Mississippi Heat - Hattiesburg Blues

Delmark has just released the latest recording, “Hattiesburg Blues,” by Mississippi Heat. This is the 8th album by the group led by Pierre Lacocque, a fine songwriter and increasingly impressive harmonica player. The group is fronted by Inetta Visor, whose unforced soulful singing is becoming more accomplished. Guitarist Giles Corey, keyboard whiz Chris Cameron, bassist Spurling Banks and drummer Kenny Smith are the band’s core, with Stephen Howard and Dujuan Austin filling in for Banks and Smith for certain tracks. One cannot stress just how good the rhythm section is and certainly come off as good as any rhythm section in the blues today. Lurrie Bell and Carl Weathersby both make guest appearances with the Chicago Horns led by Kenny Anderson also appearing on several tracks.

The strength of the Mississippi Heat has always been fine original material, strong ensemble playing and strong solo playing. The opening track, ‘Tiger Man,’ is not the same song as Rufus Thomas’ Sun recording, but rather Inetta Visor’s joyful celebration of her man’s love-making prowess and Lacocque’s marvelous harp featured throughout. It is followed by Lurrie Bell’s declaration of ‘Chicago Is My Home,’ delivered marvelously with typically fine guitar while his other vocal on the rocking Gone So Long,’ sports a marvelous solo from Lacocque along with his marvelous rocking accompaniment of Bell’s vocal. Cameron adds some rollicking piano to this.

One of the few covers here is of Denise LaSalle’s ‘Soft-Hearted Woman’, with fine guitar from Weathersby with Visor showing her interpretative skills. The Chicago Horns along with percussionist Ruben Alvarez add a Afro-Cuban feel to ‘How Much Worse Can It Be?,’ and the title track with its musical allusion to ‘Hernando’s Hideaway.’ Its really nice to hear how Lacocque blends in his harp seamlessly with the band and horn riffs. Weathersby is typically impressive on the slow blues “Light From Within,’ along with ‘Hell and Back,’ on which he handles the vocal 'Calypso in Blue,’ is a lovely instrumental with Giles Corey ably handling the guitar solo here with impressive chromatic harp from the leader.

What else can one say. Mississippi Heat is rooted in the entire scope of the post-World War II Chicago blues tradition and the terrific “Hattiesburg Blues”is another addition to their marvelous body of recordings.

I received a review copy from Delmark Records and this review appeared in the June 2008 issue of Jazz & Blues Report (Issue 305) and downloadable at jazz-blues.com. Here Mississippi heat perform "Hattiesburg Blues."

Mississippi Heat Sends Out A Warning Shot

Pierre Lacocque's Mississippi Heat have a new release on Delmark, Warning Shot, that will be welcomed by the band's fans and likely make new fans from listeners. Lacocque’s leadership along with his songwriting and marvelous harmonica playing (Charlie Musselwhite is quoted calling it tasty and brilliant) is joined by one of the most underrated vocalists in the blues, Inetta Visor; vocals and guitar from Michael Dotson; guitar from Giles Corey; bass from Brian Quinn; and a vocal from Kenny Smith who shares the drum chair with Andrew Thomas. Former band member Carl Weathersby is on guitar on a couple tracks, Neal O’Hara is on keyboards, Ruben Alvarez is on percussion and Sax Gordon handles the saxophones.

The opening Sweet Poison is an imaginative original, built upon the Elmore James broom dusting riff with Lacocque's fine harp riding over Dotson’s crisp slide playing. The band pushes the groove behind a superb vocal from Visor. Years ago she might have been described as a moaner as opposed to a  shouter, but her nuanced singing is thoroughly a delight. You get a sense of the vivacious quality of her performances listening to her, but the joy she has singing is evident when one sees Heat live (or on the band’s Live DVD “One Eye Open, Live at Rosa’s” on Delmark). Sweet Poison is followed by the rollicking “Alley Cat Boogie” with pumping piano from O’Hara and an exuberant vocal from Visor.

An original Come To Mama sports Caribbean rhythms (handled by Thomas) while Corey takes the guitar lead sounding like he’s playing through a Leslie amp. Gordon takes a tough tenor sax solo, while Lacocque’s solo suggests some of Walter Horton’s playing (thinking of Horton’s take La Cucaracha). More terrific harp along with Corey’s jazzy guitar is heard behind Visor’s moving singing on a reworking of a Ruth Brown recording, I Don’t Know. Dotson takes a capable vocal on Yeah Now Baby with its North Hills Country meets Muddy Waters rhythms.   

Birthday Song, is a funky, buoyant original that provides blues and soul revival bands with an alternative to the standard birthday song. Corey is in a Santana mode here with Gordon and Lacocque riffing in support. Dotson’s guitar lead on his bouncy rocker, Swingy Dingy Baby evokes the late Texas guitarist Cal Valentine. Too Sad To Wipe Way The Tears has a low-key backing with terrific Lacocque’s harp in a Sonny Boy Williamson II manner. Dotson’s restrained slide playing is exceptional. 

Set against a crisp shuffle groove and Gordon’s one-man sax section, the instrumental rendition of Your Cheating Heart  showcases Lacocque’s wonderful harp. Gordon takes a booting solo on this. A Part of Special a funky Visor original whose  backing vocal chorus, the horn arrangements (and a sax solo that would have King Curtis smiling) and a terrific vocal suggests some classic 70s Aretha Franklin (she is really good here). 

The terrific Warning Shot features tight ensemble playing (one of the things that Lacocque has always focused on with this band), excellent new original material, interpretations of songs that have not been recorded a zillion times, strong solos and the wonderful blues and soul vocals of Inetta Visor. 

I received my review copy from Delmark Records. For those near Washington DC, Mississippi Heat is at Madam's Organ on Friday October 17. Here is a video of Mississippi Heat performing.

 

Nora Jean Is Going Back to Mississippi

The following review originally appeared in the October 2004 DC Blues Calendar as well as the November-December 2004 Jazz & Blues Report (Issue 271). I have made a few stylistic changes since the original review. I likely received a review copy from Severn Records and it is available. She has a new recording Good Blues from 2011 which I have not heard but will have to check out. Nora Jean is now Nora Jean Wallace and her website is website is http://norajeanblues.com/music.html.

I recently reviewed a cd from Nora Jean Bruso, a Chicago based blues singer, who really impressed many at this year’s Pocono Blues Festival. That cd was comprised of interpretations of some well known and lesser known blues. Severn has just issued a new album by her, Going Back to Mississippi (Severn Records), which is comprised solely of originals, so she is presenting her own “musical vision of the blues, rather than interpreting the vision of others.” 

Nora Jean Bruso at 2004 Pocono Blues Festival
Photo © Ron Weinstock

She has a strong backing band that include Carl Weathersby or Dave Spector on lead guitar, Rob Waters on keyboards, Ron Graham on saxophone, Harlan Terson on bass and Marty Binder on drums. Bruso’s powerful vocals will suggest Koko Taylor to many (Koko is her idol). She does have a similar background, as she, like Taylor, moved to Chicago after having deep southern roots (Bruso grew up in Mississippi).  Her roots are lyrically expressed in the title track, a shuffle where she talks about going back because that’s where her baby is as well as Miss Mae’s Juke Joint, that celebrates the juke her grandmother operated. 

She gets down in the alley on a superb slow blues, All My Life, with some nice sax in the accompaniment, while sings in a more relaxed manner on Broken Heart, with its caribbean-flavored groove. She takes us to New Orleans on the rhumba, I’ve Got Two Men, (one of whom has to go) with a nice solo break from Dave Spector. Don’t You Remember is a slow blues that evokes Someone Loan Me a Dime, with Bruso telling her baby how sweet their love used to be and how their relationship changed. Carl Weathersby is particularly impressive here in his instrumental responses to Bruso’s vocal and his solo. 

With this new release she has gone beyond the promise shown on her earlier disc and has shown herself as among those who will carry on and follow Koko Taylor and keep “this great music alive and vital.” 

Here she is singing Going Back to Mississippi. 

Celebrating the band’s 20 years, Delta Bound is the new Delmark release by Mississippi Heat, the band that is led by harmonica player Pierre Lacocque who also contributes most of the new material. Mississippi Heat has always been a band that has focused on an ensemble sound and supporting its singers. Inetta Visor is still the band’s vocalist, but for this album as an additional treat the band’s original featured vocalist, Deitra Farr, returns for three songs. The rest of the band consists of guitarists Giles Corey and Billy Satterfield; Chris ‘Hambone’ Cameron and Johnny Iguana on keyboards; Joseph Veloz on bass and Kenny Smith on drums. In addition to Deitra Farr, there are guest appearances from Chubby Carrier on accordion for one track, as well as guitarists Carl Weathersby and Billy Flynn.

Lacocque’s growth as a harmonica player is immediately evident with chromatic playing on the torrid opener “Granny Mae,” as Visor is jubilant about her lover returning after 8 long weeks with Smith displaying why he is among the finest living drummers. “Look-A-Here” is a classic Chicago blues shuffle with Deitra Farr handling the vocal about a mistreating lover. Given the infrequency that Deitra Farr has recorded, the three new vocals here with a clean, natural singing is a special treat and Lacocque’s harp also stands out on this and throughout. Farr is long-due for a new album under her own name. Chubby Carrier adds his accordion to “New Orleans Man” with its second line groove and Visor’s singing about her man from Louisiana man who loves everything about her. 

A highlight of this recording might be the rendition of “Don’t Let Me Be Misunderstood” that many will be familiar from the Animals recording but was originally waxed by the great Nina Simone. Visor is outstanding here and it is one of the selections on which Weathersby lends his searing guitar. Billy Flynn’s guitar adds a nice touch behind Deitra Farr on “What’s Happening To Me.” “Going to St. Louis” is a jazz-tinged number with a light latin groove with Kenneth Hall on vibes, and the leader on chromatic harmonica. I can’t praise enough Velez and Smith for the the groove they lay down. Weathersby returns to add his fire behind Visor on “Mr. Mistreater,” while “Lemon Twister,” is a nicely paced instrumental with nice interplay between Johnny Iguana on organ and Lacocque on harp as well as a sharp solo from guitarist Giles Corey. “Sweet Ol’ Blues” is a new song about the blues being a trusty companion with another strong vocal from Farr. 

One continues to get impressed by Mississippi Heat. Pierre Lacocque continues to write interesting and varied new blues songs which are rooted in the blues and not blues-rock.Match the material with the tight backing, strong solos and excellent vocals and he continues to bring us after 20 years first-rate and fresh-sounding, new blues. 

I received my review copy from Delmark.  Here is Mississippi Heat with Inetta Visor singing in performance.

Mississippi Heat Lives It Up

It has been nearly twenty years since Pierre Lacocque formed the Chicago blues band and revue in one, Mississippi Heat, who have just issued their latest album on Delmark, Let’s Live It Up! Over the years, Lacocque has assembled various line-ups and for this disc vocalist Inetta Visor returns while Christopher ‘Hambone’ Cameron handles the keyboards and Stephen Howard the bass with Kenny Smith handling the drums for some of the 14 performances. Special guests include guitarists Carl Weathersby and John Primer, with the latter handling several vocals, and the Chicago Horns.

Lacocque contributed most of the songs here (originals with one exception) including the wild-ass p[arty rocker that opens this. He covers so many bases as a writer, able to handle songs in a traditional Chicago style such as Steadfast, Loyal and True, with some prime singing and playing from Primer. Jumpin’ in Chi-Town, is a supersonic tempo rocker with nice chromatic harp and brassy horns punctuating Inetta’s sassy vocal, while Inetta soulfully delivers She Died of a Broken Heart, an original she and Cameron collaborated on.

Primer is up front on “Betty Sue,” a hard rocker in the vein of Linda Lu, with some driving chicken-picking guitar in addition to Primer’s vocal. Another Sleepless Night, is a soul-blues with a strong lyric and an insistent vocal from Inetta backed by a driving backing with nice imaginative harp and a strong chromatic solo. Peace Train, is a gospel number with rollicking piano in the backing, while Weathersby biting guitar is prominent on Been Good To You, with choice solos also by Cameron and the leader.

The one cover here is the lively rendering of Sugar Pie DeSanto I Want To Know. Another highlight is Daggers & Spears, which introduces another singer, Rhonda Preston, who belts out the vocal. He delivery is more in the vein of a shouter in contrast to Inetta Visor’s more dry, sober approach with Giles Covey taking a solid solo. Primer’s own I Got the News Today, is another terrific performance in the traditional Chicago blues style, before the closing Until We Meet Again, a peppy closing number that is unusual to hear on a recording with Giles Covey a spirited solo before Lacocque closes it out on chromatic.

Mississippi Heat maintains their winning formula on Let’s Live It Up! with good original material, strong and authoritative singing, an excellent band that is comfortable in several different blues styles and excellent soloists. The result is another collection of blues that should appeal to those loving Chicago blues.

This review originally appeared in the July 2010 Jazz & Blues Report. I received my review copy from Delmark.

Chicago Bluesman Toronzo Cannon Is In A Leaving Mood

A Chicago native, singer-guitarist Toronzo Cannon has been playing professionally since 1997 since playing with vocalist Tommy McCracken at the Taste of Chicago. Since that time he has developed musically and developed a driving, searing style that strike me as suggestive as Son Seals. His influences range from Muddy, Elmore to Tyrone Davis and Johnnie Taylor, with his ears open to Bob Marley, John Mellancamp and Jimi Hendrix.

Delmark has just issued a new CD Leaving Mood that follows up 2007 a self-produced CD. He is backed by rhythm guitarist Lawrence Gladney, keyboardist Roosevelt Purifoy, bassist Larry Williams, and drummer Marty Binder with guest appearances by guitarist Carl Weathersby and harmonica player Matthew Skoller. Its a tight band with a rocking style. Nearly all of the songs are originals from Cannon and/or Gladney and there are a varied bunch.

She Loved Me has echoes of Hound Dog Taylor’s She’s Gone with Gladney’s slashing rhythm guitar figure as Cannon sings about his woman who committed murder in first degree before Cannon takes a searing solo. With Skoller adding harp, Cannon’s shuffle Chico’s Gone (For Chico Banks) is an affectionate tribute to the late Chicago bluesman where he issues his regrets of not saying goodbye to his friend. cannon sings about not being to get over an old lover on Gladney’s soulful Come On, while the two collaborated on the funky I Believe where his woman knows about what is going on while playing games that mess with Toronzo’s head.

Hard Luck is an original slow, topical blues about losing his job and it being hard on man when one tries to get by as the bills pile up and savings won’t go far with Carl Weathersby taking then first scorch the earth solo with the two both taking solos after the final verses. Open Letter (To Whom It May Concern), has his vocal distorted (sounding as if he was singing through a harmonica mike) as he sings about the backbiting, dog-eat-dog stuff that goes only some in the blues scene with Skoller adding nice harp embellishments on this before Cannon’ solo which makes use of the lower strings and guitar effects as Gladney and rhythm lay down in an understated manner an insistent groove. One of the few songs not written by Cannon is his sensual rendition of Nina Simone’s smokey Do I Move You, which provides a nice change in feel.”

Whether talking about the woman who will drink away Toronzo’s gig money on I Can’t Take Her Nowhere, or waiting for his woman who can make him feel so small so that he is in a Leaving Mood, Cannon and Gladney have provided us with some fresh songs and a distinctive approach that has led Alligator’s Bruce Iglauer to provide his endorsement for this “contemporary blues statement” on the back cover noting it has “a slew of striking, original songs with performances full of swaggering power and confidence.” The music at times may be a bit too upfront for my ‘taste,’ but that is a matter of preference. Cannon is a strong singer and the band here is terrific. The result is this album that certainly will make those listening to the blues taking notice.

I received my review copy from Delmark.


On "The Real Blues Forum" on Facebook, Stefan Wirz provided a youtube link. I am providing a different link since this is one the songs in the CD.