Take 5 With Smiley Lewis

One of my favorite blue shouters was Smiley Lewis. The New Orleans singer and guitarist had many superb recordings, but alas some of his records became better known when reworked by others. Here are five recordings by him.

First up is "Tee-Nah-Nah," a version of the "Junker's Blues." I think it is Tuts Washington on piano.

As I mentioned, some of his recordings became hits for others. One example was "Blue Monday" which was a smash for Fats Domino.

Smiley Lewis could jump the blues as strongly as anyone as can be heard on this hot "Can't Stop Loving You."

Another gem that many probably know more from Dave Edmunds recording.

We close with another recording that could only have been recorded in New Orleans.

I do believe I will have to do another Smiley Lewis playlist sometime down the road.

RIP Wardell Quezergue

The late Wardell Quezergue conducting the band backing singer Jean Knight at
2007 Ponderosa Stomp  - the New Orleans House of Blues. Photo © Ron Weinstock.

Tuesday, fans of rhythm and blues and New Orleans music, received the sad word that Wardell Quezergue passed away.

Dr. John with Wardell at 2008 Ponderosa Stomp at New Orleans House of Blues.
Photo © Ron Weinstock

I had the pleasure of attending the Ponderosa Stomps in 2007 and 2008 when he was featured. A composer, producer, and arranger he produced many classic recordings including Smokey Johnson’s “It Ain’t My Fault,” the Dixie Robert Parker’s “Barefootin’, King Floyd’s “Groove Me,” and Jean Knight’s “Mr. Big Stuff.” His arrangements graced Grammy winning recordings by Charles Brown, Gatemouth Brown and Dr. John (“Going Back To New Orleans”) as well as “Deacon John’s Jump Blues” and Luther Kent’s 2009 Bobby Bland tribute.

Trio of New Orleans Musical Royalty: Dave Bartholomew, Allen Toussaint and Wardell Quezergue.
2007 Ponderosa Stomp at New Orleans House of Blues. Photo © Ron Weinstock

On my flickr page regarding the 2007 Ponderosa Stomp I wrote “Wardell Querzergue was spotlighted at this year's Ponderosa Stomp leading a Crescent City Big Band for a funky revue of southern soul and New Orleans Cups” “Iko Iko” and “Chapel of Love,”funk which included his first arrangements in several years, first kicking off with Smokey Johnson's classic "It Ain't My Fault, before being joined by the soulful Tony Owens (who recorded for Cotillion and other labels), Robert Parker (Mr. Q produced 'Barefootin'" and Jean Knight (Mr. Big Stuff) with a special treat being an extended performance by an equal legend, Dave Batholomew. Dave Bartholomew did an overview of some of the great music he produced over half a century.”

The marvelous music from that year and the following year’s Ponderosa Stomp still resonate in my memory. Dr. Ike Padnos even got Dr. John to revive some of his early recordings on which he played guitar because the Creole Beethoven would arrange and conduct the band for these. I myself was honored that a photograph of mine was used for the cover of the Jazz Foundation of America’s release of his album “After The Math: Part of the St. Agnes Sessions.”

Cover photo taken at 2007 Ponderosa Stomp.

Here are links to some obituaries and appreciations: http://www.nola.com/music/index.ssf/2011/09/wardell_quezergue_legendary_ne.html; http://offbeat.com/2011/09/07/honoring-wardell-quezergue/; http://www.nytimes.com/2011/09/08/arts/music/wardell-quezergue-hitmaker-of-new-orleans-rb-dies-at-81.html?_r=1&smid=tw-nytimesmusic&seid=auto.

For information on purchasing "After The Math" contact the Jazz Foundation of America, http://www.jazzfoundation.org/how-you-can-help/jfa-store and help support their mission.

Big Joe Turner's Music Still Jumps

Back in the early 1990s, EMI issued a series of blues reissues that made some important and vintage blues available for blues listeners. In the October 1994 Jazz & Blues Report (issue 195) I reviewed a pair of reissues by Amos MIlburn and Big Joe Turner. Yesterday I presented my review of the Milburn reissue. Today I turn to the Big Joe Turner reissue, Jumpin’ With Joe. The original CD can be found used and the music is available as downloads. Here is my review from 1994. The Joe Turner collection, Jumpin’ With Joe, brings together his 1947 Aladdin and 1950 Imperial recordings. The Aladdin sessions include a date shared with Wyonnie Harris including a stomping two-part Battle of the Blues, as well as a different date with some jump blues versions of staples from Turner’s repertoire, Nobody in Mind, Roll ‘Em Pete and Low Down Door. Turner’s in strong voice, and the horn arrangements and backing give these jump blues a different flavor from other Turner versions. Some real treats here are the Imperial sides with the famous Dave Bartholomew studio band, with Fats Domino at piano. The slow blues Story to Tell and Lucille have particularly compelling vocals and splendid boogie blues piano from Domino. Jumpin’ Tonight is a rocking jump blues similar to some of his Freedom recordings. Alas, these made little chart impression. Shortly thereafter Turner started recording for Atlantic Records, a label which developed a winning formula with Big Joe, reviving his career as a major recording artist. This is a valuable addition to the available Turner discography, and includes several recordings that previously were issued only in Europe, or on 45s, and an alternate take of the Battle of the Blues Part 1. This reissue contains line notes and list all of the pertinent Aladdin and Imperial recordings by the artists. Lacking is personnel and other complete discographical information, although the notes do highlight the important sidemen. Jumpin’ With Joe should have little difficulty pleasing fans of the great shouter.

Rick Coleman's Blue Monday-Fats Domino Bio

I briefly blogged about Rick Coleman’s biography of Fats Domino back in May, 2006 which I would subsequently review in Jazz & Blues Report (August 2006, issue 285). That was one of my earliest blog entries here, but since this excellent biography is available in paperback, it is worth bringing to folks attention once more. I note that the Rock & Roll Hall of Fame honored Fats Domino and Dave Bartholomew's contributions this past fall. This book should not be hard to locate.

BLUE MONDAY: FATS DOMINO AND THE LOST DAWN OF ROCK’N’ROLL
by Rick Coleman

(DA CAPO 2006)

Antoine ‘Fats’ Domino is one of the most significant performers of the last half of the twentieth century, yet because of his easy-going persona and his rather quiet life outside of performing, his contributions to blues and rock’n’roll have not been given their due. This biography by Rick Coleman, who authored the booklet for the Bear Family box set of Domino’s Complete Imperial Recordings, is twenty years in the making and hopefully will result in Domino being recognized as the pillar of modern American music that he is. The fact that Fats is unappreciated perhaps reflects a certain Eurocentrism that marks much of pop music writing and rock media that inflates the importance of popular, but derivative rock artists at the expense of true music innovators. After all Lynard Skynard is in the Rock’N’Roll Hall of Fame, but the much more original Johnny ‘Guitar’ Watson is not.

Domino is a private man and somewhat shy, despite his ability to thrill audiences when performing. Coleman traces his biography and development as a musician in the context of the times including his father’s move to the Ninth Ward area, then a relatively rural area near the Industrial Canal, to the horrible events around Hurricane Katrina which devastated Domino’s home that was still on the same tract of land his father had purchased decades before.

Domino grew up in one of the most remarkable musical cities this country has ever had. Coleman traces its history, including the infamous history relating to segregation of the races which is invaluable in understanding Domino’s impact, not simply on music but in bringing people of different backgrounds together. Given the general easy going image of Antoine ‘Fats’ Domino, one is likely to be surprised when reading this about the riots his live performances often engendered. These riots were most often the result of those who objected to whites and blacks attending an event together, and even worse in the racist eyes of many, dancing and socializing together.

Influenced by Amos Milburn especially, Fats Domino was one of the greats in a long-standing New Orleans piano tradition. Roy Brown’s Recording of Good Rockin’ Tonight, is the earliest shot in the musical revolution of modern rhythm and blues that generated rock and roll. From when he went in the studio and cut his speeded reworking of the traditional New Orleans song Junker’s Blues as The Fat Man, Domino had a recording career that for about a decade and a half outsold anybody except for Elvis, and his music inspired performers including Elvis, Jerry Lee Lewis, John Lennon and countless others.

Coleman traces Domino’s recording and performing career as well as the major events of his personal life, but without focusing on scandals and then continues when Domino had ceased to be a major recording artist but remained a powerful live attraction on the oldies circuit and in Las Vegas. From when he first traveled to Europe in the mid-sixties, the adulation he received overseas led to regular tours there. And furthermore the level of his music remained consistently high. There is plenty of material here that was unfamiliar to me. I was not aware that of the many Domino-Bartholomew compositions, Domino’s chief contributions were the lyrics and the basic music, which Bartholomew worked and elaborated on. Also, I was not aware that Bartholomew generally played a very limited role in Domino’s live touring as we are given the details of the various persons who were members of the band and some of their foibles as well as musical contributions. But names like Earl Palmer, Roy Montrell, Herb Hardesty, Lee Allen and other names familiar to rock’n’roll and R&B collectors are part of this story as is label mate Rick Nelson.

Coleman has put together an impressive work that is long overdue. There is a factual quality of much of this, but again that is partly the result of Domino’s own private nature. He is best when describing some of the recordings and performances and there is a thorough list of sources although a list of recordings would have been very welcome here, or at least a listing of available recordings. But this is simply a small quibble on a most impressive work about a true Giant and Legend.

I must confess that I do not remember if I purchased this or received a review copy from the publisher.

Earl King's Hard River To Cross

Earl King was a significant member of the New Orleans music scene from the 1950s until his death in 2003. Born Earl Silas Johnson IV in 1934, he started playing guitar as a teen and was initially a follower of Eddie “Guitar Slim” Jones, even filling in as Jones after Jones was injured in an automobile accident. He first recorded as Earl Johnson in 1953 for Savoy, Specialty issued “A Mother’s Love,” as Earl King, and in 1955 he was signed to Ace Records, where he recorded “Those Lonely, Lonely Nights,” among other recordings. “Those Lonely, Lonely Nights,” was a hit despite Huey “Piano’ Smith’s out of tune piano and was covered pretty closely by Johnny “Guitar’ Watson whose version siphoned off some sales for King. While on Ace, King emerged as a songwriter as well as performer, penning songs for teen heart throb, Jimmy Clanton as well as Roland Stone.

In 1960, Dave Bartholomew signed him to Imperial where he made a number of recordings backed by musicians including Bob and George French, James Booker, and Wardell Quezergue. Here he made some signature recordings such as “Come On,” and “Trick Bag,” The former tune has been interpreted by Jimi Hendrix, Dr. John and Stevie Ray Vaughan while the latter has been reworked by The Meters, Dr. John. His contract with Imperial expired in 1963 but he continued to write songs. His compositions from this era included Professor Longhair's "Big Chief", Willie Tee's "Teasin' You", and Lee Dorsey's "Do-Re-Mi". Recordings for Motown and Atlantic when unissued at the time, while Sam Charters produced “That Good Old New Orleans Rock 'n Roll” for Sonet in 1977 (subsequently it has been issued on CD). King started recording for Black Top in the 1980s and made three CDs for them, the last being “Hard River To Cross” in 1993. King continued to perform before passing in 2003 of diabetes related complications. This writer had the opportunity to see him several times in the DC area. (Much of this bio info is adapted from Wikipedia. The Wikipedia bio does have the suggestion that Earl may have co-written some songs with Dave Bartholomew including Smiley Lewis’ “I Hear You Knockin’” as Pearl King, but has there is no citation for this. I have never heard this claim prior to seeing this nor why would Earl need to do this.

The following review of Earl’s Black Top CD, “Hard River To Cross,” appeared in the July/August 1993 Jazz & Blues Report (Issue 183). I likely received a review copy from Black Top at the time. It is available as a download if not available as a new CD.

Earl King certainly remains one of New Orleans' more distinctive artists, having evolved from a disciple of Guitar Slim to one of the Crescent City’s most important songwriters, and a distinctive performer. Hard River to Cross, his new Black Top release, is another welcome helping of his unique, often quirky, but always intriguing music. King’s recent songs show a maturity in themes and lyrics that provide for tasty, funk-laden blues and soul, and still retain a distinct “New Orleans” flavor. Most of the songs here are new, like the title track, Seduction Lady and Big Foot, although he does a few remakes of such older gems as Medieval Days, You Better Know, and You’re Love Means More to Me Than Gold, as well as Guitar Slim’s It Hurts To Love Someone. King has never been a flamboyant guitarist in the manner of Guitar Slim, rather his carefully crafted, thoughtful solos serve to enhance his lyrics and vocals rather than dominate them. 

 For those wanting a bit more info on Earl King, I suggest reading Larry Benicewicz's obituary.

Wax Poetics Rocks

Just a heads up that issue 30 of the genre-spanning hip hop journal, waxpoetics is out and it is titled The Rock Issue. The two covers are of the Bad Brains and Elvis and there are stories on both (Elvis in Memphis is the subject of that article. There is a rediscovery of the Johnny Jenkins album, Ton-Ton Macoute!, obits for Jimmy McGriff, Buddy Miles, Bo Diddley and Ike Turner, and other articles on Dave Bartholomew (by Andra Lisle who also contributed the Ike Turner obituary, the Black Rock Coalition, The Rascals, and Ernie Isley (the article is titled "Guitar Hero"recalling Hendrix among other things). Some good writers here including John Kruth who authored the fine Roland Kirk Biography, Bright Moments and Jon Kirby, who penned the Bad Brains story. I picked this up at the magazine section of Barnes & Noble, and the website is www.webpoetics.com. I mentioned this publication before and bring this to your attention once more.

2007 Ponderosa Stomp

2007 Ponderosa Stomp-272
Originally uploaded by NoVARon

Finally did an initial write-up of this year's Ponderosa Stomp (The Sixth One) held on May 2 at the House of Blues in New Orleans. It is subject to some editing.

The Ponderosa Stomp is a multi-genre evening of wild rock and roll put on by the non-profit, Mystic Knights of the Mau Mau, who mission is “rediscovering and celebrating America’s overlooked musical pioneers, and re-educating the community about their impact on music.” Returning to New Orleans after being relocating to Memphis in 2006 after Hurricane Katrina, the Stomp was held at New Orleans’ House of Blues, where music was presented with performances in the main room, The Parish and HOB’s outdoor patio.

The artists at this year’s Stomp included ex-Thirteen Floor Elevator, Roky Erickson and The Explosives, master arranger Wardell Quezergue and the New Orleans Rhythm & Blues Revue with Tony Owens, Robert Parker, Jean "Mr Big Stuff" Knight, and Dave Bartholomew; vocalist Little Jimmy Scott, Deke Dickerson and the Eccofonics, Dennis Coffey, soul songwriter supreme Dan Penn, Dale Hawkins, Texas Tornado co-founder Augie Meyers, Herbert Hardesty, Barbara Lynn, Lazy Lester, Lafayette Soul Show Houseband Little Buck and the Top Cats w/ Stanley "Buckwheat Zydeco" Dural on Hammond B-3, Willie Tee, Rockie Charles, Jay Chevalier, Roy Head, Joe Clay, Al "Carnival Time" Johnson, Blues Piano Master Henry Gray, Eddie "The Hawg" Kirkland, Duo of Guitarist Kenny Brown and Bobby Rush, Ralph "Soul" Jackson, "Guitar Lightning" Lee, drummer Matt "I'm Movin On" Lucas, Little Freddie King, Skip "Hoochie Coochie Man" Easterling, Ernie "DapWalk" Vincent, and David "Funky Soul" Batiste. There simply is too much music for anyone be able to catch every performer.

Arriving at the House of Blues at 5:30, I headed to the main stage where Lil Buck Sinegal and the Top Cats were holding forth with Lil Buck’s guitar, Stanley Dural’s B-3 and a tight three horn section. Emceeing this portion was Dallas dee-jay, soul-blues singer and songwriter, Bobby Patterson, who, after several numbers by the Top Cats, brought up Motown session guitarist and Funk Brother , Dennis Coffrey. Coffrey played several fine instrumentals including revisiting The Temptations’ “I Wish It Would Rain.” Lazy Lester followed with a set that included some of his Excello recordings including the instrumental that gave this event its name “Pondarosa Stomp,” (this is the spelling on the Excello single) and “Sugar Coated Love.” He also had a nice rendition of Merle Haggard’s “I’m a Stranger.” Lester was followed by David Batiste (of the legendary New Orleans funk band, The Gladiators, and father of drummer (David) Russell Batiste Jr.). While his set certainly had a funk core, he included some strong blues. Barbara Lynn was up next with a varied set that included her hit “"You'll Lose A Good Thing." (Herb Hardesty joined the horns for her set), and was followed by the energetic Texas rocker and blues shouter Roy Head who did his “Treat Her Right” and renditions of Bobby Bland numbers with a definite stage flair. I ventured to the Parish Stage during some of these performances and caught Eddie Kirkland (with a trio) and Henry Gray solo on the piano, giving solid, representative performances. After a short break, drummer and WWOZ announcer Bob French introduced Jimmy Scott, who was backed by piano and bass. This may have been the single finest performance of my New Orleans vacation. Scott’s was simply spellbinding, delivering a lyric in a manner suggestive of Billie Holiday in how he phrased the song. His performance was on the same time as Bobby Rush and Kenny Brown whom I heard were excellent.
After a break the main HOB stage was set up for the Wardell Querzergue New Orleans Rhythm & Blues Revue. The legendary producer and arranger, Querzergue, lost his vision several years ago and was this program was the first in several years to feature him and his arrangements. He opened with a bright, funky rendition of Smokey Johnson’s “It AIn’t My Fault.” Up next was soul-singer Tony Owens who reworked several of the recordings Querzergue had produced for Cotillion and other labels, including “Confessin’ a Feeling”, and he was followed by Robert Parker who did “Barefootin’” and a couple other songs, and Jean Knight, who sang a lively “Don’t Mess With My Toot Toot” and “Mr. Big Stuff.” During Knight's performances, Allen Toussaint played the B-3 for a couple songs. Conducting the band, Querzergue also could be seen greatly enjoying the performances. The longest stretch of this Revue featured Dave Bartholomew whose segment included a funky rendition of “The Monkey Speaks,” and some of the other classic songs he helped write and make musical history with. There was plenty of space for his trumpet to be featured along with guitarist Charles Moore and the members of the horn section including saxophonists Herb Hardesty and Amadeé Castanell.

After this revue closed I went back to the now packed Parish stage where Dale Hawkins (backed by Deke Dickerson and the Eccophonics) was winding down with “Suzy Q.” Downstairs on the mainstage I caught most of Dan Penn’s set, accompanied by his guitar and by Bobby Emmons on keyboards, which concluded with a fine “The Dark End of the Street.” It was after midnight and feeling the effects of traveling that day I left the Stomp had started at 5:30 and kept going for at least another two hours) although I saw Little Freddie King and a harmonica player on the Patio stage (King also had a set with his band), so I did not see Joe Clay, Rory Erickson, Augie Meyers, Willie Tee and Al ‘Carnival’ Johnson (who I also heard was outstanding). For those seeking an evening of straight, no chaser blues, frantic rockabilly, deep funk and southern soul with a dash of psychedelia and uptown R&B, one will find no more exhilarating concert than the Ponderosa Stomp.

For images from the Ponderosa Stomp, please visit: Ron's Ponderosa Stomp Pics

If the Ponderosa Stomp was not enough, Padnos and the Mystic Krewe helped produced a free “Legends of Swamp Pop” show the following evening outside the Cabildo on Jackson Square with Little Band of Gold (C.C. Adcock, Warren Storm, Steve Riley, David Egan and others) who brought on Tommy McClain, Rod Bernard and Lazy Lester (with Roy Head also singing a few numbers) for a marvelous evening featuring this important but usually overlooked Louisiana genre.

Going to New Orleans for the Ponderosa Stomp

Well I will be away for a few days as I am going to New Orleans for the annual Jazz & Heritage Festival (the 38th I believe), but as far as an appertizer goes, one cannot do much better than the annual Ponderosa Stomp, which has joined WWOZ's Piano Night and the free performances at the Louisiana Music Factory as one of the must see events for those in New Orleans during the week between the Fairground weekends. This year's line-up includes Lazy Lester, Barbara Lynn, Jimmy Scott, Roy Head, Henry Gray, Little Freddie King, Lil Buck & the Top Cats, Dave Bartholomew, Wardell Querzerque, Dan Penn, Rory Erickson and more. After a one year hiatus in Memphis, the Stomp returns to post-Katrina New Orleans with a typically ambitious line-up of blues and roots acts.

By the way, the name Ponderosa Stomp comes from a Lazy Lester instrumental on Excello of the same name. Ponderosa refers to Angola Penitentiary. It was the name the inmates had for the prison, and some folk like the late James Booker refer to it in some of their recordings (I am thinking about Booker's rendition of "Junco Partner").

Here is a link to this year's Ponderosa Stomp.

I have posted some images from the 2004 Ponderosa Stomp.