Robert Lockwood Jr. | Got To Find Me A Woman

Robert Lockwood Jr.
| Got To Find Me A Woman
Verve

It has been quite awhile since Robert Lockwood, Jr. had a new album, and for it to be on a major label makes it more welcome. There are guest appearances by Joe Louis Walker and B.B. King who each appear on two tracks. One surprise is that Gene Schwarz, Robert's long-time bassist was not on this session, replaced by Richard Smith, along with saxophonist, Maurice Reedus; harmonica player, Wallace Coleman; guitarist Charles ‘D.C.’ Carnes; pianist, Robert ‘Red Top’ Young; and drummer, Jimmy ‘Gator’ Hoare.

While Robert has previously recorded almost all of the songs here, the renditions here sound fresh, whether a solo version of Robert Johnson's 'Walking Blues,' or the band renditions of 'Take a Little Walk With Me' with Joe Louis Walker taking an incisive solo, or 'Little Boy Blue,' which, like 'Walkin’ Blues,' has some nice slide from Lockwood. Lockwood's rendition of Roosevelt Sykes’ 'Feel Like Blowing My Horn' is a duet with Walker, who also plays with Lockwood on the rendition of Leroy Carr’s 'How Long,' one of several tracks to sport some fine harp from Coleman.

Robert once kidded this writer during an interview for not remembering that Johnny Temple's big record was 'Big Legged Woman,' so it is surprising to find the song credited here to Charles Brown, and Johnny & Shuggie Otis. | don’t blame Robert, but rather blame whoever at Verve was responsible for the songwriting credits. Coleman’s harp is particularly outstanding on this selection. The longest track is 'My Daily Wish,' that Lockwood originally recorded with just Otis Spann on piano for the classic Candid album "Otis Spann is the Blues." Reedus, D.C. Carnes and Coleman all stretch out as Lockwood comps behind their solos as well as adding some tasty fills. Reedus stretches out on sax, and D.C. Carnes on six-string guitar with Lockwood comping behind both on twelve-string, as well as adding his characteristic fills.

King plays on the title track. It sounds like King’s guitar was overdubbed over the vocal and band track. This perhaps explains why the backing sounds a touch tentative. King takes the first two and closing solos, while D.C. Carnes takes a crisp, biting solo for the third break. Lockwood always has been a straight-forward singer, who eschewed any gimmicks or histrionics in his delivery. The vigor of his singing belies his years, and he is particularly effective with his casual approach on 'My Daily Wash.'

His off-the-cuff approach also works well on Paul Gayten’s, 'For You My Love' and Memphis Slim's 'Everyday | Have the Blues.' Both performances feature jazzy arrangements with bop voicings and sound very different from Lockwood’s earlier recordings of the songs. The freshness of the arrangements in part explains why Lockwood is so effective in performing songs that generally have become stale in far lesser hands. Lockwood takes fine solos on both tracks, which also showcase excellent piano from Young and saxophone from Coleman, and are perhaps the highpoints in a varied and consistently entertaining disc by one of the true legends of the blues.

This review appeared in 1998 in issue 230 of Jazz & Blues Report. I have made some minor spacing changes. I likely received a review copy from the record company.

Dave Keller You Get What You Give

Dave Keller
You Get What You Give
Tastee Tone Records

Singer-guitarist-songwriter Dave Keller has put together a special new recording dedicated to raising funds toward enhancing racial justice and equity. Keller, whose mix of soul and blues has earned him acclaim, fans, and friends, is joined by Trudy Lynn, Joe Louis Walker, Annika Chambers, Johnny Rawls, Annie Mack, Dawn Tyler Watson, Brother Bob White, Carly Harvey, Toussaint St. Negritude, Katie Henry, Chad Hollister and others who donated their time and talent for this recording. Even before release, raised over $2,000.00 from pre-orders with "all of which will go directly to groups working for racial justice and equity." The list of recipient groups includes the NAACP Legal Defense Fund, Know Your Rights Camp, N'COBRA, and Jus' Blues Foundation.

Separate apart from the fundraising aspect of this album; the performances are stunning. This starts with the opening duet between Keller and Annika Chambers, "One More Tear." It is a superb Memphis soul styled song about two lovers who can't get over each other. The production, the playing, and the singing are exceptional. It sets the tone and standard for this album. More of the same is present in the duet with Carly Harvey, "The Thing We Do," as the two celebrate their love for each other. Another outstanding duet is the title track with Annie Mack with its country-soul flavor. There is an uplifting duet between Keller and Dawn Tyler Watson, "God Is Love/ Love Is Everything."

Among other inspired songs are "The Evil Men Do." This song has a topical lyric about this land be haunted with bodies handing on the tree and lying on the ground under a knee as Annika Chamber, Annie Mack, and Johnnie Rawls add their voices. Ira Friedman adds a stark piano backing, with Tom Palance adding a haunting trumpet solo. Friedman's spare piano also backs Keller's sober vocal on "The Spark." Brother Bob White sings and plays piano on the classic gospel number "Precious Lord, Take My Hand" with Keller adding responsive guitar.

There are other equally stirring performances. These include those with Joe Louis Walker and Katie Henry. Also, Keller's acoustic steel guitar and harmonica support Toussaint St.Negritude on the spoken blues "I'm Gonna Let It Shine," about standing on the banks of tomorrow and pressing for a brighter tomorrow. This number concludes a remarkable recording, one of the finest new recordings I have heard in 2020. "You Get What You Give" is not merely great music but raises money for a great cause.

I received my review copy from a publicist. Here Dave performs "The Evil Men Do."

Joe Louis Walker Viva Las Vegas Live

Joe Louis Walker
Viva Las Vegas Live
Cleopatra Blues

"Viva Las Vegas Live" is, I believe, the 26th album from Joe Louis Walker, and the 4th live album, in his Hall of Fame recording career that goes back to 1986. Of the blues artists who emerged from the 1970s on, I would be hard-pressed to find one who has produced such a substantial body of music as well as continues to play such a diverse repertoire. Besides his superb, imaginative guitar playing, he is one of today's blues most powerful, moving singers.

"Viva Las Vegas Live" is available as a CD/DVD package, with the same music on both. It was recorded and filmed at The Railhead at the Boulder Station Hotel and Casino on August 2, 2018. In addition to Walker's guitar and vocals, Bruce Bears is on keyboards, Lenny Bradford on bass, and Dorian Randolph on drums.

The songs here span over two decades of Walker's career opening with the hot rocking "I'm Not Messin' Around" and include the driving blues-rock of "Do You Love Me." One risk of live recordings is that some performances are better experienced live. On disc, the same performance sounds over-extended. "Sugar Mama" has strong vocals and guitar, Bears is first-rate, and Walker even plays some harmonica, but at 16 minutes it goes on a bit too long for these ears. While lengthy, it is not a poor performance.

One can appreciate that Walker maintains such a broad and deep repertoire. "In the Morning" was the title track of his 2002 Telarc album, while "Soldier For Jesus" harkens back to his gospel roots. A rollicking rendition of "Too Drunk To Drive Drunk" has some Chuck Berry styled guitar along with Bears' barrelhouse piano. A rocking "Like It That Way," with some intense guitar has him tell his women to give Walker all her love, that's all he needs. All the band members solo on this selection.

The DVD is pretty straight-forward in presenting these performances with crisp camera work that focuses on Walker and his band. There may be a few flaws here, but that does change the fact that this album is an accomplished live recording.

I purchased this. Here is the official trailer for this release.

Watermelon Slim Church of the Blues

Watermelon Slim
Church of the Blues
NorthernBlues Music

This is the 13th album by William P. Homans, better known as Watermelon Slim, dating back to 1973 when his "Merry Airbrakes" recording was celebrated as one of the first anti-Vietnam War albums done by a military veteran. It took him 29 years for his second album, "Big Shoes To Fill," which established his acclaimed career. Mississippi Fred McDowell is perhaps his biggest influence, and he developed his slide style as well as his gritty, raspy vocals. He co-produced this album with Chris Hardwick as well as plays harmonica and electric slide guitar. He is backed by his band of John Allouise on bass and Brian Wells on drums. He has guests including guitarists Bob Margolin, Nick Schnebelen, and Joe Louis Walker; vocalists Sherman Holmes and John Nemeth; and keyboardist Red Young. While the guests may add interest to this recording, it is Slim with his strong playing, vocals, and personality that makes this album so enjoyable.

The recording opens with "St. Peter's Ledger,' as he authoritatively delivers Ron Meadow's lyrics about where he might end up in the after-life and displays his strong slide guitar style. He follows up with one of several topical songs, Tom McFarland's 'Tax Man Blues," a strongly performed working man's complaint of having too much taken out of his pay stub. The strong backing enhances his strong singing and slide guitar solo. Muddy Waters' "Gypsy Woman" (with Slim on harp and Bob Margolin adding playing slide) is one of several covers of classic Chicago blues that he avoids copying the original while placing his stamp on the performance. Other similarly strong performances include Howlin' Wolf's "Smokestack Lightning" and J. B. Hutto's "Too Much Alcohol.' He makes minor changes in the arrangement (no trace of broom dusting on the Hutto number) so that these songs receive a fresh feel along with his powerful singing and playing.

Slim's "Post-Modern Blues," with the strutting horns, has him singing about trying to deal with the rapid changes of the 21st Century, while "Hollar #4" is a moving vocal moan about blues and his own life. His rendition of Allen Toussaint's "Get Out of My Life Woman" with his slide driven accompaniment evokes the early Paul Butterfield cover while a similar funky feel is present on a cover of Gene Barge's "Me and My Woman," the latter tune sporting more fine harmonica. Among other high points include the high-stepping topical blues about protests and the increasing visibility of overt racism "Charlottesville (Blues for My Nation)," with his hope for better days for all. An amusing bonus song, 'Halloween Mama" closes another excellent Watermelon Slim recording.

A received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).  I have previously reviewed some Watermelon Slim albums including "Escape From the Chicken Coop," the eponymously titled "Watermelon Slim and the Workers," and "No Paid Holidays." Here is Watermelon Slim performing.

Joe Louis Walker * Bruce Katz * Giles Robson Journeys to the Heart of the Blues

Joe Louis Walker * Bruce Katz * Giles Robson
Journeys to the Heart of the Blues
Alligator Records

English harmonica player Robson states in the liner notes that this album represents a shift from what many consider it the blues today "which is a loud and proud classic rock-infused sound" that "is something quite distant from the music’s roots… ." The present collaboration between Robson, the Blues Hall of Famer Walker and keyboard wizard Katz, best known perhaps for playing with Ronnie Earl, is meant "to be a celebration of the dynamics, grooves, lyrics and, above all, the feeling of pure traditional blues. Blues played intimately and at a low volume and with the wonderful space that is created when drums and bass are taken out of the equation."

Robson also notes this recording has antecedents going back to Muddy Waters' "Folk Singer," the Blue Thumb recording "Buddy and the Juniors" with Buddy Guy, Junior Wells, and Junior Mance, and the European acoustic recordings by Sonny Boy Williamson. Despite the stripped-down setting and acoustic instrumentation, the playing her,e is not far removed from the blues these artists usually play, absent amplification. I point to the Washboard Sam recording "Run Me Down," where what Walker plays is not far removed from what he would play in an acoustic setting. I should be mentioned Katz is outstanding here and Walker sings pretty much as one might expect.

There is an interesting choice of material, mostly rarely covered songs, starting with Papa Lightfoot's "Mean Old Train" that opens this, along with a forceful vocal by Walker on Sunnyland Slim's "It's You, Baby." "Murderer's Home" derives from Blind Willie McTell, but the performance here has more of a stop and go feel as opposed to the fluidity that characterized McTell's music. Roosevelt Sykes' "Feel Like Blowin' My Horn," is dedicated to Robert Lockwood Junior who played on a Sykes recording of this song and Walker models his guitar here on Lockwood. More examples of Katz's superb playing can be heard on his accompaniment to Walker's singing on Big Maceo's "Poor Kelly Blues" and his rollicking boogie-woogie piano on Maceo's "Chicago Breakdown," a spectacular solo piano performance. Robson impresses throughout with his harmonica and is showcased on the instrumental "C & J Boogie" where Walker providing a simple boogie guitar backing to the energetic wailing harmonica. A highlight might be Walker's terrific vocal on Son Bonds "Hard Pill to Swallow," with Robson and Katz providing dynamic support.

It might be best described as blues unplugged as opposed to traditional blues, but this trio has put together solid and entertaining blues performances even if they may not take us to the Heart of the Blues.

I received my review copy from Alligator Records. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 382). As I write this, this recording just won a Blues Music Award for Best Acoustic Album. Here is a video of the three playing in Europe.

Joe Louis Walker JLW

Joe Louis Walker
JLW
Verve

Joe Louis Walker’s new Verve release may be his breakthrough album with respect to reaching beyond the core blues audience. The material and the production may a bit more accessible without losing the music’s edge.

Perhaps the rhythm is recorded a little heavier, and Rain on My Mind sounds similar to some Stones’ tune. Those not familiar with the blues world of today may think it is Bonnie Raitt, not Angela Strelhi, on the soulful duet, Hold On. Besides Strelhi, guest appearances are made by the Tower of Power Horns on a couple tracks, Branford Marsalis on the nice soulful Inner City Man, and James Cotton on an acoustic Going to Canada - bassist Henry Oden’s take on the Dust My Broom riff.

What is unusual about this album is that Walker did not pen most of the songs.. There’s the intense version of the oldie Need Your Lovin’ Every Day, and the excellent rendition of Otis Blackwell’s On That Powerline that Walker had been recorded for the Otis Blackwell tribute album on Shanachie that also appears here. Walker himself is the source of the best material. 12-Step Lovin’ (co-written with Laurie Basson) has a clever lyric analogizing love as an addiction with the 12-step treatments for addiction, while Alone is a nice jazzy, soulful blues. Walker throughout sings and plays with the conviction and imagination that has always characterized his recordings and performances.

While it may not be as varied or jazz-inflected as his previous Blues Survivor, JLW is still typical of a Joe Louis Walker recording. It is first rate.

This review originally appeared in the October 1994 Jazz & Blues Report (Issue 295). I likely received a review copy from the record company but may have purchased it. Here from over a decade after JLW, Walker is with Billy Branch doiig a Robert Johnson-Elmore James classic. 
 

40 Years of Stony Plain

Alligator Records is not the only independent label to issue an anthology celebrating its catalog. "40 Years of Stony Plain," is the latest installment in such compilations from the Canadian label, apparently the oldest independent Canadian record company still with the same ownership. Stony Plain is much more than a blues label, although love of blues and jazz is at the core of Holger Petersen who has also hosted blues radio programs for nearly fifty years, helped found the Edmonton Folk Festival and so much more. The Stony Plain catalog spans folks and roots to jazz and blues and has issued 15 albums from Canadian Country Icon Ian Tyson (formerly of Ian & Sylvia) as well as 20 Duke Robillard releases along with over a half dozen he produced with other artists, eight CDs and one DVD by Ronnie Earl and six releases from Eric Bibb. Richard Flohil provides an overview of Stony Plain including excerpts from his notes to earlier compilations as well as song notes in the enclosed booklet.

This celebration of the label has three discs. The first is entitled "Singers, Songwriters and much more" and includes performances, from amongst others, Colin Linden, Spirit of the West, Doug Sahm, Harry Manx and Kevin Breit, Emmylou Harris, New Guitar Summit, Rodney Crowell, Ian Tyson, Jennifer Warnes, Steve Earl and Eric Bib featuring Taj Mahal, The Blind Boys of Alabama and Ruthie Foster. Highlights on this disc include is the acerbic roots-rock of Linden's "No More Cheap Wine"; the Irish flavored "The Crawl" from Spirit of the West; an unusual folky Doug Sahm performance; the atmospheric reworked blues of Manx and Breit, "Do Not Stand at My Grave and Weep"; the revival of an Elvis Presley Arthur Crud-up cover by James Burton, Albert Lee, Amos Garrett, and David Wilcox; a hauntingly beautiful Emmylou Harris performance; Duke Robillard, Jay Geils and Gerry Beaudoin recorded a lightly swinging "Flying Home" as part of New Guitar Summit; the traditional country of Ian Tyson's "Cottonwood Canyon" and Tim Hus' "Wild Rose Waltz," and the Eric Bibb led gospel "Needed Time."

The second disc brings "Blues, R&B, Gospel, Swing, Jazz and even more," with performances by the likes of Kenny 'Blues Boss' Wayne, Joe Louis Walker, Rosco Gordon, Ronnie Earl & the Broadcasters, Maria Muldaur with Taj Mahal, MonkeyJunk, Jay McShann, Jeff Healey, Billy Boy Arnold, Ruthie Foster, Sonny Rhodes and King Biscuit Boy. There is a rollicking "Bankrupted Baby" by the Blues Boss from his most recent recording; Joe Louis Walker's revival of a swamp rockabilly number "Eyes Like a Cat"; late Rosco Gordon and Jay McShann (both from Duke Robillard produced sessions I believe); Ronnie Earl's revival of Otis Rush's "It Takes Time" with vocalist Michael Leadbitter from his latest album; Muldaur & Taj doing an impassioned take of Blind Willie Johnson's "Soul of the Man"; Jeff Healey's amusing swing era jive of "Hong Kong Blues"; a terrific Billy Boy Arnold Chicago blues; Ruthie Foster's excellent Memphis Minnie interpretation from Stony Plain's Memphis Minnie tribute album; and the late King Biscuit Boy's Louis Jordan cover. There are also acoustic blues interpretations from Rory Block and Big Dave McLean on this.

The third disc contains "Rarities and Previously Unreleased Material" starting with a couple of Duke Robillard numbers including a Smiley Lewis cover; two tracks from Eric Bibb including a hauntingly beautiful "Wayfaring Stranger"; live performances by Maria Muldaur of songs from Memphis Minnie and Reverend Gary Davis; a lively acoustic guitar instrumental blues by David Wilcox; Colin Linden and Doc MacLean backing the legendary Sam Chatmon on two songs from the long defunct Flying Fish catalog; two Bob Carpenter's two folk numbers and a closing instrumental by Shakey 'Walter' Horton backed by Hot Cottage. The inclusion of these rare selections enhance the already considerable value of compilations such as this one.

I received my review copy from a publicist. This review appeared in the July-August Jazz & Blues Report (Issue 367).

Selwyn Birchwood - Don’t Call No Ambulance

Mentored by Sonny Rhodes and winner of the 2013 International Blues Challenge, Selwyn Birchwood impresses with his enthusiasm as well as his talent. This writer had the pleasure of seeing him in Fall of 2013 before he signed with Alligator Records, who have recently issued his first CD for the label, Don’t Call No Ambulance. On this album, Birchwood brings his vocals as well as guitar and lap steel with an excellent band comprised of Regi Oliver on saxophones, bass clarinet and flute; Donal ‘Huff’ Wright’ on bas and Curtis Nutall on drums. Guest appearances are made by Joe Louis Walker on Slide Guitar; Josh Nelms on Rhythm Guitar; RJ Harman on Harmonica; and Dash Dixon on Keyboard.

Selwyn’s raspy, gravelly voice have led some to liken him to Tom Waits, a comparison that does surface several places on this recording of originals. He is a fairly solid guitar slinger as displayed on the rocking opener Addicted, but much of the appeal of Don’t Call No Ambulance is the interaction between him and the saxophones of Oliver and the tight backing Wright and Nutall provide. Oliver’s baritone sax often functions like a rhythm guitarist as he doubles on the bass line and adds to the drive like on the title track, where Birchwood conjures up a North Mississippi Hill Country groove as he sings that he feels so good and if he falls down, don't call no ambulance. This strong selection is followed by Waiting in the Lion's Den, where Birchwood  evokes Waits with his raspy, almost spoken, vocal as Oliver, supporting him supports on sax and flute, takes a muscular baritone sax solo.

Rico Oliver and Selwyn Birchwood in Silver Spring MD, October 2013

Joe Louis Walker guests on slide guitar on The River Runs Red. This is a funky tune with Oliver providing punchy Memphis styled horns. Love Me Again is a soulful ballad on which Birchwood sings about a love he lost and wants back as he "can smell the rain in the air, thunder rolling in... feel the mist kiss against my skin, I was a fool in the past, did not know what I had … let the rain fall so my tears don't show, can you find the strength to love me again.” There are a couple of topical songs including Tell Me Why with the leader's buzzing lap steel guitar over Wright’s funky bass. The hard rocking feel contrasts with the low-key, down-home playing on Overworked and Underpaid. RJ Harman’s harmonica enhances the atmosphere while Birchwood adds a lap steel solo on his complaint about working life.

Dancers will savor the pop-flavored She Loves Me Not with Oliver again standing out. The slow blues, “Brown Paper Bag” about a destructive drinking problem, has has some of Birchwood’s fieriest playing. The album closes with a return to a Hills Country groove and some slide guitar that suggests Mississippi Fred McDowell for the closing Hoodoo Stew as he sings about the thirteenth day on a Friday night. It is the close for an impressive varied recoding that is sure to get Birchwood a higher profile.

I received my review copy from Alligator Records. Selwyn Birchwood is featured at the DC Blues Festival on Saturday August 30 in Washington DC and at Alonzo's Memorial Picnic on Sunday August 31 in Rosedale MD. For more information on these shows, see Plenty of Labor Day Weekend Blues in Washington and Baltimore. Here is a video of the Selwyn Birchwood Band performing tell Me Why.

Joe Louis Rocks Out On Hornet's Nest

Somewhere I read that Joe Louis Walker’s new CD, Hornet’s Nest (Alligator), is his 25th. Whether that is the actual case, it gives a sense of the substantial body of work he has recorded since his first Hightone album some quarter-century ago. Walker, recently inducted into the Blues Hall of Fame has produced some of the finest blues recordings of this time span displaying both passion and substance as a songwriter and performer.

The CD was produced by Tom Hambridge who has produced Buddy Guy’’s recent recordings and Hambridge also is on drums and contributes backing vocals. The other member of the studio band that will be familiar is Reese Wynans on keyboards. The Muscle Shoals Horn Section is present on one of the 11 selections. Hambridge contributed to 8 of the 11 selections on this (4 of which Walker contributed to).

Hambridge’s production brings a rock-tinged edge to the music here, some of which is pretty much ‘in your face.’ And this CD is not strictly blues as there is a fair amount of hard blues-rock present along with some blues. Folks with a preference for a more traditional blues sound might want to pass on this while folks that like their blues mixed with hard rock will be quite happy with it.

The title track is a but of blues-tinged rock with Hambridge pushing the groove with the subtlety of a sledgehammer operator while Walker lays down a fiery blues-rock solo against the dense backing providing. All I Want To Do has more of a laid back feel as the Muscle Shoals Horns add punch as Walker singing soulfully (although his voice sounds a bit strained here). A shuffle, Stick a Fork in Me, has a clever lyric along with a lively performance and followed by an imaginative rendition of the old Roy Hamilton hit, Don’t Let Go.

Walker plays slide on the terrific, I’m Gonna Walk Outside. Walker channels Muddy Waters as he sings “A married woman, a back door man, a loaded pistol in you husband’s hand.” Ramblin’ Soul is more heavy blues-rock as he bellows about hellhounds can’t find him as he lays lays down slide as the backing pounds things along. It is followed by a Jagger & Richards cover, Ride On, Baby, that sounds to these ears like a Bruce Springsteen cover.

Soul City is a rocker lyrically akin to James Brown’s recording of Night Train, and musically evoked the classic Stax instrumental “Soulfinger,” with screaming guitar. I would love to hear someone interpret this as a horn based funk number. “Not in Kansas Anymore,” with an opening that evokes The Who’s We Won’t Get Fooled Again, and a lyric about Dorothy, Toto, wicked witches and the Wizard of Oz, is straight hard rock.

Joe Louis Walker establishes on Hornet’s Nest that he can rock as hard a anyone out there and more than capable of playing something other than blues. Hopefully it is a recording that will enable him to enlarge his audience and  enable him to play not simply to blues audiences and venues but to  venues and events that rarely feature blues performers. Hornet’s Nest shows he continues to invest his performances with considerable power and passion although it will not be an album this listener will be listening to regularly, but that is a matter of musical taste.

I received this from Alligator. Here is the title track.

Joe Louis Walker In The Morning

 Joe Louis Walker is to me the most important modern blues artist to emerge over the past two decades. I reviewed his debut in Living Blues and have been following and writing his subsequent releases as he moved from Hightone to Verve and then to other labels including Telarc, JSP, Stony Plain and most recently Alligator. Here is a the first part of a review I did of two releases by him that came out in 2002 and that I reviewed in the September 2002 DC Blues Calendar. I believe I received a review copy of In The Morning and possibly the DVD, but I may have purchased the Guitar Brothers.

Few artists have emerged in the blues in the past two decades who have produced as distinguished a body of recordings as Joe Louis Walker. With his relationship to Verve (now Blue Thumb) terminated) he has two very different new discs to choose from, each with a slightly different flavor. 

In the Morning (Telarc Blues) is his debut for that label where he is backed by a studio band that includes G.E. Smith who used to lead the Saturday Night Live Band. Opening with a hot latin groove on You’re About to Lose Your Clown, this disc has perhaps a bittersweet lyrical and melodic flavor. This is not to take anything away from Walker’s typically strong singing and inventive playing. He can rock with the best of them, provide some stunning driving slide, insert some jazz inflections or solid acoustic all the while bring his gospel-rooted soulful singing to the front. 

The title track has a pop melodic tone and the use of a backing vocal chorus as he sings about rising and wiping the tears from his eyes. Joe’s Jump is a shuffle with a lyric about his women telling she loved him, told him a lie before they start to jam but the playing never really seems to find a focus. Much better is Leave That Girl Alone with nice jazzy touches to the playing.

Where Jesus Leads is a nice gospel number with a slightly downhome flavor to its relatively sparse accompaniment. Another highpoint is Strange Loving with a driving rhythm. There is a remake of the Rolling Stones instrumental 2120 Michigan Avenue that I would rather here Walker do with his own band than the band here which sounds a bit too controlled and the performance lacks some focus.

The JSP disc Guitar Brothers with his friend Otis Grand comes across as hotter and sounds more spontaneous. The opening Snake Bit, with Walker playing some nice slide, is followed with a shuffle, Imitation Ice Cream Blues whose lightweight lyric perhaps gets a strong vocal nonetheless.The tight shuffle groove allows the two guitarists to stretch out here. I Like It This Way has the two exchanging licks, Walker playing a phrase with Grand repeating it and Grand echoes Walker’s in a similar fashion. 

Better Off Alone is a Grand original that has the feel of some of Walker’s early albums with some terrific playing as well as Walker with a superb vocal performance. B.B. King’s Friends is one of two instrumentals to showcase the two trading choruses, the other being Bliss Street Blues which also has harp from George Bisharat. A nice R&B groove marks Johnny Guitar Watson’s I’m Getting Drunk as Walker takes a slashing Watson styled solo and Grand takes the song out with Walker joining at the end of this exciting performance. 

Rude Woman is built on an irresistible rock and roll (not hard rock) groove that sounds like it could have been written in the fifties or sixties. One almost expects Chuck Berry to turn up for a solo here. Regal Blues is a tribute to B.B. King with its lyrics invoking one of B.B.’s classic recordings (“It’s my own fault, guess I will blame It on You,” as well as recalling that when he first heard Lucille (BB’s guitar) it knocked him out. While this recording has the flavor of a jam, the empathy between Walker and Grand make this, to these ears, a more satisfactory recording than In the Morning.

In addition, Walker has a performance available on DVD, Live at “On Broadway” on Blues Express. It contains eight very solid performances, both solo and with his band The Boss Talkers along with interview segments talking about the songs and various topics. The music is strong enough that the video of the performance is a bonus. Oddly he has no keyboards in his current band. Definitely worth checking out for those with DVD players. 

James Cotton Always Was Deep In The Blues

James Cotton’s new Verve release, Deep in the Blues, has the legendary harmonica player and blues singer accompanied by Joe Louis Walker and jazz bassist Charlie Haden. Also, longtime Cotton collaborator, pianist Dave Maxwell is present on three of the 14 tracks. The album is an acoustic “unplugged” session, and a total delight. Cotton has had health problems in recent years, and the most evident toll has been on his voice which has come across as a ghost of its former husky self, but little effect is evident in his still splendid harp playing. Not straining against a full electric band backing, Cotton’s vocals sound comfortable in the setting. The songs are mostly blues standards, including Sonny Boy Williamson’s Dealin’ With the Devil; Lightnin’ Hopkins’ Play With Your Poodle; Percy Mayfield’s Strange Things Happenin’ and Big Maceo’s Worried Life Blues (two splendid duets with pianist Maxwell); and Muddy Water’s Sad Letter. Both Walker and Haden each have a solo instrumental, with Walker’s spotlighting his considerable skills using a slide. Walker forcefully sings on Muddy’s Two Trains Runnin’ with Cotton’s harp providing the crying harp commentary. Blues in My Sleep, a fine moody harmonica instrumental is the only selection where all four play together. There’s no new musical ground here, but rather musicians, friends and peers that have come to play some blues together. It’s a very congenial, low-key effort that will delight fans of Cotton and many others. This review originally appeared in the November 1996 Jazz & Blues Report (Issue 216). I likely received a review copy from the record label. Here is Cotton with Eric Clapton unplugged.

Lurrie Bell Knows That The Devil Ain’t Got No Music

A new Lurrie Bell recording, The Devil Ain’t Got No Music (Aria B.G. Records), represents a double departure from Bell’s prior recordings. First of all the album focuses on the sacred side of Lurrie’s repertoire and secondly the performances are rendered in a stripped down vein, mostly acoustically. Part of its origins was the years growing up as a child with his grandparents in the South that Lurrie spent playing and singing in church. After moving North, where he become known for his blues guitar and vocals, Bell would sing and play many of the songs heard on this new release around his home. The Devil Ain’t Got No Music was produced by Matthew Skoller and in addition to Bell, has guests Joe Louis Walker, Billy Branch, Josef Ben Israel, Kenny ‘Beedy Eyes’ Smith, and Bill Sims, Jr.

Its a bit more informal sounding than Lurrie’s electric blues recordings with producer Skoller presenting the performances in a variety of settings ranging from the opening Swing Low, Lurrie’s personalized interpretation of Swing Low Sweet Chariot, where his guitar and vocals are backed by Smith’s percussion and Sims’ hand claps as he vocally riffs on “swing low.” Joe Louis Walker contributes slide guitar and backing vocal to It’s a Blessing, while Lurrie’s vocals and guitar are joined by backing vocal on Thomas Dorsey’s Search Me Lord. Don’t Let the Devil Ride is one of several songs on the theme of stay away from the devil with Lurrie’s trebly guitar evocative of Magic Sam with Kenny Smith’s supportive drumming. On Muddy Waters’ Why Don’t You Live So God Can Use You, Lurrie’s self-accompaniment channels Lay My Burden Down.

The title track was written by producer Skoller and based on a quote from Mavis Staples. With a small combo (with Skoller on harp) Bell notes the devil has fire, horns and a tail but the devil has no music so that’s why his home is hell. On Thomas Dorsey’s “Peace of the Valley” Bell adds string slapping while Joe Louis Walker adds whining slide accents to the fervent vocal. Smith’s percussion and Cynthia Butts background vocals are the stark backing for Bell’s delivery of Tom Waits’ Way Down In The Hole, which is where you want to keep the devil.

Bill Sims adds second guitar as well as provides the arrangement to Lo and Beyond, while Joe Louis Walker and Sims add their clapping and enthusiasm as Lurrie shouts I’ll Get To Heaven On My Own, which Walker wrote. Billy Branch is part of the unplugged small Chicago blues styled backing on Trouble In My Way, with Mike Avery and James Teague adding their backing voices.

The Devil Ain’t Got No Music concludes with a lengthy, solo rendition of Reverend Gary Davis’ Death Have No Mercy. As noted, it presents a definite different musical side of Bell. Bell sings with passion while the emphatic, percussive manner of his guitar style is evident. The unusual twists and turns his guitar playing often take is less prevalent but still it is certainly a release that is well worth checking out.

I received a review copy from a publicist for this release.

2nd Pennsylvania Blues Festival Keeps Tradition of Blues in the Pocono

Teeny Tucker will be at this year's Pennsylvania Blues Festival

Michael Cloeren, and the others involved with the Pocono Blues Festival found a new location to carry out the tradition of bringing the best blues to the Pocono Mountains with last year’s “1st Pennsylvania Blues Festival” at the Blue Mountain Ski Area in Palmerton, Pennsylvania, not far from Allentown, Bethlehem and Easton, Pennsylvania. They have put together the “2nd Pennsylvania Blues Festival” at the Blue Mountain Ski Area that will take place the weekend of Friday July 27 through Sunday July 29.

Eugene 'Hideaway' Bridges

Once again they will be presenting a variety of top-draw blues acts to appeal to diverse blues tastes. Friday night they will host a blues jam featuring Mikey Junior & the Stone Cold Blues Band. Saturday, July 28 they present the first of two full days of blues on the main stage and tent stage. Acts scheduled for the main stage include Marquise Knox; Big Sam’s Funky Nation; Joe Louis Walker and Billy Branch & the Sons of the Blues with Lurrie Bell, Carlos Johnson & Demetria Taylor. In the Tent Stage will be the Canadian duo of Dawn Tyler Watson & Paul Deslauriers; Wallace Coleman along with an acoustic set from Billy Branch & Lurrie Bell and another set of New Orleans Funk by Big Sam’s Funky Nation. Saturday Night will feature Steve Guyger and the Excellos.

The main stage on Sunday will open with Daptone Records artists Naomi Shelton & the Gospel Queens. Others up include Eugene ‘Hideaway’ Bridges; Teeny Tucker; Earl Thomas and the Brooks Family Blues Dynasty with Lonnie, Ronnie and Wayne Baker Brooks. Corey Harris will be featured in the tent along with an acoustic set from the Brooks Family, and sets by Hideaway Bridges and Teeny Tucker.

Joe Louis Walker returns to play blues in the Pocono Mountains at the Pennsylvania Blues Festival

As can be seen by the list of performers, the Festival promises a full weekend of real deal blues. I have my hotel reservations already and I know folks from as far away as San Francisco and the Pacific Northwest that have there plans for this as well. They are offering last years pricing for tickets until June 8th. For more information and on the festival, directions and the festival schedule, check out the Festival website, http://www.skibluemt.com/SkiBlue/special-events/pa_blues_fest.aspx. The Festival also has a Facebook page, https://www.facebook.com/pages/Pennsylvania-Blues-Festival/195740310453821.

Michael Burks was originally scheduled to play at the Festival on Saturday, July 28, but passed away very tragically. He is being replaced by Otis Taylor and his very distinctive and original approach to the blues.

Photos copyright Ron Weinstock.

James Armstrong Survived A Very Dark Night

James Armstrong’s recovery from the terrible stabbing he suffered at the hands of a deranged homeless person a couple years ago is one of the most heartening stories in the blues, and the release of his second Hightone album, Dark Night, is a cause for celebration. Bruce Bromberg is one of the producers, so it may not be completely surprising that some may find this recording suggestive of Bromberg’s recordings by Robert Cray and Joe Louis Walker. Armstrong stands on his own with his gritty, slightly laconic delivery who can deal with the urban violence he personally experienced, yet can still see the light. His optimism is most obvious on the joy he celebrates on his Lil’ James, about his young son. He is as forthright singing about a relationship falling apart because of misunderstandings, miscommunications, mistakes and mistrust on Doug MacLeod’s Too Many Misses For Me, as on Slender Man Blues where he warrants that wants to do something for the ladies that the big boys can’t. Joe Louis Walker adds guitar to Trouble on the Home Front, a lazy shuffle about the “worse type of trouble to have,” while Doug MacLeod is present of Armstrong’s amusing shuffle, Bank of Love, with some imaginative use of language. Like practically all of Bruce Bromberg’s productions, these performances come across as well rehearsed and cleanly executed. Yet like Cray and Walker, Armstrong invests plenty of soul into his performances, and his own guitar solos are solidly crafted. I recently posted here (January 1, 2012) on Armstrong’s new album, Blues at the Border. The present review appeared originally in the October 1998 DC Blues Calendar as well as the October 1998 Jazz and Blues Report (Issue 235). Here is James performing at the 2009 Pocono Blues Festival and I was at this show.

Joe Louis Walker Deals With The Hellfire

Joe Louis Walker recently joined Alligator’s roster of artists and his first album for that label, Hellfire, has just been released. It is produced by Tom Hambridge, who produced Buddy Guy’s recent recordings. Hambridge also plays drums and contributes songs to this release. Of the supporting personnel, the only names I recognize are pianist and organist Reese Wynans as well The Jordanaires who contribute backing vocals on a couple tracks. Hambridge had a hand in the first five tracks here, while Walker himself added five new songs as well. Having been listening to Walker since his first release in 1986 Cold Is The Night, he has produced a number of the best blues albums of the last quarter century. He certainly is passionate here, a term Bruce Iglauer uses in his liner notes, and there is much to enjoy, although not everything is perfect.

The album starts with the title track, a gospel-laced song with an impassioned, gritty vocal about avoiding the Devil’s lure. He plays a blues-rock guitar solo with a nasty distorted tone that is unpleasant to listen to. and undermines the appeal of the impassioned performance. The second track, I Won’t Do That, is a nice original with Walker singing about being faithful and that he won’t cheat or let his woman down. Walker adds a searing solo here. Ride All Night sounds like a Rolling Stones’ inspired rocker on which Walker convincingly sings and plays. Walker picks up the harmonica for a rocking shuffle, I’m On To You. The lyric is about knowing about the bad things his woman is doing. In addition to doubling on the harmonica here, he plays a crisp guitar solo. What’s It Worth has a nice lyric although it would have benefited from toning down the hard rock edges heard during the song’s choruses.

Soldier For Jesus, the first of Walker’s originals, and has a fervent vocal with the Jordanaires providing support. Walker brings a soulful edge to I Know Why, a lovely blues-ballad. Too Drunk to Drive is an amusing and delightful excursion into “rock and roll,” with rollicking piano and driving guitar. The lively Don’t Cry, is another performance with a spiritual message on which he sings that instead of saving his money he is now saving his soul. The disc closes with a cover of Hank Snow’s country classic, I’m Movin’ On, played with a boogie groove that Walker places his personal stamp on.

Walker has more of a presence on this recording than on some of his other recent ones. Hambridge’s production must be credited, although as noted at a few places the playing gets a little over-the-top. If uneven, Hellfire is still a significant addition to Walker’s body of recordings.


My review copy was provided by Alligator Records. Here is some vintage Joe Louis Walker from 1993.

Tommy Castro's Commanding Blues Revue

One make suggest that it is presumptuous for a varying traveling blues show to call itself “The Legendary Blues Revue” given that few if any of the performers on it deserve the stature of being a legendary performer. The revue grew out of shows that Castro organized as part of the Legendary Rhythm & Blues Cruises which also included Castro and a varying cast of performers doing some tours as the Revue. While the Legendary is more marketing and reflects the tie-in with the popular Cruise, there are some of the more popular ‘blues artists’ such as Tommy Castro, whose band is the anchor of this revue. This tour has been documented previously on Delta Groove with Command Performance which featured Castro, Deanna Bogart, Magic Dick and Ronnie Baker Brooks. Alligator now brings us Tommy Castro Presents The Legendary Rhythm & Blues Revue -- Live!

On this disc Castro is represented on this the most as a featured performer, while more other performers are featured than the earlier CD, although only for a track by each. Castro opens with some hard rocking numbers from the Cruise, his own Wake Up Call, and Bob Dylan’s Gotta Serve Somebody, with plenty of almost over the top guitar, sax from Keith Crosnan and a tight band. Michael Burks is heard on an extended performance from the Kansas City club, Knuckeheads, of his Voodoo Spell. It sports a solid vocal reflecting Albert King’s influence, a lengthy guitar solo from Burks and a nice piano solo from Tony Stead. Up next is a solid performance by Joe Louis Walker of a song by the late J.J.Malone, It’s a Shame, backed by Castro’s band minus the leader.

Castro is on guitar for Sista Monica’s strong performance of her Never Say Never, perhaps my favorite selection in this CD. More strong piano and organ backing here from Tony Stead. With Kid Andersen on guitar, Rick Estrin provides his own take on a relation gone bad on My Next Ex-Wife. I was pleasantly surprised by the brothers and sister band, Trampled Under Foot with their Fog, that shows they are more than a novelty act. Bassist Danielle Schnebelen is an impressive  vocalist. The old Five Royales classic Think is interpreted by Janiva Magness, perhaps in a rendition more influenced by James Brown’s recording, but the performance doesn’t quite fully jell to these ears. Theodis Ealey takes us down a bit on chitlin circuit with his soulful blues, This Time I Know, followed by strong Debbie Davis performance, All I Found.

There are a couple more performances by Castro to round this album out, with the closing Serves Me Right to Suffer, paying his respects to John Lee Hooker, starting as a slow dirge-like blues before picking up an ‘endless boogie’ groove. Its a fun performance if not a compelling one. It ends over an hour of performances that should appeal to the Blues Cruisers, fans of Castro and of the other artists especially. Alligator also provides web-links of the artists on the cd booklet of the artists that hopefully listeners will explore of artists they get introduced here to.


My review copy was provided by Alligator Records

Saluting 35 Years of Stony Plain Records - 35 More Please

Arhoolie Records and Alligator Records are not the only important independent labels that are celebrating an important milestone this year. Canadian Stony Plain Records is 35 years young and the label has a double CD celebration 35 Years of Stony Plain to celebrate that fact. In addition to the 41 varied performances, there is also a bonus DVD with some performances, such as Jay McShann and Johnnie Johnson together and special material such as a tour of Stony Plain’s headquarters. The booklet that comes with this release contains an essay from Richard Flohil that provides a concise overview of Stony Plain and the remarkable Holger Petersen who has been the force behind this remarkable label. The booklet also provides a concise overview of the marvelous contexts of the two CDs and the DVD.

I am not as familiar with the Stony Plain catalog, particularly since it’s catalog is not devoted to simply blues. Calling it a roots label is accurate and the first of the two CDs is subtitled “Singers, songwriters and much, much more …” The contents include folk, country and some swing jazz. Maria Muldaur is heard on a Dan Hicks song with backing that includes David Grisman and John Sebastian. Other highlights is the one of the explorations by the late Jeff Healy into early jazz with a wonderful revival of The Wildcat by Eddie Lang and Joe Venuti; country-folk troubadour Steve Earl; Canadian legend Ian Tyson; Tim Hus’ Country Music Lament on the sad state of today’s country music; Asleep at the Wheel’s Western Swing version of a Count Basie hit, That’s Your Red Wagon; the New Guitar Summit of Duke Robilliard, Jay Geils and Garry Beaudoin; Emmylou Harris singing Gram Parsons’ Wheels; Rodney Crowell; and three previously unissued Bob Carpenter demos. Most of this disc was totally new to me and delightful.

The second disc is subtitled “Blues, R&B, swing, jazz, and even more …” and contains more familiar material with some nice highlights from Joe Louis Walker, Jay McShann, Kenny ‘Blues Boy’ Wayne (this is a preview of his upcoming album) and Rosco Gordon from various recordings Duke Robillard has produced for the label. There is a terrific instrumental by Ronnie Earl from his most recent CD, Spread the Word, as well as a Rory Block song from her marvelous Mississippi Fred McDowell album. Its nice to hear selections from Sonny Rhodes and Billy Boy Arnold. This disc closes with a strong, unissued recording by the late Richard ‘King Biscuit Boy’ Newell, a fine harp player and singer; and four unissued sides from 1965 by Robert Nighthawk that likely were his last recordings. Nighthawk’s performance of Tampa Red’s You Missed a Good Man features particularly superb slide guitar.

This is a fine celebration of an important label that I will be returning to listen to. Stony Plain may be slightly cutting back on its release schedule compared to past years because of the changing nature of music and recording distribution. This reflects the hard reality of the fact few mortar and brick record stores still exist and digital downloads are increasingly important. Fans of blues, folk, country and other similar music need to support labels like Stony Plain that produce much terrific music that otherwise would not be so readily available. 35 Years of Stony Plain is well worth obtaining to savor the music, videos and the booklet. Here is to Stony Plain having another 35 years.


My copy was provided by the record company or a publicist for the label.

"Blueblood" Sharpeville Delivers Compelling "Porchlight"

UK Bluesman Todd Sharpeville' mentored by Joe Louis Walker and others, and having impressed the likes of B.B. King, Hubert Sumlin and Duke Robilliard and played with the likes of Van Morrison, Peter Green, Georgie Fame and the reformed Yardbirds, has a new recording produced by Duke Robilliard, "Porchlight" (MIG Music). This is a double CD with about 82 minutes or a a song or two more than could have fit on a single CD. The recoding serves well to showcase his considerable abilities as a songwriter, vocalist and musician.

Sharpeville is literally a ‘blueblood’ who plays the blues having been born into one of the UK’s oldest, titled Aristocratic families, and his late father was Viscount St. Davids with him the “Heir Presumptive” to these family titles. A budding blues career was interrupted when his marriage collapsed and he suffered a nervous breakdown after being separated from his children, leading to a long court battle for contact to his children. His own experiences inform a number of the songs on "Porchlight" and their is a real authority in his vocals in part from singing about things so personal. He is a fiery guitarist characterized by a strong focus in the development of his solos and riffs behind his vocals.

The opening " If Love Was a Crime," has some fine harp from Kim Wilson to help with the tune’s atmosphere as a one-person horn section as he insistently sings the memorable line,”If love is a crime she’s got me doing time for sure.” The humor of the title for "Lousy Husband (But a Real Good Dad)," is a bittersweet lyric based on his experiences as he declares “He’s gonna lose his house, honey ain’t that the truth; So who thinks its fair to take them children too?,” and he trades solos and fours with Robilliard with Bruce Bears adding some rollicking piano here. The bleakness of mood is reflected in "Used," with his line of “The black hole in my heart’s been widening all my life,” set against an insistent riff as he lets go the demons of being used by the system and used by friends.
"Why Does It Rain," is a ballad where Sharpeville pleads that he is down on his knees with Doug James and Carl Querfurth among the solid horn section. He puts so much heart into his performances, but at the same time he is able to cleanly articulate his lyrics as well lay down a searing guitar solo. His mix of passion and precision stands out throughout the 13 tracks here. Toss in a biting bit of contempt towards Tony Blair and George Bush on "Can’t Stand the Crook," with its Ten Years After hyper-drive tempo and Wilson wailing on harp and Sharpeville taking a few scorching unaccompanied boogie riffs. A crisp second-line groove helps lend the more optimistic mood of "Everything Will Be Alright," with its message of times may be hard but in end everything will be alright.

Joe Louis Walker joins in " When The Blues Come Callin'", another lyric from one wizened by experience in romance as he tells her “You play me like a sucker woman, put on your waterworks; And make me change my mind …” with Walker adding biting stinging notes behind Sharpeville’s fervent singing and taking the first solo with the two trading choruses at the end. Shel Silverstein’s "If That Ain’t Love What Is?," is the one number Sharpeville did not pen with the caustic irony of its lyrics dealing with “if you’d rather be with him than me; than you’re a stupider bitch than I think you are …” Another interesting is his paean to the larger lady, as he wants a "Whole Lotta Lady," to keep Todd warm at night. The title track is a touching song showing the great love he had for his father.

“Porchlight” contains 15 strong performances that show Todd Sharpeville to be a significant talent. His music is thoughtful but full of emotion and producer Robilliard has surrounded him with strong backing resulting in a terrific recording full of personality and compelling performances.


A publicist provided the review copy of this.

Robert Lockwood Finds His Blues Groove

Continuing my survey of recordings by Robert Lockwood, Jr., he made one recording to be issued on a major label, with I Got To Find Me A Woman on Verve. which I reviewed in the April 1998 Jazz & Blues Report (issue 230). It had some very special guests, Joe Louis Walker who had Lockwood as a guest on his Great Guitars Verve recording, and B.B. King, who Lockwood mentored and helped when B.B. was starting out. It was a friendship that lasted through Robert’s lifetime. When I met Robert for the first time at his Lawnview Avenue Cleveland home, he had on the mantle of his fireplace a picture of him, Muddy Waters and B.B. King. This disc is still available on CD or as a digital download.


It has been quite awhile since Robert Lockwood, Jr. had a new album, I Got To Find Me A Woman (Verve), and for it to be on a major label makes it more welcome. There are guest appearances by Joe Louis Walker and B.B. King who each appear on two tracks. One surprise is that Gene Schwarz, Robert’s long-time bassist was not on this session, replaced by Richard Smith, along with saxophonist, Maurice Reedus; harmonica player, Wallace Coleman; guitarist Charles ‘D.C.’ Carnes; pianist, Robert ‘Red Top’ Young; and drummer, Jimmy ‘Gator’ Hoare.


While Robert has previously recorded almost all of the songs here, the renditions here sound fresh, whether a solo version of Robert Johnson’s Walking Blues, or the band renditions of Take a Little Walk With Me with Joe Louis Walker taking an incisive solo, or Little Boy Blue, which, like Walkin’ Blues, has some nice slide from Lockwood. Lockwood’s rendition of Roosevelt Sykes’ Feel Like Blowing My Horn is a duet with Walker, who also plays with Lockwood on the rendition of Leroy Carr’s How Long, one of several tracks to sport some fine harp from Coleman.


Robert once kidded this writer during an interview for not remembering that Johnny Temple’s big record was Big Legged Woman, so it is surprising to find the song credited here to Charles Brown, and Johnny & Shuggie Otis. I don’t blame Robert, but rather blame whoever at Verve was responsible for the songwriting credits. Coleman’s harp is particularly outstanding on this selection. The longest track is My Daily Wish, that Lockwood originally recorded with just Otis Spann on piano for the classic Candid album Otis Spann is the Blues. Reedus stretches out on sax, and D.C. Carnes on six-string guitar with Lockwood comping behind both on twelve-string, as well as adding his characteristic fills. King plays on the title track. It sounds like King’s guitar was overdubbed over the vocal and band track. This perhaps explains why the backing sounds a touch tentative. King takes the first two and closing solos, while D.C. Carnes takes a crisp, biting solo for the third break.


Lockwood always has been a straight-forward singer, who eschewed any gimmicks or histrionics in his delivery. The vigor of his singing belies his years, and he is particularly effective with his casual approach on My Daily Wash. His off-the-cuff approach also works well on Paul Gayten’s, For You My Love and Memphis Slim’s Everyday I Have the Blues. Both performances feature jazzy arrangements with bop voicings and sound very different from Lockwood’s earlier recordings of the songs. The freshness of the arrangements in part explains why Lockwood is so effective in performing songs that generally have become stale in far lesser hands. Lockwood takes fine solos on both tracks, which also showcase excellent piano from Young and saxophone from Coleman, and are perhaps the highpoints in a varied and consistently entertaining disc by one of the true legends of the blues.


For FTC regulation purposes, I likely received a review copy from Jazz & Blues Report.

Joe Louis Walker Was and Is a Blues Survivor

Going back through the archives at the Jazz & Blues Report I came across my review of Joe Louis Walker’s Blues Survivor that was on Verve/Gitanes. In light of my review of his just issued Blues Conspiracy, I thought it would be useful to look back 16 years to a review that appeared in the January/February 1994 Jazz & Blues Report (issue 188).


Joe Louis Walker’s first studio album in several years, Blues Survivor, is also his first for Verve, and it will hopefully provide him with recognition outside of the world of blues aficionados. Produced by Walker and John Snyder, this superb effort incorporates variety of musical sources for a thoroughly modern, yet tradition rooted, album of blues. Those familiar with Walker’s prior recordings won’t be surprised by his performances here, but will recognize how he has continued to hone his singing and guitar playing. His performances are thoughtful, and passionate, with a razor’s edge attack, displaying the ‘relaxed intensity’ that marks blues. With the exception of a great remake of Howlin’ Wolf’s Shake For Me (where he uses the Electric Flag’s arrangement for Killing Floor), Sarah Brown‘s Bad Thing, and Patrick Norris’ Put You Down Baby, the songs are originals by Walker or his long-time bassist, Henry Oden. The opening Help Yourself is a gospel-tinged number with an upbeat message and some well-played slide, with Lucky Peterson on organ and the Singing Corinthians (a gospel group Walker once was a member of) adding vocal backing.Walker’s Rainy Nights has a nice lyric set against the Ramblin’ on My Mind/Dust My Broom melodic motif, but taken at relaxed trotting tempo, and featuring an excellent slide solo with Walker sounding like Elmore James crossed with Robert Nighthawk. Henry Oden’s My Dignity, another outstanding performance, has melodic echoes of the jazz standard Walking and the Bobby Bland hit Ain’t Doing Too Bad and sports a great tenor sax solo by Richard Howell in addition to Walker’s tough vocal. These are high points on a terrific album full of top-notch performances. Blues Survivor shows Joe Louis Walker to be more than a survivor. He is equally adept as a writer, vocalist and guitarist, and one of the most compelling voices in the blues today.


16 years later, the last sentence of the review still holds true. I would say that Blues Survivor likely will be on any list of Joe Louis Walker’s best recordings. Given how good his recordings are, that says a lot. It appears Blues Survivor may be out of print but there are sellers on amazon that have new and used copies that you can check out (or you try ebay). Neither amazon nor itunes has this available for download.