Junior Wells Southside Blues Jam

Junior Wells
Southside Blues Jam
Delmark

I purchased the vinyl version of Junior Wells' Delmark album “Southside Blues Jam” upon its original release in 1970. The release was an effort to capture what a listener might hear at the baled Chicago blues club, Theresa’s, on a Monday night when Junior Wells and others including Buddy Guy would be featured. Wells and Guy were joined by Louis Myers on guitar, Ernest Johnson on bass, Fred Below on drums and Otis Spann on piano for what was his last studio appearance on record. Delmark has reissued an expanded “Southside Blues Jam” with the original eight selections supplemented by 7 bonus tracks, one of which is an alternate take, another is a warm-up fragment and another is some studio patter.

It was a recording that was quite easy to enjoy. There was a loose spontaneous feel to the performances that Junior and company put their stamp on starting with a easy driving rendition of “Stop Breaking Down” that Junior learned from the first Sonny Boy Williamson’s recording (adapted from Robert Johnson) to a cover of Guitar Slim’s “Trouble Don’t Last” where Buddy takes the lead vocal with Junior adding a rap to the performance. Topicality was heard in the issued take of “I Could Have Had Religion” where Junior dwells on Muddy Waters being out of action at the time and “Blues For Mayor Daley.” There are covers of songs from Muddy as well as a nice rendition of the second Sonny Boy Williamson’s “In My Younger Days.” Wells mixes his blues harp (very much in the spirit of the second Sonny Boy) with his mix of vocals and James Brown funk while Guy and Spann are in strong form.

The unissued performances have their appeal, although listening to them one can understand why the selections on the original CD were chosen. There is a decent cover of Little Walter’s “It’s Too Late Brother,” with Well’s exhorting Spann to rumble on the bass keys as he talks about the blues being funky. “Love My Baby,” a reworking of Arthur Crud-up’s “So Glad Your Mine,” and set to the “Hootchie Kootchie Man” groove with blistering string bending from Guy and Spann’s rumbling piano behind Wells’ vocal. The alternate of “I Could Have Had Religion” is a more traditional performance about a mistreating woman without the reference to Muddy Waters’ health. It has solid Louis Myers’ guitar, while “Rock Me” is done as a dedication to Muddy Waters. The closing “Got to Play the Blues” is an amusing original set to the groove of B.B. King’s (then contemporary recording), “Why I Sing the Blues” with Wells singing about singing the blues and throwing in impersonations of other singers.

This expanded “Southside Blues Jam” is handsomely packaged (credit Kate Moss) with a booklet that contains Bob Koester’s recollections of the session and Michael Cuscuna’s Rolling Stone review of the original LP release and the sound is quite good. This reissue, with its additional tracks, will be welcome to a wide range of blues lovers including those having the original LP.

I received my review copy from Delmark. This review originally appeared in the January-February 2015 Jazz & Blues Report (Issue 358). Here is Junior with Buddy Guy doing "Little By Little" on a PBS show in 1971.

Little Willie Anderson Swung The Blues

The B.O.B. label was a small Chicago label that issued some choice harmonica blues albums that were produced by Bob Corritore who has become a distinguished harmonica player in his own name and continues to produce some stellar recordings. In the mid-nineties Michael Frank’s Earwig label reissued two of the releases including CDs by Little Willie Anderson and Big Leon Brooks. This review of Little Willie Anderson appeared in February 1995 Jazz & Blues Report (Issue 198). I likely received a review copy of this recording. It is still available (although possibly as a CD-R). Earwig Records has certainly done a service for harmonica blues fans with the reissue of two albums from the B.O.B. label that featured two lesser known Chicago harp players, both of whom have passed - this album and Big Leon Brooks’ Let’s Go To Town. Little Willie Anderson’s Swinging the Blues finds the harp player who was sometimes called Little Walter Jr. (he died in 1991) matched with several musicians who certainly had a significant tenure with Little Walter, including guitarists Robert Jr. Lockwood, Jimmy Lee Robinson and drummer Fred Below with Sammy Lawhorn also guesting. With Anderson’s hoarse, crusty vocals and raw harp, Lockwood’s distinctive chording, Lawhorn’s subtle leads and Below’s propulsive drumming, the album is well titled with several instrumentals, including a relaxed Lester Leaps In (with Pete Haskins’ sax added) and the atmospheric Late Night mixed in with Anderson’s idiomatic originals like Come Here Mama, Looking For You Baby, and Willie’s Women Blues, all played with a loose, relaxed groove. To paraphrase one of his songs, it must have been the jelly that gave Willie Anderson the blues, as he sings with considerable vitality. His harp playing may be Walter inspired, but its raw sound indicates he was his own man and didn’t attempt to recreate Walter’s recordings. Nothing fancy here, just a set of solidly played blues.

Robert Lockwood Jr Was a Steady Rolling Man

I was a senior at Case Western Reserve University when I first met Robert Lockwood Jr (often referred to as Robert Jr. Lockwood) and interviewed him for the university paper (I wish I still had a copy of that article). Later I did interview him which was run in the Jazz & Blues Report when he passed away in November 2006 at the age of 91.


Robert was one of the most interesting and underrated blues artists who ever lived. He is known as Robert Johnson’s stepson, and was taught many things by Johnson. However he developed a guitar style that reflected considerable jazz influences. He was a member of the King Biscuit radio program and then leading his own band for a competing flour company, Mother’s Best, was one of the first blues electric guitarists to be heard through the Mississippi Delta region, and influenced countless guitarists. This continued in the 1950s when he moved to Chicago and became house guitarist for Chess Records as well as teaching folk like Freddie King techniques. Around 1960, he accompanied Sonny Boy Williamson to Cleveland, Ohio where they played Gleason’s for several months,. Robert liked Cleveland and ended up staying and raising a family there until his death and making a number of albums over the years.

This is the first of a series from reviews of Robert’s recordings over the years that I will be posting here. The following review of “Steady Rolling Man” appeared in November 1992 issue of Jazz & Blues Report (Issue 176).  This CD was recently rereleased by Delmark and should be readily available. 

Robert Jr. Lockwood’s first album as a leader, Steady Rolling Man, has just been made available on compact disc by Delmark. Recorded with the Aces in 1970, shortly after Robert had made a surprise appearance at the 2nd Ann Arbor Blues Festival, this is a solid, straight-ahead session with reworkings of several Robert Johnson tunes (the title track, Ramblin’ on My Mind and Kind-Hearted Woman) several of the songs he recorded for Bluebird (Take a Little Walk with Me and Mean Red Spider), originals in a similar vein (Western Horizon, and Blues and Trouble), and three instrumentals, Steady Groove, Lockwood’s Boogie and Tanya.

All of the performances are marked by the relaxed interplay between Lockwood’s guitar, Louis Myers’ guitar, Dave Myers’ bass and Fred Below’s propulsive drumming. Alternates of Worst Old Feeling and Lockwood’s Boogie are added to prior releases. The instrumental Steady Groove provides a good description of the contents, as Lockwood and the Aces participated and were responsible for the groove for many classic Chess recordings. These are enjoyable, solid performances, as Robert delivers the vocals in an unadorned style, although they are not as charged as the live Japanese recordings Lockwood and the Aces made that were issued on an Advent album that has unfortunately never been issued on compact disc in the United States. Solid, unpretentious blues.

For purposes of FTC regulations, I likely received this from Delmark Records.

Roosevelt Sykes Sounds Good Blowing His Horn

A blues pianist acquaintance of mine suggested to me that Roosevelt Sykes arguably was the greatest pianist in the history of blues. It is not a commonly accepted notion, but upon reflection has more than much to commend itself. Sykes in his career put together a body of recordings that is among the greatest blues recordings by a single performer. A tremendous pianist, songwriter and a great singer with a robust, extroverted delivery, from his early classics like “44 Blues” to post-war sessions like the New Orleans one that produced “Sweet Old Chicago,” Sykes remained a blues giant across the decades.


I will not make claims that the Delmark Sykes’ recording, Feel Like Blowing My Horn, is one of the classic essential blues piano recordings. This is simply a solid recording by Sykes in a solid jump band setting with sympathetic backing. For me, it is the musical equivalent of comfort food. I purchased this when it came out in 1970 and delighted that Delmark reissued it in 1997 (It should still be readily available). The session included long-time friend of Sykes, the late Robert Jr. Lockwood on guitar, along with Dave Myers on bass and Fred Below on drums. I believe this was recorded close to when Lockwood recorded his “Steady Rolling Man” album for Delmark, but the Sykes album appeared to showcase Lockwood’s guitar more, and Myers and Below backed Lockwood on that CD.


Horns were added by trumpeter King Kolax and Oett ‘Sax’ Mallard on tenor sax and clarinet. Mallard had a brief stint with Duke Ellington, and played in numerous blues and jump band sessions including the 1946 Victor session by Sykes that produced Sykes’ hit “Sunny Road,” as well as sessions with Big Bill Broonzy, Washboard Sam, Sunnyland Slim, Eddie Boyd and Jump Jackson. Being reunited with Sykes, this was the last session he appeared on. Kolax himself led a big band in the Windy City which traveled a bit without recording. He joined Billy Eckstine’s last edition of his fabled big band which included fellow Wendell Phillips High School alumni, Gene Ammons, as well as Leo Parker and Frank Wess as well as fabled trumpeter Hobart Dotson and made his first recordings as part of Eckstine’s band with a soundtrack, Rhythm in a Riff. Kolax recorded a 78 for Opera Records, was part of saxophonist JT Brown’s band for a United label session and Kolax’s band backed Joe Williams on his Checker recording of “Everyday I Have the Blues.” John Coltrane spent a stint in Kolax’s band for a period and Kolax’s lengthy session work included playing on Otis Rush’s Duke Session that produced “Homework.” Coincidentally, like Mallard this is the last session Kolax is documented as being on.


The music kicks off with the ebullient title track and the brassy horn riffs, Sykes’ driving piano and Lockwood’s chording and single note runs set the tone with Mallard taking the first solo break as Sykes rocks things with some boogie-laced runs with Lockwood taking a solo during the second break as Below kicks the groove along. The tempo slows down for My Hamstring’s Poppin’, has Sykes noting his woman has a fine body but is a gold digger from her heart, “but I could not resist you, and I’d know it from the start,” as Sykes calls out for Lockwood to take his solo with Sykes encouraging him with cries of “Mercy.” “I’m a Nut,” is a shuffle with a silly lyric, an energetic solo from Mallard, and a playful vocal from Sykes. Sykes’ piano opens, Blues Will Prank Your Soul, with a wistful vocal as Mallard riffs behind the vocal, and Lockwood takes a solo.


Jubilee Time is a relaxed rocking as Sykes sings about it being jubilee time in New Orleans and dancing around the old campgrounds. Mallard is on clarinet here as Sykes encourages him along with Kolax adding a hot solo. An unissued alternate is added here to the originally issued take. All Days Are Good Days is a fine blues in a more reflective vein for which an alternate take is added to the originally issued one and one should pay attention to Sykes’ piano reacting to Lockwood’s solo here. Sykes’ Gumboogie is a lively piano feature as the horns playing simple riffs and the rhythm section push things along while Rock-A-Bye Birdie is a New Orleans R&B flavored song with Mallard playing with gusto of classic Lee Allen. Moving Blues sounds like an adaptation of Move to the Outskirts of Town, with Lockwood taking a solo and Mallard adding his responsive voice. Don’t Bat Your Eye is a previously unissued track with a rhumba groove with punchy horns and a lively Mallard solo. There is a loose jam-like feeling to this performance which has a short solo from Kolax as well. Eagle Rock Me, Baby is a medium rocker where Below keeps the grove in the pocket.


With two previously unissued alternate takes and two previously unissued tracks, Delmark’s reissue on CD of Feel Like Blowing My Horn, added to the value of this fun session. The music sure sounds like all were having a blast.



Delmark Records provided me with a review copy of this recording.

Lynwood Slim & Prado Band Team Up For Brazilian Kicks

A few months ago, I was more than pleasantly surprised by a blues release from the Brazilian Igor Prado Band, writing “Guitarist and vocalist Prada, along with brother Yuri on drums, Rodrigo Mantovani, bass and Denilson Martins on saxophones, mixes hard modern blues and Memphis Soul with some ripping guitar … .” A new surprise came my way as I received an advance of a new recording by West Coast singer and harp player, Lynwood Slim who had traveled down to Sao Paolo to record the Prado Band. “Brazilian Kicks” is the new release on Delta Groove, and the combination of Slim’s vocals and harp with the ripping backing by the Igor Prado Band makes for a strong recording deeply rooted in classic blues, soul and funk.

“Shake It Baby,” opens this disc and is the only track on which Prado sings. This is a James Brown styled number that Junior Wells and Buddy Guy penned and recorded over forty years ago. Prado takes it more into a funk band vein with booting sax from 20 year old Denilson Martins. Besides Igor Prado’s guitar (he takes a terrific break here full of single note runs and Ike Turner styled whammy bar effects), Slim rides it out on flute as the performance fades out. Guest pianist Donny Nicholo joins bassist Mantovani and drummer Yuri Prado to create a terrific rhythm section, evident on the Dave Bartholomew penned “Is It True,” with nice piano as the song fades out. 

Martins’ multi-tracked horns kick off the cover of Wyonnie Harris’ recording of “Bloodshot Eyes,” as Slim emphatically delivers the Hank Penny lyric. Martins takes a robust tenor sax solo before Prado takes a solo break with a bit of twang added to the single note runs. “My Hat’s on the Side of My Head,” is a swinging blues-ballad comfortably crooned by Slim with jazzy playing (echoes of Al Casey and Tiny Grimes), before more fine tenor sax. Duke Robillard fans should really dig this track. The hot instrumental “Blue Bop,” is based on a familiar riff that Prado launches off from for some  hot choruses. Martins rips off a husky baritone sax solo displaying considerable agility in addition to his robust sound. 

The band takes the temperature down a notch for Slim’s cover of Little Walter’s “Little Girl,” as Prado evoking Louis Myers and Slim’s shows his debt to Little Walter. Mantovani and Yuri Prado provide their unobtrusive support here as throughout. “I Sat and Cried,” is a superb rendition of an uptown blues by the late Jimmy ‘T-99’ Nelson, while on Slim’s ballad “Maybe Someday,” the band captures the melancholy tone of his lyrics. Nicholo plays some nice jazz-shaded blues piano before Prado takes a short break. This track suggests some of Johnny Bassett’s blues and, like those recordings, demonstrates that mellow does not mean bland or devoid of soul. 

“Show Me the Way,” another Slim original (co-penned with Junior Watson), is a terrific Chicago-styled blues with more terrific harp, followed by “Bill’s Change,” a driving Prado penned instrumental with more scintillating guitar and some fierce baritone sax. Like most of this album, it is perfect for dancing. The rendition of Memphis Slim’s “The Comeback” is more urbane, jazzy (than straight Chicago) blues with tinges of Joe Williams in Lynwood Slim’s vocal and small group Basie in the backing here. Prado plays jazzy on this, while Martins raspy tenor is right on. 

The most unexpected delight is the closing instrumental “Going to Mona Lisa’s,” penned by Slim and Prado. It  sound like a lost Little Walter instrumental with the Aces. Yuri Prado coming off like Fred Below as he drops bombs and drives the performance along. Slim in his notes states that Yuri has “the snap, attack and timing as good or better than any of the heavyweights out there today!” I can’t recall anyone catching the flavor of Below’s drumming as Yuri Prado does here. This track may place his drumming more upfront, his playing throughout validates how Slim described him.

Listening to the collaboration between Lynwood Slim and the Igor Prado Band reinforces the enthusiasm I have shown towards Prado a few months ago. Slim’s own contributions display his fine singing and terrific harp playing on an album that amazes in how good it is. This is clearly among the best blues recordings I have heard in 2010. Delta Groove’s website is www.deltagroovemusic.com, while Slim can be found on myspace at www.myspace.com/lynwoodslimband and Igor Prado at www.myspace.com/igorprado. I have a feeling we will be hearing more from our Blues friends from San Paolo.

This is scheduled for release on November 16, and I received a review copy from the firm handling publicity for the release.

Live 1966 Junior Wells Is Blues Lovers Treat

What a pleasant surprise it was to learn that Delmark was planning to issue a 1966 Boston appearance by Junior Wells. It was recorded shortly after the classic “Hoodoo Man Blues,” was issued but as Scott Dirks notes, instead of the band Junior was using in the clubs (that included Buddy Guy), he travelled with the Aces (Louis and Dave Myers, guitar and bass guitar respectively; and Fred Below on drums). The result is Junior Wells & the Aces, “Live in Boston 1966,” and is a release that will certainly raise the blood pressure of the many fans the late legend had. The hour long performance issued here includes twelves songs interspersed with Wells’ comments and introductions. For those who remember the live tracks on Wells’ Vanguard album “Its My Life Baby,” there with be some similarity although Louis Myers’ guitar style is very different from the more flamboyant fretwork of Guy.


The songs include “Feelin’ Good,” a staple of his repertoire followed by “Man Downstairs,” where he quotes “Mellow Down Easy,” in his solo. He has fun playing with audience at time and clear they are having a good time as he launches into “Worried Life Blues,” with Below helping kick it off with his identifiable drum roll. “Junior’s Whoop,” suggests his fusion of funk and traditional blues as the groove again evokes “Mellow Down Easy,” as urges his woman to come on and scats a bit followed by a tough harp break. Over forty years later, renditions of “That’s All Right,” and “Look On Yonder’s Wall,” would hardly be exciting, but Wells sings strongly on what likely would have staples of his club performances. No such complaint can be made about Wells’ “Messing With the Kid,” which is very similar to Wells’ “Chicago The Blues Today” recording, with Myers playing some of the same riffs as Guy behind the vocal. “Hideaway” is a feature for Louis Myers’ guitar and taken straight before Wells comes in on harp over half way through. Dirks suggests that both “If You Gonna Leave Me,” and “I Don’t Know” (note the Willie Mabon recording), sound like Junior put them together from fragments of songs and illustrates his ability to make these sound like finished songs and display his personality. Myers takes a nice solo on the former number, while Wells opens the latter number on a harp with a nice shuffle groove that evokes his mentor, Sonny Boy ‘Rice Miller’ Williamson’s “Don’t Start Me Talkin,’” and even sings a couple lines in a Rice Miller vein. Myers handles one vocal here, “Got My Mojo Workin’.”


Sound is a slight bit muffled, but that is due to the source material and the restoration does a really good job in presenting the music. It is also handsomely packaged in a digipak. Scott Dirks writes that the power of Junior’s personality comes across here and this writer certainly will not disagree with that assessment. The one omission is lack of information of where this was recorded other than in Boston. (Today, October 6, I learned that it was recorded at the fabled Club 47 in Cambridge). This is a wonderful addition to the Junior Wells discography and certainly should appeal to his fans and fans of solid Chicago blues. 




I received a review copy directly from Delmark Records.