Sunday, August 24, 2008

Bobby Hebb Touring Japan


He will be performing at BillboardLive in Osaka Japan and BillboardLive in
Tokjo Japan sometime this year.

Bobby Hebb in Osaka October 23rd

Bobby Hebb in Tokyo October 25th

Here's his biography on

ROY NATHANSON.. Sotto Voce ..(AUM037) with "Sunny"
Stock photo

May 09, 2006



Record Label:

AUM Fidelity





Roy Nathanson: alto sax, soprano sax & vocals
Sam Bardfeld:
violin & vocals
Curtis Fowlkes:
trombone & vocals
Tim Kiah:
bass & vocals
Napoleon Maddox:
human beatbox & vocals

Produced by Hugo Dwyer and Steven Joerg
Recorded on November 13, 2005 at Systems Two Studio, Brooklyn by Hugo Dwyer.
Mixed and Mastered out back where the horse used to live.

Listen to Roy's saxophone version of "Sunny" here:

"Here's a resounding welcome back for Nathanson, whose Sotto Voce brims with a bemused exuberance and bubbles with a strange brew of spoken word, song and improvisation. Sotto Voce functions as a hip, lyrical variety show that that at turns gets boisterous with instrumental soaring (snaky sax lines, Curtis Fowlkes' trombone slithers, violinist Sam Bardfeld's klesmer-shaded phrasings) and energized by the hip-hop and doo-wop-infused vocal of Napoleon Maddox. Tunes range from Nathanson originals (the playful but poignant "By The Page" and the melodic beauty "Home") to covers like the new-grooved rendering of Bobby Hebb's 1966 soul hit "Sunny." Like Nathanson's spirited projects with the Jazz Passengers, which he and Fowlkes co-founded in 1987, Sotto Voce is jazz that stretches the art form." - Dan Ouellette

Bobby Hebb with The Beatles up on Auction


August 31 — Music City J.A.M. with Peter Frampton, Bobby "Sunny" Hebb, American Idol's Melinda Doolittle, Kirk Whalum and more. 2 p.m., $20

Music City Convention & Visitors Bureau has added Bobby Hebb to the bill for

August 31, 2008. Between 5:50 PM and 6:50 PM that evening.

Kirk Whalum (Festival Host) will be backing Bobby up.

Labor Day Music Festival Promises to Rock Riverfront Park

Original 1966 Beatles / Bobby Hebb Audio Recording at Auction Aug. 29

A previously unknown audio example of the entire Toronto concert as a 2 hour and 20 minute documentary detailing one family's experience at the final concert appearance of the Beatles in Canada.

Barry Tashian’s stage introductions are preserved before each song. At
33 minutes the stage announcer describes how the Remains drummer N.D. Smart took a pratfall leaving
the stage...and introduces Bobby Hebb.

Bobby Hebb set: Crazy Baby (1:20) / For You (46 seconds) / Good Good Lovin’ (1:12) /
Mojo Workout (cuts, 2:24) / Sunny (complete w/ closing vamp, 5:19). The Remains re-took the stage to back
the act with the biggest current hit record on the tour; Bobby Hebb. Nashville-based Hebb had hit #1 with
“Sunny” only weeks before this recording was made (July 26. 1966) and the record was well on it’s way to
classic status, being awarded the #25 position on BMI's Top 100 Songs of The

MELBA MOORE's rendition of "SUNNY"

Melba sang backing vocals on Bobby Hebb's hit version.

Also just up, Bobby Hebb and jazz artist Denny Jiosa performing live on
July 12, 2008 in Tennessee. Jiosa has his studio rendition as the soundtrack
with photos from the live event on You Tube

Original 1966 Beatles / Bobby Hebb Audio Recording at Auction Aug. 29
A previously unknown audio example of the entire Toronto concert as a 2 hour and 20 minute documentary detailing one family's experience at the final concert appearance of the Beatles in Canada.

It was the summer of 1966, and the Beatles were making what was to be their last North American tour. As the "Fab Four" made their way across the United States, they took a quick detour north into Canada—Toronto's Maple Leaf Gardens to be exact—for a concert on August 17. Among the 16,000 or so fans in attendance that day was a corporate attorney from Ontario, who packed his family and a battery operated, UHER 4000 REPORT-L reel-to-reel tape machine to watch … and record … the last appearance of John, Paul, George, and Ringo in Canada.

Offered is an amateur recording—a previously unknown audio example of the Toronto show—that amounts to a 2 hour and 20 minute documentary detailing one family's experience at the final concert appearance of the Beatles in Canada. And "detail" is the name of the game here, as the tape begins with its narrator introducing his family to an unseen audience as they drive to the venue. The family spent the first few minutes discussing what they think the concert will be like, with succinct and sometimes prophetic observations offered, as well as checks on the time, weather conditions, and the overall pre-concert atmosphere. The sound of the crowd, traffic, program vendors … it's all here. The original owner can be heard later in the tape spending his time interviewing anxious fans anticipating the appearance of the Beatles.

The opening acts are here: The Remains, Bobby Hebb, The Cyrkie, The Ronettes (including "Be My Baby"). After a false alarm (a stagehand came onstage to adjust the drum set causing some young fans to faint), the stadium announcer utters the words everyone had been waiting to hear: " … the BEATLES!"

The immediate response from thousands of screaming, ecstatic fans is overwhelming. After some fine-tuning of their instruments by Lennon and Harrison, the band can be heard launching into "Rock and Roll Music." Every note of the Beatles' ten-song concert was captured on a 1/4"-tape, with the lead song followed by "She's A Woman," "If I Needed Someone," "Day Tripper," "Baby's in Black," "I Feel Fine," "Yesterday," "I Wanna Be You Man," "Nowhere Man," and "Paperback Writer."

After the show, the would-be newsman leaves the stadium and, along the way, inquires of the hoarse fans why they came to the show and what they thought of the concert. With this running commentary, he makes his way outside in the hope of catching the Beatles on their way out. But alas, the Beatles had already left the building.

Too often, perhaps, the phrase "one of a kind" is used when referring to collectibles. Without hesitation, Mastro Auctions proudly affixes that title to this lot. Although the original audiotape is the true gem here (in its box with a vintage label affixed to the spool reads "Beatles #112 / Aug 66 / Maple Leafs Toronto"), this remarkable find also includes the original reel-to-reel tape machine (with its case) used to give a blow-by-blow account of the concert. A

CD-R with samples of the original recording accompanies. The tape player has not been used in a number of years, though its very existence, and that of the original recording, is a true piece of Rock & Roll history.

Accompanying as provenance is a typed letter from the son of the original owner, the original sales receipt from the day his son sold it to a private collector, and a typed, detailed description of the tape's content.
Please note: Due to the size and/or weight of this lot, the cost of shipping may be substantial. Bidding opens Monday August 11, 2008 at 10:00 AM Central Time. At that time you will be able to bid via the Internet or phone. Please do not call prior to then as staff will not be on hand to take bids until then. Registered bidders can log in and set up their watched lots list now. Anyone is welcome to browse the entire auction.

Mapleleaf Gardens, Toronto, Ont. Canada - August 17, 1966 - Evening Show

The Amos Tape - Total time 2 hours and 20 minutes.

By Erik Taros, Beatles Documentarian

With the advent of quality digital music editing for home computers, the past few years have seen renewed
interest in amateur audience recordings of live Beatles concerts. Improved sound quality, lower generation
copies of familiar shows (Candlestick Park 8. 29. 66, Seattle Coliseum 8. 21. 64) are circulating and several
tapes long thought to exist (Mid-South Coliseum, Memphis 8.19. 66 - both shows) have suddenly appeared.

Tony Barrow’s cassette of The Beatles final performance at Candlestick Park is by far the best sounding of
all the audience tapes and is actually an enjoyable listen. Unfortunately, most fall into the category of
“for historical interest only”, but with the recent discovery of a previously unknown reel documenting the
eatles’ evening performance at Maple Leaf Gardens on August 17, 1966, we have a notable exception.

Hereafter referred to as “The Amos Tape.” This single 5” open reel is a 2 hour and 20 minute amateur
documentary, detailing one family’s experience at the final Beatles concert in Canada: Maple Leaf Gardens,
Toronto, Ont. August 17, 1966. Indeed detail is the operative word with this amazing tape. Sensing that a
Beatles concert had become something more than a venue for excessive screaming, our host and narrator
“Dad” decides to preserve the event via his professional level UHER reel-to-reel deck. The tape begins as
the listener is introduced to the family as they drive to Maple Leaf Gardens.

“Wednesday, the 17th of August 1966...” and the first 4 minutes or so are spent in the car with the family
discussing why they are going and what they think they will see. Interesting to note that “Mom” comments
that she expects to see The Beatles, not hear them! As the tape progresses, she provides the most succinct and occasionally prophetic observations. Frequent time and weather checks are given throughout the tape as well as descriptions of police presence

Page 3
and general pre-concert atmosphere.

The ambient noise; crowds sounds, traffic, hawkers selling programs, lend an immediacy to the event not
found elsewhere among known Beatle audience tapes. Dad fills pre-concert downtime by interviewing
anyone at, police and even the St. John’s Ambulance crew, describing nearly every step he takes
within the Maple Leaf Gardens. At about 6 minutes he’s found his seat and one can hear “Rubber Soul”
being played over the house PA. At about 9 minutes a stage announcer plugs “Toronto Sound”, an early
outdoor rock event featuring 14 Canadian bands. The announcement echoes through the unfilled arena.
Rubber Soul plays on as Dad and Mom describe the crowd slowly filling the Gardens, peppering their
observations with commentary ranging from long hair to the minimalist (complete lack of) stage props.
“Once the bloom is off the rose, you never get it back.” Dad warns Brian Epstein, later he admits that The
Beatles generate so much excitement, no additional stage show was needed. By 8:30 the arena is filling up
and at the 23 minute mark the host DJ makes his pre-show announcements and introduces The Remains.

Remains set: Hang On Sloopy (60 seconds) / Like a Rolling Stone (48 seconds) / Why Do I Cry (40 secs)
I’m A Man (appears to be complete 3 minutes). Barry & The Remains are Boston rock legends. Inspired by
seeing the Beatles on Ed Sullivan, four Boston University undergrads (Barry Tashian, Bill Briggs, Vern Miller &Chip Damiani) formed a rock unit that took The Hub by storm. In December of 1965, they scored an
appearance on Sullivan and followed it up by opening for the Beatles US ‘66 Tour. In addition to playing
their own set, they served as backing band for Bobby Hebb and The (Ronnie-less) Ronettes. On these
partial recordings the sheer volume of The Remains makes a powerful impression. A punky segment of
“Hang On Sloopy” gives way to an amped-up slice of “Like A Rolling Stone” (both tracks still in the
Remains set today) before the sole original of the set, a truncated “Why Do I Cry”. The song that survives
most intact is a cover of “I’m A Man”, revealing the band’s blues influences to be more Stones than Beatles.
Despite the cuts in the recording, Barry Tashian’s stage introductions are preserved before each song. At
33 minutes the stage announcer describes how the Remains drummer N.D. Smart took a pratfall leaving
the stage...and introduces Bobby Hebb.

Bobby Hebb set: Crazy Baby (1:20) / For You (46 seconds) / Good Good Lovin’ (1:12) /
Mojo Workout (cuts, 2:24) / Sunny (complete w/ closing vamp, 5:19). The Remains re-took the stage to back
the act with the biggest current hit record on the tour; Bobby Hebb. Nashville-based Hebb had hit #1 with
“Sunny” only weeks before this recording was made (July 26. 1966) and the record was well on it’s way to
classic status, being awarded the #25 position on BMI's Top 100 Songs of The

Century nearly 40 years later.
The set comprises almost entirely of song segments from the “Sunny” album, one notable exception being
“Mojo Workout”, a staple of Hebb’s act during his New York City club dates with “Sylvia” (of “Mickey &
Sylvia” fame). According to Hebb himself the song was never recorded in studio, making this live version
its only known documentation. An extended and complete version of “Sunny” rounds out the set with
easily the most powerful performance and enthusiastic reception short of The Beatles. The sound quality
throughout the 11 minutes of Bobby Hebb’s section is easily the best of the music portions of The Amos
Tape. “How do you like the show so far?” asks the stage host at around the 45 minute mark. He continues
to vamp waiting for the next act, Brian Epstien’s only American group, The Cyrkle.

The Cyrkle set: Red Rubber Ball intro-Money (65 seconds) / Unknown (20 seconds) / I Get Around-This
Diamond Ring-Big Girls Don’t Cry-medley (2:35) / Turn Down Day (complete, 2:24) / Hushabye (complete
2:31) / Red Rubber Ball (complete 2:10) / Stay (complete 1:26). The folk-rocking Cyrkle were riding high off their huge, Paul Simon penned “Red Rubber Ball” single and it’s successful follow-up “Turn Down Day”, which had been released only this week. Sandwiched in between are a selection of covers revealing this underrated group’s influences. Teasing the enthusiastic crowd with the opening riff of “Red Rubber Ball”, the band launch into the Motown standard “Money”, then a track I can’t identify, and then an inventive medley of Beach Boys/Playboys/Four Seasons big hits. Perhaps the most beautiful of all is an ethereal reading of the Beach Boy’s “Hushabye”, complete with an “Our Prayer”-like acappella intro. Simply lovely! The monster hit “Red Rubber Ball” follows, and the set finishes with a heartfelt cover of Maurice Williams’ “Stay”. The Cyrkle got a great crowd reaction and they deserved it! At just over the 60 minute mark, the stage host welcomes The Remains return to the stage (to the audible displeasure of “Dad”) to back the “eye candy” for this evening’s male audience...The Ronettes. Sans Ronnie Spector (Phil wouldn’t allow her on this tour),

The Ronettes were the penultimate act of The Beatles ‘66 North American concerts. Nedra Tally and Estelle Bennett were joined by cousin Elaine for what turned out to be the final public appearances by this seminal girl group. Interesting to note, the Remains “rockier” instrumental underpining recalls the Pre-Spectorized sound of the Ronettes debut album on Colpix.

The Ronettes set: Shout (complete 3:27) / Be My Baby (complete 2:40) / Will You Love Me Tomorrow
(complete 3:23) / Land of 1000 Dances (cut, 1:50) / Walking In The Rain (complete 3:02) / What I’d Say
(cut, 4 seconds). While still an enjoyable listen, the Ronettes’ set sounds noticeably more muffled on this
transfer than the previous acts. The phase issue (due to improper azimuth adjustment) seems more
pronounced as well...a pity because the Ronnie-less Ronettes handle their

Tuesday, July 08, 2008

July 8, 2008 Tuesday - updates

Bobby Hebb onstage in Watertown, TN with Denny Jiosa! at the Watertown Jazz Festival Saturday July 12th, 2008.

Denny Jiosa performs "Sunny" on his new CD Dreams Like This with a special guest appearance by Bobby Hebb singing scat!

This is a fantastic new CD from Denny Jiosa - review will be posting here soon.Bobby is a special guest of Denny's on Saturday, July 12th, 2008 at the Watertown Jazz Festival in Watertown, TN. 5:15pm - 6pm - Denny Jiosa (5 pc)

MORE NEWS: Bobby will be returning to the recording studio in the near future.

Coca Cola has a commercial in Europe using one of Bobby's songs. More information soon.

News story below after the You Tube postings!

Bobby PERFORMED "SUNNY" at both presentations:

May 1, 2008 at the Tennessee Senate
June 1, 2008 at the 15th Avenue Baptist Church

We do not know if the events were videotaped but we are looking into it!

On May 1, 1949 Bobby was baptized and on May 1, 2008 he was honored in the
Tennessee Senate by Senator Thelma Harper's Resolution #913


Sunny on You Tube!

Tons of versions posted here:

1)Boney M's 1976 version Views: 1,590,929

2)Bobby Hebb's 1966 version Views: 136,974


3)Pat Martino & John Scofield Views: 448,358


4)Jamiroquai's version Views: 267,199 Click on photo to view it!

5)James Brown's live version Views: 450,813

6)Musiq - Just Friends (Sunn) (this is from the film The Nutty Professor II)
Musiq - Just Friends (Sunny) Views: 344,336

7)Marvin Gaye - "Sunny" Views: 120,475

8)Mark Chang performing Sunny
Views: 7,938
Here I am playing my own improvisational version (actually 2 versions) of the popular song "Sunny" originally written and recorded by African American singer songwriter Bobby Hebb in 1966.

Views: 574
Added: May 23, 2008
Tästä Bobby Hebbin vuonna 1963 kirjoittamasta kappaleesta on tehty varmaankin satoja versioita. Bobby Hebb itse levytti kappaleen vuonna 19

Tons of versions posted here:

"Sunny" has been recorded by, among others, Pat Martino & John Scofield with Joey Defrancesco, Boney M, Cher, Georgie Fame, Johnny Rivers, Stevie Wonder, Frank Sinatra with Duke Ellington, Ella Fitzgerald, the Electric Flag, The Four Seasons, the Four Tops, Wilson Pickett, Les McCann, Dusty Springfield, and The Alex Trio featuring David Wise. One cover, a disco version called "Sunny '76" was a hit for Hebb in that year.

Bobby Hebb recorded "Sunny" in New York City, which resulted in a tour with The Beatles for Hebb. It is one of the most covered popular songs, with hundreds of versions released.

This video was recorded March 2008 in Davis, California. At about 2:40 in the video you should notice a profound change in the rhythm and style of playing. I hope you enjoy it and thank you kindly for your positive comments.

-Mark Chang


Versions by The Four Tops (a rare practice prior to a TV show), Cher and Georgie Fame have been removed by You Tube. We are looking for those DVDs. if you have them, please send them. is how to contact us.


On May 1, 1949 Bobby was baptized and on May 1, 2008 he was honored in the
Tennessee Senate by Senator Thelma Harper's Resolution #913

A SECOND SALUTE TO BOBBY HEBB ON JUNE 1, 2008 at 15th Ave. Baptist Church

Mr. Hebb was also recognized with a second presentation on Sunday June 1, 2008 -
the same declaration from the Senate presented at the
15th Avenue Baptist Church

The presenter was none other than James "Jimmy" Church who played with
Bobby in Mr. Church's group, The Five Seniors - later changing their name to the
High Fives and being formally produced by the honorable Hoss Allen from WLAC!

May 1, 1949 Bobby was baptized and on May 1, 2008 he was honored in the Senate by Senator Thelma Harper Resolution #913


By Harper

A RESOLUTION to honor and commend Bobby Hebb for his
contributions to the world of music.

WHEREAS, Tennessee has long been known throughout the world for its rich music heritage; from the hills of East Tennessee through Music City U.S.A. to the shores of the Mississippi, the talented musicians of this State have earned a reputation that is unsurpassed in the history of American music; and

WHEREAS, one such legendary musical talent is Bobby Hebb, a Nashville native, who achieved fame for the composition and performance of his 1966 chart topping hit, Sunny, which earned gold record status; and

WHEREAS, born on June 26, 1938, to William Marion Hebb and Ovalla Merriweather Hebb, the esteemed Bobby Hebb has been involved in the music business his whole life; and

WHEREAS, on his third birthday, Mr. Hebb made his professional debut as a tap dancer at the Bijou Theater in Nashville; he also lent his talents to a tap dancing trio called the Typewriter Brothers; and

WHEREAS, also in 1941, he joined the Jerry Jackson Revue, an all-black troupe that traveled through the South and the southern sections of the Midwest, appearing on theater stages and under carnival tents in front of racially mixed audiences; and

WHEREAS, Bobby Hebb joined the band at Carter Lawrence Elementary School in
Nashville where he learned the euphonium and studied many brass instruments under the tutelage of John Cecil Reed; and

WHEREAS, his innumerable talents at such a young age garnered him a place on Owen Bradley’s Nashville television show as part of the Owen Bradley orchestra;

WHEREAS, he was soon asked to join Roy Acuff’s Smoky Mountain Boys, where he
successfully demonstrated his singing, dancing, and spoon playing talents; and

WHEREAS, throughout Mr. Hebb’s illustrious tenure with the Smoky Mountain Boys, the group performed regularly on the Grand Ole Opry’s radio program and on Mr. Acuff’s own Opry Matinee television show; in addition, the artists headlined at Dunbar Cave in Clarksville and performed at the Astor Roof at the Astoria in New York; and

WHEREAS, as one of the pioneering African-Americans who appeared at the Grand Ole Opry, Mr. Hebb honors those spirited artists who broke the color line, such as DeFord Bailey and Pee Wee Marquette; and

WHEREAS, a driven artist, Bobby Hebb performed spoons on several Papa John Gordy 78’s released on Bullet Records, the oldest independent Nashville label, and on Bo Diddley’s Diddley Daddy at Chess recording studio; and

WHEREAS, Mr. Hebb eventually enlisted in the United States Navy which allowed him to play the trumpet and improve his guitar skills; on board a Navy ship, he played trumpet in a jazz band called the USS Pine Island Pirates and landed regular engagements at the Great Shanghai, a cabaret in Hong Kong; and

WHEREAS, upon completing his tour of duty, Bobby Hebb returned to Nashville where he commenced playing rhythm and blues and jazz with various bands; he played guitar and sang baritone for the Hi-Fi’s, wrote You’re the Only Girl For Me, performed guitar behind the Fairfield Four, and ably worked as a session guitarist on other artists’ recordings; and

WHEREAS, in 1958, he played guitar on a session for Roscoe Shelton that produced the Excello single, Something’s Wrong; and

WHEREAS, Mr. Hebb juggled a full schedule when he joined Kid King Combo, during which the group entertained audiences at clubs, did sessions for other performers, and recorded their own Excello material; he also played guitar for Excello rhythm and blues performers Earl Gaines and Larry Birdsong; and

WHEREAS, at the end of the 1950s, Bobby Hebb cut his first solo single for Rich
Records, giving the country song Night Train to Memphis a rhythm and blues treatment; he went on to record I Found Somebody in 1961, and traveled to New York City to perform at Blue Morocco where he fronted a house band and delivered such a hot mix of rhythm and blues that he earned the nickname Bobby “Mojo” Hebb; and

WHEREAS, with only a guitar and a microphone, Bobby Hebb showcased his diverse talents at several clubs in New York City during the folk music era; he shaped his stage routine by studying comic Pinkney Roberts and story-teller Bill Cosby; and

WHEREAS, penned Song-A-Day man, Mr. Hebb became a prolific songwriter, often
writing five or six songs in one day, including Cold Cold Nights, Betty Lou from Ohio, Sam Hall, Jr., and I Love Mary; and

WHEREAS, the single, Sunny, a quintessential pop-rock-soul-jazz crossover hit,
propelled Bobby Hebb to instant celebrity status as the song peaked at number two in Billboard and at number one in Cash Box; that same year he joined the Beatles’ 1966 American tour; and

WHEREAS, Bobby Hebb co-wrote A Natural Man with Sandy Baron, which Lou Rawls took to the top twenty in 1971; and

WHEREAS, the following year, he chalked up a surprise hit with Love, Love, Love, a song from the Sunny album, which climbed to number thirty-two on the British singles charts and set the stage for Mr. Hebb’s second tour of England; and

WHEREAS, during the 1970s, Bobby Hebb recorded the single, Evil Woman/Judy on his own Crystal Ball Records, recorded for Laurie Records, and wrote Proud Soul Heritage; and WHEREAS, today, Mr. Hebb records his own songs at Orpheus Productions in Massachusetts and continues to compose, adding to a formidable song total that numbers in the thousands; and

WHEREAS, in addition, he works on the educational children’s television series Alligator Lou and has appeared in an episode of NBC-TV’s Unsolved Mysteries; and

WHEREAS, it is fitting that we pause in our deliberations to join in celebrating the
numerous contributions Bobby Hebb has made to the music industry; now, therefore,

CONCURRING, that we honor and commend Bobby Hebb for bringing happiness to his countless fans and for playing a significant role in the growth of the music industry, as we wish him all the best in his future endeavors.