AAJ: I don't know about that, the Allman Brothers' At Fillmore East (Capricorn, 1971) wasn't recorded in a studio and that was certainly an album.
Jaimoe: [Laughs] Oh boy.
AAJ: It's kind of strange, the first time I listened to Renaissance Man I thought Gregg Allman must be singing harmony, I even checked the CD credits. To paraphrase Herman Cain, Junior sounds a lot like an Allman Brotha from anotha motha. Have people mentioned that a lot?
Jaimoe: [Laughing] No not a lot, it's pretty obvious when you listen to the CD, but when you listen to him in person, it's a completely different thing. You know, Junior still sings in a men's spiritual group with his church, and he's been doing that for about 30 years. He's also a disk jockey and does a blues show, he's a chef, all kinds of stuff, he's something.
So anyway, during this gig and we took a break, and I told him, "Man you play different than the rest of these guys." And Junior asked me, "Different?" And I said, "Man, I haven't heard anybody play like that since I left Mississippi, with the exception of one other guy, George Baker." He's from Baton Rogue, Louisiana and was the musical director for Marvin Gaye for about 12 years. They play very similarly, but George is more of a jazzer, but otherwise they are very similar.
Like Junior, he's got a great voice, he's a great guitarist, and he writes, but two completely different people. One's no better than the other, just different. But anyway, I told him, "You don't play like Derek, or Warren or any of the other guys. Don't get me wrong, it's just different, you've incorporated less rock into your playing, you're more bluesy." And Junior said, "Well how should I take that?" I said, "Don't worry about it, just keep doin' what you're doin'!"
So we did that gig, and I started thinking, I've got a bunch of guys here, so I need to think about keeping them together. So we started doing birthday parties and weddings, and that paid a lot better than what these clubs wanna pay you. So we did that for a while, and then we got the itching to be on the other side.
So I talked to this guy who's been booking the Allman Brothers since we've been together, and he booked us. The rest of it is pretty much what it is.
AAJ: Man it really worked out, you guys clicked.
Jaimoe: I couldn't have ask for more. I've heard some CDs and thought, "I sure wish I could have recorded something like that." I remember George Porter Jr., the bassist from The Meters, after they broke up, he released Things Ain't What They Used to Be (Independent, 1994) and man, what a record! You hear a record like that and think, "Man, I don't care what anybody else thinks about it, what a record, I really want to cut a record like that."
And I can say, thank God, I got my wish. I couldn't be happier with what we've come up with. And the guysjust great.
You know, I could have had three piano players. Jon Davis who played bebop with me back before I met Junior, Bruce Katz, and one guy who ended up getting shipped back to France. He was a most interesting guyI called him Inspector Clouseau, because he was a little wiry guy, but he played piano, sang, played guitar and the drums. He was the Thelonious Monk of the band, I would get lost sometimes listening to what he was playing.
So my band was booked for the Wanee Festival down in Florida, you know it's down by the Swanee River. So I'm thinking, how are we going to get him down there? So, he can't fly and he couldn't catch the train, and finally Junior says, "I'll just drive down there, and that will take care of it." Then four or five days before the gig he says, "You know what, I'll just fly down, it will be alright."
And I told him, "Man, don't mess with taking an airplane," but he went down there anyway. Well, as soon as they saw his name, lights and shit went off, and they pulled him to the side. He'd been over here ten years, he just blended in until he went and tried to board that airplane.
AAJ: Man, that's sad.
Jaimoe: Yeah, a really nice guy and a great player, Mathais Schuber is his name.
AAJ: We've got to get you guys over to Europe for a reunion concert.
Jaimoe: Book us!
AAJ: Jaimoe I read that you played with Sam & Dave for a while.
Jaimoe: No, no, no. It's funny how I can't get some of these things cleared up. Sometimes I think, maybe I should just go ahead and take the free ride. But no, I didn't play with Sam & Dave, however, I did play on quite a few shows that Sam & Dave were on. Like in the Apollo Theater on the Otis Redding tour I did in 1966. Sam & Dave were the co-stars.
AAJ: Is it true that Otis Redding said that he wouldn't be booked on any more tours with them because they were like human-dynamite or something like that?
Jaimoe: No, that's why he hired them in the first place. They put fire on him, you know, when he came on the stage after them, he was quite inspired. See, Otis was one of those guys who was not gonna be outdone. You know, that disease, Little Richard had it, Johnny Winter used to have it, and Jerry Lee Lewis.
You know, they'll get up and perform everything they can think of, so that whoever follows them won't have anything left to play, because they've played everything under the sun! Man I know some guys like that, and I know some guys who took care of them too.
Anyway, Otis wanted somebody who was gonna put fire on him. So when he came out on stage, he was left with no choice, he had to be on fire.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.