By Oakland L. Childers
By Kelsey McClure
By Melinda Cooper
By Allison Babka
By Christian Schaeffer
By Allison Babka
By Melinda Cooper
By RFT Music
Black's regular Sunday-night performances at Brandt's are part of a full weekly schedule that he has worked hard to construct over the past few years. On Tuesday nights, Black again plays at Brandt's, accompanied by saxophonist John Norment. Wednesdays find Black at the Feasting Fox at South Grand Boulevard and Meramec Street, performing another solo gig. On the weekends he's not working with the funk band Dangerous Kitchen or the jazz quartet Brilliant Corners, you can find Black sitting in with trumpeter Randy Holmes and his trio at Bobby's restaurant in Maplewood. And that doesn't count various private parties and freelance gigs that fill the gaps in Black's calendar -- or guest performances with musical friends including Beth Tuttle, Sandy Weltman and Henry Claude, along with a host of others working in a wide array of musical styles.
The Brandt's crowd is larger than usual this Sunday, thanks to a monthly poetry slam scheduled for later in the evening. Black begins to play, and after a couple of tunes he's managed to capture the attention of a good portion of the audience --- not an easy feat for any solo artist, especially one dealing with an audience filled with folks itching to perform their own material. On this night, Black mixes blues, classic Beatles and Stevie Wonder tunes, and standards like "Back Home in Indiana," which Black turns in a jazzy direction with some dazzling chord changes. It's a song that has special meaning for Black, who grew up in Indiana and only began to get into jazz more than 20 years later through that tune and other standards like it. "I was born up in northern Indiana," recalls Black, "up in that area of East Chicago where all the steel mills and factories are. My dad worked in a factory, so playing the guitar for a living wasn't exactly what he had in mind for me."
Black started his musical education on the accordion, but the attractions of the guitar were very strong in the late 1960s. By the time he was in junior high, Black had talked his parents into a Christmas present of an acoustic Sears Silvertone guitar. And he was soon playing in local garage bands, using a J.C. Penney Penncrest guitar.
"Everyone seemed to learn the same songs in those early bands -- 'Gloria,' 'Wipeout,' 'Louie, Louie' and 'In a Gadda Da Vida,' if you had a drummer," says Black. "Eventually I learned a few more chords by playing Chicago tunes. And I just kept playing guitar. That's all I wanted to do."
But jazz didn't capture Black's attention until he was in his early 20s. It happened in Danville, Ill., while he was working in a country band.
"I was in the house band at a Ramada Inn, and it was the height of the Urban Cowboy craze. So we played country, and the place had one of those bucking bulls. I met this piano player who actually lived in Indiana but used to come over to Danville as a featured musician on weekends. He tended to drink, and often he'd show up at my apartment late at night, banging on the door to come in and play my Farfisa keyboard. He'd play something and do some jazz changes on it and have me play it on guitar. And one of the tunes he used to play all the time was "Back Home in Indiana."
By this time, Black had dreams of applying to the prestigious Berklee College of Music in Boston to hone his jazz-guitar skills. But in 1982 he ended up in St. Louis, where his then-wife had been accepted to grad school at St. Louis University. Black soon found himself working with guitarist Tom Hall in groups like the Barbeque Band and, later, the Illusions.
Black's fascination with jazz continued to grow, and he enrolled in Webster University's jazz-studies program, where his first teacher was guitarist Peter Mayer, who now works regularly with Jimmy Buffett in addition to recording and performing as a leader of his own projects.
"I had Peter my first year, and he was really a spark for me," says Black. "My other teachers later included Steve Schenkel and Paul DeMarinis. It was a great education, but I have to admit I probably wasn't the ideal student. I was working on my own so much and just trying to make a living playing music."
That living included a yearlong association with the late Richard "Groove" Holmes, performances with bands such as Polarity and the decision to go freelance in the early 1990s. In addition to working freelance in a variety of group situations, Black was also intrigued with working as a solo performer.