Motown Blues

VARIOUS ARTISTS | |
MOTOWN’S BLUES EVOLUTION
MOTOWN 31453-0613-2

LUTHER ALLISON
THE MOTOWN YEARS 1972-1976
MOTOWN 31453-0612-2

AMOS MILBURN :
THE MOTOWN SESSIONS 1962-1964
MOTOWN 31453-0611-2

While Motown is not remembered for its blues sessions, three releases in the label's Motown Masters Series should be warmly welcomed by blues fans. It should be noted that Motown's blues were not far removed from the rhythm and blues of the period. In fact on the compilation, "Motown’s Blue Evolution," perhaps only Luther Allison’s high energy tracks will strike some listeners as straight blues, the rest being viewed as R&B or soul-blues. However one pigeonholes this music, it certainly has a harder edge than the chart-making Motown recordings of the Temptations, the Supremes, and the Miracles that many of us loved then and still love today. While closing with three rousing Allison tracks with his high energy guitar and fever pitched singing, the highlights may be the six tracks by Sammy Ward whose gospel based soul-blues would have been at home on Stax. A couple of his early 5 sixties tracks, 'Part Time Love' and 'Someday Pretty Baby,' would be revived by Allison (and are on the Allison album). Also of great interest are three wonderful previously unissued selections of New Orleans R&B by Earl King, three rocking Amos Milburn selections, and two tracks each by another soulful singer, Arthur Adams and Little Willie John's sister, Mable John. While those having the rare Motown album, 'Switched on Blues' with have some of the tracks by Ward, Milburn and Mable John, much of the music here is previously unissued.

After his triumphs at various Ann Arbor Blues Festivals and a striking Delmark debut album, Luther Allison landed on Motown where he produced three albums, 'Bad News is Coming,' 'Luther’s Blues,' and 'Night Life.' 'The Motown Years 1972-1976' contains sixteen selections from those three albums, plus a previously unissued live 1972 Ann Arbor Blues & Jazz Festival performance of Little Walter's 'Last Night' (although erroneously credited to Sam “Lightnin” Hopkins). Four tracks are taken from 'Bad News Is Coming' including an outstanding 'The Red Rooster,' 'Cut You A-Loose,' and 'Dust My Broom,' each delivered with the vocal passion of Elmore James and high energy Freddie King styled guitar mixed with some hot slide. 'Luther’s Blues' is represented by nine selections including the slow, burning title track, and a rocking revival of Sammy Ward's 'Someday Pretty Baby. 'These two albums sported smaller bands, whereas the three songs from 'Night Life,' have a bigger studio aggregation that perhaps heighten a focus a bit more towards Luther's vocals. Luther may have aged in the two decades since these came out, but as those witnessing his three hour performances can attest, has lost no energy, enthusiasm, or passion in his music.

The release of Amos Milburn, 'The Motown Sessions 1962-1964' is another valuable reissue. Consisting of remakes of his Aladdin recordings along with some strong new material like 'My Daily Prayer' and 'Don’t Be No Fool,' co-authored by Milburn and legendary Motown producer Clarence Paul, included are seven previously unissued performances including a new alcohol blues, 'I'm Into Wine,' along with a new rendition of 'Chicken Shack Boogie' which is distinguished by the brassy horns, a harp solo by twelve-year old Stevie Wonder and Milburn’s smooth singing over a funky groove. Milburn’s piano here and elsewhere is of the highest order. While Cub Koda notes how more sophisticated Milburn sounds here, those familiar with the Mosaic box of Milburn’s Aladdin recordings will not be surprised by his comfort with ballads as witnessed by the remake of 'Bewildered.' Among the previously unissued titles is a version of 'I Wanna Go Home,' which Milburn co-wrote and recorded originally as a duet with Charles Brown for Ace, although in this case the vocal backing detracts. As Koda correctly notes, these were Milburn’s last significant recordings. Based in Cincinnati he would suffer a series of strokes at the end of the decade, and this writer visited the wheelchair-bound Milburn in the Cleveland Veterans Administration Hospital in May, 1971. He returned to his native Houston sometime after that and recovered enough to record with Johnny Otis for the Blue Spectrum label but those recordings clearly reflected the effects of the stroke. Those who have never heard the rare original Motown album are in for some real pleasures, while the unissued selections break no new ground but certainly will add to the value of this important reissue.

I wrote this review in 1996 although I am not sure what publication (it may have been Cadence or Jazz & Blues Report).

Charley Sayles Has Something to Say

Charlie Sayles liners by Ron Weinstock

Charlie Sayles has come away from playing blues on the Streets of New York and Washington, D.C. Today, he might be found headlining at various Washington DC area clubs like City Blues, or Afterwords, or open at Tornado Alley for Kim Wilson. One might find him at festivals including the Smithsonian Festival of American Folk Life, the D.C. Blues Festival or the Pocono Blues Festival, or he might be at Carnegie Hall for a folk music concert that was part of Carnegie Hall's centennial celebration, In addition to tours of England and Europe, Charlie also has been traveling more in the Northeast United States and recently completed a very successful Canadian tour. While still not a “blues superstar,” Charlie's increasing visibility in great part is due to his first JSP album, the highly acclaimed "Night Ain't Right" that made made many aware of Charlie's highly personal and distinctive blues. Charlie's new album, "I Got Something to Say" will certainly increase the number of Charlie's fans.

Charlie was born January 4, 1948, in Woburn, Massachusetts with his parents moving to West Medford, Massachusetts a couple of weeks later. His parents separated at the age of 2 and Charlie grew up in a succession of surrogate families with music being a main comfort for him. He served in the Army, seeing duty in Vietnam and then Germany. He first picked up the harmonica while in Army. After his discharge from the military in 1971, he found employment opportunities fairly limited, and started traveling around America, visiting cities like Nashville, Atlanta and St. Louis before landing in New York.

While playing on New York's streets, Charlie was filmed for a BBC television show and discovered by Dave Sax who was riding a Broadway bus when he saw Charlie playing on the streets. Sax produced “The Raw Harmonica Blues of Charlie Sayles" for Sax’s Dusty Road label and the 1000 copy pressing is now a rare collector's item. In 1975, the late Ralph Rinzler, organizer of the Smithsonian's Festival of American Folk Life, discovered Charlie and placed him on a New York bill with Pete Seeger and then on a variety of Festival appearances. Rinzler was one of those responsible for Charlie Sayles eventually ending up in Washington, D.C., and making the transformation from a free-wheeling street musician to leader of his own band. In the years since he has been breaking into D.C.’s club scene. It hasn't been easy as he worked small rooms, often for the door, and still played on the street, supplementing his income by teaching harmonica, first to inmates at D.C.’s Lorton Reformatory, and then  to a number of blues enthusiasts.

One of the first times this writer met Charlie was at a harmonica workshop the D.C. Blues Society had organized. He has had the pleasure of seeing Charlie at Washington area clubs like Fins (now Cowboy Cafe South), Afterwords, T.T. Reynolds or 15 Minutes and at a variety of events that the D.C. Blues Society produced, including the D.C. Blues Festival. Charlie launched the Blues Society's 'East of the River' concerts held among community groups in Anacostia part of Washington, and this writer remembers a resident of the housing complex near the park Charlie was playing at came on out and Charlie had him sit in on the melodica with the band. Charlie has never disappointed with his live performances, which includes a sprinkling in of harmonica blues classics from the second Sonny Boy Williamson and Little Walter in addition to his originals. He has garnered not only fans, but friends among the Washington blues community.

Which leads to the present album. Recorded at Solo Studios in Annandale, Virginia, near Washington, it was produced by D.C.’s most celebrated blues artist, Bobby Parker. Parker is another of Charlie's fans and friends and has played with Charlie now and then (for some of us not enough). With Bobby at the helm there is a bit more more body in the mix, and the backing is tighter. Bobby told me that this album takes Charlie Sayles up to another level. The recording may be tighter and cleaner, but Charlie's music maintains its raw edge.

Parker's hand is evident on the opening “I Got Something to Say.” Drummer, Daryl “Slam” Stewart from Deborah Coleman’s band, and bassist Anthony Gonzales, from the band of local R&B legend Phil Flowers, kick off a funky groove reminiscent of Parker's “Bobby-A-Go-Go,” before Sayles enters with some choice harp. Charlie sounds like he is trying to sing with his harp. It's a device frequently he uses beginning a song and contrasts with his solo playing. Another example of this is the intro to “Mississippi Saxophone,” where Charlie plays a riff that presages how he enunciates the phrase “Mississippi saxophone, saxophone.” Dig Deborah Coleman’s guitar on this track.

Charlie’s strongest songs often center around fractured relationships, usually involving someone betraying Charlie's trust like “Two-Timing Woman.” Even when Charlie sings how “I Love My Baby” he includes a plea for his girl to just treat him right. A different type of betrayal is dealt with in “Hey Joe,” which is not the song associated with Jimi Hendrix. Charlie has waiting for this Joe show up and repay the money Charlie lent him. Charlie’s patience is wearing thin and he’s packing some bill collecting gear.

In contrast, a good portion of this album is devoted to getting a funky groove down and getting people on the dance floor. “Mississippi Saxophone,” “Funky Sound,” and Well Now” are examples as the rhythm section get a groove cooking. “Mississippi Saxophone,” has been a favorite of Charlie's recent live performances as he sings about blowing his lonely little horn to make him feel good.

“Zydeco”, Charlie's celebration of the goods times associated with the Louisiana musical genre that has great popularity in Washington, is another high point here. It should be noted that the lyrics are Charlie's impression of zydeco as he does not actually play zydeco music. 22-year old Shawn Kellerman from Kitchener, Ontario, who counts Mel Brown among his influences, provides the hard-edged guitar here.

Also Charlie's harp is featured on two instrumentals, the moody “Little Walter Blues,” and the aptly-titled romp, "Screecher.” They provide additional samples of Sayle’s instantly recognizable harp playing. With only three albums over two decades, Charlie Sayles may not have recorded prolifically. However, he has not wasted his time in the studio. "I Got Something to Say will hopefully allow Charlie to make the next leap as a performer. He always puts out when he performs, just like he does here. He certainly has paid his dues and with his talent and originality, it is time he reaped some rewards.

This is from my draft for the liner notes for this album from 1995 or so. Here is Charlie performing "Zydeco." 

 

Robert Lockwood Jr. | Got To Find Me A Woman

Robert Lockwood Jr.
| Got To Find Me A Woman
Verve

It has been quite awhile since Robert Lockwood, Jr. had a new album, and for it to be on a major label makes it more welcome. There are guest appearances by Joe Louis Walker and B.B. King who each appear on two tracks. One surprise is that Gene Schwarz, Robert's long-time bassist was not on this session, replaced by Richard Smith, along with saxophonist, Maurice Reedus; harmonica player, Wallace Coleman; guitarist Charles ‘D.C.’ Carnes; pianist, Robert ‘Red Top’ Young; and drummer, Jimmy ‘Gator’ Hoare.

While Robert has previously recorded almost all of the songs here, the renditions here sound fresh, whether a solo version of Robert Johnson's 'Walking Blues,' or the band renditions of 'Take a Little Walk With Me' with Joe Louis Walker taking an incisive solo, or 'Little Boy Blue,' which, like 'Walkin’ Blues,' has some nice slide from Lockwood. Lockwood's rendition of Roosevelt Sykes’ 'Feel Like Blowing My Horn' is a duet with Walker, who also plays with Lockwood on the rendition of Leroy Carr’s 'How Long,' one of several tracks to sport some fine harp from Coleman.

Robert once kidded this writer during an interview for not remembering that Johnny Temple's big record was 'Big Legged Woman,' so it is surprising to find the song credited here to Charles Brown, and Johnny & Shuggie Otis. | don’t blame Robert, but rather blame whoever at Verve was responsible for the songwriting credits. Coleman’s harp is particularly outstanding on this selection. The longest track is 'My Daily Wish,' that Lockwood originally recorded with just Otis Spann on piano for the classic Candid album "Otis Spann is the Blues." Reedus, D.C. Carnes and Coleman all stretch out as Lockwood comps behind their solos as well as adding some tasty fills. Reedus stretches out on sax, and D.C. Carnes on six-string guitar with Lockwood comping behind both on twelve-string, as well as adding his characteristic fills.

King plays on the title track. It sounds like King’s guitar was overdubbed over the vocal and band track. This perhaps explains why the backing sounds a touch tentative. King takes the first two and closing solos, while D.C. Carnes takes a crisp, biting solo for the third break. Lockwood always has been a straight-forward singer, who eschewed any gimmicks or histrionics in his delivery. The vigor of his singing belies his years, and he is particularly effective with his casual approach on 'My Daily Wash.'

His off-the-cuff approach also works well on Paul Gayten’s, 'For You My Love' and Memphis Slim's 'Everyday | Have the Blues.' Both performances feature jazzy arrangements with bop voicings and sound very different from Lockwood’s earlier recordings of the songs. The freshness of the arrangements in part explains why Lockwood is so effective in performing songs that generally have become stale in far lesser hands. Lockwood takes fine solos on both tracks, which also showcase excellent piano from Young and saxophone from Coleman, and are perhaps the highpoints in a varied and consistently entertaining disc by one of the true legends of the blues.

This review appeared in 1998 in issue 230 of Jazz & Blues Report. I have made some minor spacing changes. I likely received a review copy from the record company.

Bobby Patterson Second Coming

I have been slow on writing new material, so here is a review from 1997,

Bobby Patterson
Second Coming
Ultrax / Ichiban

Bobby Patterson, who made some recordings for Ronn some years ago, has a new album out on the Ichiban distributed Proud/Ultrax. A singer and guitarist, Patterson’s vocals bear some resemblance to those of Bobby Parker. Patterson has produced a first rate album of modern soul-blues.

He shows himself to be a terrific vocalist as he digs into these songs, most of which are originals dealing with typical lyrical themes of back door men and relationships falling apart. More than one song finds Bobby working and slaving for his woman while it is the other man who gets the thrills. As Bobby sings on the opening "If He's Gettin’ the Thrills", let him pay the bills. Patterson sounds like the relationship just broke-up on "Even a Dog" and "All We Have in Common," standing out.

He also ably handles the philosophical, soulful ballad, "You Can't Steal Something." "Right Place, Wrong Time," is not the familiar song associated with Otis Rush but a Patterson original where he tells the story about going to a party where he finds another man making love with his wife. While Patterson plays guitar, it is not heavily featured here - although there is some nice guitar on "Keep Your Hand to Yourself," which has a nice funky groove as Patterson tells his friend that he doesn’t mind him keeping his eyes on Patterson’s babe, but he better keep his hands to himself. It may be Butch Bonner that is prominent on guitar here. Patterson also is heard on a fine interpretation of the Bobby Bland classic "I'll Take Care of You".

The studio bands heard provide strong backing, and while there is some synthesized strings and vocal choruses employed, they are not employed in a heavy-handed manner, but enhance Patterson’s
fervent, soulful singing. This is one of the best soul-blues releases I've heard recently.

This review originally appeared in the October 1997 (Issue 225) of Jazz & Blues  Report although I have reformatted it into paragraphs. I likely received a review copy from Ichiban. 

 

Jimmy Rushing The Bluesway Sessions

Jimmy Rushing
The Bluesway Collection
Charly (UK)

The present collection from English Charly puts into one double record package, the two ABC-Bluesway albums Rushing recorded in the sixties and these are among his last studio recordings. (He did record a later album for RCA) but show no diminution in his vocals. Ten titles come from a session that the late Oliver Nelson produced and include such notable sidemen as Clark Terry on trumpet, and fellow Basie
alumni Dickie Wells on trombone.

Nelson provided some interesting arrangements with a somewhat modernistic touch trying to provide a more up-to-date sound. Rushing is in heard on some standard fare including a swaggering ‘Everyday I Have the Blues’, "Berkeley Campus Blues" (an updating of “Harvard Blues” from Rushing days with Basie that also was an attempt at topicality with comments on then current student demonstrations and having the Berkeley Blues with Ronnie Reagan around the bend), and “You Can’t Run Around”
which features a nice trombone solo from Wells and some nice playing on the organ.

The remaining sides come from a session that Bob Thiele produced and included Dickie Wells,
tenor saxophonist Buddy Tate (another Basie alumni,) pianist Dave Frishberg, and guitarists Wally Richardson and Hugh McCracken. Rushing is in good form on his classic "Sent For You Yesterday", and their is some fine band work and ancxcellent Buddy Tate solo on "Tell Me I'm Not Too Late”. On
"Crying Blues”, the playing by one of the guitarists and Frishberg behind Rushing is splendid. The last selection "We Remember Pres" is an instrumental tribute to the great saxophonist Lester Young.

In summary, some very rewarding listening that I do not regret buying, and a release that those with a taste for swinging sounds would do well to check out. It is interesting that this was released on Charly as opposed to the sister label Affinity which specializes in jazz releases.

This review dates from 1986 or so when this vinyl reissue came out. I may have written this for Cadence  but am not positive.  You may find this on ebay or similar sources of used recordings. Here is "Everyday I Have the Blues.

I have 'retired' from writing reviews for publication, but I will try to rescue some of my older reviews as well as briefly comment on things that interest me in the blog in the future.