

Dead Fingers included a new song in the set that will be on the next release which they are scheduled to begin recording in the near future.

The duo shows great depth and versatility in their songwriting able to take off in different ways which especially works well in Nashville where, cult classic country, blues and roots rock are part of the whole Indie scene.

Dead Fingers will be back in Nashville on July 12th at The Mercy Lounge opening up for Jason Isbell (formerly of  The Drive-By Truckers) & The 400 Unit. Definitely a lot of Alabama in that show.

 – Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

When U2 made their stop in Kansas City to play at the Kansas City Chiefs Stadium, May 19th, 1997, on the Pop Mart Tour, back in the days of  huge MTV video era budgets, they got this wild idea for the making of their “Last Night On Earth” video.

U2 decided to take over the entire business district mid-week, shutting down areas at random and shooting a “Mad Max style apocalyptic vision of a post-boom Gotham City in the middle of a war zone” video.

I was working downtown at the time. They handed out flyers to all the people working the day before to let us know not to go near the set and that there would be limited access while U2 was shooting their video. They must have got permission from City Hall. It was a strange thing to be working thirteen floors up and see one of the biggest rock bands in the world randomly closing down entire blocks to shoot  shots of U2 driving in an old 72 Mercury Marquis, “big iron”, screeching around corners.

They had sandbags on the bridge going down to the farmers market with military tanks sitting there. U2 was using all of downtown, shooting random picked out scenes. Kansas City looks like a worn out Gotham City straight out of the Batman movies. At least it did then. They are getting some new things now. Kansas City has huge empty skyscrapers from the forties and fifties looking for a buyer. At the same time, it is the business district, with the hustle and bustle of the 9-5 workers creating the same atmosphere that has gone on since the industrial revolution.

It was almost impossible to actually see the band, as the Kansas City Police would seal off a four block square while the band would be shooting until moving onto a different location. After a couple of hours, I asked my Boss if I could go take a look at what was going on. He was okay with it. I thought the band was already done. I walked for about ten minutes and then there were Cops everywhere.

They would stop anybody getting anywhere near the area from every direction.  It was impossible to see the band or know exactly where they were.

Now, I like U2, maybe not with the same reverence as a lot of their fans. I had got into them early because I liked the stripped down “Two Hearts Beat As One.” It was clean edgy punk pop that you could almost draw a line between Big Star and The Ramones.

U2 started eating up American music from a different vantage point instead of the Chuck Berry – Everly Brothers inspired Beatles and Rolling Stones. They wanted to be The Ramones. At least until Brian Eno shook things up with his Roxy Music-Music for Airports paradigm. They had a little of The Clash political overtones as well, from an Irish perspective. The Edge really stands out now, but, back then there was the first Cult album as well as Echo & The Bunnymen, The Smiths’ Johnny Marr, even Flock of Seagulls’ Paul Reynolds, coming from similar approaches.

It was the songs “Angel of Harlem” and the Bo Diddley flavored “Desire” that made me a little covetous. It was where U2 showed they could do just about anything. They weren’t going to just be a certain era flavor; they were going to go the distance. Like The Rolling Stones sang “Time Is On My Side,” time would be on their side.

Anyway, I knew I wasn’t going to be able to just walk on the set. In fact, I wasn’t even going to able to watch from fifty feet away. I decided before giving up on the whole idea, I’d walk a couple of back alleys and see if I could get a closer look.

I did. In fact, I came out of one of the alleys and ended up standing next to Bono and the director who were talking about the next shot. Bono smiled at me with his orange wrap around shades. He must have thought I was an undercover cop with my white shirt and tie.

It was just me, Bono, the Director and drummer Larry Mullen Jr. standing with the film crew a few feet away aimed at an old glass store front. While Bono and the Director, Richie Smyth, talked, Larry looked at me waiting for me to say something, so I did and we talked for ten minutes about filming in Kansas City.  It would have been cool to talk to Bono, but, he was busy trading ideas and figuring out the shot with the Director. I wasn’t there to bug anybody I just wanted to watch some filming and was closer than I bargained for.  I only talked to Larry because he wanted to.

If you see the video, they were shooting the scene where they crash the car out of a glass store front. I think they were stealing the car. Anyway, I knew nobody was going to believe this one. I told Larry that one of my best friends, who played drums, was a huge fan and asked if he could sign the log in my checkbook. He did.

I headed back to work after hanging with U2 for about fifteen minutes. I was actually gone over an hour from work. I showed my Boss and a couple of co-workers the autograph and told them about being on the set with Bono and Larry. It’s one of those gape open mouths “no way” kind of scenes.

I ripped out the autograph and sent it to my friend, Lynn. He is the biggest U2 fan I have ever known. He even had interviews of the band on vinyl that he had me sit and listen to back in the day. I knew it would mean more to him than me.  The memory of being there on the video set is priceless.

I noticed the link to the video was taken down at you tube so here is a making of the video video on oyu tube link:

http://www.youtube.com/watch?v=PJhqPxtaOpY&feature=fvst

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

The new Jimi Hendrix Anthology West Coast Seattle Boy bonus DVD Voodoo Child answers a lot of questions about Jimi’s time in Nashville, which for the most part is an unknown piece of the puzzle.  Jimi not only formed his first band The King Kasuals with Billy Cox on Bass  while in Nashville but it was here that he cut his teeth with some of the best Rhythm and Blues acts of the day.

Jimi Hendrix at Ft. Campbell, KY

The first step to Nashville for the Seattle, Washington native was joining the Military. “I was 18. I figured I would have to go into the Army sooner or later, so I walked into the first recruiting office I saw and volunteered. I wanted to get everything over with before I got into music as a career so they wouldn’t call me up in the middle of something that might be happening. “

Jimi wasn’t able to sign up as a musician because he had no formal musical training so he joined the most elite outfit he could. The 101st Airborne Division, The Screaming Eagles of Ft. Campbell, Kentucky. He wrote home “Well Dad, here I am exactly where I wanted to go in the 101st Airborne.”

Young Jimi with Red Danelectro

Jimi wanted to succeed for the sake of his family name as a member of the Screaming Eagles in the U.S. Army. One of the first requests home was to send his guitar, “P.S. Please send my guitar as soon as you can. I really need it now.”

The one thing that Jimi gave up when he went into the military was about to become what he always wanted; music would become the center focus of his life. He was in the military for thirteen months when he got his ankle caught in a sky hook and he broke it. He had become frustrated with the military life and the inability to play music and decided to tell them he hurt his back too. They let him out,  July 2, 1962, just prior to the troop increase in Vietnam.

Photo Date 1963, probably at Del Morocco, Jimmy (Jimi) ,notice Epiphone Coronet, Silvertone Amp, Billy Cox, 3rd down, Nice Fender Jazz Bass, Fender Amp. Jimi was notorious for letting his stuff go into hawk.

Jimi became more serious about the guitar while still in the Army and decided to head south of Kentucky a few short miles to Nashville to see if he could earn money playing the guitar.  He moved into a housing development during the civil rights movement.  In fact he was arrested once along with Billy Cox in 1962. “Every Sunday we would go down to watch the race riots. We took a picnic basket because they wouldn’t serve us in the restaurant…Sometimes if there was a good movie on Sunday there wouldn’t be any race riots.”

The Bonnevilles, 1962, Clarksville, TN at The Pink Poodle just prior to move to Nashville.

Ft. Campbell had been where Jimi had become friends with  Billy Cox, a Bass player born in West Virginia, raised in Pittsburg, PA who also settled into Nashville for the music opportunities.

Together. they formed The King Kasuals. The band played at clubs like the Del Morocco on Jefferson Street as well as gigs on Printers Alley. Jimi did get a little studio time, but, engineers found him too experimental when he got to recording as a back up musician and Jimi had a hard time making some extra money as a studio musician.

Mid-60’s Nashville Civil Rights March

Hendrix waited for his Army buddy and bassist Billy Cox to get out and together they came down the road to Nashville to form their first band – King Kasuals. King Kasuals became the house band of the now-gone Club Del Morocco (the owner of which ended up bailing the two out of jail after a Civil Rights demonstration downtown!). Hendrix played at so many of the clubs in Printers Alley and along Jefferson Street – places where the likes of Etta James and James Brown were performing. Hendrix took his guitar everywhere in Nashville – on the bus, to the store, on a walk. Nashville is where he really developed his guitar playing. He said so himself: “That’s where I learned to play really…Nashville.” – 365nashville.com

“Hendrix credits Nashville as the place that he really learned how to play guitar. That still freaks out most people who think of Nashville as just country music,” says Joe Chambers, the founder of the Musicians Hall of Fame in Nashville.

Chambers recounts how in 1962 Hendrix wound up at the army base at Ft. Campbell, Kentucky, and met fellow musician Billy Cox. They became fast friends and a short time after moved to Nashville, some 60 miles away, and lived together on Jefferson Street, above a beauty shop called Joyce’s House of Glamour.

“I actually saw Jimi Hendrix one night at Printer’s Alley. He was in his private’s uniform,” says Norbert Putnam, a musician, studio owner and producer with a long list of credits in Nashville.

Hendrix soaked up the style of the blues players in the bars along Jefferson Street. “You gotta be pretty good to get their attention,” Chambers recalls his friend Billy Cox saying. “Jimi went to sleep with his guitar on, woke up with it on, walked out the door with it, and went to the movie theater with it.”

Jimi with Buddy and Stacey “Shotgun” Nashville TV Taping

Some of the first video footage ever shot of Hendrix was on Nashville’s WLAC Channel 5 television show Night Train. You can see him on a 1965 clip backing up Buddy & Stacy, looking freaky and sliding his hand over the front of his guitar’s neck. Chambers says Hendrix and Cox played the clubs on Jefferson as well as the club circuit from Murfreesboro to Tullahoma. – From Rock In The Country: Nashville’s Secret History By Davis Inman 12/17/2010, American Songwriter

King Kasuals, Jimi, Billy

Jimi left Nashville to be near his Grandmother in Vancouver in December of 1962 and played with a band called Bobbie Taylor and The Vancouvers, that featured Tommy Chong of comedy team, Cheech & Chong, until heading back to the south in the spring of 1963.

The gigs continued with Billy Cox and the band. Jimi continued developing his chops and playing wherever and whenever he could.

Jimi Hendrix did some uncredited session work while in Nashville and also played for current “Nashville’s Queen of The Blues” Marion James and Roscoe Shelton before leaving Nashville. Billy Cox also played bass for Marion James who still resides in Nashville and is signed to Ellersoul Records.

Billy Cox wrote two songs for Frank Howard & The Commanders and both Billy and Jimi played on the sessions for “I’m So Glad” and “I’m Sorry For You” during those Nashville days.

Billy Cox stated in a Nashville Scene interview in 2010 that he is in the process of writing a book about his time with Jimi Hendrix in Nashville; nobody could tell the story better than Billy and he hopes to clarify between myth and legend what happened in those early times.

Jimi in Nashville

Imperials drummer Freeman Brown played with Hendrix while he was in Nashville. “There used to be a theater called the Ritz Theater down on Jefferson Street, it was there for the longest. We went to a show one day and Jimi carried his guitar in a shopping bag. He always kept his guitar with him. And every time he would just play, just play, just play; it was kind of like having a little baby to him.” “It was like a third arm, you know. And like he (Freeman) said, I saw him on a bus with it one day, you know, in a shopping bag, in a plastic bag, whatever. That’s the way he was. It was not unusual at all. Not usual at all,” confirms George Yates.

Larry Lee, 2nd guitar with Jimi Hendrix at Woodstock

“Jimi and I, being left-handed guitar players, just talked. We hit it off real smooth,” Yates recalls. “Everybody thought we were brothers. We were skinny, very young, and I guess, women chased us, you know. We played together one time. It was with a group called The Bonnevilles, and I believe Jimi named the group. His manager had us on the road one night, supposedly the three best guitar players in town- me, Jimi, and Larry Lee from Memphis (The same Larry Lee that played with Jimi at Woodstock). The people just went crazy because we were all doing crazy acts, you know, guitar behind the head, biting it with the teeth, falling on my knees, and I have bad knees because of it today. But Jimi was the showman. We were admirers of each other, you know.” – Night Train To Nashville by Tina Robin

It was at this time he met a promoter named Gorgeous George, who got him on as a touring guitarist. “The idea of playing guitar with my teeth came to me in a town in Tennessee.  Down there you have to play with your teeth or else you get shot. Those people were really hard to please.“

The earliest known video of Jimi Hendrix was playing “Shotgun” with Buddy and Stacey  at a Nashville television studio in May 1965.

It was a Soul package that came into Nashville featuring Sam Cooke, Solomon Burke, Jackie Wilson, BB King and Chuck Jackson that kick started his professional career. “I got a little job playing in the backup band.  I learned a lot playing behind all those names every night.”

Jimi’s star across from Country Music Hall of Fame

He went on a 35 day tour covering most all of the south, the Seattle boy was now in the thick of a tour that took him to all parts of the country.  He sent a postcard “Dear Dad, just a few words to let you know I made it to South Carolina. Tell everybody “Hello” with love, Jimmy”

Jimi with The Isley Brothers

While in New York, he entered an amateur contest at the Apollo Theater and won $25 after taking first place.  It was there in New York that The Isley Brothers asked him to stay and play.  He played with them for a while but he was ready to break out of being in the back up position and desired to direct his own career.  He left The Isley Brothers when they made it back to Nashville on a tour stop.

He then joined a band that took him to Atlanta, Georgia where he met Little Richard and was asked to join his band. “Dearest Dad, I received your letter while I was in Atlanta. I’m playing with Little Richard now. We’re going toward the West Coast. We’re in Louisiana now. But my address will be in Los Angeles. “

Jimi with Little Richard

He only played with Little Richard for five months and left after not getting paid for a period of five and a half weeks.  He was ready for a change after the Little Richard stint. “I couldn’t imagine myself for the rest of my life in a shiny Mohair suit with patent leather shoes and a patent leather hairdo to match. “

“I didn’t hear any guitar players doing anything new.  I was bored out of my mind. I wanted my own scene making my own music. I was starting to see you could create a whole new world with the electric guitar because there isn’t a sound like it. “

Curtis Knight and The Squires

He heard music in his mind that he wanted to do but he knew it was going to be hard to find people to do it with.  “I went back to New York and played with this Rhythm and Blues group called Curtis Knight and The Squires. I also played with King Curtis and Joey Dee. “

It was after this period of time in Nashville, travelling with some of the greatest artists of the day that he became what the world knows as Jimi Hendrix. Chas Chandler, bassist for The Animalswas invited, by Keith Richards girlfriend at the time, Linda Keith (she also “loaned” Jimi one of Keith Richard’s guitars to Jimi), to see him play with his band, Jimmy James and The Blue Flames and that is where the usual story of Jimi Hendrix begins.

Band of Gypsies : Billy Cox, Jimi Hendrix, Buddy Miles, who had kept on Jimi for some time to get their own band going.

Although it may have been a short couple of years, his friend Billy Cox would rejoin him with Buddy Miles as Band of Gypsys and they recorded some of the funkiest three piece soul ever done. Billy would be with him at Woodstock and record and perform as a member of his band until he passed away. Billy still lives in Nashville.

Jimi went through many transitions in life, moving several times and being called by many different names, first, Johnny than James, “Buster”, Jimmy, with many knicknames along the way including “Chop Suey” and finally Jimi. Through all the changes, Jimi managed to be very positive as his guitar was like a magic carpet guiding him on his travels.

If Jimi had not joined the Army and started his journey through the south, his story might not have been what it became.  By doing what other great guitarists do, be it Country or otherwise and joining the Nashville scene and becoming a touring musician he accelerated his abilities quickly and became the Voodoo Child with a mojo hand made of gold becoming the most important guitarist of his day, a great songwriter and  the highest paid rock showman of his time.

Many of the quotes that are by Jimi Hendrix, were read by Bootsy Collins and are featured in the Documentary, Jimi Hendrix: Voodoo Child.

” Music is the most important thing. I’m thinking of my future. There has to be something new, and I want to be a part of it. I want to lead an orchestra with excellent musicians. I want to play music which draws pictures of the world and its space.” – Jimi Hendrx

Jimmy James and The Blue Flames

Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com