Jimmie Bratcher - I'm Hungry

 

Jimmie Bratcher - I'm Hungry -Ain't Skeert Tunes

"I'm Hungry" is the twelfth album by the Kansas City-based singer-guitarist and songwriter Jimmie Bratcher. Bratcher is also an ordained minister known as "The Electric Rev." This present recording is devoted to songs related to food with a bit of whimsy in many of the songs. Bratcher contributed ten of the twelve songs, three collaborations. There are two covers. Besides his guitar and vocals, he is backed by Craig Kew on bass, Terry Hancock on drums, and Aaron Mayfield on keyboards. John Selle, Larry Van Loon, and Eric Stark play keyboards on several selections, while Joe Selle and Brandon Draper are on drums on several tracks.

There are plenty of good-time blues to be heard. Bratcher is a top-flight singer with a touch of grit and able to delight in delivering his wry songs such as the insistent slow blues "Bacon on My Mind," where he calls out John Selle's first-rate blues piano. Selle is also responsible for the rollicking barrelhouse rock and roll piano on the opening "I Love Her Name." Then there is a whimsical lament about the doctor telling him he has to eat healthy on "Mama Won't Fry No Chicken," with a funky shuffle groove. Then there is the jazz-tinged lounge song with its double entendres, "Baby I Like What You're Cooking." His restrained jazzy guitar is very appealing. It is followed by a funky rendition of Keb' Mo's "Government Cheese.

A driving shuffle, "Where You Gonna Stop," is a musical travelogue of hot Kansas City food stops. On this track, there is some noteworthy guitar with some hot licks. His sense of timing and his phrasing is top-flight. "Greasy" is a funky blues instrumental with some nifty playing. "Green Bananas" is a delightful number set to a second-line groove. At the same time, the Titus Turner classic "Grits Ain't Groceries" is perhaps Bratcher's finest straight blues here. "Bologna Sandwich Man" is a delightful country-blues-flavored performance with scintillating slide guitar. 

Kudos to the rhythm section and the various keyboard players who provide terrific backing throughout for Bratcher on this marvelous recording that should satisfy most appetites for the blues.

I received my review copy from a publicist. Here is "Bacon on My Mind."

Gabriel Evan Orchestra - Global Entry

Gabriel Evan Orchestra - Global Entry - Self-produced

An unsung small group of the swing era, the John Kirby Sextet, is celebrated on a new recording by New York saxophonist Gabriel Evan. The Kirby Sextet was a celebrated group on 52nd Street in the 1930s with their chamber musical approach to jazz (predating by over. Decade the Modern Jazz Quartet) that included reworking classical compositions, as well as place their own spin on pop and other numbers. Evan's Orchestra is a sextet. In addition to Evan on alto & soprano saxophones, the Orchestra members are Joe Goldberg on clarinet and tenor saxophone, John Zarsky on trumpet, Joe Kennedy on piano, Ben Fox on upright bass, and Michael Voelker on drums and percussion. This two reed, trumpet, and rhythm section line-up is similar to the Kirby sextet line-up.

Bassist Kirby's band included trumpeter Charlie Shavers who also did a fair share of arranging for the band. Evan, who made most of the arrangements here, used three of Shavers' arrangements along with one arrangement by Frankie Trumbauer. The opening "Waltz of the Flowers" finds Evan emulating Shavers' arranging style in this delightful, diverting reworking of Tchaikovsky's waltz into a swing number. With the clean ensemble playing and crisp rhythmic approach, this is a music of definite charm. 

There is a fascinating repertoire on this recording, including an early Cuban number, "Rumba Azul," played with a supple feel; there is also a lively rendition of an early Duke Ellington swinger, "Jubilee Stomp." Then there is a Mid-Eastern flavor to the sextet's version of Henry Mancini's "Lujon."

"Arabian Nightmare" is one of three Charlie Shavers arrangements on the record and a lively take on Rimsky-Korsakov's "Scheherazade." Another Shavers arrangement is of Shavers' "Effervescent Blues." A performance of this last number by the Kirby Sextet can be heard on the Savory Collection reissues, whether on Mosaic Records or on Apple Music. 

Evan's "South 5th Street" is a relaxed, spirited swinger. At the same time, his "Negotiations of South Williamsburg" spotlights Goldberg's clarinet on a klezmer-tinged performance that starts lethargically before transitioning into a brisk tempo. Then, Evan's adaptation of Ben Johnson's 1616 poem, "Drink to Me Only with Thine Eyes," transforms the Elizabethan poem into a 52nd Street swing number with Zarsky and Kennedy standing out. 

"Global Entry" is an unexpected delight with a first-class ensemble providing noteworthy renditions of a most intriguing and surprising repertoire. 

I received a download to review from a publicist. Here is "Rumba Azul" from this album.

Tomislav Goluban - Express Connection

Tomislav Goluban - Express Connection - Blue Heart Records

A new album by the Croatian blues singer and harmonica player Tomislav Goluban has him playing outside the blues in a recording that is as much Americana as blues. Goluban wrote the nine originals, and there is a cover of a Lou Reed song. He is backed by guitarist Jeff Jensen (who co-produced this recording with Goluban, David Green on drums, Rick Staff on keyboards, and Bill Ruffino on bass. Also heard on this album are vocalist Kelly Zirbes, slide guitarist Mark Johnson, saxophonist Kirk Smothers, trumpeter Marc Franklin, and Joseph Franher, who contributes backing vocals to one selection. 

Goluban is an accomplished harmonica player with a swinging style, a big tone, and a marvelous sense of tonal dynamics. His gravelly vocals have a limited range, and his phrasing sometimes sounds stilted. Still, there is an honest quality about them. All ten songs are well played, starting with the title track, a high-energy instrumental taken at a blistering tempo that showcases his formidable harp technique. With horns added, "Used to Be Someone" might evoke Paul Butterfield's horn band, and Goluban does exhibit a bit more emotion in his singing. Kelly Zirbes' strong backing vocals boost this performance. Mark Johnson's slide guitar provides atmosphere on the Lou Reed cover, "Pale Blue Eyes."

Zirbes takes a strong vocal on the driving country-rocker, "Shoestring Blues," a song that sounds like a 21st take on the classic country truck driving songs. It is followed by a swinging instrumental, "Extra Boom." This shuffle is a tribute to Goluban's harmonica hero, Little Walter, with Staff taking a greasy organ solo. Jensen displays his considerable technique and taste here as well. Things head to New Orleans with Staff laying down some Professor Longhair-styled piano. It is an amusing duet between Goluban and Zirbes followed by a swampy blues-pop "Bite Me Like a Snake" with Johnson's keen slide guitar. 

With the horns riffing, the album closes with another harmonica instrumental, "Beast Walk." Taken at a relaxed pace, Steff's organ and Jensen's tasteful wah-wah guitar each get a chorus before Goluban displays a more acoustic side to his harmonica playing, and the horn players trade fours. Tomislav Goluban may be a limited vocalist, but his straightforward singing, exceptional harmonica playing, and top-notch backing provide a definite appeal for blues and roots listeners.

I received my review copy from a publicist. Here is the official video for this album.

JIMMY JOHNSON - Every Road Leads Somewhere

JIMMY JOHNSON - Every Road Leads Somewhere - RUF RECORDS

Jimmy Johnson's infrequent albums are always occasions of great interest for blues lovers. With his wiry guitar attack and high tenor vocals, the Chicago bluesman has produced some very distinctive and fine recordings. This new one is another strong addition to his discography. 

Johnson has contributed some fine originals like the opening “Roots of All Evil” (about money, and sporting a trumpet solo by Claude Egea), “End of the Road,” which contains an appearance by the late Luther Allison who rides the song out with a fiery short solo, and “The Street You Live On,” with its lilting reggae beat. In addition, Johnson's covers of “Black Night,” “Cut You Loose,” and James ‘Thunderbird’ Davis' “Blue Monday” are fresh, with crisp funky arrangements. 

Throughout this, Johnson plays in his recognizable style that perhaps show the influence of Otis Rush and Albert King more than others, as well as delivering his vocals without too much in the nature of hysterics. In addition to his fine band, Johnson is backed by a nice horn section that includes jazz trombonist Frank Lacy and saxophonist Paul Cerra in addition to trumpeter Egea. With Johnson being in strong form both vocally and instrumentally, he has produced a very fine release.

This review originally appeared in the November-December 1999 Jazz & Blues Report (Issue 242). I have made a few minor formatting and stylistic changes. I likely received a review copy from Ruf Records or a publicist. This may be hard to find, so you may have to find it from used record stores. Here is Jimmy in a performance from 1994.

Dinah Washington - Sings Bessie Smith ● Sings Fats Waller

Dinah Washington - Sings Bessie Smith ● Sings Fats Waller -  American Jazz Classics

This is a public domain European reissue of two Dinah Washington albums from the late fifties that came out a few years back. I wonder if the inspiration of her tributes to Bessie Smith and Fats Waller might have come from Louis Armstrong's similar albums devoted to the music of W.C. Handy and Waller. In Armstrong's case, inspiration may have come from their compositions, while Ms. Washington focuses on recordings by these giants.

On the Bessie Smith album, she was backed by a band led by her then-husband Eddie Chamblee, while the Fats Waller album had her backed by a big band conducted by Ernie Wilkins. Chamblee was part of that band. Others present on various recordings include, but not limited to, Clark Terry, Johnny Coles, and Reunald Jones on trumpet; Quentin Jackson, Julian Priester, and Melba Liston on trombone; Chamblee, Charles Davis, Frank Wess, and Benny Golson on saxophone; Jack Wilson on piano; Freddie Greene on guitar; Richard Evans on bass; and Charlie Persip on drums.

There is a bit of a trad-swing feel to the Bessie Smith recordings with able renditions of "Backwater Blues," "Careless Love," and "You've Been a Good Old Wagon." There is a surprise in her choice of "Trombone Butter" (renamed Butter from Cholly) with gutbucket tailgating trombone from Quentin 'Butter' Jackson. Nice are renditions of "After You've Gone," "If I Could Be With You" (which Bessie did not record but apparently was close to her), and Dinah's own "Fine Fine Daddy," which is similar in spirit to many of Bessie's recordings. Dinah did not have as heavy a voice as Smith but was in her own way as gripping a performer. It should be noted that four bonus selections include three songs from the sessions that produced the Smith Tribute, including a marvelous "Trouble in Mind." Also, there is a big band recording of "Backwater Blues" that was recorded earlier. Throughout Dinah's musicality, her pitch intonation, diction, and phrasing shine.

The Fats Waller sessions are equally rewarding, backed by a big band. Washington's performances have a different quality from those by Waller. Both were extroverts, although Waller had a dash of outrageous fun in his handling of some lyrics. There are a couple of duets with husband Chamblee on "Honeysuckle Rose" and "Everybody Loves My Baby." She delivers a wonderful rendition of Chu Berry's "Christopher Columbus," which Andy Razaf added after Fletcher Henderson's recording.  She sings an equally marvelous performance of "Jitterbug Waltz," a song that she was first to record as a vocal. Then there is a take on "Black and Blue," which reflected some lyrical changes due to changes in social attitudes from the twenties. Like the Bessie Smith tribute, this was another superb display of Washington's soulful, expressive singing. 

The accompanying booklet includes the original liner notes to both albums, personnel information, and a biography appreciation from Arthur Morton. The CD contains nearly 80 minutes of the Queen singing the blues and so much more.

I purchased this. Here is a television appearance of Dinah singing "Lover, Come Back to Me / Send Me to the 'Lectric Chair."

Schapiro17 - Human Qualities

Schapiro17 - Human Qualities - Summit Records

Composer-arranger Jon Schapiro, currently a professor at Yeshiva University, formed Schapiro17 as a vehicle for his writing and to showcase some of New York's top musicians. The members on this recording are trumpets: Bryan Davis, Andy Gravish, Eddie Allen, Noyes Bartholomew; trombones: Alex Jeun, Deborah Weisz, Nick Grinder, Walter Harris saxophones: Rob Wilkerson, Candace DeBartolo, Paul Carlon, Rob Middleton, Matt Hong piano: Roberta Piket; guitar: Sebastian Noelle; bass: Evan Gregor; and drums: Jon Wikan. 

This big band opens like a modern New Testament Count Basie Band with the opening "Count Me Out." This composition transforms itself into a more contemporary vein with Rob Middleton's remarkable tenor sax, a piano interlude by Roberta Piket that evokes Duke Ellington, and Deborah Weisz's wooly trombone solo. This results in a memorable performance. "Tango" opens with bassist Noelle in duet with baritone saxophonist Matt Hong before the reeds and full band join. Schapiro's scoring provides a turbulent setting for Hong's rambunctious solo. Then there is the driving, irresistible groove of "Hmmm" with Piket laying down a barrelhouse piano progression for the high energy horns, Andy Gravish's scorching trumpet, and Paul Carlon's high-spirited tenor sax solo. All of this exceptional music is set against Schapiro's top-flight arrangement to builds up to an explosive climax.

The one song that Schapiro did not write is an evocative rendition of "The First Time Ever I Saw Your Face." Schapiro initially provides a haunting setting for Eddie Allen's mournful trumpet. Against the brooding atmosphere, Allen's trumpet becomes a bit more luminous. The title track is built around a fair amount of counterpoint by the ensemble. It also has dynamic solos from Rob Wilkerson on alto sax and Nick Grinder on trombone. These two trade-off with each other with their counterpoint playing over Schapiro's dense, volatile arrangement. 

The remainder of this recording is full of the same superior ensemble playing, marvelous and imaginative arrangements, and terrific solos by the ensemble's members. Guitarist Noelle especially shines on "Hallelujah." On "A Bounce in Her Step," Schapiro imaginatively incorporates various bebop phrases, especially from "Billie's Bounce." Drummer Joe Wikan lays down a funky groove while Alex Jeun's growling trombone evokes Tricky Sam Nanton on the closing selection, "House Money." 

With the fabulous music on this album, Schapiro17's "Human Qualities" is an outstanding contemporary big band recording that sounds fresh with repeated hearings.

I received my review copy from a publicist. Here is a link to a video of "The First Time I Ever Saw Your Face." https://youtu.be/U3UEci0kktw.

The Hitman Blues Band - Not My Circus, Not My Monkey - Nerus Records

The Hitman Blues Band - Not My Circus, Not My Monkey - Nerus Records

The Hitman Blues Band, led by Russell 'Hitman' Alexander, is a New York-based band described as a 'Modern/Alt Blues group," although I am not sure that Alt Blues is anything but an invented, not clever, PR term. Getting beyond terminology, this is a rocking (in a good sense) band with horns led by Alexander on vocals and guitar. He also wrote most of the songs. Others in the band include Kevin Bents on keyboards, Mike Porter on bass, and Guy LaFountaine on drums. There is also a full horn section of Mikey Vitale on alto sax, John Kelly on tenor sax, Eric Altarac on trumpet, and Nick Clifford on baritone sax.

Certainly, Randy Alexander is the center of The Hitman Blues Band. He certainly places his stamp on these performances with his robust vocals that showcase his phrasing, dynamics, and clarity in delivering the lyrics. The backing is bright, brassy, and tight. His own songs have some intriguing word plays, such as the opening "Not My Circus," with the album title being a catchy, memorable phrase. Highpoints include his adaptations of a couple of Blind Willie Johnson songs, "Nobody's Fault But Mine" and "John the Revelator." The imaginative recasting of Johnson's acoustic recordings in a modern rocking blues manner also showcases his slightly raspy singing. He also adds some appealing slide guitar (more Duane Allman than Earl Hooker) on "John the Revelator."

"No Place Like Home" may be more Bruce Springsteen than blues. Still, it has a forceful, emotional vocal and first-rate backing, including Brent's piano and Kelly's gutbucket tenor sax. It is a terrific performance. Also standing out is the funky reinvention of Bob Dylan's "The Times They Are A-Changing." Other selections include a rollicking, ebullient shuffle, "Walk With You," and a superb melancholy blues ballad "Everybody But Me." 

If not purely blues, The Hitman Blues Band's "Not My Circus, Not My Monkey" still is a blues and roots recording of considerable merit.

I received my review copy from a publicist. Here is their performance of "Nobody's Fault But Mine."

Andrew Van Tassel - Shape-Shifter

Andrew Van Tassel - Shape-Shifter - Brooklyn Jazz Underground Records

Andrew Van Tassel's new album finds inspiration from many musical sources, including bebop/hard bop, fusion, indie rock, and classical music. The saxophonist, composer, and educator studied at the Manhattan School of Music and the New England Conservatory. He studied under such luminaries as luminaries Jerry Bergonzi, Donny McCaslin, John McNeil, and MacArthur Fellows Jason Moran and Miguel Zenon. The venues he has played include The Jazz Gallery, ShapeShifter Lab, the Cornelia Street Café, the Bar Next Door, and Rockwood Music Hall. His previous album, "It's Where You Are" (Tone Rogue Records), was highly praised, and an original composition from the record was a recipient of the 2017 ASCAP Herb Alpert Young Jazz Composer Award.

Van Tassel has brought together a terrific band of Lucas Hahn – piano, Wurlitzer, Alex Goodman – guitar, Rick Rosato – bass, and Kush Abadey – drums. Goodman is present on 3 of the nine tracks. Also heard on this album are Michael Mayo's voice on one selection and Alex Van Gils on live electronics and processing on six pieces. Seven of the nine tracks are his compositions, one is a standard, and one is his adaptation of a Robert Frost poem.

Van Tassel is impressive on both alto and soprano sax with a tone with a light vibrato at most and a fluid attack. The rhythm section is exemplary, with Kush Abadey being especially impressive, helping propel the performances. A classic Blue Note feel underlies a number of these performances, starting with the breezy swing of the opening "East Wind," which is one of three selections that sport Goodman's guitar with his horn-like ensemble playing and solo mixing single note lines and chords. Van Tassel's solo is fruity. There is a laconic feel to "Undertone," where Hahn solos quite impressively, with Abadey providing sterling accompaniment. Goodman returns for the airy Brazilian-tinged "Sphere."

Van Tassel provides a charming arrangement and swirling soprano sax for Robert Frost's poem "A Dream For a Buried Flower," with Michael Mayo's voice and unidentified singers providing wordless vocals. "Rain Waltz" is a light jazz waltz with an attractive and imaginative soprano sax solo. Van Gils gives atmospheric background to the swinging "On the Up" with first-rate solos from the leader, Goodman, and Hahn. Among the other selections is a dreamy reinvention of Irving Berlin's "Blue Skies," with Van Tassel playing mesmerizing soprano sax. 

Andrew Van Tassel is a saxophonist of considerable talent and a notable composer. With the excellent support he receives here, his "Shape-Shifter" is a top-flight set of contemporary hard bop.

I received my review copy from a publicist. Here is a promo video for this album.

Maria Muldaur With Tuba Skinny - Let's Get Happy Together

Maria Muldaur With Tuba Skinny - Let's Get Happy Together -Stony Plain Records

Maria Muldaur's career spans some 57 years since she was part of the Jim Kweskin Jug Band, which played old-time blues, country, and hokum songs. Her latest recording, with the popular New Orleans traditional-swing jazz street band Tuba Skinny. Tuba Skinny consists of Shaye Cohn – cornet; Todd Burdick – tuba; Barnabus Jones – trombone; Jason Lawrence – banjo; Craig Flory – clarinet; Greg Sherman – guitar; Max Bien-Kahn – guitar; and Robin Rapuzzi – washboard. Muldaur first heard Tuba Skinny while shopping and their music was played over the store's speakers. About Tuba Skinny, Muldaur says, "They were not just playing a marvelous repertoire of cool tunes with great skill and authenticity, but somehow channeling the very atmosphere and vibration of that bygone era."  

Before the COVID Pandemic in January 2020, Maria asked Tuba Skinny to collaborate for a showcase performance at the International Folk Alliance Conference in New Orleans. The performance was so well-received, and this album was immediately conceived and recorded. Overall, the album (her 43rd album) is her latest excursion into vintage jazz and blues sounds of the 1920s/'30s. It is a fascinating mix of songs ranging from songs associated with the Goofus Five, Lil Hardin Armstrong, Duke Ellington, Billie Holiday, Valaida Snow, and Sweet Pea Spivey (Victoria's sister).

There is plenty of fun to be had listening, starting with the opening rendition of the Goofus Five's "I Like You Best of All." Played at a nice relaxed tempo, this listener is especially impressed by the solos here by Craig Flory on clarinet and Shaye Cohn on cornet. I note that Muldaur's vocals do sound a slight bit weathered. Still, her phrasing, timing, and her ability to deliver lyrics remain intact. Lil Hardin Armstrong wrote the bouncy title tune with nice interplay in the opening between trombonist Barnabus Jones and Cohn on cornet. Muldaur has an ear for relatively obscure songs, including a delightful rendition of Frankie' Half-Pint' Jaxon's "Be You Natural Self," with Jones contributing the first solo chorus followed by Cohn's bright brass play. There is also a reflective rendition of another Jaxon number, "Some Sweet Day," a theme that would be echoed in a variety of pre-World War II recordings.

There is a dreamily played treatment of Duke Ellington's recording of "Delta Bound," with a lovely clarinet solo. Another peppy performance is the vivacious rendition of Valaida Snow's "Swing You Sinners." Cohn's cornet and Flory's clarinet evoke Buck Clayton and Lester Young as Muldaur models her performance of "He Ain't Got Rhythm" on Billie Holiday's classic recording. Then Muldaur revives a Boswell Sisters recording, "Got The South In My Soul," followed by a revival of an amusing 'Dorothy Lamour" recording, "I Go For That." 

A revival of Sweet Pea Spivey's late twenties blues, "Road of Stone," solidly closes this recording. The musical meeting between Muldaur and Tuba Skinny has resulted in memorable, straightforward, and easy swinging jazz vocals and backing.

I received my review copy from a publicist. Here is the title track from this CD.

CODE Quartet - Genealogy

CODE Quartet - Genealogy - Justin' Time

The Montreal-based collective CODE Quartet was formed by Christine Jensen on saxophones, Lex French on trumpet, Adrian Vedady on acoustic bass, and Jim Doxas on drums. They started with goals of composing and improvising in a chordless-quartet setting, inspired by Ornette Coleman's seminal late 1950's group. The eight tracks on this debut recording provide notice that this is a group making a solid musical statement. Seven of the eight tracks are originals by the members. French contributed three, while Jensen and Vedady each wrote two. The other tune is a traditional number.

Despite the nature of the band, the title track (by French) is the number that most evokes Coleman's classic group. French's "Tipsy" opens this recording. It is more of in a hard bop mode with features very expressive playing by Jensen. Vedady's melancholy "Watching It Slip Away" showcases French's trumpet along with the composer's own robust bass solo. There is a lovely version of the traditional hymn "O Sacred Head, Now Wounded," the melody of which Paul Simon used for "American Tune." French again stands out while Doxas's drums provide a rhythmic foil. Jensen's "Wind Up" is a bright-sounding and paced track with Doxas' muscular drumming pushing French's fiery trumpet and Jensen's fervent sax. Other selections include the melancholy feel of Vedady's "Requiem" and the celebratory character of Jensen's "Day Moon." 

French's "Beach Community" is a calypso reminiscent of some of Sonny Rollin's compositions like "St. Thomas" or "Don't Stop the Carnival." The performance features sterling tenor saxophone followed by French's bright trumpet and Doxas' high-energy drum solo. It is a jubilant close to a superlative debut by this quartet that we hopefully will hear much more from in the future.

I received a download from a publicist. Here the CODE Quartet performs "Tipsy."

Juan Carlos Quintero - Caminando

Juan Carlos Quintero - Caminando - Moondo Music

Guitarist-composer Juan Carlos Quintero was born in Columbia but came to the United States as an infant. When eight, he traveled led with his family (his father was an Army physician) to Belgium. He started playing guitar during this time. When the family returned to the United States, he continued his musical education at Berklee and the New England Conservatory studying with Gary Burton, Michael Gibbs, and George Russell. At Berklee, he first met the legendary session guitarist Tommy Tedesco who would mentor Quintero. After moving to Los Angeles in 1986, Tedesco would introduce Quintero to the West Coast studio music community, and eventually, this led to his first recordings.

The present recording is a rerelease of his 1997 album, "The Way Home." On this album, Quintero's acoustic guitar is supported by pianist Joe Rotondi and either bassist Eddie Resto or Alec Milstein. There are also a host of percussionists (Munyungo Jackson, Walter Rodriguez, Tiki Pasillas, Angel Figueroa, and Ron Powell). Quintero composed all ten compositions (one with Kenny Hudson). 

While inspiration may be from Latin American folk music, Quintero brings an appealing pop-flamenco-jazz feel to this recording. This feel is evident in the opening "El Baile," based on the cumbia folk style of his native Columbia. Here, and throughout, his excellent technique, melodic embellishments, and tone are supported by pianist Rotondi and the percussion. The title composition sounds like an acoustic Santana rendition of the cha-cha-chá, with marvelous bebop runs mixed for perhaps his most intriguing solo. Then there is the surging Latin flavor of "Hermandos," the dramatic tone to "Libre," and a lovely ballad, "The Way Home." 

The music varies from the calm, relaxing mood to The Way Home" to the exhilarating feeling engendered by the title track. His playing is outstanding with substance yet still very accessible. This recording may be older, but its new release is most welcome. It is available at Bandcamp,  https://moondorecords.bandcamp.com/album/caminando.

I received my review copy from a publicist. Here he performs "Caminando."

Joe 'Guitar' Hughes - Johnny Jones - Chris Thomas King

(1) Joe “Guitar” Hughes

Stuff Like That

Blues Express BEI-0002-1

Stuff Like That/ A Blues Song/ Ouchie Baby/ My Baby Told Me/ Pit Bull/ Going to San Francisco/ Bad Dreams/ When a Man Loves a Woman/ If You Want to See the Blues/ Bonus Track - Interview with Joe. 56:25.

Hughes, g, v; Bobby Murray, g; Leonard Gill, b; Tim Brockett, org; Dave Matthews, kybds; Tony Coleman, d; George Brooks; s; Mic Gillette, tbn, Marvin McFadden, tpt. San Francisco CA. 

(2) Johnny Jones

Blues Is In The House

NorthernBlues Music NBM 0007

A Fool Never Learns/ Girlfriend Blues/ I’m Gonna Love You/ Stacked in the Back/ I Could Be Dangerous/ I’ll Be the Judge of That/ Love Recession/ Good Idea At the Time/ Your Stuff Is Rough/ Farm Boy/ Why Can’t We Be Alone/ Really/ A Rock and a Hard Case/ The Blues Is In the House -1.

Jones, v, g; Fred James, g; Jeff Davis, b; Billy Earnheart, kybds; Dennis Taylor, s; Bryan Owings, d; Mary-Ann Brandon, Charles Walker, bckg vcl; Charles Walker, vcl-1. Nashville, TN. January 2000.

(3) Chris Thomas King

The Legend of Tommy Johnson: Act 1 Genesis 1900s-1990s

21st Century Blues

O Brother, Where Art Thou? (A Capella)/ Trouble Will be Soon Over/ Canned Heat Blues/ Flooded in the Delta/ Watermelon Man/ John Law Burned Down the Liquor Store/ Red Shoes/ Bonnie & Clyde in D Minor/ Do Fries Go With That Shake/ O Brother Where Art Thou? -1/ Spread the Glory (Requiem) -1. 48:32.

Thomas King, v, g; -1 also includes Voodoo Dolls. No other information given.

Part of Houston’s vibrant blues scene of the past five decades, Joe Hughes may not be as celebrated as his good friend, the late Johnny Copeland. This fact that hopefully will change with the release of (1) on Blues Express. Hughes played around the various Houston clubs, toured with a variety of R&B giants, and spent some time as a session musician for Duke before he decided he wanted to stay at home rather than deal with the road life. A trip to Europe with Copeland helped reinvigorate his career and this is the latest of several albums he has recorded, the first this reviewer has heard. It is a terrific live recording with a brassy band backing up Hughes' strong, jazzy guitar leads and smooth, soulful singing that is reminiscent of the legendary Junior Parker. 

There is variety in material that is performed at a high level. “My Baby Told Me” is a solid slow blues about his woman telling him not to do as she does, but do as she tell him to do so that they are making love she get exactly what she wants. Melodically, it is suggestive of “Going to Chicago” and there is some call and response between the guitars of Hughes and Bobby Murray. An instrumental version of “When A Man Loves A Woman” is nicely delivered. Hughes' other originals are fresh lyrically, his musicianship exemplary and the band is wonderful especially given the fact that they avoid playing classic blues tunes. This strong release makes one why Hughes’ name is not better known among blues fans.

Nashville is not known as a blues and soul town, but it was home for several classic R&B labels including Excello. Johnny Jones is among the performers that have long been at the root of this scene. He has had several recent recordings for a variety of labels including a live European recording with deep soul singer Charles Walker. (2) is Jones’ new disc on NorthernBlues Music, and includes a number of originals. Most of these are from the pen of Fred James who has been a driving force in the revival of the careers of Jones, Walker and others. Walker is a solid soul-blues performer with a style akin to the late Fenton Robinson. The songs include some clever lyrics built, sometimes built around some everyday phrases like “A Rock & A Hard Place,” and “A Good Idea At the Time.” The latter number sounds familiar and may have been previously recorded by Jones and/or one of the other performers that James has worked with such as Roscoe Shelton or Earl Gaines. Jones is a pretty fair guitarist guitar and sings with plenty of heart and authority throughout. The studio band provides solid support with horns effectively employed on several tracks and a strong, swinging rhythm section. Like the Hughes disc, this is a notable recording of soul-infused blues.

Chris Thomas King has had a rather varied and interesting career as a performer and recording artist. Thomas King comes from a blues pedigree. His father Tabby Thomas recorded for Excello and operated for a legendary blues club in Baton Rouge, Louisiana. Not afraid of musical barriers, he has delved into world-beat, blues-rock, rap with more traditional blues in the recordings he has made. He certainly has had his profile raised by portraying legendary Mississippi bluesman Tommy Johnson in the movie Oh Brother. This has been augmented by his appearance on the Oh Brother soundtrack, surprisingly one of 2001 biggest selling albums, and the musical tour that was inspired by the soundtrack. Not surprisingly, King latches on to this role for his latest disc, (3). Two tracks are credited to the Voodoo Dolls, but the review copy was devoid of any identification of this group which I assume is the latest band that Thomas King leads. The album provides us with a solo rendition of “O Brother Where Art Thou” and a contrasting electrified band updating of the number. Thomas King has an appealing voice that especially works with acoustic oriented numbers like “Watermelon Man”, where overdubbing allows him to do a call and response with himself. Another acoustic gem is the spiritual “Trouble Will Soon Be Over,” where he forcefully strums on his guitar while fervently delivering the lyric. There have been stronger renditions of Tommy Johnson’s “Canned Heat Blues” by performers like Boogie Bill Webb and others who knew Johnson personally, although Thomas King evokes Johnson’s use of a yodel-like falsetto. “Flooded in the Delta” brings together fragments from a variety of blues (including Charlie Patton’s “High Water Everywhere” and “Drifting Blues”) as well as evokes the “Crossroads,” with an accompaniment that alludes to Robert Johnson and Patton, even incorporating some Patton-like guitar slaps. The last six selections are in a band context. “John Law Burned the Liquor Store” is a rollicking tune with Thomas playing some slide on a dobro or steel guitar. “Red Shoes,” with some frenzied slide playing, has a rock-laced boogie accompaniment. “Do Fries Go With That Shake” has a classic rock and roll groove, although Thomas’ vocals do not come across quite as strongly on these latter tunes. An eclectic release of interest but perhaps too varied to be compelling for many.

These are reviews I wrote for Cadence in early 2002. I likely received review copies from the record companies or from Cadence. the Joe Hughes and the Chris Thomas King are still available, The Johnny Jones may only be available used.

JOHNNIE TAYLOR - Gotta Get The Groove Back

JOHNNIE TAYLOR - Gotta Get The Groove Back - MALACO (1999)

The sudden death of Johnnie Taylor deprived the blues and soul world of one of its greatest talents.TheSoul Philosopher had been catching folks’ ears ever since he replaced Sam Cooke in the Soul Stirrers, and later was signed to Cooke’s SAR label. Later Taylor was on Stax where such recordings as "Who’s Making Love," "Cheaper to Keep Her," and "Jody," became major sellers and staples for blues and cover bands. After some success with Columbia, most notably with "Disco Lady."

Taylor spent the last years on Malaco where he enjoyed considerable success the past few years. He was the biggest selling artist in Stax’s history and I believe his albums have been Malaco’s biggest sellers. His last album, "Gotta Get the Groove Back," has been selling well and been on the Billboard Blues charts for over half a year in addition to being nominated for a Grammy. It mixes tracks with a studio band, such as the terrific, driving title track, with one using programmed keyboards (some with horns). There is a good mix of soulful numbers before he closes with "Soul Heaven," evoking the many legendary R&B figures he used to sing and work with, and who he now has joined. 

Taylor never got his due from the general public, but the man was a terrific singer who was at top form till the end.

I likely purchased this or may have received a review copy from Malaco. This review originally appeared in the May-June 2000 Jazz & Blues Report although I may have made minor grammatical changes. Here is "Soul Heaven."

Joe Lovano - Trio Tapestry - Garden of Expression

Joe Lovano - Trio Tapestry - Garden of Expression - ECM

"Garden of Expression" is the second collaboration between saxophonist Joe Lovano, pianist Marilyn Crispell, and drummer Carmen Castaldi under the rubric of Trio Tapestry. It is a recording of captivating music, all of which Lovano composed. Lovano states, "Each of the pieces is a song of expression where rhythm doesn't dictate the flow. This is not a band that starts from the beat. The momentum is in the melody and the harmonic sequence, and rhythm evolves within each piece in a very free flowing manner." 

"Free flowing" is not a bad way to describe the performances here that display a chamber jazz quality. Lovano usually states a melodic theme that he and Ms. Crispell develop in a musical conversation to which Castaldi adds rhythmic accents. The trio primarily is heard on lovely, thoughtful improvisations such as on the title track or "The Secret Chant." There is a bit more energy in Crispell's piano opening for "Dream on That," leading to Lovano's probing tenor over Castaldi's percolating percussion. 

One should not be surprised that the exquisite music on this album is also superbly recorded. Every nuance of Castaldi's percussion, every note of Crispell's piano, and every tonal shade of Lovano's tenor is clearly captured on the closing "Zen Like." The typically superb ECM engineering enhances the pleasures of this marvelous recording.

I received a download to review from a publicist. Here is a performance from Trio tapestry.

Troy Roberts & Tim Jago - Best Buddies

Troy Roberts & Tim Jago - Best Buddies - Toy Robot Music

This writer was impressed at the end of 2019 by Troy Roberts' album "Days Like These." Saxophonist Roberts was, at the time, a member of Joey DeFrancesco's group, and before that, he was a member of the Jeff' Tain' Watts Quartet. In that review, I observed that "With superlative backing, Roberts shows he can play tough and tenor with a big sound in the manner of Gene Ammons, Stanley Turrentine … and Houston Person." On this recording, he shares the limelight with guitarist Tim Jago who, as the album title states, is a close friend of Roberts. The two were born and raised in Australia, and both initially re-located to the US to undertake graduate studies at The University of Miami Frost School of Music. 

The present album was recorded in Australia with fellow Australians Karl Florisson on acoustic bass and Ben Vanderwal on drums. The recording took place because of the fortuitous circumstance of all of them being in the same place in July 2020 during the Covid-19 lockdown. It captures four similar attuned musicians putting together some marvelous performances. The album is in a post-bop style, with the theme being the performance of contrafacts (a new melody composed over the existing harmonic structure of various well-known jazz standards).

Like Roberts' prior recording, this is a hard-swinging recording that opens with a take-off on "I Got Rhythm," "Chythm Ranges." Both play with authority on this barn burner performance, and Jago's horn-like single note runs complement Roberts, robust, fiery lines. The title track is an appealing number inspired by Benny Golson's "Stablemates." It is played at a lazy tempo, with Roberts further showcasing his big sound, set against Jago's comping.

The quartet explores "A New Porpoise," a contrafact of "Green Dolphin Street. Bassist Florisson lays down the foundation for this track with Jago displaying his technical facility and invention in his solo. "Pho Twenny" is derived from "I'll Remember April" and a showcase for Roberts' exquisite ballad playing. Based on "My Heart Belongs To Daddy," "King of Hearts" is a jazz waltz with a Coltrane-esque feel with its groove with Vanderwal's channeling Elvin Jones. There is a fugue-like quality in the interplay between Roberts and Jago throughout "Halfway House In C Major," which is derived from Cole Porter's "What Is This Thing Called Love." 

A heated "Overlook," a contrafact of "My Shining Hour," closes this album. Roberts develops a thematic improvisation over the rhythm section's blistering tempo, followed by concise solos from Jago, Florisson, and Vanderwal. It is another first-rate performance. The other tracks are of a similarly high standard. With inspired compositions and superb playing, "Best Buddies" is simply an outstanding recording.

I received my review copy from a publicist. Here is a video for "Best Buddies."

Lonesome Thing: Anaïs Reno Sings Ellington & Strayhorn

Anaïs Reno - Lonesome Thing: Anaïs Reno Sings Ellington & Strayhorn - Harbinger Records

Listening to this debut album by Anaïs Reno, one is astonished that she was 16 years old. Yet, she sounds as if she was much older. At 16, she has received acclaim for her dedication to jazz and the Great American songbook, having won several awards previously and having performed at Birdland Jazz Club, the Friar's Club, Carnegie Hall, and other locations. This is pretty heady, but she comes from a musical family, her father being a former opera singer (who helped develop her vocal technique), and her mother is a concert violinist. 

Pianist Emmet Cohen leads the backing trio with Russell Hall on bass and Kyle Poole on drums. Tivon Pennicott adds tenor sax to several tracks, and her mother plays on two selections. Cohen and Reno did the musical arrangements. The songs include some of the most familiar songs of the Ellington-Strayhorn songbook. With the Cohen trio providing exquisite support, Reno displays a supple, honey voice, as well as having a wonderful sense of time, clarity of her phrasing, and dynamics. This can be heard from the opening moments of "Caravan" with a delightful Pennicott tenor sax solo to the rousing closing of "Take the 'A' Train," again with more splendid tenor sax as well as Cohen's sublime piano. 

Other songs that stand out include a captivating rendition of "Mood Indigo," where her mother contributes a violin solo that evokes Stephan Grappelli. Reno captures the meaning of the lyrics, such as the longingness expressed in a rendition of "Daydream" and the bluesy feel she provides singing "I'm Just a Lucky So and So." This latter number is one of several showcasing her horn-like scatting. Cohen's accompaniment and solo are particularly gripping, and the preciousness of her performance of "Lush Life." There is also a stunning mashup of "Chelsea Bridge" and " A Flower is a Lonesome Thing." She delivers "Chelsea Bridge" as a wordless vocal" before singing "A Flower" with a touch of gentle melancholy. 

As Will Friedwald writes in liner notes, "At 16, Anaïs achieved what precious few adults accomplish: namely, to actually enhance our appreciation and enjoyment of the Ellington-Strayhorn canon." There is little one could add to Friedwald's concise appreciation of this superb recording. 

I received my review copy from a publicist. Here Anaïs Reno sings "A Flower Is a Lonesome Thing."

Dan Rose - Last Night & New Leaves

Dan Rose - Last Night - Ride Symbol Records

Dan Rose & Claudine François - New Leaves - Ride Symbol Records

Guitarist Dan Rose is heard on an album of solo guitar interpretations of standards and an album of duets with a longtime musical friend, French pianist Claudine François. Rose has a long career going back to regularly playing with Paul Bley and being part of the New York loft scene. Living in Europe for several years, he met Ms. François, and they recorded a duo album for Enja, one of several projects Rose recorded for Enja. His varied career has had him perform and record with Perry Robinson, Jay Clayton, Billy Hart, Thomas Chapin, Arthur Blythe, Rashied Ali, John Abercrombie, Connie Crothers, Eric Reed, Steve Turre, Cyrus Chestnutt, and many others. Claudine François was classically trained before becoming interested in jazz. She has formed a free jazz ensemble and composed for theater and dance. Her ensembles have included Jim Pepper and Jane Burnett, and she has worked in groups with Marion Brown, Hamid Drake, Lee Konitz, and others. 

"Last Night" is a recording of considerable allure. Rose states he has long wanted to do a solo album, and while initially, he intended to do original compositions, but when he began playing, the songs heard emerged. They are familiar songs like "Body and Soul," "Darn That Dream," "Tenderly," "What's New," "If I Loved You," and "Moonlight in Vermont." There is an Ellington Medley of "Prelude to a Kiss," 'Things Ain't What They Used To Be," and "Sophisticated Lady," along with another medley of "Guess I'll hang My Tears To Cry," Detour Ahead," and "Dreamsville." With a beautiful tone and a clean, precise attack, we are treated to renditions built upon the lyrics of these classic songs. Rose has provided us with an exquisite solo guitar recording.

Rose brings this same warm tone and guitar styling to the musical conversations with pianist François with whom he has played with for thirty years. "The New Leaf" is an original he wrote with her in mind and is a lovely ballad with her measured solo following his guitar solo with her use of block chords as he comps with soft chords. It is followed by one of the standout performances here, their bouncy rendition of "Monk's Dream." Other standout performances include the light Latin-tinged "Lady in Mercedes" and François' "Le Desert," with her rumbling and then dreamy introduction. This is followed by Rose's thoughtful, spare pinched note solo. There is playfulness in the duo's handling of Horace Silver's "Senor Blues." Another intriguing performance is François' "Mr. Slaint," a tribute to Steve Lacy and a composition with a touch of Monk, whose music was a significant inspiration to Lacy. Life Rose's solo album, this album of duets, is full of performances of charm and considerable appeal.

I received review copies from a publicist. Here is a performance from Dan Rose & Claudine François in 2013.

Steve Gadd Band - At Blue Note Tokyo

Steve Gadd Band - At Blue Note Tokyo - BFM Jazz

This 2019 live recording from the Blue Note in Tokyo showcases the groove-master Steve Gadd. Gadd is, of course, well-known for his presence on many well-known recordings by the likes of Chick Corea, Chuck Mangione, Al Di Meola, and Paul Simon. While Gadd has produced his share of super-intricate, challenging music throughout his five-decade career, on this live date, he was strictly laying a groove in the pocket. He says, "I just love to groove. It's all about just sharing something that feels good." On this recording, he is joined by his band of Walt Fowler on trumpet and flugelhorn, Kevin Hayes on keyboards and vocals, Jimmy Johnson on bass. David Spinozza replaced Gadd's regular guitarist Michael Landau during the Tokyo engagement. 

One should not be surprised that this is a well-played fusion-tinged recording with some feet tapping music starting with "Where's Earth?" from Hays, Landau, and Duke Gadd. It showcases Fowler's evocative muted trumpet, Hays keyboards, and Spinozza's thoughtful guitar playing. Spinozza contributed a lovely Caribbean-laced ballad which Fowler's lyrical trumpet while Hays contributes a vibes-sounding background. There is more Latin flavor on Fowler's "Timpanogos," which is followed by Spinozza's blues "Hidden Drive," a moody performance benefiting from the unhurried, thoughtful playing from the band members. There is also a marvelously atmospheric rendition of the Crusaders' "Way Back Home," which may be the high point of this recording.

Jimmy Johnson's Latin-jazz composition "One Point Five," is the only performance on which Gadd takes a solo, following solid playing from Fowler and Hays. Hays sings on two songs, including a rollicking treatment of Bob Dylan's "Watching the River Flow," that closes this tasteful and very appealing recording.

I received my review copy from a publicist.com. Here is an earlier performance of "Way Back Home" by the Steve Gadd Band.

Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime -

Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime - Blue Dot Records

Listening to a recording as good as "Not in My Lifetime" is bittersweet, knowing that there will be no more music from this marvelous soul and blues singer. Wee Willie Walker, who recorded for Goldwax Records decades ago, passed away three days after finishing recording this album. As a brief snippet of an interview with Willie that opens this album indicates, Willie went home feeling joyful after the music before dying in his sleep. It is a follow-up to "After A While," also with Anthony Paule leading the backing. I wrote about that album that it was "an imaginatively programmed and arranged recording, that showcases one of the last original soul singers. We should be thankful he is with us and still sings with all his vocal talent intact on a terrific recording." 

Paule on lead guitar and electric sitar leads a backing band consisting of Tony Lufrano on keyboards, Endre Tarczy on bass, Kevin Hayes. On drums, Derek James on trombone, Bill Ortiz on trumpet, Charles McNeal on tenor saxophone, and Rob Sudduth on baritone saxophone. Background vocals are provided by Larry Batiste, Sandy Griffith, and Omega Rae, with The Sons of the Soul Revivers doing the background on one track. Jon Otis adds percussion to four selections, and Curt Ingram adds french horn to one track. There are ten originals, one an instrumental by Tarczy, and nine songs are by Christine Vitale, mostly in collaboration with Paul and Batiste. One of the covers revives one of his Goldwax recordings, and the other two are songs that go back to Little Willie John.

The music here is consistently top-flight soul and blues with a strong dose of Memphis with a touch of the Philly Sound. The Soul orchestra is tight and pushes a strong groove behind Walker's soul-drenched singing, starting with Walker exhorting his women to "Don't Let Me Get In Your Way," as she tells her friends Willie is not satisfying. The Memphis feel of that opening track shifts to the soul ballad, "Over and Over," with the vocal chorus evoking the Philly sound. Then there is a Latin groove for "Real Good Lie," which punchy horns from Tony Lufrano's horn arrangement while Paule musically dancing with his guitar solo.

"Darling Mine" conjures the classic era of deep Memphis soul with a vocal that has some of the power of the legendary Johnny Taylor. The Sons of the Soul Providers provides a gospel feel for the positive message that we are in this together on "I'm Just Like You," and we should try to find common ground. "Make Your Own Good News" has the feel of a classic Curtis Mayfield recording if it had been recorded at Memphis or Muscle Shoals. I am not familiar with the Goldwax original "Warm To Cool To Cold," but Walker was still preaching his soul at these sessions. It is great to hear the covers of Little Willie John's recordings "Heartbreak" and "Suffering With the Blues," sung with such conviction and backed so wonderfully.

Tarczy's "Almost Memphis" is a funky instrumental that allows the band members to stretch out, followed by "'Til You've Walked In My Shoes," a jazzy-flavored and sophisticated performance with Paule's carefully crafted guitar solo along with Walker's outstanding singing. "Not In My Lifetime" is a recording that will stay in the hearts of soul and blues lovers for many, many years. Wee Willie Walker left us with a stellar recording that is sure to be on many Best of 2021 lists.

I received my review copy from a publicist. Here is a performance by Wee Willie Walker & The Anthony Paule Soul Orchestra.

Maurice John Vaughan - Jimmy Johnson - Luther Johnson Jr

(1) Maurice John Vaughan

Dangerous Road

Blue Suit-116D

1- Talking to Each Other With the Music/ 2 - Dangerous Road/ 3- Two Can Play That Game/ 4- Love Abuse / 5- Mama, She Believed in Me/ 6- In the Midnight Hour/ 7- Stop and Take a Drink/ 8- I Don’t Care/ 9- Lady in the Box/ 10- The Pigeon/ 11- Shoo Fly Shoo/ 12- The Telephone’s Running My Life/ 13- I Can’t Stand Being Alone. 51:41

Maurice John Vaughn, g, s, c; B.J. Emery, tbn, v-4, 7; Ilaria Lantieri, b, v-9, 13; Massimo Bertagna, d- 1, 4, 8, 9, 11, 12, 13; Fred Brousse, g -2, 5, 6, 7, hca -1, 10; Jerome Moho, d- 2, 3, 5, 6, 7,10; Khouki Pontelero, or - 2, 6, 7, 10, p-1, 5; Detroit Junior, p. 8, 11, 12; Allen Batts, or 4, 12; Velvet McNair, v - 4, 7, 13. Milan, Italy & Chicago Il.

(2) Jimmy Johnson & Luther Johnson Jr

Ma Bea’s Rock

Storyville STCD 8050

So Many Roads -1/ Crosscut Saw -1/ Ma Bea’s Rock -1/ Feel So Bad -2/ I Believe My Time Ain’t long -3/ All Your Love -3/ You Gotta Have Soul -3/ My Own Fault -1/ Get Ready Here I Come -1/ Same Old Blues -1/ Got Mind to Travel -3/ Can You Use a Man Like Me -3/ I Got To Be Crazy -3/ Got papers on You Baby -3. 62:18.

-1 Jimmy Johnson v, g; Jimmy Dawkins, g; Sylvester Boines, b; Tyrone Centuray, d. October 15, 1975, Chicago IL.

-2 same as -1 but Andrew ‘Big Voice’ Odom, v. October 15, 1975, Chicago IL.

-3 Luther Johnson Jr, v, g; Willie James Lyons, g; Willie Kent, b; Tyrone Centuray, d. October 17, 1975.

While he has been producing and playing on a variety of recordings the past few years, (1) is Maurice John Vaughan’s first album since his 1993 Alligator album Shadow of the City. Recorded in Italy and Chicago, Dangerous Road displays his soulful mellow baritone, guitar, and saxophone in a variety of blues and soul/funk settings. Along with trombonist B.J. Emery, he is aided by pianist Detroit Junior on three tracks along with other guests elsewhere. In the liner notes, David Whiteis describes Vaughan an “aggressive innovator” as an ironic comment on the title of Vaughan’s self-produced debut album, Generic Blues. Some might dispute calling him an innovator, but his strength is that he is a very good performer. He writes thoughtful original blues such as “Love Abuse” and “I Don’t Care,” knows how to deliver a lyric and he plays thoughtfully, and his solos are full of surprises. His saxophone soloing is particularly noteworthy as he avoids honks and overblowing that one award winning sax player employs to excess. Equally intriguing are the funk numbers such as “Lady in the Box” which incorporates clever Italian repartee from bassist Ilaria Lantieri. However, the reworking of Wilson Pickett’s “Midnight Hour” is pleasant at best, with the rhythm section not as hard-hitting as might have been hoped. Vaughan is not one to hit you over the head with musical cliches. It may take some listening to this disc to appreciate its pleasures, but it will be worth the effort.

(2) is another in Storyville’s reissues of a series of recordings made at various Chicago clubs in the mid-seventies and which first appeared on the French MCM label. Despite being club recordings, they usually were recorded in the afternoon, often minimizing any club ambience. Additionally, the recordings have somewhat dull sound and would have benefitted from more skillful engineering. This writer at one time possessed the original vinyl album of this disc and remembers it as among the better ones in the MCM series. It was among the first LPs to spotlight Jimmy Johnson and Luther Johnson Jr. The original eight songs (the first eight titles) are augmented by two additional Jimmy Johnson performances and four by Luther Johnson Jr. For those familiar with the two artists, there will be few surprises. Their basic approaches have not changed, although they have honed and refined their styles. 

Jimmy Johnson is heard on covers of songs associated with Otis Rush (“So Many Roads), Albert King (“Crosscut Saw”) and B.B. King (“Its My Own Fault”) displaying his stinging guitar and his tenor that cuts through to the listener’s gut. Some composer credits are sometimes mangled as Johnson is wrongly credited as composer of the Temptations hit, “Get Ready,” perhaps his weakest performance. At the time of the recording, Johnson was in Jimmy Dawkins’ Band which provides functional backing. Dawkins’ own guitar is featured on the title cut, a medium tempo instrumental, and behind Voice Odom on Chuck Willis “Feel So Bad.” 

Luther Johnson Jr. was an important part of Muddy Waters Band at the time of his recording, which are solid performances in the West Side Chicago blues vein. He opens with a rippling instrumental homage to Elmore James on “I Believe,” on which he emulates Elmore’s broomdusting slide guitar without (I believe) using a slide. Luther follows with Magic Sam’s “All Your Love,” and then launches into the funky “You Gotta Have Soul.”. The late Willie James Lyons on second guitar and Willie Kent on bass lay down a nice foundation, although Tyrone Centuray’s wooden drumming adds little. The new Luther Johnson tracks are quite nice to have available. “I Got To Be Crazy” is a powerful adaptation of a fine George ‘Wild Child’ Butler lyric. Despite the quality of the music, the sound quality will probably deter more casual listeners who might want to check out the more recent recordings by both. Fans of either will certainly enjoy this disc.

This is a review I wrote for Cadence in 2001. As was customary, full discographical information was provided although I do not remember what 'c' was for Maurice John Vaughan. The s was for saxophone and g for guitar. I should have had v for vocals there as well. I likely received my review copies from the publication.  I have made only minor changes to punctuation. Both may still be available although the cover for Ma Bea's Rock is from a later Storyville reissue.