Shuggie Otis In Session

"Shuggie Otis (born Johnny Alexander Veliotes, Jr.; November 30, 1953) Born in Los Angeles, California, Otis is the son of rhythm and blues pioneer, musician, bandleader, and impresario Johnny Otis and wife Phyllis. The name "Shuggie" (short for "sugar", according to his mother) was coined by Phyllis when he was a newborn. Otis began playing guitar when he was two years old and performing professionally with his father's band at the age of twelve, often disguising himself with dark glasses and a false mustache so that he could play with his father's band in after-hours nightclubs.

Otis, primarily known as a guitarist, also sings and plays a multitude of other instruments. While growing up with and being heavily influenced by many blues, jazz and R&B musicians in his father Johnny's immediate circle, Otis began to gravitate towards the popular music of his generation such as Sly Stone, Jimi Hendrix, and Arthur Lee of the band Love. In 1969, Al Kooper asked Otis to be the featured guest on the second installment (Kooper Session) of the Super Session album series that had previously included Stephen Stills and Mike Bloomfield. Kooper and the then-fifteen-year-old Otis recorded the whole album over one weekend in New York. Immediately returning to Los Angeles, Otis, along with his father and singer Delmar "Mighty Mouth" Evans, performed on the album Cold Shot, released in 1969 on the Los Angeles-based Kent label. Another obscure album this three-man team recorded was the extremely rare and risque Snatch & The Poontangs, on which Otis recorded tracks under the pseudonym "Prince Wunnerful".

Otis then released his first solo album later that year entitled Here Comes Shuggie Otis on Epic Records. Countless musicians were his guests on that debut attempt, including Johnny, Leon Haywood, Al McKibbon, Wilton Felder. This further established his reputation and catapulted him to the attention of B. B. King, who was quoted in a 1970 issue of Guitar Player magazine saying Otis was "his favorite new guitarist". Some of the artists Otis performed and recorded with during that time include Frank Zappa (having played electric bass on "Peaches en Regalia" on the 1969 album Hot Rats), Etta James, Eddie Vinson, Richard Berry, Louis Jordan, and Bobby 'Blue' Bland, among many others.

The album Otis received the most notoriety for was his second Epic Records release in 1971, Freedom Flight, which featured his hit "Strawberry Letter 23". Both the album and single reached the Billboard Top 200 and the Billboard Hot 100, respectively and caught the attention of Brothers Johnson guitarist George Johnson, who then played it for producer Quincy Jones. They covered the song and it instantly became a smash hit. Even though Otis played most of his own parts in the studio, the lineup on this album was quite extensive, including keyboardist George Duke and Aynsley Dunbar of Frank Zappa, Journey, and Whitesnake fame.

In 1974, Otis released Inspiration Information, his third and final album for Epic Records. The album had taken almost three years to finish. All the songs were written and arranged by Otis himself, who played almost exclusively every musical instrument on the album (except for horns and various stringed instruments). However, despite its long-awaited impact, Inspiration Information had but one single (the title track) reach the Billboard Hot 100. After the album's release, Otis was approached by Billy Preston on behalf of The Rolling Stones, asking him to join the band for their upcoming world tour. He declined the offer, along with the chance to work with Quincy Jones in helping produce Otis's next album. After a series of similar refusals, Otis gained the reputation of "taking his time", and his recording contract with Epic Records was nullified. Otis's only credited works throughout the mid-1970s were done as a session musician for his father's recording projects.

Inspiration Information gained a huge cult following during the 1990s with the emergence of rare groove and acid jazz. It was lauded by such musicians as Prince and Lenny Kravitz. Due in part to this regained interest, the album was re-released on April 3, 2001, by David Byrne's independent label Luaka Bop Records. This CD re-issue includes all nine original album tracks plus four songs taken from Otis' 1971 album Freedom Flight, and features new cover art, liner notes, and exclusive never-seen-before photos.

Otis is featured in every one of his father Johnny's books, as well as Alligator Records Presents West Coast Blues, issued in August 1998.

Otis and Sony Music Entertainment made a deal for a double CD which was released on April 20, 2013. It is a re-release of Inspiration/Information. Added to the album is several bonus tracks, including an accompanying album entitled Wings of Love. Wings of Love is an album of previously unreleased material, all of which was written from 1975 to the present, including live material from some of his rare performances. It will be available on Shugiterius records (Shuggie's new company) and Sony records, through Sony Music Entertainment.

Otis and a band entitled Shuggie Otis Rite toured internationally in 2013 in support of the release, including Australia, Japan, the U.S., Ireland and the U.K. Their performances earned rave reviews from critics."

The Johnny Otis Show - Live at Monterey!

If you never had the opportunity to see the Johnny Otis show then I feel badly for you because it was absolutely the best R & B review ever! You felt like you had been to a real SHOW afterwards and the stars you saw were all the real deal. This double set captures them with all barrels blazing at Monterey in 1970.

The Johnny Otis Show Live At Monterey!1. WILLE AND THE HAND JIVE (3:18) (J. Otis) Johnny Otis
2. CRY ME A RIVER BLUES** (4:47) (Arr: Esther Phillips) Little Esther Phillips
3. CLEANHEAD'S BLUES* (4:55) (E. Vinson) Eddie Cleanhead Vinson
4. I GOT A GAL (2:58) (J. Turner) Joe Turner
5. SINCE I MET YOU BABY (2:38) (I.J. Hunter) Ivory Joe Hunter
6. BABY YOU DON'T KNOW (3:01) (R. Milton) Roy Milton
7. PREACHER'S BLUES (3:28) (G Connors) Gene Connors
8. GOOD ROCKIN' TONIGHT (3:27) (R. Brown) Roy Brown
9. THE TIME MACHINE (3:31) (S. Otis)Shuggie Otis
10. MARGIE'S BOOGIE (3:33) (J. Otis) Margie Evans
11. LITTLE ESTHER'S BLUES** BLOWTOP BLUES/ (L. Feather/J. Feather) T BOND BLUES/ (L. Hite) JELLY JELLY (6:50) Little Esther Phillips
12. KIDNEY STEW* (3:08) (L. Blackman-E. Vinson) Eddie Cleanhead Vinson
13. THE THINGS I USED TO DO*** (5:00) (E. Jones) Pee Wee Crayton
14. R.M. BLUES (3:02) (R. Milton) Roy Milton
15. SHUGGIE'S BOOGIE (4:06) (J. Otis-s. Otis) Shuggie Otis
16. YOU BETTER LOOK OUT (4:10) (J. Otis-D. Evans) Delmar Evans
17. GOIN' BACK TO L.A. (2:46) (J. Otis-D. Evans) Johnny Otis & Delmar Evans
18. PLASTIC MAN (4:51) (L. Chandler) Joe Turner
19. BOOGIE WOOGIE BYE BYE (2:38) (J. Otis) Ensemble


Personnel: Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.

Notes taken from the original album release:

The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival

"The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.

Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.

The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.

That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.

All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.

Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.

There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.

On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon."

- Leonard Feather