(Photo credit: Robert Crowley Photography)

In the course of my almost 60 years writing about R&B, soul music and related genres, there are only a handful of acknowledged legends that I have not had the opportunity to meet.  When I was invited to see Booker T. Jones (on Hammond organ and keyboards) and his band (his son, Ted on guitar, Melvin Brannon Jr. a.k.a. M-Cat Spoony on bass and Darian Gray on drums) at famed Ronnie Scott’s intimate jazz club in London during his run of an astonishing ten shows (two a night from October 7 – October 12), it was a no-brainer: I had to see Booker in action, in particular since his contribution to my soul music journey has been immense.

Starting with the classic “Green Onions,” recorded in 1962 – with which I only became familiar a few years later when as a teenager, I was working at a City of London record shop and responsible for bringing some ‘soul’ to an otherwise less-than-funky environment by making sure we had albums by Atlantic and Stax artists on display – Booker T. has performed on, written and produced countless tracks that have formed the tapestry of my musical life.

Whether on recordings with The M.G.s (Steve Cropper, Donald ‘Duck’ Dunn and Al Jackson, Jr.) such as “Time Is Tight,” “Soul Limbo” and “Hang ‘Em High,” co-writing “Born Under A Bad Sign” (with William Bell) for Albert King and “I Love You More Than Words Can Say” (with Eddie Floyd) for Otis Redding or producing and co-writing the unforgettable “Private Number,” the brilliant 1968 duet by Judy Clay and William Bell, Mr. Jones has figured prominently in many of my all time favourites along with tracks

Booker’s second set on October 10 (the sixth of the ten performances) was nothing short of spectacular. The highlights of a standout show included the afore-mentioned “Born Under A Bad Sign,” (with Booker, sharing about the song’s origins when bluesman Albert King came to Stax for the first time), the understandably obligatory “Time Is Tight” (from the 1968 soundtrack of “Uptight” which Booker scored), a joyful “Hip-Hug-Her,” an energetic “Melting Pot” and the understandably obligatory crowd-clappin’ and finger-snapper “Green Onions.”

My most memorable moments from a show that was well-paced and engaging included a blues-drenched father-and-son duet with a slowed-down reading of Prince’s “Purple Rain,” offering Teddy the opportunity to display his exceptional skill as a guitarist and vocalist with his dad also on guitar); Booker’s vocal on Marvin Gaye’s  still-timely “What’s Going On”; and without question, an extended instrumental version of George Gershwin’s “Summertime” (which Booker recorded with The M.G.s in 1967) which was pure brilliance.

There are rare times that a performance is so powerful that I listen to it, eyes closed and it’s as close to an ‘out of body’ experience as I can describe – like truly being in what artists and athletes alike call ‘being in the zone’.  For the entire length of Booker and the band’s of the evergreen from ‘Porgy & Bess,’ I was mesmerized.  Booker’s exceptional bluesy workout on the Hammond organ was a masterclass in transporting listeners to ‘another time and place.’  It was simply sanctified.  All in all, Booker T. Jones provided a wonderful musical experience for the highly enthusiastic audience.

While I hadn’t pre-arranged to go back to say ‘hello’ to Booker after the show – given we’d never actually met in person ever – I figured the best way to ensure I got an opportunity to meet Mr. Jones was to ask one of the mindful club managers to inform him that I was a friend of Maurice White’s, knowing that would likely work.  It did.  (By way of explanation, Maurice (founder of Earth, Wind & Fire) went to school with Booker in Memphis and was in a musical combo with Booker years before both men went on to become influential giants in the world of contemporary music).

I shared with Mr. Jones the honour I felt in meeting him, how wonderful the show had been and touched upon a few other subjects, including his work on the “Uptight” soundtrack with the afore-referenced Judy Clay who contributed the  “Children, Don’t Get Weary” (which remains an enduring life staple for me and a recording that has gotten me through some heavy times more than once).  We spoke about my connection with Maurice and how my meeting him ostensibly to do a cover story on Earth, Wind & Fire in 1975 had turned into a life-shifting conversation for me.  On that subject alone, I know we could have spoken for so  much longer but I was aware  – to coin a phrase – that time was tight!

I recalled the first time I had seen Booker with The MGs  and The Mar-Keys in the UK in 1967 on the Stax/Volt Revue with Otis Redding, Sam & Dave, Eddie Floyd and special guest Arthur Conley,  at Fairfield Halls in Croydon. Memories, memories…

He shared that he found the audiences at his Ronnie Scott’s engagement very warm and receptive, no surprise to me given what a wonderful performance I had witnessed.  Reflecting, Mr, Jones is gracious man whose musical contribution and artistry is beyond evident: it may have taken a few decades since I began my journey as a soulful scribe to meet Booker T. in person but it was well worth the wait!

David Nathan, October 16, 2024

With special thanks to Booker’s wife Nanine Warhurst (who joyfully shared she creates the set list for the shows and did a great job). Joe Baxter and Alex Shaper of Baxter PR and my longtime friend, UK black music pioneer Camelle Hinds (of Central Line fame) who shared the remarkable evening of music with me).

And…as a historian, I felt duty bound to check if I had seen Booker T. (and The MGs) other than in 1967 at the Stax/Volt revue and found that indeed, one of my very very first reviews for “Blues & Soul” before I began writing for the magazine on a regular basis was in 1970 when I saw them headline at The Hammersmith Odeon in February 1970!  For posterity’s sake, here’s the review!

February 1970

Then, a short interval and on to the stars of the show: Booker T. Jones, Al Jackson Jr. (drums), Donald Dunn (bass) and last, but not least, Steve Cropper (guitar). The talented group have been responsible for the backing, and more recently, the arranging and producing of a high proportion of the Stax/Volt smashes. Booker, aside from scoring the whole soundtrack of the film “Uptight”, has been working closely with Eddie Floyd and William Bell (and with Judy Clay on her duos with him); Al Jackson Jr. and Steve Cropper have been working on sessions with Johnnie Taylor, The Staple Singers (and with Mavis Staples as a soloist), Albert King and The Markeys; additionally, Steve of course recorded a solo album recently; Donald “Duck” Dunn has also contributed to much of the session work and had a hand in assisting with production on The Markeys and Albert King sessions. So, all in all, you could justifiably call the group the backbone of Stax. They proved finally in concert that when it comes to instrumental outfits, few can compete.

The only fear that existed in my mind was that they wouldn’t be able to hold the audience’s attention — unfortunately, few British audiences seem able to cope with “instrumental only” concerts — but my fears were quickly dispersed, when the audience reacted instantly to the musicianship of the group. They launched straight into “My Sweet Potato”, which astoundingly is still available as a single on Atlantic. A very catchy little ditty this, and one which far too many people ignored when it was first issued.

This was followed by a workout of “Groovin’” which had everyone tapping their feet! Booker then introduced “Summertime”, which featured some exceptional guitar work from maestro Steve and it was perhaps the heaviest of the numbers they tackled. The group seem to have moulded the much-recorded standard into a bluesy piece which they seem to have made their own. Then come one of the highlights of the whole evening — the group’s rendition of the Beatles’ “Something”, which was stunningly soulful.

Then the audience caught fire! “Green Onions” — the classic instrumental — was the match and without any goading from the stage, the audience voluntarily began clapping (in time!) to the rhythms and riffs of the much-loved tune. It was a much-welcomed change to have this simultaneous outburst as against the usual pleas for audience participation (“everyone join in and clap your hands!” etc.) from the stage. Throughout the set, Booker’s mastery approach to both piano and organ (he used both to fullest advantage) were in full evidence, but never more than in “Hang ‘Em High” which worked itself into an unbelievable groove. Throughout the performance, too, the drum work of Al Jackson Jr. was stunning — he must be one of the best drummers around today!

The quartet (whose timing and togetherness has to be seen to be believed) closed with a medley of songs from “Uptight” based around their big hit “Time Is Tight”. This, alas, was the sad fact. Time was tight, and despite cries for “more”, the concert ended all-too-briefly. The group left a spellbound audience and along with the hundreds of happy people, I left awaiting the group’s return for another series of concerts… the sooner, the better!

DAVID NATHAN

(c) 1970, 2024, David Nathan/Blue Butterfly Entertainment Ltd.; all rights reserved.