I
Can’t Do That -1/ The Drifter -2/ Slave to Love -2/ Gypsy Woman -2/
Finger Lickin’/
They
All Look Better in Green -2/ Can I Get an Amen-1/ Chicken Scratch -2/
Storming and Raining Blues-2/ Strain on MY Heart-2, -3/ 99,000 Watts
of Soul Power -2, -3/ Nothing a Little Girl Can Do -1,-3. 57:39.
Johnny
Jones, g, vcl-1; Charles Walker, v-2; Fred James, rh g, bkg vcl -3;
Mary-Ann Brandon, bkg vc-3; Billy Earheart, Hammond or; Jeff Davis,
b; Andy Arrow, d. Lucerne, Switzerland, Nov. 10 & 12, 1999.
In The House is a live recording from the 1999 Lucerne Blues Festival by two members of Nashville’s soul and blues community, singer-guitarist Johnny Jones, and singer Charlie Walker, backed by a small band led by Fed James who has played such an important role in revitalizing not only the careers of Jones and Walker, but also Roscoe Shelton and Earl Gaines.
Jones spent many years on the road with Bobby Bland, as well as was guitarist for Nashville’s Jimmy Beck Band and was bandleader for the acclaimed sixties’s rhythm and blues show, The Beat! that was hosted by legendary deejay Bill ‘Hoss’ Allen (some may be familiar with this show from the video of Freddy King, The Beat!) Walker is a veteran vocalist who first recorded Slave to Love for the Champion label backed by the Jimmy Beck band. later he moved to New York recording for Fire/Fury, Chess and other labels, living in Europe before moving back stateside in the nineties.
Guitarist Jones is a fleet player and strong singer with a tinge of soul in his delivery on “Can I Get an Amen” his strongest vocal, but he also does a nice job on Don Covay’s “Nothing a Young Girl Can Do.” Good as Jones is, he can’t send chills down your spine like Walker’s deep soul delivery can. He reprises his “Slave to Love” with Jones adding some nimble guitar fills and solo, but really gets down on “Strain on My Heart.” pouring everything into his delivery. “Finger Lickin’” is an instrumental that puts guitars up front. I would have preferred some horns in the band, and perhaps a slight bit more soul feel to some of the arrangements, but it does not diminish the performances.
Having seen Walker and Jones at the 2000 Pocono Blues Festival, this disc reaffirms my impression of their excellent performance there, and if these two come to your town, do not miss them.
This review was written in 2001 for Cadence. I made some minor edits for the format of this blog. I likely received my review copy from the publication. While Johnny Jones passed away a couple years back, Charlie Walker is still with us and thrilling us with his singing as heard in this video.
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.
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. Blues Is In The House 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. This is a notable recording of soul-infused blues.
This review was written in 2002 for Cadence Magazine and likely appeared there, and possibly also in the DC Blues Calendar.
Note that I did not mention of the fact that Jimi Hendrix played with
him nor his being part of the studio ban for the legendary The Beat!!! tv show. I likely received a review copy from Cadence of this item. Here is a you tube clip (sound only) of him from one of his other recordings. This is out of print and may be hard to find.
The late Johnny Jones was a strong guitarist that was a mainstay of the Nashville Rhythm and Blues scene from the sixties on. The following review was part of a composite review of releases on the GermanBlue Label/SPV that appeared in the April 2007 Jazz and Blues Report (Issue 292) and I have made minor stylistic changes. I received my review copy from the publication.
Johnny Jones was a central part of the Nashville R&B scene for the past half century. Originally from the Memphis, he became part of Ted Jarrett’s traveling revue and eventually settled in Nashville where he was studio guitarist for many of Jarrett’s productions and also part of the studio band for The !!!!Beat TV show and led his band The King Casuals with bassist Billy Cox (Jimi Hendrix would Jones in this band, and Jones would give Hendrix some pointers). Jones' career was revived with the help of Fred James and was highly acclaimed overseas with albums on Black Magic and Northern Blues before the live recording, Can I Get An Amen, from Bern, Switzerland. Its a terrific performance with Jones straight forward vocals and guitar playing which suggests to these ears the late Son Seals. Albert King is an obvious influence with the fine opening, funky interpretation of Don’t Throw Your Love on Me So Strong, followed by William Bell’s Chip Off the Old Block. The title track opens with some down-in-the alley guitar before he launches into an intense vocal. Herb Stuffing is a funky instrumental with plenty of searing guitar and commentary from Jones. His friend Charles Walker joins on a fervent take on Don Covay’s Ain’t Nothin’ a Young Girl Can Do.This is a fine set of contemporary urban blues, sung with heart and played with plenty of fire which is easy to recommend Here is a video of Johnny Jones from a few years ago shortly before he passed away.
Nashville’s rich rhythm and blues history has been obscured by the emergence of the city as the country music capital. The following lengthy review appeared in the January 2008 Jazz & Blues Calendar (Issue 300) and all of these albums are available, although one may have to purchase mp3 versions of one of them. I was sent review copies of these from the publication.
SPV Blue is continuing its releases of recordings that document the rich rhythm and blues history of Nashville. The reissues of some classic and some rare recordings as well as some more contemporary recordings show that Music City produced more than simply country music.
Bullet Records Rhythm & Blues is the second reissue of the important Nashville label, this was focusing more on jump blues and blues shouters. In fact it opens with four selections by one of the greatest shouters, Wyonnie Harris and in addition to his vocals, these recordings include the first recordings of pianist Herman ‘Sonny’ Blount (better known as Sun Ra). Fred James speculates that its tenor saxophonist Buddy Tate’s band backing Max Bailey whose tune includes an exhortation to the troops on Drive Soldiers Drive. Alto saxophonist Sherman Williams’ selections feature pianist-shouter Skippy Brooks who would later be a mainstay in Nashville for Excello, and singing six strong tracks including Baby Don’t You Want to Go, a reworking of Kokomo Blues, a song that was the model for Sweet Home Chicago. Two tracks by The Bobby Plater Orchestra feature members of Lionel Hampton’s Orchestra backing a young Rufus Thomas, while Doc Wiley’s two tracks include a hot jump instrumental and the more philosophical Play Your Hand with Wiley’s strong piano and nice vocal. A few cuts are more in the vein of Mills Brothers styled harmony, and fill out what is a pretty exceptional reissue that will be of special interest to fans of blues shouters.
The Rogana Story: Hossman’s Blues compiles a number of blues tracks that legendary Nashville dee-jay and record producer, William ‘Hoss’ Allen produced, mostly which were licensed to other labels. The material here is very blues based and features both some Nashville recordings and Muscle Shoals sides. The Nashville sides often feature guitarist Johnny Jones who leads what are The Beat Boys (tied into the legendary TV show that Allen produced and emceed and who also included bassist Billy Cox). Vocalists Sam Baker and Dottie Clark (terrific on All Woman) benefit from Jones’ stinging playing. The tracks by The Beat Boys include not only Jones’ fiery fretwork but also the famed steel guitarist Pete Drake playing through a Leslie cabinet. Finger Lickin’ is particularly outstanding selection of deep in the alley blues guitar. Jimmy Stuart, trumpeter at the time with B.B. King, plays downhome blues harp on a couple selections (Sit and Beg My Baby has a nice soulful vocal) as well as on an instrumental duet with Elvis guitarist Scotty Moore. Gatemouth Brown was recorded by Allen (he was featured on Allen’s The Beat TV show) and is Have You Ever Been Mistreated is a fine blues. Also outstanding is Johnny Copeland’s Ain’t Nobody’s Business. Several other selections feature vocalist Art Grayson (singing in a deep soul vein) while the last selection is Hoss Allen’s tribute to Martin Luther King, He Went to the Mountain Top. A nice collection of blues and southern soul that is quite entertaining.
The Champion Records Story; Volume 2 Rockin’ R&B, perhaps brings together more pop and R&B flavored recordings than the other reissues here. Champion was one the labels associated with the legendary Ted Jarrett. Jimmy Beck opens things with three instrumentals with the opening Pipe Dreams suggesting perhaps a bit of a ska groove, while Nightmare. Johnny Jones was on guitar on these and other tracks. Little Ike comes across as a Little Richard copycat on She Can Rock, while Larry Birdsong’s somewhat forgettable Scooter Poopin’ predates his Vee-Jay days. Earl Gaines is still around and is heard on three rocking sides, while Chuck Harrod & the Anteaters have a rockabilly flavor to them especially on They Wanna Fight, and Crawdad Hole. Al ‘Murfreesboro’ Garner handles the lead on Oh My Love with doo wop backing. Don Q’s Band with Clenest Gant harken back to earlier jump blues with a rocking Hallelujah and Jump Jump Hi Ho. Joyce Paul’s two tracks are sorta of minor league Ruth Brown styled recordings, while Sandra Meade is a good singer with in a nice rendition of Fever. This closes with Baker Knight’s rocking Bring My Cadillac Back, as his baby ran off with his Cadillac. Nice booting sax solo on this and a simple rock groove. An interesting slice of music perhaps, but the least interesting of these reissues.
The last of these discs is an excellent collection of recent recordings that Fred James has produced, The Champions of R&B. James produced recordings and tours by these artists and the selections are ‘leftovers’ I guess, but that should not imply any musical shortcomings on any of the tracks issued here. The material is a nice mix of straight blues and southern soul ballads. Roscoe Gordon opens with a rocking She’s the One with some nice use of the whammy bar on the guitar while guitarist James Nixon’s One More Chance is strong deep soul as is Freddie Waters rendition of the Dan Penn/Spooner Oldham It Tears Me Up. Johnny Jones is likely the guitarist on Charles Walker’s terrific Monkey Blues with Jones’ playing complimenting Walker's gospel-tinged singing. I was unfamiliar with Larry LaDon, but the terrific Living on Borrowed Time is a great performance on a song that evokes some of Albert King’s recordings. LaDon has a vocal style closer to Junior Parker than B.B. King and more good guitar here. Johnny Jones’ Girlfriend’s Blues has Johnny in consternation after discovering his woman has another lover, “my girlfriend has a girlfriend too.” Earl Gaines’ A Fool’ Advice is a solid ballad with a philosophical tone while Al Garner’s marvelous Gonna Stop Drinkin’ also benefits from some wonderful T-Bone Walker styled guitar. Altogether there are 18 tracks here that are at least good and mostly exceptional. With about 76 minutes of music, this i also good value. While Roscoe Shelton and Freddie Waters are no longer with us, others still are and plans are in the works for organizing another touring revue by these acts. If they come to a town near you, I would suggest you catch these musical giants and in the meantime, do check this wonderful CD out.
Since I originally wrote this Johnny Jones also passed on and some others may have too.
Here is the great Earl Gaines from the legendary TV show The Beat!!! (available on DVD from Bear Family) doing 24 Hours a Day.
Here is some Roscoe Shelton found on youtube.
Finally Johnny Jones with gatemouth Brown from The Beat!!!
Nashville singer and guitarist Johnnie Jones' passed away recently and it unfortunately was unheralded somewhat.
Those having The Beat!!! DVDs (or just the Freddie King DVD from that show), he was the other guitarist in the house band besides Gatemouth Brown and was a member of The King Casuals (I probably screwed up the name of the band) who also included Billy Cox and a young Jimi Hendrix.
Thanks to Fred James and others we are fortunate to have several recent recordings by him (Live at Lucerne with Charles Walker is a special gem and I remember seeing him at the Poconos with Charles Walker as well as at the Ponderosa Stomp.
Jonny Meister has a Blues File podcast on Johnny's career and this can also be accessed from the itunes store.
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