Kurt Crandall - Starts on the Stops - YesterYear Records

Kurt Crandall - Starts on the Stops - YesterYear Records

Kurt Crandall mailed his new CD (I believe his fourth album to me), and after giving it a couple of spins, I checked out his website and discovered he is well-traveled as well as a seasoned performer. Currently living in the Richmond, Virginia area, Crandall has had stops in Kansas City, Washington D.C., Macon Georgia, Chicago, and Seattle. While living in Washington, he played with Jesse James & the Raiders, a band led by the late Jesse James Johnson, who played with Bo Diddley when the music legend lived in Washington.

Crandall has penned five original songs, and three instrumental. He also performs two covers. Two different bands back Crandall's harp and vocals. Guitarist Karl Angerer is on nine of the ten selections. There is a rhythm section of Bill Heid on piano, Aaron Binder on drums, and Rusty Farmer on upright bass on the first five tracks. On the other selections, Reid Doughten plays guitar on four songs with a rhythm section of Johnny Hott on drums, John Sheppard on electric bass, Clark Stern on piano, and Carl Bender on saxophones.

Crandall is a very appealing, unforced vocalist and a gifted harp player who at different times evokes William Clarke, Toots Thielemans, Little Walter, Sonny Boy Williamson II, and Junior Wells. Crandall also crafts some very appealing songs filled with honesty and humor as he leads his musicians in a set that might be described as West Coast Swing, a fusion of classic Chicago blues, West Coast Jump Blues with a dash of Memphis blues blasters. Things kick off with the lively "Skedaddle," with some Williams Clarke-styled chromatic harp, swing band drumming from Binder, and a dazzling, jazz-inflected solo from Heid, who mixes the sophistication of a Teddy Wilson with Junior Mance's funky blues. Heid's piano also shines on "Early Bird Special," a humorous tune centered on food specials some restaurants direct at the elderly. Crandall's Toots Thielemans styled chromatic playing is exemplary. There is some splendid diatonic harp on "Razz My Berries," an easy swinging shuffle. Another instrumental, "Beignets and Coffee," sounds like a variation on "La Cucaracha." After Crandall's harp solo, Angerer quotes Ray Charle's "Mary Ann" in his sterling solo.

With his opening harp solo evoking the second Sonny Boy, Crandall does a solid cover of the Little Willie John hit, "Home at Last," on an arrangement based on Junior Wells version (titled "Country Girl"). This track is one of Doughten's guitar features, and he scintillates here. Musically "Go Without Saying" evokes classic Johnny Guitar Watson recordings with some slashing Angerer guitar and some relaxed singing in the manner of a Roy Milton. After evoking "Sloppy Drunk" while singing about his "Bull Headed Woman," Crandall musically reworks John Lee Williamson's "Blue Bird Blues" as well as modifies some of the lyrics changing references to Jackson, Tennessee to Macon, Georgia.

Another well-paced and played instrumental, "Sidecramp," caps an album that will appeal to anyone who has enjoyed the music of William Clarke, Rod Piazza, Mark Hummel, Little Charly Baty, James Harman, and others in the vein. Kurt Crandall certainly has hit a musical grand slam with this outstanding recording.

I received my review copy from Kurt. This review has appeared in the March-April 2022 Jazz & Blues Report (Issue 401). I made a correction of Jesse James Johnson's name that was wrongly listed in that review. Here is a very recent video of Kurt Crandall performing.

Kenny Parker Hellfire

Kenny Parker
Hellfire
Rock-a-While

Albert King may have sung about the "Cadillac Assembly Line," but Kenny Parker worked at the Cadillac Factory during the day while playing in the bands of Detroit blues artists Mr. Bo (Louis Bo Collins) and The Butler Twins at night. While touring Europe with the Butler Twins in 1996, he caught the attention of John Stedman of JSP Records who recorded his debut recording "Raise the Dead" with The Butler Twins along with harmonica master Darrell Nulisch.

Parker is not the most prolific recording artist as the present album is only his third album. He is backed by his band that includes vocalist and harmonica player Dave Devins, bassist Mike Marshall and drummer James Marcaccio on drums with former Mitch Ryder guitarist Jim McCarty added on six of the 12 tracks). Among others present are keyboardists Bill Heid (who recorded decades ago with Koko Taylor and Fenton Robinson on Alligator) and Chris Codish (who graced the late Johnny Bassett's band). Parker is not a singer but wrote 11 of the 12 songs with the other contributed by Omar Dykes.

This recording is a straight-ahead modern blues date with occasional rock and roll touches. Things get off with a nicely played, relaxed shuffle "I Got My Eye on You" with not only a solid vocal from Devins but a nice harmonica solo with parker and McCarty swapping solos while Heid lays down some rollicking piano. Some funky organ and slashing guitar is present on the funky "Baby Come Back To Me," while there is a deep blues feel to the slow "Blind and Paralyzed," and then some hot rock and roll on "Bye Bye Baby," with Leonard Moon's buoyant piano and McCarty's sizzling slide guitar. The title track is a tough cautionary take of this woman Ruby whose kiss might blow your mind but be the death of one.

"Goin' In Circles," has a lazy, loping Jimmy Reed shuffle groove as Devins sings about going in circles over this woman with Heid pounding the 88s in support, although "Dance With Me" is less convincing in part because of its hypersonic tempo. "I'm Missing You" is a nicely done southern soul lament in the vein of Percy Sledge, while "Half Crazy" is a marvelous rocking blues shuffle. Another slow blues, "Backup Plan" may be the top performance here with Devins' best vocal and some superb playing from both guitarists standing out.

A hard rock, blazing interpretation of Omar & the Howlers topical "Hard Times in the Land of Plenty" robustly closes out Parker's very memorable new recording.

I received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383). Here is a video of The Kenny Parker Band.

 

Steve Guyger's Radio Blues

Steve Guyger’s career playing the blues, including a lengthy stint with the legendary Jimmy Rogers, is reflected in the pictures of him that accompany his new Severn album, Radio Days. As Rick Estrin notes, “Steve Guyger is a true master of Blues Harmonica.” But more important than his virtuosity on the ‘Mississippi saxophone,’ is how deep he is in the blues tradition. As stunning and original a player as he is, he remains embedded in that tradition. 

He is backed by an impressive band that includes Johnny Moeller on guitar, Steve Gomes on bass, Robb Stupka on drums and Bill Heid on piano that provide spare, direct accompaniment that suits Guyger’s no-frills vocals and strong harp. Originals like You’re So Fine and Cool in the Evening, evoke classic Little Walter recordings, while he employs a zydeco groove on the peppy Little Rita, which sports a fine chromatic harmonica solo. He stays on chromatic for a strong deep Blues Won’t Let Me Be, a song that suggests some of the late Carey Bell’s originals. 

Guyger is particularly effective here as a vocalist and blasts a terrific solo, while he also does a credible rendition of Rudolph Toombs, I’m Shakin’, originally done by Little Willie John although Guyger perhaps lacks the vocal authority of The Blasters’ Phil Alvin who placed their mark on this a quarter century ago. Oh Red benefits from the understated accompaniment on this Kansas Joe Mccoy tune that has been covered numerous times. Echoes of Guitar Slim’s Things I Used to Do, can be heard in the melody of I Can See By Your Eyes, although Guyger’s harp and the backing lend a swamp blues flavor suggesting Lazy Lester on a splendid performance, while he sings more forcefully on Muddy Waters’ Let Me Hang Around. 

Overall Radio Days is a release that anyone liking classic Chicago blues will savor. Guyger is a very good singer and a terrific harp player. He is backed here by an excellent band that enhance his performances. 

I received a review copy from Severn Records. I do not believe this review that was written in 2008 was ever published. Here is a video of Steve Guyger performing a Jimmy Rogers number.

Joe Weaver's Baby I Love You So

This image is a customer upload on Amazon and is the picture of Joe on the CD cover.

The recent passing of Johnnie Bassett is the latest of veterans of the pre-Motown Detroit music scene. Another person who passed some years ago was Joe Weaver. I wrote the following review for the DC Blues Calendar and it appeared in the June 2000 issue. I had the privilege of seeing Joe at the Pocono Blues Festival as part of a review at the 2000 Pocono Blues Festival with Bassett and the wonderful Alberta Adams. I have edited out a reference to that appearance that was in the original review and have made some stylistic and other corrections that I missed when this appeared originally. It is still available from Black Magic although some sources may be out of stock.

Joe Weaver is a veteran Detroit musician and songwriter whose group Joe Weaver & the Blue Notes served as house band for Fortune Records. Later Weaver was in the house band at the fledging Motown operation, even touring with the Four Tops. He eventually joined the Ford workforce in secure of a more secure financial footing.

As Johnnie Bassett was able to revive his career, he started introducing audiences to some of his friends including Weaver and Weaver joined Bassett at the 1998 Blues Estaffe in the Netherlands. In Spring 1999, with Johnnie Bassett and company in the studio, Joe Weaver & His New Blue Note Orchestra recorded Baby I Love You So for Black Magic. With Bassett leading the way with his swinging guitar, Weaver gets to sing in a most ingratiating manner with Keith Kaminski’s saxophone, Bill Heid’s piano, Bob Connor’s bass and R.J. Spangler’s drums.

Most of the songs here are Weaver originals from the rocking Do You Want To Work, and Soft Pillow, which comes off like Charles Brown in a jump blues vein. Other songs recall the glory days of 50’s R&B such as Looka Here Pretty Baby, and the nice personalized version of Chuck Willis’ What Am I Living For. Weaver may not be able to match the heights Wilson Pickett of the falcons attained on I Found a Love, but in invests plenty of soul in his performance.

There is plenty of wailing and swinging, jumping and jiving to be heard on this blues recording that also shows what swing is all about.

Alberta Adams - Say Baby Say

While we are still recovering from the news Johnnie Bassett just passed away at the age of 76, the remarkable Alberta Adams wis turning 95 and will be celebrated by the folks in Detroit. The following review is of her second album for the Cannonball label. This review appeared in July/August 2000 Jazz & Blues Report (Issue 246), and her performance at the Pocono Blues Festival, referenced in this review was outstanding. I received a review copy from Cannonball or a publicist. This may be harder to find but her recent recordings are available on Eastlawn Records. Happy Birthday, Alberta Adams. Cannonball has just issued a second album, Say Baby Say, by Alberta Adams, Detroit’s Queen of the Blues. Adams who had a brief recording career a half century ago (she recorded for Chess), shows little sign of slowing down. She’s heard with a tough studio band that includes guitarist Johnnie Bassett, saxophonist Keith Kaminski and drummer R.J. Spangler from Bassett’s band, keyboard whiz Bill Heid, bassist Pat Prouty, alto saxophonist Russ Miller and trumpeter Dwight Adams for a set that is subtitled Life’s Trials and Tribulations According to Miss Alberta Adams. This writer continues to marvel at Bassett and his colleagues’ superb playing, and with the spirited Ms. Adams they have a wonderful personality to support. The music swings hard, and while Adams may lack a bit of the range she likely had a few decades ago, she still has a way of delivering a lyric. Her vocal approach is not that far removed from her contemporary, Ruth Brown – and this writer would point to We Ain’t Makin’ Honey as an example of this, with her rap towards the song’s end about not having enough money being not too far removed from a recording by Brown. This is one of her albums on the Detroit Eastlawn label. The cover photo was taken by me at the 2000 Pocono Blues Festival. Keith Kaminski gets featured as Adams exhorts him to “play me some blues, not so slow, please mr. sax man, blow man blow …” on the jump number Sax Man. She takes things down in the alley on I Cried My Last Tear, while Bassett kicks off Don’t Worry Me in a T-Bone Walker vein on a track that also lets Bill Heid showcase his blues playing. Heid and Adams contributed Everybody Got Their Hand Out, an Adams rap about everybody wanting something from her. With support from a slow, funky groove, some boppish horn parts and jazzy playing from Bassett, Nothing More to Stay, is a vocal duet with Bassett on a Heid written blues ballad with Kaminski featured again on sax. On Say Baby Say, Alberta Adams sings with authority and believability, and is backed by as good a band as one will find anywhere, resulting in another superb album for Miss Adams. Alberta Adams will be appearing with Johnny Bassett and Joe Weaver at this year’s Poconos Blues Festival, and is one of those acts that are not to be missed. Here is a video of Alberta in performance.

Bill Heid shines on jazzy blues piano set.

“You Know I Can’t Reuse: The Bill Heid Sessions,” (Eastlawn) is one of those discs that straddle the blues and jazz categories, so unfortunately sometimes get lost in the mix of new recordings. Drummer RJ Spangler is one of those musicians who has championed the swinging blues and rhythm pioneers of his native Detroit as well as providing solid, idiomatic support that helped revive the careers of such folks as Johnnie Bassett, Detroit’s Blues Queen Alberta Adams and the late Motor City legends as Joe Weaver, Stanley Mitchell and Kenny Martin. RJ tours with his Rhythm Rockers and plays in different combos such as RJ Spangler’s Blues Four which reunites him here with Bill Heid, one of the unsung blues and jazz keyboard players of the past thirty-five odd years. The Pittsburgh native has lived in Chicago for several years where he was on Alligator recordings by Koko Taylor, Fenton Robinson and Roy Buchanan. He later recorded for a variety of labels including several excellent organ recordings for Savant as a leader, in addition to recordings by Johnny Bassett and others for Cannonball. He lived in Detroit for about two decades developing a bunch of followers including RJ and played a major role in helping getting Johnny Bassett some international exposure. More recently, he has been part of the Baltimore and Washington jazz and blues scene. This new disc that RJ Spangler produced has Pat Prouty on string bass and Keith Kaminski on saxophone with Johnnie Bassett adding his guitar to several selections.

As the disc's subtitle suggests, Heid is the focus here. Heid plays piano and handles the vocals on a set of jazz-inflected blues or blues-inflected jazz. A good part of the 11 songs here derive from the repertoire of such jump blues legends as Floyd Dixon and Jimmy Witherspoon although it opens with a rollicking rendition of Sonny Boy Williamson’s “Ninety Nine,” with Heid’s Amos Milburn-Floyd Dixon inspired boogie piano complementing his unforced off-the-cuff vocals embellished by Bassett’s nice solo. Dixon’s “Red Cherries,” is a sophisticated uptown number with the, “Cherry a day will keep the doctor away,” has him singing about the fun in getting cherry juice on his tongue. Next is another Dixon classic, though more in the Charles Brown-Little Willie Littlefield vein, “Baby Lets Go Down to the Woods,” as Bassett’s guitar conjures up Oscar Moore. The tempo picks up for Leiber-Stoller’s “Too Much Jelly Roll, a popular part of Jimmy Witherspoon’s fifties repertoire. While he can’t shout the blues like Witherspoon, Heid’s delivery appeals in its own fashion on Spoon’s “Failing By Degrees,” with the down-in-the-alley piano ably supported by Prouty’s bass and Spangler’s brush work. Heid's “Boogie For Mr. B.” is a fine original boogie woogie. Heid’s piano also adds a fresh feel to the Joe Turner and Pete Johnson classic “Piney Brown Blues,” with Kaminski telling his bluesy story on tenor sax, while Jimmy Witherspoon’s “Times Getting Tougher Than Tough,” gets rollicking piano along with Kaminski’s tenor sax punctuation. The title track, originally by Detroit’s Five Dollars backed by Joe Weaver & the Blue Notes, has a tasty rumba groove while Johnny Bassett, who played on the original, adds his guitar here.

RJ, in the album notes, mentions outside of Bill’s original boogie, these are songs that Bill would play with RJ and the cats iover the years but had never recorded. I add that none of these numbers have been done to death. In any event, Heid adds his own inflections to his performances making for a set that should appeal to fans of jazz and blues, and artists like Jay MacShann, Charles Brown, Floyd Dixon, Amos Milburn and Mose Allison who defy category borders. Kudos to Spangler for putting together such an strong session. It is available at cdbaby.com and bluebeatmusic.com, to name two of the sources listed on http://eastlawnrecords.com.