Dr. Ross is the cure for the Boogie Disease

This review of Dr. Ross' Boogie Disease on Arhoolie, appeared back in the November 1992 Jazz & Blues Report (issue 176) back before the explosion of the World Wide Web. He would pass less than a year after this was written. He had moved to the Detroit area in 1954 and I had the pleasure of seeing him perform at the Smithsonian Folklife Festival where he was as vigorous as anybody. The Swedish blues artist, Robert Lighthouse, based in the Washington DC area, is among those who was musically influenced by this marvelous player. The album is still in print too.

Now a resident of the Detroit area, Isaiah “Dr.” Ross developed from a fine delta blues artist in the tradition of Big Joe Williams and Robert Petway into a one-man band. One of the artists who recorded for Sam Phillips, his early Memphis recordings have been reissued on Boogie Disease. Listening to the exuberance of the alternates to Boogie Disease and Chicago Breakdown, one can detect not only the strong delta rhythmic style of a Big Joe Williams (as well as northern transplant John lee Hooker), but also more than a bit of the influence of John Lee Williamson, reflected in a variety of songs including Going Back South and Polly Put a Kettle On. Of considerable note are his strong interpretations of such delta themes as Going to the River (Derived perhaps from Blind Lemon Jefferson, but played in the delta style), Shake ‘Em Down and Mississippi Blues. The latter is a Catfish Blues variant better known as Cat’s Squirrel and the source of the recording by the rock group, Cream. In addition to his youthful influences of John Lee Williamson and Tommy McClennan, one can also appreciate the impact of Muddy Waters, and John lee Hooker, particularly on the hypnotic rhythms of Industrial Avenue Boogie, a reworking of Hooker’s Boogie Chillum.This is an updated version of a vinyl reissue, and Steve La Vere has updated his and Bob Eagle’s original liner notes. Some of you have heard some of Dr. Ross’ Sun recordings and will have an idea of the exuberant boogie and barrelhouse blues to be found here. Others are in for a treat with respect to these superbly rendered performances.

Some Outstanding Blues Reissues of 2007

In a second of three posts here are some reissues of first release of vintage blues and R&B that I believe merits your consideration. I have links to my reviews of the cds on this blog.
Andrew Brown - Big Brown Blues (Black Magic) Magic collection by singer who may superficially be described as in the style of Little Milton.
Johnnie Taylor - Live at the Summit Club (Stax). The Soul Philospher in a great live performance from time of Wattstax with a heavy blues emphasis on material.
Henry Townsend - The Real St. Louis Blues (Arcola) Distinctive acoustic blues by one who performed with Robert Johnson, Lonnie Johnson, Roosevelt Sykes, Walter Davis and others. His minor key piano blues are particularly moving. This label has some really important releases out and I do not believe they have been publicized but they certainly deserve. I became aware of this label last year so even though its a pre-2007 release I am including it.
Various - Bullet Records Blues (SPV Blue). Excellent collection of blues by the likes of Walter Davis and St. Louis Jimmy that was issued on Nashville label.
Various - Bullet Records Rhythm & Blues (SPV Blue). Another of Fred James' compilations of vintage Nashville labels with some great jump blues starting with Wyonnie Harris (with Sun Ra on piano). He has other notable reissues on SRV Blue of the Champion and other labels, but these two on Bullet are musically the finest.
Various - Crescent City Bounce (JSP) Wonderful European public domain 4 CD set of rare New Orleans recordings including great sides by Archibald, Smilin’ Joe, Roosevelt Sykes, Tommy Ridgely, Earl King and others.
Various - Down Home Blues Classics- (2CDS) California & West Coast 48-54 (Boulevard Vintage). Simply stunning downhome blues performances by the likes of KC Douglas, Sidney Maiden, Black Diamond, Little Son Willis, Haskell Sadler, Slim Green and others
Various - Down Home Blues Classics- (2CDS) Memphis & the South (Boulevard Vintage). Another compilation of terrific downhome blues with Willie Love, Willie Nix, Joe Hill Louis, Lightning Slim, Schoolboy Cleve, Big Joe Williams, John Lee, Luther Huff, Dr. Ross and more.
Various - MERCURY RECORDS- (2CDS) The New Orleans Sessions 1950 & 1953 (Bear Family). Expanded compilation that includes early recordings by Professor Longhair and others (including Lee Allen's first recordings as a sideman).

Robert Lighthouse's Blues For New Orleans

Robert Lighthouse is a Swedish native (real name Palinic) who settled in the Washington DC area about two decades ago and has established himself as an important part of the blues scene in the Mid-Atlantic. he has busked on the streets and played a variety of clubs. His regular weekday gig at the late club City Blues was a local institution. Today he plays a solo gig weekly at a club Chief Ike’s Mambo Room, and plays band gigs with his trio at various bars and clubs. Wayne Kahn, a champion of D.C.’s music scene recorded Robert and issued Lighthouse’s first album, Drive-Thru Love, which received considerable local and international acclaim. Now he has issued on his Right on Rhythm label, the follow-up album of location recordings, Deep Down in the Mud, which includes solo selections recorded at Chief Ike’s and band cuts recorded at D.C.'s Zoo Bar (The Oxford Tavern located across from the National Zoo). Robert has developed a distinctive style from a variety of influences including Muddy Waters, Dr. Ross and several others so that when he does Robert Johnson’s Last Fair Deal Gone Down and Preachin’ the Blues, his attack lacks the more percussive approach of Johnson and most imitators, and has a more flowing approach that is evocative of Furry Lewis. His original Stuck in the Mud and Dr. Ross’ Turkey Leg Woman are fine performances in a style suggestive of Dr. Ross, although his rendition of Cat’s Squirrel, Dr. Ross’ treatment of the Catfish Blues theme also shows a bit of Muddy Waters influence. The title track is not a blues, but a protest social commentary song about Katrina and the government’s inadequate response. The trio cuts include Lighthouse’s laconic rendition of Elmore James’ Red Hot Mama, totally reworking the melody, a nice cover of Magic Sam’s All Your Love, an understated treatment of Wolf’s Meet Me in the Bottom and an unusual piece of funk, a rendition of George Clinton’s Red Hot Mama. Lighthouse also has an attraction to Jimi Hendrix's music and included is a take on Spanish Castle Magic, but this somewhat lengthy rock performance I found somewhat less compelling than some of his prior Hendrix covers. Still, overall this album is an impressive follow-up release and illustrates why he maintains a loyal following in the DC area. This can be purchased at www.rightonrhythm.com or cdbaby.com

The Good Doctor Cures the Boogie Disease

This is a review I did in 1992 of Dr. Ross for Jazz & Blues Report. Dr. Ross passed away in 1993 and I am fortunate to have seen the one-man band perform at the Smithsonian Folklife Festival several times in the late 1980s.

Isaiah “Dr.” Ross
Boogie Disease
Arhoolie

Now a resident of the Detroit area, Isaiah “Dr.” Ross developed from a fine delta blues artist in the tradition of Big Joe Williams and Robert Petway into a one-man band. One of the artists who recorded for Sam Phillips, his early Memphis recordings have been reissued on Boogie Disease. Listening to the exuberance of the alternates to Boogie Disease and Chicago Breakdown, one can detect not only the strong delta rhythmic style of a Big Joe Williams (as well as northern transplant John lee Hooker), but also more than a bit of the influence of John Lee Williamson, reflected in a variety of songs including Going Back South and Polly Put a Kettle On. Of considerable note are his strong interpretations of such delta themes as Going to the River (Derived perhaps from Blind Lemon Jefferson, but played in the delta style), Shake ‘Em Down and Mississippi Blues. The latter is a Catfish Blues variant better known as Cat’s Squirrel and the source of the recording by the rock group, Cream. In addition to his youthful influences of John Lee Williamson and Tommy McClennan, one can also appreciate the impact of Muddy waters, and John lee Hooker, particularly on the hypnotic rhythms of Industrial Avenue Boogie, a reworking of Hooker’s Boogie Chillum.This is an updated version of a vinyl reissue, and Steve La Vere has updated his and Bob Eagle’s original liner notes. Some of you have heard some of Dr. Ross’ Sun recordings and will have an idea of the exuberant boogie and barrelhouse blues to be found here. Others are in for a treat with respect to these superbly rendered performances.