Billy Branch's Wonderful Salute to Little Walter

Billy Branch & The Sons of Blues
Roots And Branches — The Songs Of Little Walter
Alligator Records

Now after performing for almost four and half decades, Billy Branch has established himself as among today's leading harmonica players, if not the heir to the Chicago harmonica throne. Here he turns his attention to the music of perhaps the greatest of blues harmonica players, Little Walter. He recalls as a youth "During my early, formative years, I would sit in every chance I got. I listened and absorbed every harmonica player that I would encounter, young, old, black or white. I just wanted to get as good as I could. Many times I would engage in "head-cutting" contests with Junior Wells, James Cotton, Carey Bell, and the great late Big Walter Horton." He may have had his head cut, but he grew and learned from these masters.

But he never had the chance to hear or meet Little Walter. "Once I began my quest to become a skilled blues harmonica player, it wasn’t long before I realized that there was one person that was an absolute must to listen to and emulate—Little Walter. It quickly became apparent that Little Walter was "The Man." All of the cats on the scene who were around my age said it, including seasoned players such as Rick Estrin and Jerry Portnoy. This was echoed by the guys who would eventually become my teachers and friends: Junior Wells, Carey Bell and James Cotton. … Good Rockin’ Charles, Charlie Musselwhite, Easy Baby, Eddie "Jewtown" Burks, Little Arthur Duncan, Lester Davenport, Golden Wheeler, and Louis Myers were other great harp men who all testified that the genius of Little Walter’s playing was unequaled."

His expressed his intent with respect to this recording" "We were determined not to make this a 'typical' Little Walter tribute recording. We are proud to present an album with elements of soul, funk and even a little bit of gospel. Our goal was to competently and respectfully produce a Little Walter-themed recording with a different twist, while preserving the integrity of Little Walter’s innovative style." The Sons of the Blues backing Billy Branch on this are Sumito "Ariyo" Ariyoshi on piano; Giles Corey on guitar; Marvin Little on bass; and Andrew "Blaze" Thomas on drums. On one track, Shoji Naito replaces Corey on guitar.

Branch is a superb singer and harmonica player and the Sons of the Blues do a stellar job accompanying him with the feel being more of the later Checker recordings with guitarists like Luther Tucker or Freddy Robinson as opposed to Louis Myers and Robert Lockwood. The authority with which Branch handles the opening "Nobody But You" is characteristic of this entire recording with his marvelous vocal and superb harmonica solo with Corey adding a sizzling solo to his comping and chords. "Mellow Down Easy" is one instance to demonstrate how original is the arrangement of the material. It opens with some full-bodied amplified harmonica along with a vocal where he emphasizes "easy," while his harmonica solo floats over the backing. Corey and pianist Ariyoshi also solo while the rhythm duo lay down a firm groove.

Corey hints at Bo Diddley's playing on the original of "Roller Coaster," although Corey's playing is less trebly. This is a tour de force for Branch's playing, full of swoops and leaps. It is followed by "Blue and Lonesome" with Corey's intense guitar matched by Branch's chromatic harmonica solo. Willie Dixon's "My Babe" was based on "This Train," but Branch and the Sons of the Blues transform the melody with a jazzy, Latin tinge. Again he plays brilliant harmonica on a performance that includes a shift of tempo and some hot guitar. Similarly, they rearrange "Juke," with a funky groove into the contours of which Branch lays down his solo. Then there is a funky medley of "Just Your Fool/ Key to the Highway," with Corey's stinging guitar accompanying the vocal on the 1st part, while Branch's harmonica (with echoes of some of Carey Bell's harmonica effects) segues into the latter number.

Among the other Little Walter classics reworked here is a superb, rollicking "You're So Fine," with the band playing with unfettered abandon, and a terrific"Blues With a Feeling," that is the last track of the music on this. The album closes with some remembrances of Little Walter by his daughter, Marion Diaz. She adds a bit of a human dimension to the blues giant that Billy Branch and the Sons of the Blues honor in this superlative recording.

I received my review copy from Alligator. This will be released on Friday, July 5. Here is an older performance of Little Walter's "Hate to See You Go," from Billy Branch.

Russ Green City Soul

Russ Green
City Soul
Cleopatra Records

Russ Green is a name that I remember as one of the players on the Chicago Blues Harmonica Project albums. This Chicago native has an interesting career that has seen him becoming involved in film production as well as music. His harmonica playing shows the influence of Sugar Blue and Billy Branch and on this debut album he wrote all of the songs (one in collaboration with Eric Bibb). He is backed by a band that includes Giles Corey on guitar, Marvin Little on bass, Ricky Nelson on drums, Vince Agwada on slide guitar and Joe Munroe on the Hammond B3, with Eric Bibb singing an adding acoustic guitar on one selection.

There is some hot music to be heard here, starting with the hyper-kinetic boogie, "First Thing Smokin'" with Agwada's slide guitar adding to a near frantic pace. Green certainly has no problem with the tempo whether his blazing harp playing and his soulful singing and one is struck by the clarity of his phrasing. "Believe in Love" has a more relaxed, reggae-tinged groove as again he impresses with his singing as well as his horn-like harp playing, set against a crisp, low-key backing. The longest track here is "The Edge," a funky blues that opens with his wet, full-bodied harp before his sings about empty bottles on the table and floor with his mind shaking dealing with poverty and staying on the edge with a razor blade and no shoes on his feet.

Eric Bibb joins on "Goin' Down South," where the two share the vocal to see where their people come from, where they live the blues, and see the ghost of ole Jim Crow. Green's harp playing here is a bit more down-home, owing a more to Billy Branch here, while Bibb takes an acoustic guitar solo. Munroe is more prominent on the funky blues "Lover Man," with more fat-toned harp playing, while a stark bass figure underlies the topical "Train of Pain." There is a bluesy rock flavor to "Somethin' New," with some slide guitar adding to the mood here, while the closing "Love to Give," has more of a soul groover on

There is plenty to impress the listener on "City Soul" from Green's very modern blues harp, his relaxed baritone vocals and the solid studio band. Add to the fine playing here,  striking original material and one has a memorable debut album.

I received my review copy from a publicist. Here is Russ Green's recording of "Believe in Love."

Matthew Skoller Blues Immigrant

Matthew Skoller
Blues Immigrant
Tongue 'N Groove Records

Harmonica player Matthew Skoller has been playing blues in Chicago for decades working with the likes of Jimmy Rodgers Blues Band, Big Daddy Kinsey and the Kinsey Report, Big Time Sarah and the BTS Express, and Deitra Farr Blues Band. Skoller played an important part on the Blues Music Award winning "Chicago Blues: A Living History," produced two albums by Lurrie Bell and plays on Lurrie's new recording, "Can't Shake This Feeling." He has his new release featuring his singing and songwriting in addition to his harp work. On this he is backed by a fine band including Johnny Iguana - Keyboards; Felton Crews - Bass;, Giles Corey - Guitar; Eddie Taylor Jr. - Guitar; Marc Wilson -  Drums; with Mike Avery and Stevie Robinson - Background Vocals and Carlos Johnson - guest Lead Guitarist.

Skoller lays down a varied program of Chicago harmonica blues with some interesting twists and displays flair in harp playing and appeals as a singer. Songs range from the opening topical blues lamenting how the Walmarts and similar stores have shut down the mom and pop stores, "Big Box Store Blues," a modernization of Sonny Boy Williamson I's "Welfare Store Blues," as well as "The Devil Ain't Got No Music", which is why his home is hell. The title song mixes his life with topical themes as well as considers cultural appropriation as he asks does he need a green card to play the blues while observing how Reagan shrunk the government while the war machine expanded. This is followed by his "Only in the Blues" with his ironic lyrics about the latest young sensation outselling B.B. and Buddy, and while Foundations and Clubs claim to be keeping the blues alive, bands make 250 for four or five while playing three 60's singing to drinks.

In between a rant about the greedy with their contempt for the poor ("Story of Greed"), and celebrating "My Get It Done Woman," Skoller covers Cool Papa Sadler's "747" about his woman who left him and caught a 747 because a Greyhound runs to slow and there ain't no tracks in the sky. It is an enjoyable rendition although not as satisfying as the Joe Louis Walker recording of a couple decades back. There is an original instrumental, the appealing, funky "Organ Mouth," a solid rendition of Luther 'Georgia Snake Boy' Johnson's shuffle, "Get Down to the Nitty Gritty" (with some fine piano from Iguana), and a closing slow harmonica feature, Papa Lightfoot's "Blue Lights."

Skoller has provided us with a wonderful recording of varied performances that are splendidly played. The pace of these performances also stand out, as they never come across as hurried or rushed. Matthew Skoller finally has his own fine recording to join those excellent ones he has contributed to.

I received my review copy from a publicist. Here is Matthew performing "Get Down to the Nitty Gritty" from Blues Immigrant.
 

Mississippi Heat - Cab Driving Man

Mississippi Heat
Cab Driving Man
Delmark Records

No surprises with Mississippi Heat's new album, "Cab Driving Man." It is the latest reording in the 25 year career of this Chicago-based band, and the seventh by Pierre Lacocque and band for Delmark. In addition to the harmonica of Lacocque (who contributed most of the songs), he is joined by the present line-up of vocalist Inetta Visor, guitarist and sometimes vocalist Michael Dotson, bassist Brian Quinn, and drummer Terrence Williams, with several tracks having Giles Corey and guitar (and he shares a vocal on one track with Visor), Ricky Nelson on bass and Kenny Smith on drums. Chris 'Hambone Cameron' plays keyboards except on two tracks by Sumito Ariyo. Sax Gordon adds horns to five selections, Dave Spector adds guitar to one and Ruben Alvarez adds percussion to four tracks. Lacocque wrote ten of the 16 tracks, co-wrote one with Cameron, Dotson wrote thee, and there are two covers.

Those familiar with Mississippi Heat from having seen them perform or previous recordings will find little to surprise them. This is a nice collection of Chicago blues performed in a sterling manner from the opening notes of "Cupid Bound," a solid shuffle (with melodic hints of Little Walter's "Just Your Fool") with strong harmonica, a typical fine vocal from Visor and blistering guitar break from Dotson to the closing instrumental feature for Lacocque's chromatic playing, "Hey Pipo!"

While it is hard to single out specific tracks, "Flowers on My Tombstone," has a terrific lyric as Visor sings "it would be a miracle when I die, if you lay flowers on my tombstone," sounding as if she feels like a wild goose with a hunter aiming at her to claim his prize as she swallows her pride and could have left her husband a long time ago, but stayed for the kids to watch them grow. The backing is simply classic Chicago band blues with pumping piano, solid drumming from Kenny Smith and great harp. The feel shifts on the following track "Icy Blue," which has a more funky feel and there is slide guitar adding to its flavor.

Giles Corey joins Visor for a solid cover of the Fontella Bass and Bobby McClure classic "Don't Mess Up a Good Thing." Michael Dotson may not be as distinctive singing, but he provides a contrasting approach on his straight-forward style perhaps best sampled on the boogie blues "The Last Go Round." Also nice is the jazz-tinged "Life Is Too Short," as Visor again captivates with her vocal. The rest of this recording is of a similar level with wonderful playing, blues singing and strong, varied, mostly original material. Lovers of Chicago blues can not go wrong with Mississippi Heat, as "Cab Driving Man" again provides proof.

I received my review copy from Delmark. Here is Mississippi Heat in performance in 2016.

Mississippi Heat - Hattiesburg Blues

Delmark has just released the latest recording, “Hattiesburg Blues,” by Mississippi Heat. This is the 8th album by the group led by Pierre Lacocque, a fine songwriter and increasingly impressive harmonica player. The group is fronted by Inetta Visor, whose unforced soulful singing is becoming more accomplished. Guitarist Giles Corey, keyboard whiz Chris Cameron, bassist Spurling Banks and drummer Kenny Smith are the band’s core, with Stephen Howard and Dujuan Austin filling in for Banks and Smith for certain tracks. One cannot stress just how good the rhythm section is and certainly come off as good as any rhythm section in the blues today. Lurrie Bell and Carl Weathersby both make guest appearances with the Chicago Horns led by Kenny Anderson also appearing on several tracks.

The strength of the Mississippi Heat has always been fine original material, strong ensemble playing and strong solo playing. The opening track, ‘Tiger Man,’ is not the same song as Rufus Thomas’ Sun recording, but rather Inetta Visor’s joyful celebration of her man’s love-making prowess and Lacocque’s marvelous harp featured throughout. It is followed by Lurrie Bell’s declaration of ‘Chicago Is My Home,’ delivered marvelously with typically fine guitar while his other vocal on the rocking Gone So Long,’ sports a marvelous solo from Lacocque along with his marvelous rocking accompaniment of Bell’s vocal. Cameron adds some rollicking piano to this.

One of the few covers here is of Denise LaSalle’s ‘Soft-Hearted Woman’, with fine guitar from Weathersby with Visor showing her interpretative skills. The Chicago Horns along with percussionist Ruben Alvarez add a Afro-Cuban feel to ‘How Much Worse Can It Be?,’ and the title track with its musical allusion to ‘Hernando’s Hideaway.’ Its really nice to hear how Lacocque blends in his harp seamlessly with the band and horn riffs. Weathersby is typically impressive on the slow blues “Light From Within,’ along with ‘Hell and Back,’ on which he handles the vocal 'Calypso in Blue,’ is a lovely instrumental with Giles Corey ably handling the guitar solo here with impressive chromatic harp from the leader.

What else can one say. Mississippi Heat is rooted in the entire scope of the post-World War II Chicago blues tradition and the terrific “Hattiesburg Blues”is another addition to their marvelous body of recordings.

I received a review copy from Delmark Records and this review appeared in the June 2008 issue of Jazz & Blues Report (Issue 305) and downloadable at jazz-blues.com. Here Mississippi heat perform "Hattiesburg Blues."

Mississippi Heat Sends Out A Warning Shot

Pierre Lacocque's Mississippi Heat have a new release on Delmark, Warning Shot, that will be welcomed by the band's fans and likely make new fans from listeners. Lacocque’s leadership along with his songwriting and marvelous harmonica playing (Charlie Musselwhite is quoted calling it tasty and brilliant) is joined by one of the most underrated vocalists in the blues, Inetta Visor; vocals and guitar from Michael Dotson; guitar from Giles Corey; bass from Brian Quinn; and a vocal from Kenny Smith who shares the drum chair with Andrew Thomas. Former band member Carl Weathersby is on guitar on a couple tracks, Neal O’Hara is on keyboards, Ruben Alvarez is on percussion and Sax Gordon handles the saxophones.

The opening Sweet Poison is an imaginative original, built upon the Elmore James broom dusting riff with Lacocque's fine harp riding over Dotson’s crisp slide playing. The band pushes the groove behind a superb vocal from Visor. Years ago she might have been described as a moaner as opposed to a  shouter, but her nuanced singing is thoroughly a delight. You get a sense of the vivacious quality of her performances listening to her, but the joy she has singing is evident when one sees Heat live (or on the band’s Live DVD “One Eye Open, Live at Rosa’s” on Delmark). Sweet Poison is followed by the rollicking “Alley Cat Boogie” with pumping piano from O’Hara and an exuberant vocal from Visor.

An original Come To Mama sports Caribbean rhythms (handled by Thomas) while Corey takes the guitar lead sounding like he’s playing through a Leslie amp. Gordon takes a tough tenor sax solo, while Lacocque’s solo suggests some of Walter Horton’s playing (thinking of Horton’s take La Cucaracha). More terrific harp along with Corey’s jazzy guitar is heard behind Visor’s moving singing on a reworking of a Ruth Brown recording, I Don’t Know. Dotson takes a capable vocal on Yeah Now Baby with its North Hills Country meets Muddy Waters rhythms.   

Birthday Song, is a funky, buoyant original that provides blues and soul revival bands with an alternative to the standard birthday song. Corey is in a Santana mode here with Gordon and Lacocque riffing in support. Dotson’s guitar lead on his bouncy rocker, Swingy Dingy Baby evokes the late Texas guitarist Cal Valentine. Too Sad To Wipe Way The Tears has a low-key backing with terrific Lacocque’s harp in a Sonny Boy Williamson II manner. Dotson’s restrained slide playing is exceptional. 

Set against a crisp shuffle groove and Gordon’s one-man sax section, the instrumental rendition of Your Cheating Heart  showcases Lacocque’s wonderful harp. Gordon takes a booting solo on this. A Part of Special a funky Visor original whose  backing vocal chorus, the horn arrangements (and a sax solo that would have King Curtis smiling) and a terrific vocal suggests some classic 70s Aretha Franklin (she is really good here). 

The terrific Warning Shot features tight ensemble playing (one of the things that Lacocque has always focused on with this band), excellent new original material, interpretations of songs that have not been recorded a zillion times, strong solos and the wonderful blues and soul vocals of Inetta Visor. 

I received my review copy from Delmark Records. For those near Washington DC, Mississippi Heat is at Madam's Organ on Friday October 17. Here is a video of Mississippi Heat performing.