Willie Tee - I'm Only A Man

The Adderley brothers (Julian and Nat) were very fond of New Orleans and made a point of playing here when they could. They made a lot of friends here as did their pianist Joe Zawinul, but none closer than the Turbinton brothers, Earl and Wilson (Willie Tee). In the late 60's and early 70's both brothers made appearances with Cannonball's band and both show up on Zawinuls' early 70's lps. In addition there was this album, produced by the Adderley's producer David Axlerod for JuNat Productions and released on Capitol Records. Zawinul appears as a co-writer on two tracks.  Years later, in his Weather Report years, Zawinul would feature the song "Can It Be Done" which was written for him by Willie Tee.

https://www.youtube.com/watch?v=4TjtmViF6TU

willie's version

https://www.youtube.com/watch?v=MJ41WC9ISVQ

weather report

link

The Gaturs - Wasted, 1970

The 'other' great original New Orleans funk band, sometimes called the Gaturs and other times The New Orleans Project. At their best they were every bit the equal of The Meters (their best was behind the Wild Magnolias), and while this may not be quite their best, it don't suck either.

Bo Dollis and the Original Wild Magnolias

Not only the greatest Mardi Gras Indian albums ever made, but some of of the most seriously bad-ass funk ever played anywhere. The Turbinton brothers band, known both as the New Orleans Project and the Gaturs, absolutely DESTROY it on both records; first with Snooks Eaglin on guitar and Julius Farmer on bass, then with Guitar June (not the Japanese guy) and Ervin Charles on bass for the second album. Farmer and Charles were two of the funkiest bass players EVER. (George would be the first to agree) Of course leading the show here on some of the most revolutionary music ever played in New Orleans is the great Bo Dollis at the height of his powers. This is how he will always sound in my mind's ear; rest in peace my big chief.

Remembering Willie Tee 3 - Anticipation and Brothers for Life

Anticipation (1976) was the album Willie considered his masterwork, the full LP at United Artists that was sure to hit, it didn't. With the Gaturs supplemented by fabulous musicians like David T Walker, Lee Ritenour and Julis Farmer just to name a few, and Skip Drinkwater production, the project was clearly targeted to be mainstream. I think it is a pretty strong album, but it just never caught the public ear.

The second album here is a jazz project with brother Earl Turbinton from 1988. Willie plays some really serious piano on this date. Astral Project's Jim Singleton is on bass. 

"Alto saxophonist Earl Turbinton and keyboardist Willie Tee moved into more adventurous territory than usual on this 1988 date. While each was an experienced blues and R&B stylist, they had also maintained active jazz ties since the '50s, although they'd only shown it in New Orleans clubs. They cut loose often here, notably on the rousing "Neferdoris" and first-rate cover of Thelonious Monk's "Think of One." Turbinton's sassy, fiery alto and Tee's lowdown, wide-ranging, expressive piano solos are the highlight, while bassist James Singleton, drummer David Lee, Jr., and percussionist Curtis Pierre add vital support and color, as does guest pianist Wess Anderson on "Think of One" and "Neferdoris." ~ Ron Wynn, All Music Guide

I guess we will have to assume that Mr. Wynn can't tell the difference between a soprano sax and an alto.

Remembering Willie Tee, Part II - The Gaturs Meet The Wild Magnolias

Bo Dollis

Either the Gaturs started out as The New Orleans Project or they were also known under that name, I've never been sure which. In 1971 the band hooked up with Big Chief Bo Dollis' Wild Magnolias to craft a new music together; a stunning blend of New Orleans funk and Mardi Gras Indian music that had never before been heard (remember that this is 5 years before the Meters/Nevilles team up with the Wild Tchapitoulas). Not only do these albums precede the Tchapitoulas album, they are, IMO, FAR superior. As much as I adore the Meters, this was a deeper, greasier funk groove than even my boys could manage; I think primarily due to the wonderful sax of brother Earl Turbinton, the twin miracles of Snooks Eaglin on guitar and Ervin Charles on bass (a man even George Porter looked up to) and of course the phenomenal vocals of Big Chief Bo Dollis. I swear there were nights when Bo would holler his "Heee Yaaaa!" to begin Hand Wanda and he would peel the last of the paint off the walls of the old Donna's on Rampart street.

It was Jazz Fest's Quint Davis who was at least partly responsible for this marriage and the beginnings of moving the Wild Magnolias from being just another tribe to being a professional music act. For me these two records are in my desert island picks, I just could not imagine being without them. The second album (1974) has my favorite Mardi Gras tune ever to this day, the Willie Tee penned 'New Suit'. The tendency is to focus on the powerhouse vocals and the whole 'different' nature of what is going on here, but you shouldn't lose site of the fact that they are inventing a genre that we take for granted now, 40 years down the road - the truth is even today it has never been done better.