Elvin Bishop & Charlie Musselwhite 100 Years of Blues

Elvin Bishop & Charlie Musselwhite
100 Years of Blues
Alligator Records

The title of this first full album by blues veterans Elvin Bishop and Charlie Musselwhite refers to time playing blues if one added their careers together. It was also a selection that the two recorded together on one of Bishop's Big Fun Trio albums, which is reprised here. Bob Welsh on piano and guitar joins them, with Kid Andersen playing bass on four selections. The result is an album with has a loose back-porch party feel of Bishop's recent Big Fun Trio recordings.

The loose jam fell starts with Bishop's party celebration of the blues "Birds of a Feather." Even though there is no drummer present, the performances are rhythmically dynamic. Musselwhite plays his harp with a robust, full-bodied tone. His vocals sound a bit more upfront than some of his recent recordings . He does credit to Roosevelt Sykes' "West Helena Blues" with Welsh on piano. "What the Hell" is a topical blues that was issued on the Alligator "2020 Blues" sampler. "Good Times" is a solid Musselwhite original with Bishop channeling Robert Nighthawk while Charlie ponders about where did all our good times go.

Bishop does an atmospheric cover of Leroy Carr's "Midnight Hour Blues" with Musselwhite contributing some harmonica to contribute to the performance's mood. Musselwhite's "Blues Why Do Worry Me" is a rowdy Chicago shuffle with Welsh adding sterling piano, while Bishop's "Chicago Slide" sounds like a nicely played reworking of Thelonious Monk's "Blue Monk." This recording's highlight may be Musselwhite's "Blues For Yesterday," a nostalgic recollection of "when times were tough, but we had fun." The album closes with the new recording of the title track as they recollected about the Chicago of five decades past when they were first coming out.

The recording of a drummer-less Chicago blues recording is not unprecedented. Listening to this, I thought of some of Norman Dayron recordings (often issued on Testament) by Johnny Young, Otis Spann, and others that often were without drummers. Like those recordings, there is plenty to enjoy here. Bishop and Musselwhite sound like they had a blast recording this, and folks will have one listening to it.

I received a download to review from Alligator Records. Here are Elvin and Charlie performing Tampa red's "Don't You Lie To Me" from February of 2020.

2020 Blues—New Music From Alligator Records

Various Artists
2020 Blues—New Music From Alligator Records
Alligator Records

This is a digital-only sampler from 5 albums that Alligator was going to release this year. Unfortunately, the Covid-19 pandemic intervened and eliminated nearly all live performances and the like. In Bruce Iglaur's words, "It's now clear that the pandemic and its results are going to continue for some time to come. We can't wait any longer to begin to share this great new music with the media and the public. … These albums are scheduled for later this year and early next year. 2020 Blues and each individual track will be available on all the popular download and streaming sites."

This compilation is a welcome teaser for the five upcoming albums. The first selection up is from Chris Cain, whose "I Believe I Got Off Cheap" is from an album to be released early next year. I have been quite a fan of Cain for years, and it is great that he will have a new album. This song is a terrific track on which he channels Albert King's guitar style paired with his soulful vocals. Following you is a selection from Selwyn Birchwood, "Living In A Burning House." From a release schedule for January, it is a typical first-rate performance from one of the real young blue bloods.  Also scheduled for release next year is a new Curtis Salgado album. The track "The Longer That I Live" is a stunning Memphis soul performance. If the rest of this album is this good, it is another most purchase.

Both Shemekia Copeland and Elvin Bishop-Charlie Musselwhite will have new albums out this year, Shemekia, in October and Elvin-Charlie in September. Both of their songs deal with the deep divide in our country now. Shemekia sings "Uncivil War," a plea for us to get along, although her plea "to listen to one another and, ultimately, come together" may strike some as naive. The striking performance is more Americana than blues, and it is good to see her showing how expressive she can be no matter the musical setting. The raucous "What The Hell?" is a rowdy duet with Bishop singing about things ailing our country and talking about what he likes about the President, which is nothing, Musselwhite wails throughout this track. It certainly makes one quite interested in their collaboration.

In summary, quite an appetizer for these upcoming releases with some terrific music. It is available from Alligator Records (https://www.alligator.com/albums/2020-Blues---New-Music-From-Alligator-Records/) and the usual digital outlets.

I received a download to review from Alligator Records. Here is a video of Chris Cain performing and channeling Albert King.

 

Elvin Bishop's Big Fun Trio
Something Smells Funky 'Round Here
Alligator Records

This is the second time for Elvin Bishop, Willy Jones and Bob Welsh for another solid recording. Big Fun Trio is an apt description for the mix of blues, R&B classics and more. Bishop of course is on guitar, Welsh plays piano, guitar and organ and Jones plays the cajon and all three contribute vocals. Andre Thierry adds accordion to one selection.

The title track is a topical blues about the stench coming from Washington DC these days with Elvin taking the lead vocal and followed by Willy taking an outstanding vocal on the the Jackie Wilson classic, "(Your Love Keeps Lifting Me) Higher And Higher." This stripped down trio backing provides a husky, driving backing. A Bishop original with a group vocal,"Right Now Is The Hour," evokes Hank Ballard and the Midnighters, as they shout out to have fun with a brief guitar break. It is followed by a cover of Dave Bartholomew's, "Another Mule," that lyrically tracks Fats Domino's reworking of it "Man That's All," with an effective lazy groove and stinging guitar.

The trio get down with a funky groove for "That's The Way Willy Likes It," as Jones sings about what he likes in a lady with Jones taking a cajon drum break followed by Bishop's guitar solo. Welsh is showcased on "Bob's Boogie," a terrific rollicking instrumental followed a cover of "I Can't Stand the Rain," with Welsh on organ providing a solid underpinning for Bishop's guitar and Jones' strong soulful singing. "Stomp" aptly describes the simple driving groove on an instrumental with slide and rocking rhythmic solos. After Bishop's solid straight slow talking blues (with strong piano backing) about growing old and looking good with wrinkles, "Lookin' Good," Andre Thierry joins the trio (Welsh is on piano) for a driving rendition of an old Clifton Chenier recording "My Soul," with Jones taking another strong vocal.

Another album of wonderfully played recording that is is nothing but big fun.

I received my review copy from Alligator Records. This review appeared in the July-August Jazz & Blues Report (Issue 379) although I have made some corrections. Here they are seen performing "Higher and Higher."

Finis Tasby People Don’t Care

Finis Tasby

People Don’t Care

Shanachie

Shanachie, which also is the parent label for Yazoo, is best known for acoustic and world beat music. With this debut album of West Coast bluesman Finis Tasby, the label presents its first modern urban blues release. Playing and singing for over three decades, Tasby’s Texas band, The Thunderbirds, spawned a young Z.Z. Hill. Over recent years he has played with Freddie King, Lowell Fulson, John Lee Hooker and others, and recorded some singles. He finally has his first full album, and he has obviously made friends over the years as Elvin Bishop, Mick Taylor and Vernon Reid each guest on guitar and solo, while Lowell Fulson shares a vocal on Find Something Else to Do, and wrote Just a Kiss. 

Tasby is a gritty singer and guitarist and his music is suggestive of the late sixties and early seventies recordings by Fulson and McCracklin. He also co-wrote four of the ten songs, and producer Charles Collins had his hand in another four. Shanachie describes this as a set of rocking blues, but Tasby’s gritty vocals and guitar is undercut by the vocal choruses and horn arrangements on some of the cuts. Fulson’s Just a Kiss, is a terrific song in which the chorus is successfully integrated in the terrific performance. This and the duet with Fulson, Find Something Else to Do, best display Tasby’s strengths, and even if the horns overplay on Gotta Draw the Line or the shuffle Po’ Boy Blues, Tasby convincingly delivers the lyrics and adds biting guitar. Drinkin’ Bad Whiskey is a slow Tasby original about how alcohol and drugs can’t ease his pain which is fervently sung and sports a fiery solo. Gonna Miss Your Love is a medium tempo number with a latin tinge and a cooing backing chorus that comes across because it is more understated in delivery. 

There is plenty about Finis Tasby to like here, despite the heavy-handed production in some areas. Unfortunately, this album could have some marketing problems, as it seems to be aimed towards the southern black blues audience and Shanachie might have a tough time cracking that market. At the same time, the vocal choruses and horns on several tracks might diminish its appeal among white blues buyers, who are often oriented to guitar solo based albums. This would be a shame, as there is some terrific Finis Tasby to be heard here.

I likely received my review copy from Shanachie. This review originally appeared in the September 1995 Jazz & Blues Report (Issue 204). Here is Finis Tasby performing "As the Years Go Passing By."

Elvin Bishop's Big Fun Trio

Elvin Bishop's Big Fun Trio
Alligator Records

The aptly titled Elvin Bishop's Big Gun Trio brings together guitarist and vocalist Bishop with pianist and guitarist Bob Welsh and percussionist and vocalist Willy Jordan who brought a cajón, a South American percussion instrument. The three started jamming in Elvin's studio one day and the combination of the three clicked big time leading to the present recording which has four Bishop originals, three co-writes and four covers. Kim Wilson, Charlie Musselwhite and Rick Estrin each lend their harmonica talents to a song each.

Big Fun is so true and the sparse instrumentation matched with the good-time feel from the interplay by the three make for some marvelous listening. Not being familiar with Willy Jordan, to these ears he was a revelation as a singer. Bishop has his appeal in his almost goofy, back porch style, but Jordan can mix humor and a deep blues soulfulness while Welsh's piano helps push things along. Things open up with Welsh's rollicking piano and a steady groove on "Let It Roll" with its message of don't let the politician bastards get you down. "Honey Babe" matches Bishop's stinging guitar with Welsh playing bass lines on his guitar on a number with a back porch feel. Wilson joins in on a raucous and terrific cover of Sunnyland Slim's "It's You, Baby," with a standout vocal by Jordan, and terrific piano, and fat-toned harmonica.

"Delta Lowdown," an instrumental that sounds based on the Jimmy Rogers' 1950 Chess recording "Goin' Away Blues," with Estrin channeling Little Walters' country inflected harp. Jordan then takes the vocal on a solid cover of The Valentinos' "Its All Over Now," as Elvin channels Bobby Womack in his guitar playing. "100 Years of Blues" is a talking blues duet between Bishop and Charlie Musselwhite as they recall their old times that evokes Louisiana swamp blues of Lightnin' Slim and others with the restrained backing. Elvin plays slide guitar with some New Orleans piano heard behind Jordan's solid vocal on a lively cover of "Let the Four Winds Blow." "That's What I'm Talkin' About," is a culinary travelogue as Elvin talks about going to a place on Polydas in New Orleans as Jordan sings some of the items on the menu. Then making it Seattle, and Elvin suggests a drive through and get burgers and instead there is a soul food menu with Jordan again singing about some of the menu items. "Can't Take No More," has a gospel-inflected Jordan vocal on this slow blues with Bishop laying down a super West Side Chicago styled guitar solo.

A nice, lazy instrumental "Southside Slide," that sounds inspired by "Blue Monk" and "Honky Tonk," closes this marvelously entertaining recording of blues big fun.

I received my review copy from Alligator Records. This review appeared in the March-April Jazz & Blues Report (Issue 371). Here Elvin Bishop's Big Fun Trio is in performance.

Pride and Joy: The Story of Alligator Records

A Robert Mugge Film
Pride and Joy: The Story of Alligator Records
MVDVisual

Among recent Robert Mugge films getting reworked for Blue-Ray release is his 1992 film, "Pride and Joy: The Story of Alligator Records." This film was centered around a Philadelphia Concert during Alligator's 20th Anniversary Tour," that featured performances by Koko Taylor and Her Blues Machine; the Lonnie Brooks Band; Elvin Bishop; Katie Webster; and Lil' Ed & the Blues Imperials. Interspersed with the performances are interviews with Bruce Iglauer and others involved with Alligator, along with clips of staff meetings and discussions that give of sense of what was involved in running this independent blues label that is now celebrating forty-five years.

The core of the film is the musical performances withe exceptional performances by all the named performers. Seeing Katie Webster was especially moving with her solo boogie and blues piano and vocals standing out even in such august company as Koko Taylor and Lonnie Brooks whose own performances are splendid. Everybody comes together for a closing, and rousing "Sweet Home Chicago," that is the musical climax of this wonderfully constructed documentary that marvelous integrates the performances and documentary segments. It is so welcome to have this new improved release.

I received my review copy from MVD Visual. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here is the trailer for this movie.

Clifton Chenier Was Zydeco Dynamite

Rhino has issued Zydeco Dynamite, The Clifton Chenier Anthology, which is a two compact disc, 40 track retrospective of Clifton Chenier’s recording career (thirty two tracks on two cassettes). Compiler Greg Durst observes, “If these scorchers don’t make you move like an alligator in a pond of hot sauce, you’d better consult a physician,...…Clifton Chenier will always be the one who makes the Bon Ton Roulet.” And the good times sure roll on here from Louisiana Stomp, Clifton’s first record for the Elko label, through some of his Specialty recordings that rocked almost as hard as the hottest Little Richard numbers (although Clifton was more down in the alley, and less flamboyant), his lengthy association with Arhoolie Records (from which about half of the recordings are derived), to rarities made for a variety of labels including I’m a Zydeco Man, the title track of his Grammy Award winning album. One cannot underestimate the importance of Clifton Chenier. He is to zydeco what Bill Monroe is to bluegrass. His french recasting of blues, and rock and roll songs, mixed with adaptations of cajun and creole themes, made the language barrier less imposing. Like Fats Domino, his creole accent, and the total sincerity manifest in his vocals, gave his songs a certain irresistible appeal for those exposed to them. He was a first rate blues singer as well as a person that could get the house rocking for a marathon zydeco live dance. The compilation opens with a good helping of his rare recordings for Specialty, Chess (the Argo and Checker subsidiaries) and Zynn (one of Jay Miller’s labels), and with the exception of Eh Petite Fille, many of these early recordings are hot rock and roll songs not far removed from the recordings of Fats Domino and Little Richard. Ay Ai Ai is the first of the many Arhoolie recordings represented. Others include Bon Ton Roulet (his French reworking of Louis Jordan’s Let the Good Times Roll), I Am Coming Home, an adaptation of a Charles Brown recording that was Clifton’s favorite recording, the hot live Zydeco Cha Cha where brother Cleveland and drummer Robert St. Judy take a somewhat irresistible percussion break, and I’m on the Wonder, from a session with Elvin Bishop. Bogalusa Boogie, which many consider Clifton’s finest album, is represented by four selections. One thing that set these recordings apart is the saxophone of John Hart, probably the greatest blues saxophonist since J.T. Brown. Hart is also present from on a number of other selections including Easy, Easy, Baby from an album that also included Stanley Dural (Buckwheat Zydeco) on keyboards and several selections albums on Floyd Soileau’s Maison de Soul label including Hot Tamale Baby. There is a wealth of material here although there are some gems that were omitted like You Used to Call Me, a bluesy waltz, Ma Negresse, with uncle Morris Chenier contributing alley fiddle, and the country blues flavor of Black Snake Blues. With compiler Durst’s cogent discussion of the man and his music, this is a fine reissue. For those wanting more Clifton Chenier, Arhoolie has issued Clifton Sings the Blues. It includes 12 recordings that Roy Ames produced in 1969 that have appeared on several labels including Prophesy, Home Cooking and Arhoolie, along with seven cuts from the album Clifton Chenier and his Red Hot Louisiana Band, an album with John Hart and Stanley ‘Buckwheat ‘ Dural. Easy Easy Baby appears to be the only duplication with the Rhino collection. Other songs include Ain’t No Need of Crying, a song Clifton sang in French on Arhoolie as Louisiana Blues; a rocking version of Fats Domino’s Rosemary; Be My Chauffeur which is derived from Memphis Minnie; the standard Trouble in Mind; Worried Life Blues, and a rocking version of Boozoo Chavis’ Paper in My Shoe. Outstanding cuts from The Red Hot Louisiana Band include Hungry Man Blues, which uses the Hootchie Kootchie Man melody, and Grand Prix, a wonderful bilingual tune with Clifton’s lament about the price he paid for loving his woman. By all means get the Rhino, but don’t stop there. Clifton was one of the true greats of the blues, not simply zydeco, and even with 40 cuts, Rhino merely skims the surface of his musical legacy. With his music, the good times continue to roll. This review originally appeared in the July/August 1993 Jazz & Blues Report (Issue 183) and I have made some stylistic edits. I likely received review copies from the record label or a publicist. Both are available as used (with the Rhino apparently being easier to find). The Arhoolie is also available as digital downloads. Here is the King of Zydeco singing I'm A Hog for You.

Elvin Bishop Raises Hell With Blues Revue

As part of participating on the Legendary Rhythm and Blues Cruise, Elvin Bishop, led the Raisin’ Hell Revue. This writer suspects this was modeled on the Legendary Rhythm and Blues Revue that Tommy Castro fronted and featured several artists in addition to Castro and enabled greater exposure for some of what were perhaps lesser known acts to the Blues Cruisers. Delta Groove has just issued Elvin Bishop’s Raisin’ Hell Revue, from performances on the Cruise.

In addition to Bishop, the performances on this showcase vocalist Finis Tasby: vocalist and harp player, John Nemeth; saxophonist and vocalist Terry Hanck; guitarist Kid Andersen, and Bishop’s fine band that included Ruth Davies (some may remember from Charles Brown’s Band) on bass, drummer Bobby Cochran and the varied keyboards of Steve Willis.

Thirteen tunes with almost an hour of music opens with a good-natured Bishop take on Lazy Bill Lucas’ Callin’ All Cows with hot guitar from Andersen and accordion from Willis. It is followed by the gravelly vocals of Tasby on B.B. King’s Whole Lotta Lovin’ as Anderson and Bishop blaze away. Nemeth takes the vocal mike as Bishop reprises his big hit, Fooled Around And Fell In Love. What the Hell Is Goin’ On, has Bishop spin a topical lyric to a Funky Chicago Blues groove as Kid Andersen taking the first guitar solo, while Nemeth revives Nappy Brown’s Night Time Is the Right Time, based on Ray Charles recording, with Nemeth playing harp as well as singing. It is followed by Tasby, who reworks Jimmy Reed’s Down in Virginia.

Saxophonist Hanck handles the fine vocal on Cryin’ Fool, a terrific New Orleans -Swamp Pop styled number with nice guitar that evokes Robert Ward and Lonnie Mack. There is choice tenor sax solo from Hanck on Tasby’s rendition of River’s Invitation. Bishop does a nice rendition of Albert Collins’ Dyin’ Flu, while recalling the late Master of Telecaster. Hank Ballard’s rocking Tore Up Over You, is revived with a terrific Nemeth vocal while Tasby gets to us with It Hurts Me Too, with Bishop on slide.

Nemeth leads everybody on the closing Bye Bye Baby, concluding a most entertaining revue of blues and rhythm songs. The material does include some familiar songs but mostly some rarely performed songs, the level of the performances is high, and the recording quality is fine. Recommended.

A review copy was provided by a publicist.

Chicago Blues Buddies Strong Friendship Commemorated

It was in 1960 that Elvin Bishop, then a newcomer to Chicago, met and was mentored by Smokey Smothers (oft referred as Little Smokey to distinguish him from his older brother Big Smokey). Smokey at the time was at the Blue Flame and also working with Howlin’ Wolf at the time. Later Smokey would also encourage Paul Butterfield and helped inspire that band. Elvin and Smokey have remained close friends through the years, even while Elvin’s career took off with Butterfield and later as a blues-rooted rock act with several smash hits. With his career in rebound at the time, Elvin instigated and participated in the 1993 award-winning album, Bossman!  and later recorded at live album with his old friend for Alligator. Later at the 2006 Chicago Blues Festival they reprised their collaborations.

More recently, Smokey’s health has been in decline and as Dick Shurman has noted, Elvin seized the moment to compile a new CD, Little Smokey Smothers & Elvin Bishop “Chicago Blues Buddies” (Brown Derby), with the proceeds going to Smokey. The CD is a nice retrospective that opens with a couple tracks from “Bossman!“ including ”Remembering,“ where the two trade licks and recall their younger days. Next up are five performances from the 1993 Chicago Blues Festival which are the musical core of this disc and strong performances including ”Smokey’s Shuffle,“ ”Crack Head Woman,“ and ”Mother-in-Law Blues,“ marked with strong vocals from Smokey and playing from both. It is followed by an interview of the two by Chris Heim and Steve Cushing. The next two selections are from the live Alligator recording from San Francisco’s Biscuits & Blues, ”Thats My Partner,“ and then the last two selections are from a 2006 Ground Zero appearance shortly after their Chicago Blues Festival appearance.

This serves as a solid retrospective of a wonderful partnership with the release of the first-rate 1993 Chicago Blues Festival performances particularly welcome as are the tracks that Alligator and Black Magic graciously lent to this project which can be obtained from BlueBeat Music (www.bluebeatmusic.com) from whom I purchased this. I am not sure if this set is available from other sources, but it is well worth seeking out not simply for the music but for the good cause that it was compiled for.

Updated November 21, 2010. Word was received today that Little Smokey passed away. RIP. Bluebeat Music shows this still in stock as of today.