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).

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.

Alligator Records--50 Years Of Genuine Houserockin' Music

Various - Alligator Records--50 Years Of Genuine Houserockin' Music- Alligator Records

Alligator Records is celebrating its 50th Anniversary this year and, as it has in past years, compiled, 40th Anniversary Collection, a three-CD compilation of 58 recordings from the label since it released Genuine Houserockin' Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label. However, he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition. There is also a double LP vinyl edition with twenty-four selections.

Given the diversity of contents and the purpose of this collection, it is not my intent to review the contents here. I suspect folks will find selections they don't like and others they think are timeless. Besides celebrating Alligator Records history, this compilation hopefully will introduce some of the artists and recordings that some may be unfamiliar with. There are vintage selections from Koko Taylor, Hound Dog Taylor, Son Seals, Fenton Robinson, and Albert Collins. Also, there are contemporary acts like Michael Burks, Tommy Castro, Shemekia Copeland, and Selwyn Birchwood. 

There is a selection from the Grammy Award-winning collaboration between Albert Collins, Johnny Copeland, and Robert Cray, a track from Professor Longhair, a live Luther Allison track, a selection from Saffire-The Uppity Blues Women, and a duet between Corey Harris and Henry Butler. Other performers represented here include Guitar Shorty, Billy Branch, Joe Louis Walker, Janiva Magness, JJ Grey & Mofro, Tinsley Ellis, and Coco Montoya. Also, many of the recent albums on Alligator are represented, including tracks from Chris Cain, The Cash Box Kings, Curtis Salgado, The Nick Moss Band featuring Dennis Gruenling, Toronto Cannon, Rick Estrin & The Nightcats, Elvin Bishop & Charlie Musselwhite, and Roomful of Blues.

In addition to his overview of Alligator's history, label head Bruce Iglauer provides short bios of the various acts. I believe his concluding comments to the liner notes states things very well, 

"Today, after 50 years, Alligator remains proudly independent and still 100% dedicated to Genuine Houserockin' Music. With a roster that includes beloved veterans like Marcia Ball, Lil' Ed & The Blues Imperials, Elvin Bishop and Roomful Of Blues, rising stars like Selwyn Birchwood and Toronzo Cannon, and the 22-year-old sensation Christone "Kingfish" Ingram, we are committed to the past, present and future of the tradition. Now that illegal downloading has been replaced by digital streaming services reaching around the globe, Alligator's music can be heard in China, India, and across Africa, and in other countries where it was never available in physical form. Hound Dog Taylor & The HouseRockers would be amazed to see what happened to the tiny record label, now with over 350 releases, that was created to bring their music to the world. They'd be thrilled to know that billions of people can now discover the joyous houserockin' blues that they played every Sunday at Florence's Lounge."

"Alligator Records-- 50 Years Of Genuine Houserockin' Music" is a vibrant celebration of the impressive (and still growing) body of music produced by Alligator Records and Bruce Iglauer.

Alligator Records provided a download to review.

Eugene 'Hideaway' Bridges - Man Without A Home

Eugene 'Hideaway' Bridges - Man Without A Home - Armadillo

Another new album on Armadillo is Eugene 'Hideaway' Bridges, Man Without a Home. This writer is not familiar with Bridges, but this is apparently his second album, but he is among the younger blues-soul singer guitarists, and I suspect he is from around Memphis. Produced by Bridges with former DC Blues Society President Michael Roach, this is a terrific disc that merits wider exposure as he writes and sings about the heartaches and joys of the male-female relationship. 

Bridges recounts how he Used to Sing Love Songs with bright brassy horns backing his vocals and clean, fleet guitar playing, but now all he sings is the blues, the rocking shuffle that opens this disc. If I was going to compare him to other bluesmen, I might suggest Bridges is a bit more vocally intense version of the late Mighty Joe Young or Fenton Robinson. One can hear more than a touch of Sam Cooke in his gospel-rooted singing. You're Gonna Miss Me is a walking tempo blues with a down-home groove, Bridges' declaration he is a Bluesman borrows a bit from the Isley Brothers' Fight the Power, while he takes the tempo into the alley on the slow blues where he feels so alone like a Man Without a Country, Man Without a Home. 

Movin' and a Groovin' is one of two numbers associated with Sam Cooke, the other being the ballad I'm Fallin' In Love, and Bridges' vocals evoke the legendary soul giant. He is that good a singer. I'll skip the track by track analysis except to note that the band is really solid, Bridges' fluid fretwork is a delight throughout, and the horns add punch and musical coloring behind his powerful performances,

I believe I received a review CD from Armadillo, This review originally appeared in the June 2002 DC Blues Calendar, although I have made some minor edits to the original review. Amazon shows copies of this CD, new as well as used, as being available. It is available on streaming platforms. Here is Eugene 'Hideaway' Bridges performing.

Kid Ramos/ Bob Corritore Phoenix Blues Sessions

Kid Ramos/ Bob Corritore
Phoenix Blues Sessions
SWMAF Records/ Vizztone

This album is one of three new releases from harmonica player and blues producer Bob Corritore's vaults. These are sessions from the late 1990s to the early 2000s that were initially released as a benefit album for Kid Ramos in 2012 when he had a cancer scare. It has been revised, remastered, and reimagined for a commercial release. Included are previously unissued material, new mixes of material, and alternate takes. Besides Ramos on guitar and Corritore on harmonica, Chico Chism is on drums throughout. Chico sings on one track. Other singers here include Nappy Brown on two songs, Henry Gray on four (he plays piano on five), Chief Schabuttie Gilliame on two, Big Pete Pearson on two, and Dr. Fish on one. Other players include Johnny Rapp on guitar or mandolin, Paul Thomas on bass on all but one song, Mario Moreno on bass on one, and Tom Mahon on piano for six.

There is plenty of straight-forward and noteworthy performances starting with an exceptional shuffle rendition by Nappy Brown of Walter 'Lightnin' Bug' Rhodes' "Aw Shucks Baby," with the Kid laying down an easy rhythm accompaniment as Henry Gray rocks the ivories. In contrast to Nappy's blues shouting, he takes a more relaxed folky vocal on Smokey Hogg's "Baby Don't You Touch My Clothes." Kid Ramos is more prominent with some slashing guitar backing Henry Gray's vocal on "Come On In." I am not familiar with Dr. Fish, but he is outstanding singing Eddie Boyd's "24 Hours." Corritore is terrific on chromatic harmonica while Kid Ramos plays some jazzy single note fills. Henry Gray returns for a first-rate rendition of Elmore James' "I Held My Baby Last Night." Gray is upfront with Kid Ramos' guitar in the background as he channels some of Elmore's accompaniments to Willie Love and Sonny Boy Williamson. Gray also enthusiastically revives Hot Lips Page's "They Raided The Joint," and the easy rocking shuffle "Talkin' Bout You."

Big Pete Pearson's cover of Albert King's "Natural Ball" is taken at a more relaxed pace than King's original, with Kid Ramos adding drive to the groove with his playing. Kid Ramos' stunning Muddy Waters styled slide guitar is present on Pearson's reworking of Little Milton's recording "Possum in My Tree." Pearson takes this strong soul-blues and makes it an intense Chicago blues for one of this album's highlights. Chico Chism handles the vocal on an imaginative rendition of "Mother-in-Law Blues," as Kid Ramos channeled Willie Johnson and Calvin Newborn. It is a sterling performance taken at a much slower tempo than the song is usually performed at. Chief Schabuttie sings "No More Doggin'" with a hoarse, graveling vocal set against a chugging groove. Kid Ramos adds some stunning playing to Schabuttie's "Snake Crawls at Night" that closes this disc.

Blues lovers will enjoy this collection of very entertaining traditional ensemble blues, and for those, like me, who missed the original release will welcome this edition.

I received my review copy from Vizztone. Here is a performance by Bob Corritore and Kid Ramos but not from this album.

Elvin Bishop & Charlie Musselwhite 100 Years of Blues

Elvin Bishop & Charlie Musselwhite
100 Years of Blues
Alligator Records

The title of this first full album by blues veterans Elvin Bishop and Charlie Musselwhite refers to time playing blues if one added their careers together. It was also a selection that the two recorded together on one of Bishop's Big Fun Trio albums, which is reprised here. Bob Welsh on piano and guitar joins them, with Kid Andersen playing bass on four selections. The result is an album with has a loose back-porch party feel of Bishop's recent Big Fun Trio recordings.

The loose jam fell starts with Bishop's party celebration of the blues "Birds of a Feather." Even though there is no drummer present, the performances are rhythmically dynamic. Musselwhite plays his harp with a robust, full-bodied tone. His vocals sound a bit more upfront than some of his recent recordings . He does credit to Roosevelt Sykes' "West Helena Blues" with Welsh on piano. "What the Hell" is a topical blues that was issued on the Alligator "2020 Blues" sampler. "Good Times" is a solid Musselwhite original with Bishop channeling Robert Nighthawk while Charlie ponders about where did all our good times go.

Bishop does an atmospheric cover of Leroy Carr's "Midnight Hour Blues" with Musselwhite contributing some harmonica to contribute to the performance's mood. Musselwhite's "Blues Why Do Worry Me" is a rowdy Chicago shuffle with Welsh adding sterling piano, while Bishop's "Chicago Slide" sounds like a nicely played reworking of Thelonious Monk's "Blue Monk." This recording's highlight may be Musselwhite's "Blues For Yesterday," a nostalgic recollection of "when times were tough, but we had fun." The album closes with the new recording of the title track as they recollected about the Chicago of five decades past when they were first coming out.

The recording of a drummer-less Chicago blues recording is not unprecedented. Listening to this, I thought of some of Norman Dayron recordings (often issued on Testament) by Johnny Young, Otis Spann, and others that often were without drummers. Like those recordings, there is plenty to enjoy here. Bishop and Musselwhite sound like they had a blast recording this, and folks will have one listening to it.

I received a download to review from Alligator Records. Here are Elvin and Charlie performing Tampa red's "Don't You Lie To Me" from February of 2020.

Take 5 With Lonnie Johnson

Last week I had a short playlist of some of Lonnie Johnson's recordings as the featured artist. This week we have him with other performers.

First up we have him performing with Louis Armstrong. Here is Mahogany Hall Stomp.

Next up is a duet with Eddie Lang, Midnight Call Blues.

Lonnie also recorded some popular duets with some of the early women blues singers like Clara Smith. Here they are on You're Getting Old On Your Job. Alex Hill is the pianist.

Another early woman singer Johnson recorded duets with was Victoria Spivey. Here they are heard on. Here is "Lonnie Johnson & Victoria Spivey - You Done Lost Your Good Thing Now Pt. 1.

 We close this playlist with Lonnie Johnson accompanying Texas Alexander on Deep Sea Blues.

Vintage Ichiban Blues

It's impossible to keep up with the entire range of Ichiban's releases. Among those of recent note is Sonny Rhodes' latest, Livin' Too Close to the Edge; part of the label's Wild Dog series. This is a tasty morsel finding Rhodes playing both standard and lap steel guitar, and singing in a soulful fashion, while backed by a solid band. Rhodes is particularly impressive on the lap steel, and his old
friend L.C. 'Good Rockin' Robinson would be proud. Rhodes took up the steel guitar as a tribute to Robinson. Material is pretty standard fare with a nice reworking of Jimmy Rogers' You're the One (although wrongly credited to Clarence E. Smith), and Santo and Johnny's pop hit, Sleep Walk (again not properly credited). This is one of the better recent releases to come from Florida's King Snake Studio.

Cleveland mailman Travis Haddix is a double threat as a songwriter as well as a soul-blues vocalist, with Artie 'Blues Boy' White being among those who have recorded his songs. His latest Ichiban release, What I Know Right Now is a solid strongly sung set of soul and blues.With Haddix, the songs are as interesting as his performances. There is the nice moody blues, Strange, with its effective (yes, effective) use of synthesizers, his soulful ballad Getting By With a Lie, and the salacious Jawbreaker. He displays as much wit and soul in his singing as his lyrics. Very solid production from Bryon Cole and the the Kala studio band who, with productions like this, give Malaco Records a good run for the money.

Another recent Ichiban release is Chick Willis' Holdin' Hands With the Blues. While a guitarist, Willis doesn't play here. Like the Haddix album this is a solid contemporary soul-blues date with memorable tracks including the title track (a potential blues anthem written by Denise LaSalle), a deep in the gut rendition of Ernie Johnson's You're Gonna Miss Me, the rocking and funky Heaven to
Betsy, his One Slick Woman, a someone's been in my bed song with nice slide guitar, and the closing ballad, I'm Only Guilty of Loving You. This is a real fine album that shows Willis is capable of doing far more than recycling Stoop Down Baby.

This review originally appeared in Issue 172 of Jazz & Blues Report in 1992. I likely received review copies from Ichiban or a publicist. I believe the three releases may still be available, used if not as new,

Take 5 - It Hurts Me Too

Today's Take 5 playlist is devoted to the blues classic "It Hurts Me Too."

We start with Tampa Red's recording.

Among the most famous recordings of this song was that by Elmore James.

Next up is Junior Wells with Buddy Guy on guitar.

I just discovered this amazing rendition from Jimmy Nolen who may be better known for his time with James Brown.

We close with a terrific version by Luther Allison.

Take 5 With Catfish Blues

Today's short playlist is devoted to several renditions of "Catfish Blues," a song first recorded by Robert Petway in 1941 although Jim Jackson's "Going To Kansas City (Part 3)" contains a couplet that would be the core of subsequent versions of the song including songs by Muddy Waters and Eddie Taylor. It was a theme that would also be covered by Jimi Hendrix and Government Mule. We start with Petway's classic recording.

Muddy Waters' song, "Rolling Stone" is derived from Petway's recording.

Another derivation of "Catfish Blues" is Eddie Taylor's "Stroll Out West." While he recorded it (I believe) Vee-Jay, here is an acoustic rendition for The album "I Feel So Bad."

K.C. Douglas was a Mississippi blues artist who moved to the San Francisco Bay area. Here is his rendition.

To close this playlist, we have an electric band version from Elmore James disciple, Johnny Littlejohn.

I can easily do a set with five more renditions, but that will wait for another day.

Avey Grouws Band The Devil May Care

Avey Grouws Band
The Devil May Care
Self-produced

Based in the Quad Cities of Iowa and Illinois along the Mississippi River, the Avey Grouws Band has developed quite a following since vocalist Jeni Grouws, and guitarist and vocalist Chris Avey met at a Blue Jam. The band has competed in 2018 and 2020 at the International Blues Challenge in Memphis, and both times made it to the semi-finals round. Grouws and Avey are joined by Bryan West on drums, Randy Leasman on bass, and Nick Vasquez on keyboards.

"The Devil May Care" is the band's first album, and Avey and Grouws wrote all ten songs which include some straight blues as well as bluesy rock with some roots touches. Several things stand out about this band and recording. First of all, Jeni Grouws catches one's attention with her unforced, grainy, expressive singing. Avey is a firsthand-rate guitarist who displays restraint as well as imagination. The rhythm section also stands out with crisp, tight backing. Finally, there is a nice variety of originals from deep blues to some light-hearted party blues that showcase their talents.

There is the boogaloo funk of the opening "Come and Get This Love" and the title track with Grouws singing about how her lover's touch makes her sanctified. "Rise Up" is a call to action to make things right set against a groove this writer finds evocative of the Neville Brothers. "Long Road" has a southern rock feel while "Let Me Sing My Blues," is a nice blues-rocker where she tells someone to let her take care of her own problems. it is played and sung at a relaxed, walking tempo with a nice piano solo. "Dirty Little Secret" has a melodic line that evokes "Who's Been Talkin'," and "Black Magic Woman." Grouws pours everything into her vocal while Avey's solo displays his effective use of tone as well as his skill in building a solo. It is followed by a solid slab of rock and roll, "Dig What You Do," Grouws shares vocal with Avey, who takes a concise, crisply played solo.

Horns are added to the jazzy "Two Days Off (and a Little Bit of Liquor)," with a sly lead vocal and nimble, jazz-tinged guitar as Grouws sings about having a couple of days off from work with a little bit of liquor to help pass the time. It is the closing selection on a most entertaining blues and blues-rock CD.

I received my review copy from a publicist. This review originally appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here the Avey Grouws Band perform "The Devil May Care."

Take 5 - Going Down Slow - Songs of illness and death

Given the devastation and disruption caused by COVID-19, today's Take 5 presents five songs with the theme of disease and death. We start with Victora Spivey's classic recording about TB, "T.B. Blues." John Erby is on piano and Lonnie Johnson on this 1927 recording.

Josh White recorded "Silicosis is Killing Me," under the name of Pinewood Tom.

Memphis based bluesman Big Lucky Carter recorded "AIDS Is Killing Me," about a recent plague.

While some folks equate COVID-19 with the seasonal flu, COVID-19 is worse. But the Flu itself is a dangerous virus as Albert Collins sang  in "Dyin' Flu."

Next up to close out this Take 5 is the original recording of the classic blues about dying from a disease, "Going Down Slow," by St. Louis Jimmy.

More Take 5 With St. James Infirmary.

This is a second short playlist of versions of the classic American song, "St. James Infirmary," to follow up on the initial list presented last Saturday.

We start with a version from George E. Lee & His Orchestra. Lee was the older brother of Julia Lee who became quite popular as a pianist and vocalist.

One of the great New Orleans trumpeters to come out of New Orleans after Louis Armstrong, Henry 'Red' Allen performed this song while touring England with the Alex Welsh band. Incidentally, Allen was with King Oliver's Band when this was recorded in 1930 under Oliver's name.

There have been so many great recordings from this from the likes of Eric Burdon, Lou Rawls, and Van Morrison. In this vein we have Tom Jones and Rhiannon Giddens singing it.

Next up is the great James Booker.

There are so many other choices I could have chosen including solo acoustic renditions from Josh White Snooks Eaglin,  Doc Watson or Dave Van Ronk. Other versions I might have selected include those Trombone Shorty at the White House, various Brass Bands, Preservation Hall Jazz Band, Dee Dee Bridgewater, or Cassandra Wilson. To end this playlist though I have selected Jon Batiste & Stay Human from the 2018 New Orleans Jazz & Heritage Festival.

Blues Meets Girl

Blues Meets Girl
Bad Inglish Records

Blues Meets Girl is a duo comprised of British born bluesman Stephen Inglish, aka Mr. Downchild and Texas Born singer Kasimira Vogel. I am familiar with Mr. Downchild and believe I reviewed his album, "They Call Me Mr. Downchild" in 1994. He was mentored and praised by Robert Lockwood Jr., who appeared on "They Call Me Mr.Downchild" along with Sam Carr. He has recorded and released several albums since which received critical acclaim. He first met Kasimira at a festival in 2012, and a couple years later, they formed Blues Meets Girl.

On this eponymously titled recording, they are accompanied by guitarist Sean Carney, Scott Flowers on drums, and Ray Deforest on bass with Mr. Downchild on harmonica, guitar, CBG, and stompbox besides his vocals. With one exception, Mr. Downchild and Kasimira wrote all the songs. The music is mostly straight-forward Chicago styled blues starting with the opening "Nightgown." With a guitar riff evoking "Twine Time," Mr. Downchild sings vigorously about his new relationship joined in by Kasimira. Carney has a solid guitar solo, followed by Mr. Downchild's powerful harmonica. Downchild's singing also impresses or the driving rock'n'roll flavored, "Didn't See It Coming." I am not overwhelmed by Kasimira as a blues singer, although one can't fault her pitch or phrasing. I suspect she would be better suited to singing jazz or sophisticated adult pop. Still, the solid shuffle backing on "Listen Here Boys" provides a definite appeal to her singing. Her singing shows more personality on "Oh Baby," and thankfully, she never comes across as a screamer or shrill. Your ears might disagree, but I suggest her vocal on "Special Man," with jazzy backing from Carney, suggest how good she would be singing jazz.

I believe Mr. Downchild is playing the 12-string guitar on a couple numbers, including "Backstabber," where his playing suggests Leadbelly. He also adds hearty-sounding rack harmonica on this. "Snapshot," with a Howlin' Wolf evoking backing, is an intriguing performance with a whispered, almost talking, blues from Kasimira. "Home To My Baby" has an excellent vocal from Mr. Downchild set against a swamp-blues, rumba groove. Carney's solo displays his concern for tone and his restraint. Another rendition of this song is taken as a Chicago blues shuffle with Downchild blowing amplified harp. It is a bonus track for the CD. Sean Carney composed the swinging instrumental "Swinging With Hank," a scintillating feature for his imaginative, jazz-tinged playing.

Despite 'my' reservations of Kasimira's vocals, overall, there was plenty to like about "Blues Meets Girl." Mr. Downchild continues to show why Robert Lockwood, Jr. once said, "Son, I knew you was good but … I didn't know you was "That Good!" Sean Carney is superb, and the rhythm section excellent. This is a marvelous Chicago styled blues recording.

I received my review copy from a publicist. This review originally appeared in the November-December 2019 Jazz & Blues Report (Issue 387). Here is "Nightgown," from this recording.

Take 5 with Holiday Blues Music

This week I am not focusing on any specific performer, but rather a short playlist of holiday based blues.

We start with Blind Lemon Jefferson with Christmas Eve Blues.

 Next up is Louis Jordan with Santa Claus, Santa Claus.

Arguably the most famous blues associated with Christmas is Charles' Brown's, Merry Christmas Baby. Here is a live performance of Charles and Bonnie Raitt.

Here is Mabel Scott with Boogie Woogie Santa Claus.

 
Finally, one of my favorite recent holiday blues is Eddie C. Campbell's Santa's Messing With the Kid.

Happy Holidays everyone.

Tony Holiday Porch Sessions

Tony Holiday
Porch Sessions
VizzTone

I am not familiar with harmonica player Holiday and guitarist Landon Stone, but the two have been traveling around the country, playing with and recording with a variety of blues folks. With Kid Andersen adding his bass, they ended up with this enjoyable recording with 13 tracks. They hook up on this recording with such artists as Charlie Musselwhite, James Harmon, John Nemeth, John Primer, Bob Corritore, Kid Andersen, Aki Kumar, Rockin’ Johnny Burgin, Kid Ramos, and Mitch Kashmar for a collection of enjoyable, informal blues performances.

Holiday is on harmonica on these tracks but is glad to have others take the spotlight starting with James Harman's whose amusing shuffle "Pickpocket Fingers," has a fine vocal and Kid Ramos adds his guitar. Holiday takes the harmonica chair on Harman's excellent vocal on "Special Friend," while he and Holiday both are heard on a nice country blues styled shuffle, "Goin' To Court." Bob Corritore adds harp behind John Primer's superb Muddy Waters' styled blues "They Call Me John Primer," with a terrific vocal and slide guitar in the vein of Waters with whom Primer played with. Primer also sounds terrific on Howlin' Wolf's "Tell Me Baby" with Corritore wailing on harmonica. Jake Friel sings gruffly on "A Woman Named Trouble" with John Nemeth adding harmonica along with Holiday. Nemeth takes a strong vocal on "Blues Hit Big Town," with Holiday's harmonica taking the tune out.

Aki Kumar sings on "That's All Right" with Charlie Musselwhite and Holiday also on harmonica. Rockin' Johnny adds his guitar on this entertaining, informal jam of a blues classic. It's like the other performances, fun and very entertaining if not classic. Holiday is an able singer as displayed on "Three Way Party" where the third person at the party is a bottle of Jim Beam with Mitch Kashmar and Ronnie Shellist both adding harmonica accompaniment and solos. Rockin' Johnny adds atmospheric guitar behind Holiday on "Coin Operated Woman," a nicely sung humorous lyric. "Hip To It" is a harmonica trio with some intriguing interplay between Kashmar, Shellist and Holiday.

While most of the recording is of Chicago styled blues, the closing track is a small group rendition of an old Bobby Bland number, "This Time I’m Gone For Good," that the late Johnny Adams recorded on his final album. William G. Kidd, a blue-eyed soul-blues singer, who is originally from Virginia, is excellent on this with Ronnie Shellist on harmonica. It is the highpoint of this CD along with the Primer tracks, but the level of these informal recordings is high. One does wish that the packaging provided more detailed information on who was doing what on each selection, and also that Holiday showcased himself up front a bit more, but few will listen to this and not be highly entertained.

I received my review copy from VizzTone. Here is one of several videos from Tony Holiday's Front Porch Sessions, Ali Kumar singing "That's All Right" with Charlie Musselwhite and others on Musselwhite's Front Porch.

 

Paul Oscher Cool Cat

Paul Oscher
Cool Cat
Blues Fidelity

In his liner notes to "Cool Cat," Paul Oscher notes his long friendship with the late James Cotton including unexpectedly moving three doors down from him when Oscher moved to Austin from Los Angeles in 2012. After mainly doing out of town gigs, he tells how he started playing with his neck rack, guitar, and mic at a BBQ place, but after several months the property the place was on was sold to a developer. Then he started playing at another club, and after trying his solo gig, he started playing with a five-piece band that included Mike Keller on guitar, Corey Keller on drums, Sarah Brown on bass, and Tommy Robinson on sax. They are heard behind Oscher, except for Corey Keller, on this new release. Others heard include bassist Johnny Ace, drummer Russell Lee, guitarist Mike Schermer, Tomas Ramirez on tenor sax, Russell Lee and Lavelle White on vocals, Kid Andersen on bass and June Core on drums.

Oscher is mostly heard playing piano but also heard on guitar and harmonica in addition to his singing and contributed an intriguing set of originals except for a cover of "Rollin' and Tumblin'" credited to Muddy Waters. It is a well-played mixed set of performances opening with a bit of New Orleans flavor, "Money Makin' Woman," where he displays his piano chops and ability as a singer. "Blues and Trouble" is a strong, slow blues that displays the influence of Otis Spann on his piano (and vocal) with Mike Schermer contributing solid guitar fills, while "Hide Out Baby," is a rocking shuffle with him playing guitar and neck rack harmonica with interplay between his guitar and that of Schermer and then a strong harmonica solo. "Work That Stuff" finds his harmonica in a Sonny Boy Williamson II mode with a spare, effective backing.

He does a monologue (some amusing storytelling) that is a prologue to the title track that leads into a jazz quartet performance of the title track with saxophonist Ramirez standing out on a diverting performance. This group is also present for the brief "On the Edge," where Ramirez again stands out. Russell Lee recites Oscher's poem "Mississippi Poem," before Lee's spoken vocal "Ain't That a Man," Oscher's tribute to James Cotton backed by Oscher's guitar and Keller's bass line. Lee also sings strongly on "Poor Man Blues." Miss Lavelle White is featured on "Dirty Dealin' Mama," set to a "Hootchie Kootchie Man" groove, authoritatively belting out the lyric.

A more extended, R&B rendition of the title track showcases Robinson's gritty sax closes an entertaining recording by a very cool blues cat.

I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382). Here is Paul on slide guitar performing Muddy Waters' "Honey Bee."

The Lucky Losers Blind Spot

The Lucky Losers
Blind Spot
Dirty Cat Records

This is the third recording by the San Francisco band fronted by singers Cathy Lemons and Phil Berkowitz (who also plays harmonica), backed by the core and of Ian Lamson on guitars, Chris Burns on keyboards, Endre Tarczy on bass and Robi Bean on drums. Kid Andersen, who produced this at his Greaseland Studios with Lemons and Berkowitz, adds his guitar to several tracks while other guests include guitarist Laura Chavez, saxophonist Nancy Wright, and violinist Annie Staninec. All the songs are originals by the two, mostly in conjunction with one-time Charles Brown guitarist Danny Caron.

Blues and classic soul are infused in these eleven rocking originals which display the strong vocals and ensemble playing of the prior recordings. There is plenty of solid, danceable grooves and plenty of treats in the backing whether the vocal duet on the opening "It's Never Too Early," with sound effects and solid harmonica. Laura Chavez adds her shattering guitar break behind Lemons' vocal on "Take the Long Road." There is a nifty lyric along with deep riffing horns on "Alligator Baptism" with a fine Berkowitz vocal against an insistent groove, a striking Kid Andersen solo, more solid harmonica. It is a performance that oddly suggests Sheryl Crow to this listener, perhaps because of the casualness that the vocal is delivered.

Lemons' "The River" has a swampy feel behind a pleading vocal with Lamson on slide guitar. "Supernatural Blues" has hints of Sonny Landreth's "Congo Square," and is an original twisting rocker with more shattering Chavez guitar and a nice harmonica solo, "Make a Right Turn" has a country-cajun feel with Staninec's violin standing out along with the strong singing here with Lemon being particularly robust.

The other songs all have their own charms and hooks with "Last Ride" standing out with Andersen's carefully employed sound effects adding to the atmosphere behind Lemons' vocal while "Love is Blind" has a swampy blues feel with Andersen adding a taut solo followed by Berkowitz's crying harp. "Blind Spot" is another fine recording from The Lucky Losers with fresh material, wonderful playing and first-rate vocals.

I received my review copy from a publicist. Here are the Lucky Losers in performance.

Roger Girke Featuring The Wandering Souls Silver Lining

Roger Girke Featuring The Wandering Souls
Silver Lining
Teletone Records

This is the 5th album by Girke, a popular singer-guitarist-songwriter in the Mid-Atlantic. His Wandering Souls include Glenn Ferracone (he also co-produced this with Girke) or Andrew Haley on drums; Bennett Sykes on bass; Tam Sullivan on keyboards; and Dan Gutwein on sax. On a couple tracks Bill Schilling guests on organ and Sykes and Gutwein sit out, on one selection it is a trio with Ferracone on drums and Jimmy Pritchard on bass, and on one selection a trio of horns replace Gutwein.

Girke impresses throughout these nicely played and paced performances. He contributed the twelve originals that resonate with the listener with the memorable lines. There is also Girke's honest, straight-forward, wholehearted vocals, and his lean, sinewy guitar playing. Certainly this is evident on  the opening "Gas and a Match," with its funk groove and touches of Albert King. Here he sings about us burning so hot and other times we don't care. The title track is a relaxed shuffle with more potent guitar as he sings about the silver lining in every dark cloud. "Wandering Soul," has some rock-tinged slide guitar in the backing as Girke sings about inability to hold a woman while wanting to touch her so bad. His spare playing and short, cutting solo are most effective.

Tam Sullivan on piano and organ adds a touch of Crescent City flavor to "Shake It." Shilling is on organ and Sullivan on piano on "Southern Soul Cookin'," providing a greasy underpinning to this relaxed rocker. Girke's rendition of Lloyd Price's "Baby Please Come Home," evokes classic R&B of the fifties and sixties. There is also a punchy updating of Larry Williams' "Slow Down," with Girke's driving guitar solo with his careful, and cleanly articulated single note runs. Schilling is outstanding on this as is saxophonist Chris Farr and trombonist John Swama.

"The Philly Boogaloo" with just Schilling, Ferracone and Girke," is a marvelous jazzy instrumental. The three, with pianist Sullivan added, lay down an atmospheric "The Ride Home" to close this recording on a relaxed, soul jazz mode. These are superbly played like the entire recording. Girke impresses with the passion he sings and the controlled intensity of his guitar or a well programmed variety of material. This is a superb recording.

I received my review copy from Roger Girke. Here is Roger Girke and The Wandering Souls performing the late Lazy Lester's "Sugar Coated Love."

John Mayall Three For The Road

John Mayall
Three For The Road
Forty Below Records

Despite showing him with a guitar, this latest album by the veteran blues stylist has him leading a trio (the Three in the title) on piano and harmonica backed by bassist Greg Rzab and drummer Jay Davenport. It is surpising given his association with so many guitarists in the past, but this live 2017 German recording is a surprising in focusing solely on his effective piano and harmonica and appealing, gravelly, if occasionally stilted, vocals.

There is nothing fancy or contrived about the performances that include 7 covers and two Mayall numbers opening with a relaxed shuffle treatment of the Little Johnny Jones/Eddie Taylor "Big Town Playboy," that is followed by a medium tempo, choppy groove for Chuck Willis' "I Feel So Bad," which is credited to Lightnin' Hopkins. His piano playing comes off better than his limited rack harmonica playing. There is an infectious quality to his piano playing and the backing on Curtis Salgado's "The Sum of Something," with a nice drum solo. Mayall switches to organ for his train blues, "Streamline," with a nice groove and one of his better vocals here. Rzab and Davenport are strong in supporting his bouncy solo.

I believe it was Walter Davis who did the original of Henry Townsend's "Tears Came Rollin' Down," and with Mayall's somewhat gloomy piano sets somber mood for his vocal on a lengthy rendition of this blues. An unexpected cover is of a Lionel Hampton song, "Ridin' on the L&N," followed a rendition of Jerry Lynn Williams' "Don't Deny Me," with more greasy organ. After a lengthy rendition of his own "Lonely Feelings," he opens Sonny Landreth's "Congo Square" on harmonica before his rhythm join in for a lengthy jam although his vocal suffers compared to others who have done this number.

Certainly a diverting hour or so of music, generally well-played (and again praise to Rzab and Davenport), and credibly sung. In this age of blues-tinged rock, this solidly played set of straight blues has definite charm and appeal.

I received my review copy from a publicist. This review originally appeared in the March-April 2018 Jazz & Blues Report (Issue 377). Here is a relatively recent performance by Mayall and his band.