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."

Bonnie Lee Sweetheart Of The Blues

Bonnie Lee
Sweetheart Of The Blues
Delmark

Among new Delmark blues releases is Bonnie Lee’s Sweetheart of the Blues. Probably best known for her performances with Willie Kent and the Gents, this album will surprise many as it shows her to be far more a singer than a blues belter.

While those familiar with her will not be surprised by her take on Jimmy Reed’s Baby, What You Want Me To Do, her low-key interpretation of Buddy Johnson’s classic ballad Since I Fell For You is a model of taste and phrasing that showcases another side of her. There is considerable variety in the musical settings, from the straight Chicago blues flavor of Got the Blues ‘Bout My Baby with Billy Branch’s harp, the dance-oriented I Love My Baby, and Ocean of Tears which is suggestive to these ears of a Big Maybelle tune.

In addition to Billy Branch, others appearing on this album include bassist, Willie Kent, guitarist Willie Davis, guitarist Steve Freund (who contributes several choice solos, and even takes one vocal, If You Be My Baby), pianist Ken Saydak, and saxophonist Hank Ford, whose solo on Since I Fell For You is especially tasty. Johnny B. Moore contributes the stinging, snapping guitar behind Bonnie’s unforced vocal on Junior Parker’s Next Time You See Me.

With its variety and Bonnie Lee’s natural soulful singing, Sweetheart of the Blues makes for an impressive American LP debut. 

I likely received a review copy from Delmark Records. This review originally appeared in the October 1995 Jazz & Blues Report (Issue 205). Here she is performing at the 1999 Chicgao Blues Festival.

Mike Wheeler Band Turn Up !!

Mike Wheeler Band
Turn Up !!
Delmark Records

The Mike Wheeler Band follows up their Delmark debut "Self Made Man" with "Turn Up !!" Guitarist-vocalist-songwriter Wheeler's band has not changed with Brian James on keyboards, Larry Williams on bass and Cleo Cole on drums with Kenny Anderson's trumpet and Hank Ford's tenor sax adding musical seasoning to the proceedings. Wheeler wrote 12 of the 13 songs (two in collaboration with bandmates) and there is one cover of a Little Milton number. About "Self-Made Man" I wrote that Wheeler's performances had quite a bit of fervor with "plenty of drive in his playing and urgency in his impassioned vocals."

His range as a writer and performer are displayed on the opening selection "Sweet Girl," and then contrasting "You Don't Do Right," with an insistent groove supporting his fervent vocal complaint,  the punching horns and blistering guitar to close this. Brian James also adds considerable musical coloring under the vocal. "Yeah!" is a hard driving funk-blues followed by the heavy metal of "Brand New Cadillac." Others might disagree, but I found the backing and playing here overbearing and the vocal sounds strained. To these ears, that is the only misstep on this recording. It is a relief after that track to hear the swinging shuffle "Talking To Myself," followed by the driving groove of the title track as he celebrates being turned up when around his girl.

Other standout tracks include the marvelous blues-ballad, "Nothing Lasts Forever," the hot funk-blues of the celebratory "Living the Dream"; the early in the morning slow blues, "A Blind Man Can See," with terrific guitar; a funky interpretation of Little Milton's "That's What Love Will Make You Do," and the closing topical blues about wanting to cry watching the TV news, "Sad State of the World," with James' gospel-tinged piano adding to the mood. Once again, Mike Wheeler, and his outstanding band, has delivered a terrific set of straight-ahead, soul-rooted modern blues. 

I received my review copy from Delmark. I have made minor revisions in the review that originally appeared in the July-August Jazz & Blues Report (Issue 367). Here Mike Wheeler is performing Little Milton's "That's What Love Will Make You Do" from several years ago.