Delmark Blues Reissues

Here is a composite review of several Delmark Blues reissues that appeared in Issue 218 of the Jazz & Blues Report (1997). I likely received review copies from Delmark.Some of these may still be in print and others may be available used. Check out delmark.com for availability on disc, vinyl and digital downloads.

These releases are among the latest recordings from Delmark Records’ back catalog to be issued on compact disc with additional tracks (including alternate takes and unissued songs) expanding each of these from their original vinyl format. 

Luther Allison’s first album, Love Me Mama (DE-625) will certainly be of great interest given Allison’s phenomenal resurgence in the past couple years. These 1969 recordings with bassist Mojo Elem, drummer Bob Richey, guitarist Jimmy Dawkins on rhythm, and saxophonist Jim Conley still sound fresh with the rawness and passion Allison brings to his performance. B.B. King's influence is highly evident from the opening Why | Love the Blues, a transformation of Why | Sing the Blues, and renditions of 4:00 O'Clock in the Morning, the title track (a version of Rock Me Baby) and You Done Lost Your Good Thing Now. But King’s stamp was more evident on Allison’s guitar and choice of material than his vocals, which this writer has always compared to the vocals of latter Elmore James, with strong renditions turned in of Dust My Broom, and The Sky is Crying. Allison’s experimentation with the wah wah pedal are intriguing in his exploration not only of their tonal palette, but use for a rhythmic springboard. Allison’s fans will definitely want these, but they hold up for more than historical value).

Jimmy Dawkins is represented by his third album, Blisterstring(DE-641), which adds pianist Sonny Thompson to Dawkins’ band that included Jimmy Johnson on rhythm guitar. Dawkins sings with as much passion here as on any recording he ever made, and the band is as good as he ever had with plenty of space for Dawkins gritty, trebly guitar with effective remakes of such blues classics as Feel So Bad, Blue Monday (the Smiley Lewis song), and Blues With a Feeling, along with an instrumental take of Ode to Billie Joe. Along with these is a fine original topical blues, Welfare Line. Several unissued titles fill out this session which is far better than Dawkins subsequent recordings over the past two decades.

Barrelhouse pianist Speckled Red is celebrated for his twenties recording of the bawdy The Dirty Dozens, along with some other celebrated recordings. He was Delmark’s first blues artist, and The Dirty Dozens (DE-601) makes available the label's first blues release. This is rough hewn barrelhouse and boogie woogie as Rufus Perryman (Red's real name) rocks the eighty-eights on new recordings of Right String, Wrong Yo Yo and Wilkins Street Stomp in addition to his signature song. Also included is his take on the classic Cow Cow Blues and the previously unissued numbers include a terrific take of Early in the Morning along with two alternate renditions of the Dozens that are raunchier than the issued version and are not suitable for airplay or young, impressionable children. While his timing occasionally was eccentric, he played with an irresistible drive and his exuberant vocals are reminiscent of the greatest of all blues pianists, Roosevelt Sykes.

Also for blues piano fans is the anthology Blues Piano Orgy (DE-626) which brings together selections by Red, Roosevelt Sykes, Sunnyland Slim, Little Brother Montgomery, Memphis Slim, Curtis Jones and Otis Spann. The Spann track, Three-In-One Blues dates from the session that produced Junior Wells’ Southside Blues Jam and is a duet with drummer Fred Below on one of his last recordings. Sykes is heard on four numbers featuring his strong two-fisted playing a rendition of the dozens, Kickin’ Motor Scooter, while Sunnyland Slim bellows his vocals with his distinctive piano accompaniment, including a tasty rendition of one of his signature songs, Everytime | Get to Drinking. Little Brother Montgomery's selections mix stride and ragtime to his barrelhouse attack, and his classic No Special Rider is among the tunes reprised here. Two selections by Memphis Slim (not on the original album) were originally recorded for the United label with a band that included Matt Murphy's incisive guitar. The under-appreciated lyricist and singer-pianist Curtis Jones is heard on three numbers, including two of his signature pieces, Lonesome Bedroom Blues and Tin Pan Alley Blues. This album never has less than a genial quality to it and is a tasty sampler of some very significant blues pianists.

Jose Ramirez - Major League Blues

Jose Ramirez - Major League Blues - Delmark

Originally from Costa Rica, singer-guitarist-songwriter Jose Ramirez has been making a name for himself in the Blues World. While residing in the Washington, DC area, he won the 2019 DC Blues Society's Battle of the Bands. He then competed in the Blues Foundation's International Blues Challenge, where he finished second overall. Ramirez was poised to start touring in support of his debut album "Here I Come" when the Covid-19 pandemic put a wrench in his plans. He now lives in Florida and makes his Delmark debut with "Major League Blues," which he will be touring in support of. 

Of "Here I Come," I wrote that it was "not merely an impressive debut of a promising artist. Anson Funderburgh's top-flight production and a fabulous studio band provide the foundation for Jose Ramirez to showcase his gifted songwriting along with his terrific vocals and guitar playing. It is a superb recording." Much can be said about the present recording, full of solid idiomatic originals and a couple of choice covers. Six songs were recorded in September 2020 with Antonio Reyes on drums, Kenny Watson Jr. on bass, and Andre Reyes Jr on keyboards. Evan Hoffman is on Latin percussion on one track, and Shelly Bonet provides backing vocals on one track. The other four selections were recorded in Chicago in August 2021 with The Delmark All-Star Band of Bob Stroger on bass, Willie 'The Touch' Hayes on drums, Roosevelt Purifoy on Hammond B3, and Billy Flynn on guitar. Jimmy Johnson appears on one track for what was his final studio recording.

The present album is of a similar quality to "Here I Come," opening with the title track on which Ramirez trades licks with Jimmy Johnson. The title song alludes to him reaching the major league of blues by signing with Delmark. The lyric also notes some of his influences, including Johnson and Lurrie Bell. It is followed by the blue lament "I Saw It Coming" with Purifoy taking a chicken fried steak organ solo along with Ramirez's heartfelt singing. The other two tracks with the Delmark All-Star Band are fresh renditions of Eddie Taylor's "Bad Boy" and Magic Sam's "My Love Is Your Love." There is plenty of solid fretwork to go with the tight, complementary backing.

The others songs are similarly entertaining. Ramirez is a skilled songwriter who handles traditional themes of relationships quite well. There is a neat melodic hook to "Whatever She Wants," where his heart, soul, and pride belong to her. In addition to a pleading vocal, Ramirez's solo is striking with his phrasing and development. Also outstanding is the Latin-flavored "Are We Really Different" that might evoke early Santana with a bilingual vocal from his Ramirez. The other selections similarly display why Jose Ramirez has become a Major League Blues artist.

I received a review copy from Delmark Records. It has been a while since I posted new reviews, so happy to get this one up. Jose is currently touring in support of this album which you can check out on his Facebook page. Here is Jose Ramirez in performance.

Willie Kent Long Way to Ol' Miss

Willie Kent
Long Way to Ol' Miss
Delmark Records

Willie Kent is a Mississippi native who has mixed in traditional and modern blues elements. His new Delmark album, "Long Way to Ol' Miss," eschews novelty for straight-forward blues. Kent's gruff vocals and firm bass anchor the performances which mix shuffles and midnight grinders with nice playing as keyboardist, Kenny Barker, and guitarists Chico Banks and Willie Davis tossing in apt fills and solos.

The back cover highlights Banks, so he may be the featured player here. Kenny Savdak spells Barker on four tracks including "Dirty Works", an effective reworking of Little Joe Blue's back door blues classic and Mississippi Heat guitarist James Wheeler adds guitar to a couple of his originals, the high-stepping shuffle, 'It Ain't Right" (where he also sings), and "Extension 309". 

There are also covers of the a classic Charles Brown recording "Black Night," and Amos Garrett's" Ain't No Love in My Heart," along with eight Kent originals. "My Friend," is a nicely rendered shuffle suggestive of a top-flight B.B. King number from the late fifties. There are some flaws like Kent's "Ain't Got Long to Stay," with its messy accompaniment, but that is the exception here.

Certainly those who have enjoyed Willie Kent's past albums or live performances will find plenty to like here. Others will discover a bluesman worth hearing.

I believe this review appeared in a 1996 DC Blues Calendar, the newsletter of the DC Blues Society. I received my review copy from Delmark Records. Here is a video of Willie Kent performing.

Johnny Iguana's Chicago Spectacular

Johnny Iguana
Johnny Iguana's Chicago Spectacular
Delmark

This album is subtitled "A Grand and Upright Celebration of Chicago Blues Piano." Pianist Iguana is a Philadelphia native who moved to Chicago after joining the late Junior Wells' Band. This is his first album under his name, although I am familiar with him from the group The Claudettes. Producer Larry Skoller helped provide the organizing theme for this recording as Iguana pays tribute to seven Chicago blues piano legends. Helping him on these sessions are some of today's finest players, including Michael Casey or Kenny Smith on drums; Bill Dickens on bass; Billy Flynn, Bob Margolin, John Primer, Lil' Ed Williams, or Philip-Michael Scales on guitar; and Mathew Skoller or Billy Boy Arnold on harmonica. Singing on this album are Matthew Skoller, Billy Boy Arnold, Lil' Ed Williams, John Primer, and Philip-Michael Scales.

There is plenty to enjoy such as when Iguana evokes Joshua Altheimer's style while Billy Boy Arnold revives Big Bill Broonzy's "Hot Dog Mama" that closes this album. Iguana also suggests Big Maceo on Arnold's revival of John Lee Williamson's "You're an Old Lady." These selections' swinging feel may be due in part to Kenny Smith's drumming and Billy Flynn's fleet guitar.

The album kicks off with Iguana saluting Memphis Slim behind John Primer's vocal on "44 Blues." The rendition is based on Slim's 1959 recording with Willie Dixon, and while Iguana ably pounds on the ivories, one wishes that Caskey was a tad less prominent on the drums here. Primer also handles the vocal on Howlin' Wolf's "Meet Me in the Bottom," with Iguana hinting at Little Johnny Jones' style.

Guitarist and songwriter Philip-Michael Scales contributes an intriguing role rendition of Gil Scott-Heron's "Lady Day and John Coltrane," which allows Iguana to show off a jazzier side. Lil' Ed Williams sings and plays slide guitar on Otis Spann's "Burning Fire" and Elmore James' "Shake You Moneymaker." On these selections, Iguana recalls Otis Spann and Big Moose John Walker, respectively. Lil' Ed sings and plays strongly, and Caskey's drums are not as prominent. Matthew Skoller handles the vocal and plays choice harmonica on "Stop Breakin' Down." This performance is based on Junior Wells' "South Side Blues Jam" recording and again Iguana channels Otis Spann.

I again note that there were no bass players on these selections as Iguana wanted the bass lines to emanate from the studio piano and his left hand rather than a bass player. These selections come off as solid, traditionally rooted Chicago blues. There are four instrumentals with bass player Dickens added to Iguana and Caskey. While displaying Iguana's technique and skillful playing, these selections are enjoyable but a bit too much flash and show for this listener's taste.

If imperfect, overall "Johnny Iguana's Chicago Spectacular," is a showcase of Iguana's considerable talent, and a very notable salute to Chicago blues piano legends.

I erected my review copy from Delmark Records. Here is a video of Johnny Iguana playing Big Maceo's "Chicago Breakdown."

Johnny Burgin and Special Guests No Border Blues

Johnny Burgin and Special Guests
No Border Blues
Delmark Records

This unusual recording brings guitarist-singer Johnny Burgin together with some Japanese blues players that showcase blues music’s worldwide reach. On his Japanese tours, Burgin met and played with the musicians heard on this CD. Some like pianist Lee Kanehira have established themselves in Chicago, where she is a member of The Cash Box Kings.

On the 11 performances, they display their traditionalist approach to Chicago blues. Burgin writes about a stigma attached to a purist (what I would call traditionalist) approach. In contrast, in Japan, purism is a starting point. “The more ‘pure’ I played the blues — the more I stuck to the tone and the flavor of the original blues masters — the more the musicians and audiences liked it!” The simple fact is the musicians that he collaborates with here play authoritatively in this manner.

I should note that not all the performances come off equally, especially with the singing, which on occasion, come off as not natural, but this is minor. Certainly listening to the terrific harmonica player, Iper Onishi, cover Carey Bell’s “One Day You’re Gonna Get Lucky" is a treat even with his slightly slurred diction like Bell. With their singing, pianist Kanehira and harmonica player Kat Nogio evoke the vocals of Tampa Red and Little Johnny Jones on “So Crazy About You.” Kanehira’s “Pumpkin’s Boogie” has authoritative singing, rollicking piano, Kotez’s driving harmonica, and a terrific chorus from Burgin. Kotex powerfully sings, in addition to playing fine harmonica on “I Just Keep Loving Her (Mada Sukinanda).” It is intriguing hearing an early Little Walter recording sung in Japanese. “Hurry Up Baby,” featuring guitarist-singer Naomi Tanaka, with a frenzied garage rock sound is an unconvincing performance.

Burgin himself sings on five songs. He delivers credible vocals of Elmore James’ “Sunnyland,” John Brim’s “Rattlesnake,” and his original “Old School Player.” These tracks include Onishi’s robust harmonica and the guitar of Yoshi Mizuno, Mozumo's interplay with Burgin brings back memories of Robert Lockwood and Louis Myers. There is  blistering, stinging guitar from Minoru Maruyama on a lesser-known Bobby King recording, “Two Telephones.” This is the single track recorded in Chicago. “Samurai Harp Attack” is a harmonica duet showcase for Kaz Nogio and Iper Onishi, with the two also trading comments in Japanese.

The album closes with a rocking “Sweet Home Osaka,” a barely disguised retitled rendition of the Robert Johnson song with Nacomi Tanaka and Kotez joining in the vocal, and Nogio and Onishi wailing on harmonica. Is it Yoshi Mizuna channeling Earl Hooker on this closing track? Burgin’s liner notes provide background on the music, and the performers on a most entertaining CD of traditional Chicago style blues.

I received my review copy from Delmark Records. Here is Johnny Burgin playing with Lee Kanehira from the 2019 Chicago Blues Festival.

Sleepy John Estes Brownsville Blues

Sleepy John Estes is one of the true poets of the blues, and Delmark has just issued Brownsville Blues. Included here are the first recordings he made after he was rediscovered in the early sixties, along with several later recordings with Hammie Nixon, Yank Rachell and others. Most of these recordings are solo, and while Estes' was never one of the great blues guitarists, his limited accompaniments are more than adequate to bolster his crying vocals.

Another unusual aspect of these recordings is that many of the songs are about the people and places of John's hometown, and while there are new versions of his classics Drop Down Mama, The Girl I Love (also known as Brownsville Blues, and related melodically to Roll and Tumble Blues), and Lawyer Clark, there are songs about Al Rawls, one of the leading black businessmen of Brownsville, songs about local women, Martha Hardin, and Vassie Williams, and about Pat Mann and his son, Pat Jr (Young Lawyer). Other songs are about the more mundane aspects of life and poverty, City Hall Blues, Government Money, andl Rats in My Kitchen.

These are not John Estes' greatest recordings (I believe the Yazoo compilation of his pre-World War II records is the best single collectionof his music), but with the inclusion of six previously unissued recordings, this is a valuable addition, and complements the other Delmark recordings of Estes.


I have made some minor changes to the review that originally appeared in 1992 in issue 177 of Jazz & Blues Report. Here is John Estes and Yank Rachell in 1966.

 

Professor's Blues Revue featuring Karen Carroll

The recent loss of the late Eddie Lusk hit the blues world hard. He earned the title of Professor because of his multiple keyboard prowess. While he played with numerous blues and soul greats, and is heard on many recordings, Professor Strut (on Delmark) was the only American release under his  name (actually Professor's Blues Revue featuring Karen Carroll). It is a fitting testament to a musician whose musical roots were rooted in the gospel he played at his father's South Side Chicago church, and this can be heard in the arrangements and the voicings heard here.

Using gospel and jazz voicings, his blues has a sophisticated flavor. Even a Jimmy Reed styled blues, I Wanna Be With You, is given an uptown flavor with the arrangement Professor provides vocalist Karen Carroll's relaxed, soulful singing. In addition to Lusk's considerable talents on various keyboards, mention should be made of Joey Woolfalk's versatile guitar work. Woolfalk is comfortable with straight soul-blues lines, reflecting his tenure with Otis Clay (check out his playing
on You're Leaving Me with a fine vocal from Carroll), or in a jazzy vein on the title track. In addition to the jazz seasonings of the Professor Strut, Carroll's vocal on Everything is You is more akin to Al Jarreau, than Koko Taylor, and has nice chording by Woolfalk and splendid sax from Paul Mundy. Woolfalk can sing also, although he could have chosen a more obscure vehicle than Stormy Monday, although it is very well-played.

Blues Revue is an apt description for the contents of this release. While not a must recording, the arrangements, the solid ensemble work, and the jazzy flavoring help this release stand out.

This review originally appeared in Issue 177 of Jazz and Blues Report from 1992.  Here Professor Lusk and guitraist Michel Coleman perform at the 1991 Chicago Blues Festival.

Linsey Alexander Live at Rosa's

Linsey Alexander
Live at Rosa's
Delmark Records

Reviewing Linsey Alexander's debut album "Been There Done That" in 2012, I wrote that it was "a most impressive blues recording which is one of the finer blues albums I have heard this year. His is a voice I want to hear more from." I further noted his fervent singing and stinging guitar in his 2015 follow-up recording, "Come Back Baby." It has been way too long since his last album, so this new live recording is welcome. His vocals and guitar were supported at Rosa's by Sergei Androshin, guitar; Roosevelt Purifoy, keyboards; Ron Simmons, bass; and "Big Ray" Stewart, drums.

"Live at Rosa's" is a pretty straight-forward recording as Alexander performs five of his originals and four covers. It opens with a fresh rendition of B.B. King's "Please Love Me," that avoids the "Dust My Broom" feel of most versions. Alexander's searing guitar is supported by Purifoy's organ. Purifoy takes a greasy solo here. Alexander also musically provides a fresh feel to Freddie King's "If You've Ever Loved A Woman." The insistent groove of Alexander's "I Got a Woman," may evoke "Mustang Sally." Alexander adds a fiery guitar solo. There is appealing guitar picking on the relaxed shuffle "Goin' Out Walkin'" followed by a soulful rendition of Latimore's "Somethin' 'Bout' Cha," with more strong support from Purifoy. "Snowing in Chicago" provides a driving funk-blues. The final cover is of a Muddy Waters recording, "Just to Be With You," although it is titled on the album "Ships on the Ocean" and credited to Junior Wells. Wells' recording is the inspiration for Alexander's interpretation, and Linsey sings robustly and plays perhaps his finest solo here.

Alexander sings convincingly with fervor, although there are a couple spots where his diction suffers. With solid backing and strong performances, Alexander's "Live at Rosa's" is a most engaging album of live modern Chicago blues."

I received a download to review from Delmark Records. Here is an older performance of Linsey Alexnader performing "Snowing In Chicago."

Dave Specter Knows The Blues From the Inside

Dave Specter
Blues From the Inside
Delmark Records

This latest recording by the veteran Chicago blues artist Dave Specter is the first to sport his vocals, in addition to his ingenious, twisty guitar and songwriting. He has a number of musicians supporting him, including Brother John Kattke on keyboards and vocals, Harlan Terson on bass, Marty Binder on drums, and the Liquid Soul Horns on three selections. Also, Jorma Kaukonen guests on guitar for two tracks.

Specter wrote 11 of the 12 songs (some with Bill Britcha) opening with the title track with its more memorable lyrics about various hardships and paying the dues and playing the blues. It is one of three selections on which he sings, and if not a great singer, he sings quite credibly. His guitar playing is terrific as his band gets a nicely paced shuffle groove together. Specter and Britcha also wrote the lively "Ponchatoula Way," with its Crescent City groove that Kattke takes the soulful vocal on. There are some tempo shifts. Still, it is fascinating listening to Specter builds his solos as the horns riff. Kattke, on piano, also solos here. Kattke also takes a soulful vocal on "March Through the Darkness," a number with a Muscle Shoals feel, with Tad Robinson and Devin Thompson providing the vocal backing. Of course, Specter dazzles again on guitar with his taste and solo construction with Kattke soloing on the organ.

"Sanctifunkious" is a funky instrumental in the manner of a classic Meters recordings. Another instrumental is the Latin-flavored "Minor Shout," that sounds inspired by Santana. Like his playing throughout this recording, Specter's playing is sterling, full of unexpected, imaginative twists with his thoughtful, uncluttered attack. Jorma Kaukonen adds guitar to "How Low Can One Man Go?" with Specter delivering a convincing partially talking vocal with the two trading guitar lines. He also wrote the lyrics to "The Blues Ain't Nothing," a gem of an uptown blues with another first-rate vocal from Kattke and superlative guitar from Specter and then Kaukonen. Sarah Marie Young sings the gospel-blues ballad from Bill Britcha, "Wave's Gonna Come." Britcha plays acoustic guitar on this song while Specter's fretwork accents her superb, gospel-rooted vocal.

An atmospheric instrumental "String Chillin'" closes another recording from Specter that is wonderfully recorded and has excellent material, some first-rate singing, and outstanding playing. It is another notable addition to Specter's body of recordings.

I received my review copy from Delmark Records. This review appeared in the January-February 2020 Jazz & Blues Report (Issue 388). Here is a video of "How Low Can One Man Go?"

Jimmy Johnson Every Day Of Your Life

Jimmy Johnson
Every Day Of Your Life
Delmark Records

Going to the 2019 Chicago Blues Festival, one of the acts I was most anxious to see was Jimmy Johnson, who was celebrating his 90th birthday. I had not seen him since he played the Pocono Blues Festival in 2007, and his performance that night did not disappoint. Johnson's new CD does not disappoint, and it is striking how strong his vocals are as well as his guitar playing.

On this recording of five originals and four interpretations, Johnson is supported by two different groups. Those playing behind him include guitarist Rico McFarland on guitar, Roosevelt Purify or Brother John Kattke on keyboards, J.R. Fuller or Curt Bley on bass, and Pooky Styx or Ernie Adams on drums. On one selection, Johnson accompanies himself on piano.

There is an appealing mix of material opening with the title song that Johnson wrote about living one's life as if it is one's last. A marvelously paced performance, his soulful tenor is complemented by a thoughtful, well-constructed guitar solo demonstrating his lean tone and twisting rapier-like playing. Purifoy also songs strongly here.  A  relaxed, first-rate cover of "I Need Your Love So Bad," is followed by "My Ring." Set against a reggae groove, it has poignant lyrics as he remembers getting married, and that was the last time he saw his woman smiled. Among the other auditory delights here is a marvelous rendition of Fenton Robinson's "Somebody Loan Me a Dime," and Percy Mayfield's "Strange Things Happening." Then there are fascinating, well-crafted originals like "Rattlesnake" and "Down in the Valley."

Accompanied solely by his piano, Johnson caps off this recording with a moving, thoughtful rendition of a Bobby Bland classic "Lead Me On." Johnson still performs at a high level and is provided with excellent support here. Add in the terrific originals and covers, and the result is one of the best new blues albums of 2019.

I received my review copy from Delmark Records. Here he is seen performing a Curtis Mayfield number at the 2019 Chicago Blues Festival.

Breezy Rodio If It Ain't Broke Don't Fix It

Breezy Rodio
If It Ain't Broke Don't Fix It
Delmark Records

Billy Branch, in the liner notes to Breezy Rodio's new release, observes that "the mandate of record companies and audiences is to present vibrant quality new material." He then observes that this new release fulfills this. "He has produced a veritable smorgasbord of tasty songs that span the 1940s to the present."

Breezy Rodio has surrounded himself with a terrific band of Sumito 'Ariyo' Ariyoshi on piano, Dan Tabion on organ, Light Palone on bass, Lorenzo Francocci on drums, Constantine Alexander on trumpet, Ian Letts on alto and tenor sax, and Ian 'The Chief' McCarrie on baritone sax. Guests include Corey Dennison, Monster Mike Welch, and Kid Anderson. And they certainly kick off this album with a touch of a James Brown funk that segues into a shuffle. The horns stand out as does harmonica player Simone 'Harp' Nobile before Rodio takes his solo. On a talking blues, "Dear Blues," Rodio raps about his love of the blues before paying tribute to some of his heroes. First sounding like Albert King, he verbally salutes and then emulates B.B. King, Albert Collins, and T-Bone Walker. His love for Collins is also reflected in a sizzling instrumental, "The Breeze."

With Nobile's harp, Rodio performs an easy-rocking shuffle "From Downtown Chicago to Biloxi Bay" with a marvelously shaped solo. There is an excellent urban blues cover of B.B. King's "A Woman Don't Care." There also is a fine cover of a lesser-known B.B. King recording, "I'll Survive." "A Minute of My Kissing" is rock and roll mixed with Rodio's guitar evocative of Magic Sam. Pianist Ariyoshi stands out on this. Rodio does a bit of crooning on the jazzy "Look Me in the Eye," loriginally recorded by T-Bone Walker. Saxophonist Letts shares the spotlight here. Then there is a touch of soul for "Desperate Lover," followed by his autobiographical "Los Christianos," where he sings about his experiences in this Copenhagen district. The latter number features some deep singing and exquisite guitar. Another highlight is a moving, soulful rendition of 'Toots' Hilbert's "I Need Your Love."

A particularly noteworthy track is "Led to a Better Life," a gospel-infused tribute to the late Mike Ledbetter with Monster Mike Welch, who also solos on this. Corey Dennison shares the vocal duties on this moving selection. I found a couple of lyrics a tad off, and Breezy Rodio sings with a pinched, quivering vibrato that others might find to be an acquired taste. With the exception of these minor reservations, the music here is first-rate.

I received my review copy from Delmark. Here is a performance of one of the songs from this album.

Johnny Burgin Live

Johnny Burgin
Live
Delmark Records

Rockin' Johnny Burgin notes that this new live recording is his first in 20 years, and first since he moved from Chicago to the West Coast. It was recorded in January of 219 at the Redwood Café in Cotati, California. His regular band of Chris Matheos on bass and Steve Dougherty on drums is augmented by Kid Andersen on guitar, harmonica players Aki Kumar and Charlie Musselwhite, saxophonist Nancy Wright, and vocalist Rae Gordon. Kid Andersen and Robbie Yamilov and was mixed by Andersen at Greaseland Studios. The 14 selections include twelve brand-new originals performed, as Burgin observes, "by artists who don't play together regularly… ."

This collection of performances is a very good collection of West Side Chicago style blues. Burgin has definite appeal as a vocalist with his high pitched, heartfelt singing. He may not be a great singer, but there is a marked absence of a harsh vibrato or false emoting in his straight-forward, fervent vocals. This is matched by his guitar playing that evokes early Buddy Guy, Jody Williams, and (especially) Jimmy Dawkins in his top-notch, imaginative soloing. From the opening "You Got To Make a Change," whose melody evokes early Clifton Chenier on Specialty, with Kumar's outstanding harp until the closing "Jody's Jazz," an instrumental dedicated to Jody Williams that hints at "Lucky Lou" and also showcases Wright's chicken scratching sax, Burgin impresses.

There are echoes of early Buddy Guy in his fiery fretwork "Can't Make It Blues," while one of the covers is a choice rendition of Earl Hooker's "The Leading Brand" where Burgin's slide guitar dances with Kumar's harp. Vocalist Rae Gordon surprises with her robust singing, whether enlivening a duet with Burgin on "I Got to Find Me a Woman" or pouring her heart, and asking a lover to come home in "Late Night Date Blues." Nancy Wright makes notable contributions to these performances. Backing her vocal on "You Took the Bait," Burgin lays down one of his most stunning solos before Wright adds her raspy sax. This song borrows from the melody of Eddie 'Cleanhead' Vinson's "Kidney Stew." Charlie Musselwhite joins Burgin with some brilliant harmonica on the torrid paced cover of Jimmy Rogers' "Blues Falling." It is followed by another hot shuffle, "California Blues," where Burgin sings about moving to California, and the three-in-the-morning slow blues, "When a Bluesman Comes To Town."

With so many first-rate performances, Johnny Burgin's adds to his fine body of recordings.

I received my review copy from Delmark. Here is a video of Johnny and Aki Kumar performing "When a Bluesman Comes To Town."

Soul Message Band Soulful Days

Soul Message Band
Soulful Days
Delmark Records

While at the Chicago Blues Festival, a photographer-blues deejay I knew mentioned he was going to catch The Joel Paterson Trio in part because of organist Chris Foreman being part of the trio. I made sure to see a portion of their Festival set to see Foreman, one of the most outstanding Hammond B-3 players in the world. He did not fail to astonish. I was aware of Foreman from his playing as part of the Deep Blue Organ Trio on a Delmark album as well as his playing on a Red Holloway Delmark album. All these albums include drummer Greg Rockingham, and the other member of the Deep Blue Organ Trio is famed guitarist Bobby Broom. Other members of this band include guitarist Lee Rothenberg and Greg Ward on alto sax. Geof Bradford on tenor sax replaces Ward on two of the 9 performances, and both saxophones are heard on one track.

There is some spectacular music to be heard here starting with the strutting blues groove of Rothenberg's "Sir Charles," named for Barkley and then organist Earland. Ward displays a sharp bluesy tone, while Rothenberg shows his facility and taste in constructing his solo. Foreman quickly exhibits why he is among the top practitioners of the Hammond B-3 on the planet, Of course, Foreman and Rockingham have been playing so long together that one should not be surprised how tight the groove they lay down is.

The material range from the blues to hard bop and a standard tossed in. There is Cal Massey's reflective "These Are Soulful Days," with Bradford featured, a terrific rendition of Wayne Shorter's hard bop classic from his Art Blakey days, "Hammer Head," with both saxophones heard with the band's feel evoking Jimmy Smith's classic album "The Sermon." In fact, there is a rousing rendition of Smith's hot blues, "J.O.S." from that album. If not possessing a heavy vibrato like Ben Webster, Bradford is marvelous on a reflective performance of Rodgers and Hart "Little Girl Blue."

A rendition of Freddie Hubbard's "Thermo," another song first done by Blakey and the Jazz Messengers. Ward leads off with sparks flying before Foreman takes over with his deep-fried organ grease. It is a marvelous close to this terrific album.

I received my review copy from Delmark. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video of the Soul Message Band performing, and backing a vocalist Hinda Hoffman.

Shirley Johnson Blues Attack

Shirley Johnson

Blues Attack

Delmark Records

Vocalist Shirley Johnson has been a mainstay of Chicago’s North Loop bistro Blue Chicago for the past seventeen years, and that’s where you will likely find her unless she’s touring overseas. A Virginia native, she had roots in the church so many blues & R&B performers. A fellow Norfolk alumna, Ruth Brown was a role model, but she was influenced by such acts as Etta James, Johnnie Taylor, Bobby ‘Blue’ Bland, and B.B. King. 

Johsnon worked pop as well as gospel gigs until a friend told her to go to Chicago where she relocated to in April 1983. Working first with Buster Benton and then with singer Johnny Christian, she got herself part of the Chicago scene. Then keyboard wizard Professor Eddie Lusk heard her, hired her to a Canadian tour and later brought her Blue Chicago as his regular vocalist, and after he died in 1992, she continued on at the club. In 1994 she recorded “Looking For Love” for Appaloosa which was followed by a 2002 Delmark album “Killer Diller.” She returns to Delmark for her new release, “Blues Attack.”

For “Blues Attack,” she has brought on board a band of guitarist Luke Pytel, keyboardist Roosevelt Purifoy, bassist Lovely “JR” Fuller, Jr. and drummer Cordell Teague with a horn section of Lawrence Fields, Kenny Anderson, Hank Ford, and Willie Henderson added to several tracks. The fourteen selections on “Blues Attack” include several written by Maurice John Vaughan, several by her band members and several that she contributed to, along with covers of R&B classics. 

This is just a solid set of Chicago blues sung and played strongly. Purifoy is first-rate on keyboards, while Pytel plays a solid blues guitar with just the right tone and bite as Johnson delivers the goods with her straight attack that eschews histrionics for a simple, soulful delivery. The songs range from her cautionary warning to her lover, “You’re Reckless,” and need to change his ways to keep whatever glimmer of a flame is in their love. The title track has a funky groove enhanced by a full dose of brass, as she sings about having a blues fever which moved through her body and mesmerized her, left her tired and soaking wet but nothing wrong with that, and Pytel shines more here). 

There is a nice rendition of the great Wilson Pickett classic “634-5789,” followed by an easy tempoed shuffle “Just Like That,” as she explains her relationship is over and moving on. “You Shouldn’t Have Been There,” is a fine atmospheric slow blues where she tells an ex to move on. “I’m Going To Find Me a Lover,” turns the tempo hotter as were she declares if it takes a long time its all right as she isn’t gonna take less than she deserves. It continues the lyrical center of many of the songs here emphasizing relationships that cool down or break down due to abuse or cheating. The performances have a variety of tempos and accompaniments that add to their enjoyability. 

Delmark should be thanked for bringing a healthy slice of blues from a marvelous singer who merits the attention “Blues Attack” should bring.

I received my review copy from Delmark Records. This review originally appeared in the April 2009  Jazz & Blues Report (Issue 315) although I have made some minor changes.  Here is Shirley Johnson performing "Blues Attack."

Red Holloway Go Red Go!

Red Holloway

Go Red Go!

Delmark Records

Delmark has just issued the label’s debut recording by the veteran tenor saxophonist, Red Holloway, “Go Red Go!” A contemporary of Von Freeman and the late Johnny Griffin at Chicago’s fabled Du Sable High, he came up under the tutelage of Captain Walter Dyett who advised his students to practice outside to develop their sound. Particularly important influences on Holloway were Ben Webster and Sonny Stitt, leading to his big, rich tone and fleet agility which certainly did not inhibit his ability to straddle the blues and jazz worlds growing up. He played on some classic Chicago blues sessions as well as jazz dates. His career has run the gamut to backing Charles Brown in the studio in the late sixties (with Charles calling out Red by name on a choice tenor solo) to the 1989 “Locksmith Blues,” date for Concord co-led with Clark Terry. 

“Go Red Go!” finds him blowing with vitality backed by organist Chris Foreman and his trio (guitarist Henry Johnson and drummer Greg Rockingham). Its a buoyant swinging date opening with a lively “Love Walked In.” Legendary guitarist George Freeman takes over the chair for Holloway's late night blues, “I Like It Funky.” The title track is a retitled rendition of an Arnett Cobb sax sender as he takes off at rug-burning tempo, followed by the more romantic feeling of the standard “Deep Purple,” a prime vehicle to display his sensuous ballad playing with his vibrato evoking Webster. 

Holloway also provides his own take on “Stardust,” one of the ballads Webster was most associated with. Sonny Rollins classic calypso “St. Thomas,” is an unusual choice perhaps but Foreman’s solid unison playing and chording underneath his dancing solo adds to its charm and Johnson takes a nice solo here as well. There are strong interpretations of “Bags Groove,” and Antonio Carlos Jobim’s bossa nova classic, “Wave." Guitarist Freeman rejoins him for the delightful reworking of Roosevelt Sykes', “Keep Your Hands Off Yourself,” that closes this album as he enthusiastically delivers the vocal with Foreman anchoring the performance and getting greasy during his solo that precedes the solos by Holloway and Freeman. Holloway used to play with Sykes. 

Holloway may not be a great singer, but the entire performance is simply too much fun and ends a finger-snapping, toe-tapping recording of first-rate jazz for lovers of tenor sax and organ jazz. He ain’t getting older, he’s just aging marvelously.

I received this review copy from Delmark, but am uncertain whether this 2009 review was ever published. (Correction, It was published in the July 2009 Jazz & Blues Report (Issue 318)). Here is Red Holloway from a decade singing and playing "Cleanhead Blues."  

Willie Buck Willie Buck Way

Willie Buck
Willie Buck Way
Delmark Records

Reviewing Delmark's 2010 expanded release of Willie Buck's 1982 album, "The Life I Love," I observed that the music was "strong traditionally rooted Chicago blues that one hears played so well less frequently nearly three decades later." Buck, whose career extends back decades, remains a strong blues singer who is displayed on the 17 new selections on this new release. Backing Buck, who is solely a songwriter and singer, are Billy Flynn on guitar; Thaddeus Krolicki on guitar; Scott Dirks on harmonica; Johnny 'Fingers' Iguana on piano; Bob Stroger on bass and Jimmy Mayes on drums. Big Spider Beck plays harmonica on three selections and piano on two while Harmonica Hinds plays harp on two.

Muddy Waters is a strong influence on Buck's music as one can hear on Billy Flynn's original, "Can't Say Something Good About Me." But while he delivers a vocal robustly, he does not try to sound like Muddy. Buck also sings with a relaxed, swinging quality as on the opening "You Want Me To Trust You." The backing is solid, idiomatic Chicago blues with the Krolicki taking most of the leads while Iguana impresses with his Otis Spann influenced playing. Dirks is a more than capable harmonica player while Beck evokes Mojo Buford on "Can't Say Something …," which also has a stinging Flynn solo under a spoken part. Buck's capabilities as a singer are also displayed on his "There's a Woman," a song with a backing evoking Howlin' Wolf .

There is plenty of variety on this album including the unplugged "My Mind Might Freeze Up" and "Twenty-Four Seveni" with Krolicki on acoustic guitar and Hinds on harmonica. There is also strong, relaxed shuffle rendition of "Crawlin' King Snake" which is usually taken at a slow tempo. Beck rips off a strong harmonica solo on this. Another standout track is Buck's sermon to his fellow men, "The Men Ought To Learn (To Treat The Women Right)," with superb backing and a focused solo from Krolicki.

While the title track musically hints at "Blow Wind Blow," Buck lets us know that he is a blues legend and an all-around man with Iguana playing  fine blues piano. Billy Flynn plays some Muddy Waters' styled slide guitar on an excellent rendition of Leroy Carr's "Blues Before Sunrise," that owes much to Muddy Waters' recording of this song. With echoes of the melody for "Sloppy Drunk," "I'd Rather Leave You," closes this album on an easy rocking vein. It has another solid Flynn solo. Other selections are generally of similar quality with strong vocals and wonderfully backing. Like Willie Buck's prior recordings, "Willie Buck Way" is an excellent album of traditionally styled Chicago blues.

I received my review copy from Delmark Records. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I may have made some minor changes. Here is Willie singing "Blow Wind Blow." Please excuse the slightly distorted audio.

Breezy Rodio Sometime The Blues Got Me

Breezy Rodio
Sometime The Blues Got Me
Delmark Records

Coming to the US as a young immigrant, Breezy Rodio became part of the Chicago blues scene and in fact spent ten years in Linsey Alexander's band. This is his third album, although the first I have heard and his Delmark debut. There is a generous 17 tracks, of which six are interpretations and eleven are his originals. I am not familiar with most of the backing musicians with the exception of organist Chris Foreman. Billy Branch appears on two selections and there is a four piece horn section of which trumpeter Art Davis and saxophonist Ian "The Chief" McGarrie each get to solo.

Musically this is a post-war urban blues recording with B.B. King and Albert King being obvious influences and the horns provide a feel to these selections that evokes the classic B.B. King and Albert King sides of the the fifties and early sixties. Certainly this is evident in renditions of Lee Hazelwood's "Don't Look Now, But I Got the Blues," that B.B. recorded as well as Albert King's "Wrapped Up in Love Again." Rodio's vocals has a pinched vibrato sound at times, similar to that of roots-blues stylist Si Cranstoun, that some might find an acquired taste. Similarly, his originals vary in quality with a few focused on the theme of playing the blues, although the title track has its self-evident hook.

There are other selections of note including the jump blues flavored "I Walked Away," with terrific horns including McGarrie's booting tenor sax solo to go with his jazzier guitar playing here and the instrumental "A Cool Breeze in Hell," with some impressive Albert King styled guitar. Also he does a fine take of B.B. King's "Make Me Blue." Then he remakes the Delmore Brothers' "Blues Stay Away From Me" into a fervent urban blues, while Billy Branch channels the second Sonny Boy Williamson to enliven a relaxed shuffle, "Doctor From the Hood." On "Fall in British Columbia," is an atmospheric, wistful ballad with a lovely trumpet solo, while set against Foreman's greasy organ, Rodio conjures up Albert Collins on an strong original, "One of a Kind." Branch adds some strong harmonica and shares the vocal with Rodio on the closing "Chicago Is Loaded With the Blues."

Some may find Breezy Rodio's vocals a tad harsh and the original songs are uneven, but he performs with passion and is a terrific guitarist. He is handsomely supported on these wonderfully played, if perhaps imperfect, performances.

I received my review copy from Delmark. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is a preview video for the album from www.breezyrodio.com.

Tribute: Delmark's 65th Anniversary

Various artists
Tribute: Delmark's 65th Anniversary
Delmark Records

As Delmark celebrates 65 years since founded in St. Louis by Bob Koester, new has come out that the label has been sold which hopefully will keep this historic and visionary blues and jazz label healthy for years to come. This "Tribute" recording has eleven newly recorded blues to help in the celebration. It should be noted that these are new recordings of prior recordings by various blues artists on Delmark. There is a house band with either Mike Wheeler and/or Billy Flynn on guitar on several tracks, Roosevelt Purify on keyboards, Melvin Smith on bass and Willie Hayes on drums.

Omar Coleman sings strongly and plays nice harp on his tribute to Junior Wells, "Train I Ride," with guitar from Wheeler and booting sax by Hank Ford. Lurrie Bell & the Bell Dynasty with Eddie Taylor Jr do Carey Bell's "One Day You're Gonna Get Lucky," likely recorded at the same session that produced their Tribute to Carey Bell album. Steve Bell's harmonica shines on this. Billy Flynn emulates the late Jimmy Dawkins' distinctive guitar style behind Linsey Alexander's fervent vocal on Dawkins' "All For Business." Demetria Taylor effectively growls performing Big Time Sarah's "Riverboat." Jimmy Burns performs his amiable take on Big Joe Williams' "She Left Me A Mule To Ride," without band accompaniment. His performance is not as percussive as that of Williams but he sings quite ably.

Lil Ed Williams and Dave Weld cover "Speak My Mind," by his uncle J.B. Hutto and it is a solid rendition if Ed does not quite match J.B.'s vocal here. Jimmy Johnson with Dave Spector do a strong Magic Sam's "Out of Bad Luck," with Sumito 'Ariyo' Ariyoshi adding some fine piano behind Johnson's marvelous vocal and fine guitar from him and Spector. Corey Dennison and Gerry Hundt provide a lively acoustic duet on Sleepy John Estes' "Broke and Hungry" with tight mandolin runs against the rhythmic guitar, with a strong crying vocal. Mike Wheeler evokes Jimmy Johnson on a fine cover of an Otis Rush classic, "So Many Roads," which is followed by Shirley Johnson's fine singing on the Little Willie John classic "Need Your Love So Bad," that Bonnie Lee previously waxed for Delmark.

Ken Saydak's solo piano and vocal barrelhouses Roosevelt Sykes' rollicking "Boot That Thang," closing this most entertaining collection of fresh blues cover recordings.

I received my review copy from Delmark Records. This review appeared in the July-August Jazz & Blues Report (Issue 379).  Here is Bob Koester interviewed about Delmark about 5 years ago.

Lurrie Bell & the Bell Dynasty Tribute to Carey Bell

Lurrie Bell & the Bell Dynasty
Tribute to Carey Bell
Delmark Records

Guitarist and vocalist Lurrie Bell is joined by his siblings Steve on harmonica, Tyson on bass and James on drums and vocals on a tribute recording to their late father, legendary harmonica wizard, Carey Bell. Also present on most of this is Eddie Taylor Jr., whose father had a long association with the elderly Bell. Guests on several tracks are Charlie Musselwhite on harmonica, Billy Branch on harmonica and vocals and Sumito 'Ariyo' Ariyoshi on piano. Included are a number of songs associated with Carey, one original from James Bell and one from Billy Branch.

This is one of the better recent blues tribute recordings I have heard as the Bell Dynasty is a real fine band and the sharing of vocals between Lurrie (7), James (3) and Billy Branch (2), adds variety along with the solid vocals. One has to be impressed by Lurrie who opens on a rocking shuffle, Muddy Waters "Gone on Main Street" with Steve displaying his strong harmonica chops while Lurrie tosses in a neat solo. A rollicking take on Little Walter's "I Got To Go," has Musselwhite and Steve Bell both playing with their interplay energizing but Lurrie and Taylor also play to great effect. James Bell shows himself to be a singer of considerable merit on a fine slow original "Keep Your Eyes on the Prize." It is followed by a hot shuffle performance of "Tomorrow Night," while it is Billy Branch I believe who is heard on chromatic harp (with Steve Bell also playing) as well as taking the vocal on another fine slow blues, "So Hard To Be Alone." Branch's own "Carey Bell Was A Friend Of Mine," set to a John Lee Hooker boogie groove showcases the interplay between the two harpists along with Branch's heartfelt singing and lyrics.

James Bell's singing also stands out on terrific performances of "What My Momma Told Me" and "Break It Up," which is given a fresh arrangement from the more familiar versions by Bell and the late Bobby Parker, who had this as a staple of his performances for decades. Among the remaining songs is another superb slow blues "Heartaches and Pain," but the level of these performances is consistently high. In summary, a tribute to Carey Bell full of first-rate Chicago blues.

I received my review copy from Delmark. This review has appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is a video of Lurrie Bell and Carey Bell from 2005.

Willie "The Lion" Smith & Don Ewell Grand Piano Duets

Willie "The Lion" Smith & Don Ewell
Grand Piano Duets
Sackville/Delmark

This joyous piano collaboration between one of the great stride piano legends and one of the great two-fisted traditional pianists was recorded in 1967. Patrick Scott observes this is music "to be listened to and not written about." He also notes that The Lion is on the left channel and Ewell on the right, but at times where one will be incapable of telling them apart. They had never met until brought together for a 1966 Canadian TV show. This is the second of two albums by the two, and another welcome Sackville reissue from Delmark.

Musically, the mood is set with a blistering, stomping "I've Found a New Baby," followed by a relaxed but also playful, "A Porter's Love Song to a Chambermaid." The interplay between the two on the opening of "I Would Do Anything For You," the wistfulness of "Some of These Days," and then the breakneck tempo of "Just Me, Just You." "Everybody Loves My Baby," is taken at a relaxed tempo with stunning playing. "Keepin' Out of Mischief," has an interjection from the Lion as the two trade lines at a relaxed pace before "Sweet Georgia Brown," that starts in a sedate manner before the two transform it as a lively stomp.

The fact that this is such fun listening should not detract from the fact that there is some serious music being played as well by the two masters of early piano jazz style.

I received my review copy from Delmark. Here is a clip of Willie "The Lion" Smith performing and a clip of a duet by Don Ewell with pianist Dick Wellstood.