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(Above: Reggae pioneers the Skatalites pay tribute to Dave Brubeck, and prove that it is possible to skank to jazz.)

By Joel Francis
The Daily Record

The original run of the Skatalites lasted barely over a year. That brief window has proved to be more than enough time to build a legacy strong to survive nearly half a century later.

The music the seven-piece island band played for two hours at Davey’s Uptown Rambler’s Club on Thursday night transformed the sound of Jamaican music, but has deep tentacles into many forms of American music, including jazz, doo wop, R&B, gospel and even country.

The band never tried to hide its influences. “Music is My Occupation” reappropriated the horn line from “Ring of Fire.” Next, on their version of the James Bond theme, the famous surf guitar was transferred to a punchy horn line. The arrangement inspired more dancing than danger. Think of it as the soundtrack to the scene after the big fight, when 007 waltzes away with the girl.

Three horns lined the front of the stage, proclaiming the band’s strength. Founding member Lester Sterling played an old saxophone that looked like it had been rescued from a shipwreck but never failed to summon a melody pure and true. The big rhythm section included keyboards and guitar. They players may have been hidden behind the brass, but never played second fiddle.

The band had no problem moving the tricky 5/4 time of Dave Brubeck’s signature “Take Five” to a ska beat. Originally recorded with Val Bennett as “The Russians are Coming,” the piece featured Sterling’s longest solo of the night and proved he could hang with the players in the Blue Room any night.

When Sterling wanted to show off ska’s versatility, he launched the band into a cover of “I Should Have Known Better.” The Beatles were contemporaries when the Skatalties first laid down their version. A cover of Bob Marley’s “Three Little Birds” – courtesy of drummer Trevor Thompson – and the spiritual “We Shall Not Be Moved” were the night’s only vocal moments.

The two-hour set was generous to a fault. While the room was packed for the first hour, there was plenty of elbow room when “The Guns of Navarone,” the band’s biggest song, finally emerged near the end. Most of the instrumentals employed a similar arrangement, allowing some sameness to eventually creep. The performances were always energetic, however, and kept a steady flow of dancing near the stage.

Purists can quibble over the lack of original members onstage and they’d have a point. Sterling is the only founding member, and almost half the band wasn’t born when the Skatalites were at their peak in Studio One. Blame Father Time for the attrition then ask if the music should be forced to pass along with its musicians.

Sterling put it another way between numbers: “When you’re good, you’re good.”

They’re good.

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(Michael Buble and Chris Isaak pay tribute to Kansas City by performing Lieber and Stoller’s classic song during a 2007 tour stop in Chicago.)

By Joel Francis
The Kansas City Star 

Chris Isaak has made a career working of the blueprint established by Elvis Presley. The debt is apparent in Isaak’s music, hairstyle and demeanor, a cool, effortless charm to the humor and charisma that plays equally well in both music and acting. So it’s only natural, then, that Isaak pay homage to Sun Records, the label that launched Presley.

Friday’s 90-minute show before a packed Uptown Theater paid homage to Sun and underlined its connection to Isaak’s own 26-year- old catalog. “Don’t Leave Me On My Own” sounded like a cross between “Wooden Heart” and “Are You Lonesome Tonight”; “Let Me Down Easy” could have been a lost Presley single. During “American Boy” Isaak raised his arms and shook his hips with a vigor that would have landed him in trouble on the Ed Sullivan Show.

After driving through some of his favorite originals -– including a stretched-out “Baby Did A Bad Bad Thing” and reliably hypnotic “Wicked Games” -– Isaak devoted the second half of the night to Sun. The arrangements stayed faithful to the original recordings, but the crowd’s energetic response showed there is still a hunger for this material.

It takes courage to cover songs as beloved and well-known as “Ring of Fire” and “Great Balls of Fire.” Isaak pulled it off, in part because those songs are right in his wheelhouse anyway, but also because of his obvious respect for, and love of, the material. The upbeat numbers also gave guitarist Hershel Yatovitz plenty of space to unleash several of his rowdiest solos.

Isaak performed most of the main set wearing a sparkly, sequined ensemble that looked like a Nudie suit designed by Lady Gaga. He poked fun of the outfit several times during the night and emerged for the encore in an even more outrageous mirror ball suit.

The tone was warm and casual. Both Isaak and Yatovitz ventured into the crowd. After winding through the main level during “Don’t Leave Me On My Own,” (with frequent stops for pictures) Isaak delivered “Love Me Tender” from the front of the balcony. Later, Isaak introduced pianist Scott Plunkett as the type of musician children could look up to. After the applause died, Parker promptly produced a large bottle from his piano and took a long swig.

Fans still shuffling to their seats three songs into the set probably regretted their truancy. Although Isaak performed a generous two-dozen songs, most of the songs delivered could have fit comfortably on the A-side of a 45. Isaak ended the night with a gorgeous solo acoustic version of “Forever Blue.” The ending seemed premature, but at the same time it didn’t feel like he’d left anything out.

Setlist: Beautiful Homes, Dancin’, Somebody’s Crying, Don’t Leave Me On My Own, Love Me Tender, I Want Your Love, San Francisco Days, Wicked Games, Speak of the Devil, Let Me Down Easy, Go Walking Down There > American Boy, Baby Did a Bad Bad Thing, My Happiness > Ring of Fire, Dixie Fried, How’s the World Treating You?, Live It Up, Miss Pearl, Great Balls of Fire. Encore: Blue Hotel, Big Wide Wonderful World, Can’t Help Falling In Love, (Oh) Pretty Woman, Forever Blue.

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