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Review: John Sebastian and his J-Band
with guests Beki Brindle, Jimmy Vivino, Fritz Richmond and James Wormworth
at the Schaumburg Prairie Center, November 10, 2001

By Todd Kwait (for the Arts)

(reprinted by permission) Thanks to Beki Brindle

(Photo credit: Nikki Hall)

I had been rather depressed since the terrorist attacks on the US on September 11. Needless to say, I had been looking forward to attending a John Sebastian and the J- Band concert. I first learned of the concert on the John Sebastian web site (www.johnsebastian.com). I anxiously anticipated the date and took a plane from Cleveland to Chicago on the day of the concert. I was not disappointed. On the contrary, I want to tell others to catch this show. We all need it.

The evening began with the J- Band taking the stage with John cheerfully waving and smiling to the audience. John commented that he was looking forward to the evening since he was playing with the original J-Band members. The legendary Fritz Richmond of the Jim Kweskin Jug Band played washtub bass and jug. Jimmy Vivino played guitar and James Wormworth was on drums. John played guitar, banjo and, of course, all sorts of different harmonicas that Jimmy Vivino openly asked how John took them through the airport metal detectors. The entire group is made up of the finest musicians, who exhibit a sense of fun and whimsy that audiences never see anymore. My family commented repeatedly on how much fun it appeared all of them were having. We also were treated to a history lesson that highlighted the origins of American music and the contributions of Mississippi John Hurt, Lightening Hopkins, Gus Cannon, Sleepy John Estes and John's good friend, blues mandolinist, Yank Rachell.

Here is the play list in order (to the best of my recollection):

As always, one of the show's highlights was John's interaction with the audience. Each song had a story that pieced together a musical tapestry. For example, "My Passing Fantasy" was inspired by Maria Muldaur, who John had a crush on in the mid-sixties. He took Maria to see the Jim Kweskin Band (who John cited as an inspiration) and Maria fell in love with Kweskin band member Geoff Muldaur. John said, as usual, " I went home alone." Jimmy Vivino added that at least John "got a song out of it."

John looked great and sounded great. Several audience members yelled out how well he looked and how cool he was. He responded by saying that he has gone in and out of style at least five times. He told us that several years ago a younger audience member asked if he could play like Van Halen. He said he did not know how. Sometime after that incident a group of younger audience members stood in front holding up lighters. John asked why and they responded enthusiastically, "Yeah, finger picking."

John indicated that in the sixties he never subscribed to the saying "never trust anyone over thirty." In fact, he indicated that most of his heroes were in their sixties and seventies. Many were dead. " Dead was good," he added. He was first introduced to the likes of Mississippi John Hurt through old 78rpm records that his friends played for him.

John's father, a celebrated harmonica player, had the opportunity to appear with Lightnin' Hopkins on a television program. John attended and his father later commented, "that was the day you left home." John studied Lightnin's style and asked for pointers. John added, "I was a bold urban kid." He also explained that Lightening would not share or explain technique. John later realized that he did not understand the economics of this situation. Lightnin' Hopkins did not want to teach a technique that the student would later use on an opposite street corner and cut into contributions being made to Hopkins.

Mississippi John Hurt was different. In a laid back manner, he would share pointers as he drank what he said was a cup of Maxwell House Coffee. Mississippi John always needed his Maxwell House Coffee that he said was "Good to the Last Drop." Of course, it was whiskey, not coffee. John also commented after playing a crisp version of Mississippi John Hurt's "Richland Woman" that Mississippi John was one of the few male entertainers that was not afraid to write and sing a song from a woman's point of view.

Perhaps the most poignant segment of the show was the last segment tribute to Yank Rachell who John and the other band members performed with. John introduced to the stage Beki Brindle, who he had met at a recording studio in Woodstock. Beki said something about playing with Yank Rachell. John thought about it and thought he must have misunderstood since Beki was a young looking woman and Yank, if he were still alive, would have to be very old. Several days later, Beki called John and then put Yank Rachell on the phone. This lead to Yank performing with the J-Band, featured on the CD's "I Want My Roots" and "Chasin Gus' Ghost." Beki's performance on Yank Rachell's music, beautifully complimented the J-Band, and her haunting rendition on the Sleepy John Estes/Yank Rachell song "Floating Bridge," was a show standout. Her contribution highlighted the J-Band's open-door policy and respect for the communal nature of playing music.

The show ended with the J-Band unplugging their instruments and marching down the aisle as they continued playing. Their message, in my opinion, is that the music will carry on after we all leave. In a sense, the show will never end.

I cannot over emphasize the good feeling conveyed by the show. It will stay with me during the uncertain days ahead.

John Sebastian is a world treasure. He has kept American Roots music alive and vibrant. He is always humble, friendly and enthusiastic. He has inspired us to learn about our musical heritage, to enjoy it and to share it with others.