Fruteland Jackson Good As Your Last Dollar

Fruteland Jackson
Good As Your Last Dollar
Electro-Fi

Blues advocate, educator and acoustic blues artist Fruteland Jackson returns with this new album. He is heard singing as well playing acoustic guitar, National Resonator guitar, and mandolin. Fruteland is supported by Harrison Kennedy, who supplies backing vocals on three selections; guitarist Jack de Keyzer; pianist Julian Fauth; bassist Alex Fraser and drummer Bucky Berger. These four also provide backing vocals where heard.

There are some interpretations of classic blues as well as original, sometimes topical songs. Discussing the title track, Fruteland says "I learned during the Great Recession, that no matter how long you've had a relationship with a utility or cable company, if you are late or unable to pay, you become only as "Good As Your Last Dollar." Nothing more, nothing less. Living through the Great Recession was a time of Economic and Psychological depression. For some an unscripted test of survival." The songs and the performances resonate with Fruteland having lived much of the music.

It has been several years since Fruteland's last recording. It has been worth the wait as he sings with authority, while forcefully playing resonator slide guitar on "Two Steps To Hell." It is a blues about the hard times while also being two steps to hell and one step from his baby's door. The delta blues approach of that number contrasts to the small group backing (Fauth's piano is impressive too to the gospel performance of "Death Creep." Here there is a blend of fingerstyle guitar and slide guitar, and an uncredited harmonica player (Harrison Kennedy?). The title track is a haunting performance as he remembers when one's word was bond, but now cash in hand beats a payment plan. Fruteland's interpretation of "Careless Love" uses a fresh arrangement for a heartfelt vocal. Harrison Kennedy adds vocal asides on a standout performance.

Fruteland observes that "It's odd isn't it that so many Blues songs are written about a spouse or lover breaking one's heart, while so few Blues songs are written about our parents." "All the Daddy I Had," set against a Muddy Waters styled backing is a song about a father breaking his heart. It is a moving performance with Fruteland wondering if Daddy loved Fruteland recalling that his daddy never said a kind word to Fruteland. "All Pain No Gain." is another engaging performance as he sings of trying to survive during a bad economy. "Damaged Goods" is a relaxed shuffle about having his heart and self broken by an ex, but noting that we are all damaged goods. Also of note is Fruteland's performance of "Love in Vain," where he pays tribute to Robert Johnson and playing original instrumental touches as well as a terrific vocal. Again there is some fine harmonica heard here.

"Good As Your Last Dollar" is a gem of acoustic blues with compelling performances of intriguing original blues songs and fresh, choice interpretations of classic blues songs. It has been way too long since Fruteland Jackson's last album, and this is a more than welcome addition to his body of recordings.

I received a digital download from Fruteland Jackson. Here is Fruteland performing "Midnight Special."

Harrison Kennedy Shows He Is Also Chairman of Acoustic Blues

One of the pleasures I had at the Pocono Blues Festival this past summer was to hear Harrison Kennedy. Kennedy, one of the group, The Chairmen of the Board which had several hit recordings, has turned to acoustic blues in the past few years and his most recent disc “One Dog Barkin’,” (Electro-Fi), should hopefully spread the news about his musical alchemy. Kennedy plays a variety of instruments including guitar, harmonica, banjo, mandolin and percussion assisted by keyboards and bass that help provide the foundation for this recording, without detracting from the focus of his playing and vocals. He is an adept instrumentalist and an outstanding vocalist who often is riveting.

The originals on “One Dog Barkin’,” range from the title track, a strong downhome performance a topical lyric about the environmental crisis (a theme touched in other songs like “The 90s Blues,” or the soul-tinged “Leading Lady,” with his banjo embellished by the dreamy keyboard backing, as he sings about his lady being a shining star in his universe. “Cruise Control,” singing about the long drive to New Brunswick and with cruise control can travel those country roads as his banjo accompaniment accompanies a field holler-like vocal. “Could Be You, Could Be Me,” is a blues about being homeless with hard rock for a pillow, and nice sky only blanket while sleeping on a cardboard bed as he encourages sighting to help the homeless with effective guitar and harmonica backing. With some rollicking piano in the background, Harrison sings in “Hair of the Dog,” about losing his woman and best friend too and going downtown to drink away these blues which is followed by some nice slide playing and harmonica on “Ode to Huddie,” a moving song about Leadbelly intermixing biographical facts with song titles and lyrical fragments by the legendary songster. “Hogtown Blues” is a delta-styled blues as his phone rings and his baby has called saying she is in Hogtown and found a new ride with Kennedy singing and moaning his vocal with hints of “Rollin’ & Tumblin,’” in the backing. It is tracks like this that should how rooted in tradition and yet contemporary Kennedy gets. Sounding like some delta bluesman of the 30s and 40s he convinces us elsewhere of “The Healing Power of the Blues,” recounting some of his travels as he helps souls needing healing from the hurt within, while his accompaniment on “Cry For Mother Africa,” suggests some of the groits from Africa that have recorded in recent years, with Kennedy’s insistent, repetitive accompaniment matching his ethereal falsetto.

The vigor of the performances on this album match the freshness in which Kennedy uses traditional blues materials to craft these impressive, contemporary acoustic blues performances, making for a superb album that is highly recommended.

This review originally appeared in substantially the same form in Jazz & Blues Report issue 322 (December 2009-january 15 2010) which can be downloaded at www.jazz-blues.com. For FTC regulation purposes, I received review copy of this CD from Electro-Fi records.