Super Blues And Rock Guitar Player

It was sometime in 1995 at Southside Blues Bar in Osaka, Japan, that I first met Ken Nakajima. A friend, also an American, told me that he had “discovered, a guitarist and band leader who was the “real deal.” My friend and I are avid blues fans and I couldn’t wait to hear Ken.

Finally the day came and I was introduced to Ken and his band Funny Bone. Ken’s finger work on the guitar was magic. The lightning speed with which his fingers on his left hand ran up and down the fret board and the grace with which his fingers on the right hand picked out clear, crisp notes were mesmerizing. At other points he bent the strings and slid his fingers along the strings to create sounds and feelings that drove straight through the heart. Clearly this young man had talent. Ken’s vocals and the band supported and enhanced his gift.

Although Southside was a blues club and Ken was a bluesman, Funny Bone’s music was more than just blues. There was clear evidence of other styles and influences that drove the band. But alas, Funny bone broke up and Southside closed down. As sad as that seemed, it gave Ken a chance to branch out and further develop his own style. He was a guest in other bands and did some session work, but he mainly played solo. It was a time of exploration and growth for him.

This CD, Encore: Tribute to Ken Nakajima, is the CD that Ken might have made had he not passed in November 2010. Many times had talked about making a CD and he was constantly developing songs for that CD. A few sessions here and there were even recorded, but it wasn’t quite ready. So his family and friends searched for recordings that could accurately portray the breadth and depth of Ken’s music and talent. This disk, unfortunately, is only a glimpse of Ken and the promise of what was in store had he not been taken away from us so soon and so young.

Nevertheless, this disk is an appropriate overview of Ken’s work, and would make a good introduction to anyone who doesn’t know him. There are 12 cuts/tracks on the disk; two of them are different versions of the same song. Of the 11 songs, two are originals and 9 are covers. Those covers are recognizable as such, but they are quite different from the originals. Ken pays honors the originators, but infuses them with his own style, giving them new life.

The disk opens with “Dengue Woman Blues,” by Jimmie Vaughan, and is one of two studio cuts. The song begins with Ken’s guitar, cymbals join in, and we are invited to join this slow-tempo blues. This guitar is at the center, and Ken’s vocal comes in asking the “dengue woman to stay away from me.” By the way, dengue is a fever that is transmitted by mosquitoes and it seems that women get it more than men. Further, the female mosquito is a carrier.  Listening to the song, you can feel the humidity in the air and the pleading of both guitar and voice to be free of these blues.

The second song is one of two written by Ken. “Desert Road” begins with a groove and propels us down the road across the desert. But it’s not a bad desert. In fact, there is a freshness and joy in the music with a sometimes jam-session feel. We feel like we are cruising through the desert with painted desert and other bits of landscape passing by. The song is an instrumental.

The next song is also an instrumental and written by Ken. “Wind” opens with a quasi-Junior-Kimbrough, Mississippi-hill-country groove. The wind is a cool breeze taking us along a pleasant journey. And that journey takes on a different groove that is pure Ken Nakajima.

The fourth song, “It’s A Big Army” was written by John Scofield, who is a jazz guitarist and composer. Essentially an instrumental (there is some chanting in the background for a short time in the middle of the song), it feels like a double-time march song. It just kind of a fun song that’s good for dancing and gives Ken a chance to play some more guitar.

Track 4 is “I’m A Fool for You” by Curtis Mayfield. Ken does a great job of adding some blues feeling and good guitar work in the song.

The next two songs are Albert Collins numbers: “Black Cat Bone” and “Lights Are On But Nobody’s Home.”  Ken takes Albert Collins’ “Black Cat Bone,” and adds some funk while infusing the solos with a Jimi Hendrix feel.  It’s just a great version of a good blues song.

On the second Albert Collins song, “Lights Are On But Nobody’s Home,” Ken offers us another slow blues song. He starts out with a more typical blues introduction than Albert, but keeps the same slow tempo and overall style as the original. However, Ken plays the guitar solos in his own unique way, stretches out, and uses them to bring the audience alive.  There is passion and pleasure from the audience as Ken plays and sings.

Although the next song was written by Willie Dixon, Muddy Waters first performed it and WAS the “Hoochie Coochie Man.” I’ve heard a number of musicians try to cover the song, including Eric Clapton, and they all come across as copies of Muddy poor imitations. I probably would have warned Ken not to try. But Ken has pulled it off nicely. Actually, Ken does two versions of the song: one live and one in the studio.  The first, live, does not use the stop time of Muddy’s, and which has no solo, but is similar enough to show respect for the original hoochie coochie man.  Ken’s vocals have as much force and machismo as Muddy but without seeming to copy him or compete with him. Ken is another kind of hoochie coochie man, but in his own way. Thus, we expect Ken, as a guitarist, to play a guitar solo in his version. As expected, he does show us his wizardry but without being showy. He even trades a few licks with the second guitarist. Indeed, Ken has as much mojo as Muddy or any bluesman.

The second version of “Hoochie coochie Man” comes at the end of the CD, track 12. It was made in the studio and is a jazzed up version that takes the song in a completely different direction.  Ken’s vocals are more gritty than the first version and supported by his guitar work.

Jimi Hendrix’s “Little Wing” is another song that Ken covers. The introduction seems more like Jimi than the original.  The fuzz tone and finger work that Ken uses seems to incorporate the different styles of Jimi into one song. Ken’s vocals give it more blues, too, as Ken pleads with her.

Track 10 is a song originally done by Big Joe Turner and covered by many others. “Wee Baby Blues” is a slow, piano blues. Ken’s version is a shuffle blues, and I can easily see the audience dancing. Even if they weren’t, we can hear them clapping and snapping their fingers.

Albert King’s “You’re Gona Need Me” is the last cover. It’s obviously a cover of Albert’s song, but only because the words and basic melody are the same. The guitar work is Ken’s, most notably in the solos.

As for his vocals, Ken is best on “Little Wing.” To be honest, Ken doesn’t have the greatest voice. But he plays it well and uses it to its advantages to be quite expressive. In a similar manner, a good guitarist doesn’t need the best guitar to make great music. Ken uses his voice to carry the deep feelings of blues and he has great phrasing. On “Hoochie Coochie Man (I)” he uses the strengths of his voice to matter-of-factly state his position, without forcing it or attempting bravado, and backs it up with his smoking guitar.

Overall, I think that Ken ha created his own style that is an excellent blend of his heroes: from Jimi, to Albert, to Buddy Guy and to Eric Clapton. 

When I think of Eric and Ken now, I’m tempted to sing Eric’s song “Tears In Heaven” and wonder if Ken would know me, should we meet in heaven. Because that is where I know he is.

I miss you Ken! Thank you for the memories and this CD, which I would have labeled Ken Nakajima Legacy!  

                                                     Rodney A. Dunham