Kim Wilson Take Me Back: The Bigtone Sessions

Kim Wilson
Take Me Back: The Bigtone Sessions
M.C. Records

"Take Me Back" is Kim Wilson's first new release in three years. The album presents mostly straight-ahead Chicago-styled blues that Wilson recorded at Big Jon Atkinson's Bigtone Studios at different times and locations. These tracks were recorded live without overdubs and in mono. There are a variety of musicians backing Kim's vocals and harmonica. Guitarists on this album include Jon Atkinson, Billy Flynn, Danny Michel, Kid Andersen, Robert Welsh, and Rusty Zinn. Robert Welsh and Barrelhouse Chuck are the pianists, while Kedar Roy, Greg Roberts, and Troy Sandow are on bass, and Johnny Viau adds horns. Drummers on these sessions include Marty Dodson, Ronnie Smith, June Core, Malachi Johnson, and Al West.

There are nine reworkings of tunes from Jimmy Nolen, Howlin' Wolf, Larry Williams, Little Walter, and Jimmy Rogers, along with seven Wilson originals. After a crisp take on Nolen's "You've Been Goofin'," we are treated to one of several Little Walter flavored instrumentals, the rollicking "Wingin' It." Wilson's "Fine Little Woman" sounds like a cover of a lesser-known Little Walter recording with Billy Flynn channeling Robert Lockwood Jr. Wilson remains an unforced singer who is equally authoritative handling Howlin' Wolf's "No Place To Go," Percy Mayfield's "Strange Things Happenin'," and Jimmy Rogers' "Money, Marbles & Chalk." Then there is Wilson's Louisiana swamp-blues "Play Me" and the relaxed late-night harmonica instrumental "Strollin'."

Closing with another marvelous Little Walter styled instrumental "Out of the Frying' Pan," "Take Me Back," is another consistently well-performed Kim Wilson recording that will please many.

I received my review copy from MC Records. Here is Kim Wilson from a 2019 performance.

John Primer & Bob Corritore The Gypsy Woman Told Me

John Primer & Bob Corritore
The Gypsy Woman Told Me
Vizztone/ SWMAC Records

This is the third recording by the former Muddy Waters-Magic Slim sideman and harmonica player Bob Corritore. Supporting Primer's vocals and guitars and Corritore's harp are a variety of other artists including guitarists Jimi 'Primetime' Smith and Billy Flynn, pianists Bob Welsh and Ben Levin, bassists Kedar Roy, Mike Hightower and Troy Sandow, and drummers June Core and Brian Fahey. Part of this recording of traditional Chicago blues was recorded at Greaseland Studios, and Kid Andersen plays organ on one track.

Primer is in good form with his straight-forward vocals that conjure up Muddy Waters and Magic Slim, while Corritore comes off like little Walter on some tracks and Sonny Boy Williamson elsewhere. The studio bands keep a crisp shuffle groove going and provide tight backing. There are plenty of strong Chicago blues performances, including the title track that Muddy Waters made famous, Jimmy Rogers' "Left Me With a Broken Heart," and the reworking of Little Milton's "Walking the Back Streets and Crying" into a 50s sounding Chicago band blues. Primer plays some driving slim on his original, "Little Bitty Woman," which musically evokes Junior Parker's "Mystery Train." The backing players sit out on an emphatic cover of Lil Son Jackson's "Gambling Blues." At the same time, Primer's "Walked So Long," is performed acoustically with Sandow playing upright bass and Fahey using brushes.

John Primer remains a treasure as he continues to play first-rate down blues in the classic Chicago blues vein with sympathetic backing from Corritore. With an imaginative selection of material and the idiomatic support provided, Primer and Corritore have another gem.

I received my review copy from Vizztone. Here are John Primer & Bob Corritore performing.

Alabama Mike Hip You To My Blues

Alabama Mike
Hip You To My Blues
Big Tone Records

It was a surprise to learn about a new release by Alabama Mike (real name Michael A. Benjamin) on Big Jon Atkinson's new label. Alabama Mike's earlier recordings, such as those with The Andy T Band in 1997's "Double Strike," often displayed a gospel-rooted vocal style in the manner of Little Johnnie Taylor. This new release finds him in a down-home blues vein with a dose of Lightnin' Hopkins flavor along with some tracks that evoke early 50s Chicago flavor. This recording reflects Alabama Mike's long-burning desire to "do a record in the classic style of early electric blues pioneers… ." The backing musicians on this set of retro blues include Kim Wilson on harmonica, Big Jon Atkinson guitar, Danny Michel on guitar, Troy Sandow on bass, Kedar Roy on bass, Joe Lempkowski on harmonica, June Core on drums, Malachi Johnson on drums, Robert Welsh on keyboards, on retro-sounding performances.

Alabama Mike certain invests his vocals with intensity and soul. The Lightnin' Hopkins influence can best be heard on the opening "Black Cadillac" (with Atkinson on guitar) as well as the revival of Hopkins' "Hello Central" with Danny Michel on guitar, Kim Wilson on harmonica and Marty Dodson on drums lending the performance a swamp blues flavor. Danny Michel also channels Hopkins guitar on the swamp blues "California Blues," with choice Joe Lempkowski harmonica accompaniment.

A reworking of John Lee 'Sonny Boy' Williamson's "Cut That Out" sounds as a down-home version of Junior Wells fifties recording. Kim Wilson is on harmonica, Atkinson on guitar and Dodson on drums. Welsh provides the greasy organ on "Diabetic Man" with Wilson on the harp. On "How You Want Your Rollin Done," Atkinson plays some excellent T-Bone Walker styled guitar. On Big Bill Broonzy's "I Feel So Good," Alabama Mike delivers a strong vocal in the manner of Muddy Waters with J.B. Hutto styled slide guitar in the backing. "Keep My Grave Clean" is an ingenious band reworking of what was Blind Lemon Jefferson's most famous recording, while the cover of J.B. Hutto's "Too Much Alcohol" sticks close to the arrangement of Hutto's Delmark recording.

A moody rendition of Willie Love's "V-8 Food" with Atkinson and Welsh closes a release of notable down-home blues performances. There are a couple of times the backing may be a tad skeletal, but Alabama Mike's singing and the idiomatic support result in a most entertaining blues album.

I purchased this. Here is Alabama Mike performing "Let Me Hip You To My Blues."

Terry Hanck I Still Get Excited

Terry Hanck
I Still Get Excited
TVR/VizzTone

It has been three years since The Terry Hanck Band's last album, "From Roadhouse To Your House Live," which I summarized captured "the engaging and strong blues, R&B and rock of the Terry Hanck Band… ." Hanck returns on this new release with his saxophone and vocals with his band of guitarist Johnny' Cat' Soubrand, bassist Tim Wager and drummer Butch Cousins along with the keyboards of Jim Pugh and guitar, bass and more from Kid Andersen. Anderson co-produced this recording with Hanck, which has several special guests including June Core on drums, Rick Estrin on harmonica, Chris Cain on guitar, and Tracy Nelson on vocals.

Reviewing that live recording, I observed that "Hanck is quite a congenial vocalist with a bit of grizzle whose robust saxophone with a mix of King Curtis yackety-yak with Junior Walker honking." There is no reason to change that observation based on the performances here that range from blues, rock and roll, and swamp pop. It also does not hurt to have such an excellent band, including the guest musicians. This is heard throughout the 11 performances here, starting with the opening title track. It is a gem of rock and roll with a tagline "I might be old as sin, but in my mind, I am just a kid, lawd I still get excited." Pugh channels Johnnie Johnson or Lafayette Leake, Soubrand takes a rocking solo with Hanck riding the song out with some honking and high note screeching.

Louis Jordan is among Hanck's influences, as shown by a cover of "Early in the Morning," but also on his original "Smooth Tyrone." This song sounds like the Jesse Mae Robinson-Louis Jordan penned "Blue Light Boogie." In this song, Hanck has provided original lyrics replacing those of the original. Pugh, Soubrand, and Hanck all shine musically here while Kid Andersen on bass and June Core on drums keep a relaxed shuffle groove. "Here It Comes" has a relaxed early 60s' R&B groove while it incorporates a bass riff from the Solomon Burke classic "Cry to Me." In addition to a heartfelt vocal, Kid Andersen contributes some neat Spanish-tinged acoustic guitar. On the Chuck Willis-styled shuffle, Rick Estrin adds his sax-like harmonica on "Come On Back," soloing as well as having interplay with Hanck. It is followed by the appealing instrumental, "Rosita (No Wall Call Hold Our Love)."

Several remakes are not far removed from the originals recordings. These include Bobby Charles "Why People Like That?" with some 'yackety-yak" sax and "Howlin' For My Darlin'" with Soubrand channeling Hubert Sumlin. Also heard are energetic renditions of Eddie' Cleanhead' Vinson's "Hold It Right There," and "Feel So Bad," based on Little Milton's Checker recording, with more exceptional Soubrand guitar. One exception is an older Little Milton recording, "Spring," that Hanck and Tracy Nelson, in marvelous performance, transform into swamp pop. It stands out in another splendid collection of blues and roots performances by Terry Hanck.

I received my review copy from VizzTone.  Here is a video of Terry Hanck performing "Sweet Tyrone."

 

Paul Oscher Cool Cat

Paul Oscher
Cool Cat
Blues Fidelity

In his liner notes to "Cool Cat," Paul Oscher notes his long friendship with the late James Cotton including unexpectedly moving three doors down from him when Oscher moved to Austin from Los Angeles in 2012. After mainly doing out of town gigs, he tells how he started playing with his neck rack, guitar, and mic at a BBQ place, but after several months the property the place was on was sold to a developer. Then he started playing at another club, and after trying his solo gig, he started playing with a five-piece band that included Mike Keller on guitar, Corey Keller on drums, Sarah Brown on bass, and Tommy Robinson on sax. They are heard behind Oscher, except for Corey Keller, on this new release. Others heard include bassist Johnny Ace, drummer Russell Lee, guitarist Mike Schermer, Tomas Ramirez on tenor sax, Russell Lee and Lavelle White on vocals, Kid Andersen on bass and June Core on drums.

Oscher is mostly heard playing piano but also heard on guitar and harmonica in addition to his singing and contributed an intriguing set of originals except for a cover of "Rollin' and Tumblin'" credited to Muddy Waters. It is a well-played mixed set of performances opening with a bit of New Orleans flavor, "Money Makin' Woman," where he displays his piano chops and ability as a singer. "Blues and Trouble" is a strong, slow blues that displays the influence of Otis Spann on his piano (and vocal) with Mike Schermer contributing solid guitar fills, while "Hide Out Baby," is a rocking shuffle with him playing guitar and neck rack harmonica with interplay between his guitar and that of Schermer and then a strong harmonica solo. "Work That Stuff" finds his harmonica in a Sonny Boy Williamson II mode with a spare, effective backing.

He does a monologue (some amusing storytelling) that is a prologue to the title track that leads into a jazz quartet performance of the title track with saxophonist Ramirez standing out on a diverting performance. This group is also present for the brief "On the Edge," where Ramirez again stands out. Russell Lee recites Oscher's poem "Mississippi Poem," before Lee's spoken vocal "Ain't That a Man," Oscher's tribute to James Cotton backed by Oscher's guitar and Keller's bass line. Lee also sings strongly on "Poor Man Blues." Miss Lavelle White is featured on "Dirty Dealin' Mama," set to a "Hootchie Kootchie Man" groove, authoritatively belting out the lyric.

A more extended, R&B rendition of the title track showcases Robinson's gritty sax closes an entertaining recording by a very cool blues cat.

I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382). Here is Paul on slide guitar performing Muddy Waters' "Honey Bee."

Ilya Portnov Strong Brew

Ilya Portnov
Strong Brew
Self-Produced

Russian born harmonica player Portnov impresses on this most enjoyable collection of blues, gypsy jazz and other roots music. A background that included studying classical piano, he also absorbed rock and blues growing up. He studied at the New England Conservatory of Music wherever he received a Masters Degree. He was the first person accepted in NEC with the diatonic harmonica s his main instrument. Taught in Russia to play the harmonica, his teacher Alex Bratetsky showed him an overflow technique, and introduced him to harmonica innovators, Howard Levy, Jason Ricci and Carlos del Junco, making him realize he could play anything on the harmonica. Moving to the US enabled him to meet and study with them, and delve deeper into blues and other roots music including Brazilian choro.

On this nine song program Portnov is supported by Kid Andersen on guitar and bass, Chris Burns on piano and keyboards, June Core on drums with Ben Andrews (a member of Portnov's band Choro Bastardo) adding violin to two tracks, Rob Vye, adding guitar on one track and percussion on another, Robby Yamilov adding bass to one track. It was the recorded by Kid Andersen at his Greaseland Studios.

It opens with the very appealing, old time country tinged "Sunny Afternoon Blues," where his harmonica and Andrews' violin make for a very engaging performance with his playing evocative of jazz harmonica players such as Henrik Meurkens. Against an energetic gypsy flavor (Burns keyboards adds to the flavor with Andersen channeling the Ventures and other surf guitar instrumentals), Portnov dazzles with his sax-like lines.On "Dance Of A Lonely Doll," his wonderful playing is in a gypsy jazz vein with Burns deft piano accompaniment along with very light bass and drums. Rob Vye's guitar introduces Rev Gary Davis' "Cincinnati Flow Rag" with some wonderful fingerstyle picking before Portnov joins in and then the full ensemble on a lively acoustic band number.

The waltz "In a Town Garden" is another charming gypsy-flavored tune with some nicely played harmonica and organ from Burns. "Behind The Wall," is a solid instrumental in a Little Walter vein with some fat toned Mississippi saxophone while Burns and Anderson lay down some solid support and Core is superb on this easy rocking instrumental. The title track is a laid back, four o'clock in morning, blues instrumental played relatively softly with tasteful solos from Burns and Andersen in addition to the leader. "1928" is a lovely tango which also features Ben Andrews' violin.

Its back to the blues on the closing "Till Early Morning," with its infectious Bo Diddley groove and enticing tremolo employed in Andersen's guitar playing. Portnov is a marvelous harmonica player and is backed by the marvelous studio band on this marvelous recording.

I received my review copy from a publicist. Here is a performance by Robert Vye and Ilya Portnov.

Rockin' Johnny Burgin Neoprene Fedora

Rockin' Johnny Burgin
Neoprene Fedora
West Tone Records

This new release is a follow-up to "Greetings From Greaseland," and further chronicles Burgin's move to California from Chicago. Like the early recording, this was recorded by Kid Andersen (who plays guitar, bass, baritone guitar and piano on various tracks) at his Greaseland Studio. Others backing Burgin include Ali Kumar on harmonica and a couple vocals; Bob Welsh on guitar and piano; bassist Vance Ehlers; drummer June Core; drummer Stephen Dougherty; saxophonist Nancy Wright and accordion player Steve Willis.

There is a mix of material from the opening title track, an instrumental that bridges blues, surf and Tex-Mex guitar on a tune that deconstructs the melody of Herbie Mann hit "Comin' Home Baby" with Wight's raspy sax adding atmosphere behind Burgin's tremolo laced runs then transitions into a "Night Train" inspired segment segueing into a "Bo Diddley" beat groove with some Chuck Berry styled guitar. This tour de force is followed by a West Side Chicago blues "Guitar King" which suggests Otis Rush crossed with Jimmy Dawkins. Burgin is an amiable singer, if not a great one. He is convincing on "Won't Get Married Again," in the manner of the legendary Eddie Taylor. "Let Me Be Your Teddy Bear," has Magic Sam styled guitar with uncluttered backing reminiscent of Eddie C. Campbell.

Alabama Mike wonderfully handles the lead vocal on "Smoke and Mirrors," with its syncopated Byther Smith meets Bobby Rush accompaniment. Mike's other vocal is a nice soul ballad, "I Did The Best I Could," with a bluesy solo from Burgin. Besides the nods to Chicago blues, "Kinda Wild Women" is a zydeco flavored dance number followed by an attractive swamp pop ballad, "Please Tell Me," and "Our Time Is Short" is a waltz that employs the "Jole Blonde" melody. On this musical trip to the bayou, there is solid accordion and rubboard. "Self-Made Man" with shattering Jimmy Dawkins' flavored guitar along with Aki Kumar's reedy singing and terrific full-bodied chromatic harmonica. "I Ain't Gonna Be Working Man No More" brings back memories of the greatly underrated Johnny Littlejohn's "Chips Flying Everywhere," both with the interesting syncopation of rhythm.

"Goodbye Chicago" musically evokes Howlin' Wolf as Burgin sings about why he is going to California and has to put the Windy City down. As the song progresses he recites a list of Blues artists he played with in Chicago, and quite an impressive list it is. Wright takes a terrific tenor sax solo in the manner of Eddie Shaw on this. It closes another fine recording by Rocking Johnny Burgin who displays his deep Chicago blues roots while incorporating other sounds into his fertile musical garden.

I received a download from the artist from which I was able to do this review. Here is a video of Johnny and Ali Kumar performing in Finland.

John Boyd The Real Deal

John Boyd
The Real Deal
Little Village Foundation

In his brief notes to this debut by John Boyd, Rick Estrin speaks of his stylistic range at times reminiscent of shouters like Big Joe Turner and Wyonnie Harris and other times like blues crooners like Junior Parker and early B.B. King. I am not sure I agree, although listening to this I agree with the Rick Estrin penned opening track where Boyd proclaims "I Am The Real Deal," that he certainly is. I assume Estrin is the harp player on this selection while Aki Kumar is also heard on this album. Others here include Kid Andersen, Big Jon Atkinson and Robert Welsh on guitar; Jim Pugh, Welsh and Andersen on keyboards; Dave Chavez, Danny Michel and Andersen on bass; June Core, Atkinson and D'Mar Martin are among those on drums; while horns include the saxophones of Eric Spaulding and Terry Hanck. Andersen produced and recorded this at his Greaseland Studios. Boyd wrote ten of these songs

After emphatically letting us know he is the real deal, Boyd takes on a hot rocking shuffle "I Will Discover" that suggests classic Junior Parker with some blistering guitar in the vein of Roy Gaines backing Bobby Bland on Duke whereas the following "I'm Like A Stranger To You," has the feel of a Percy Mayfield Tangerine recording. Whoever did the arrangement here is to be commended, while Boyd again shows just how fine a singer he is. There is plenty of humor in Rick Estrin's ode to big-legged woman "That's Big!" with a bass line that evokes Jimmy McCracklin's "The Walk." Another hot shuffle, "That Certain Day" features some outstanding guitar in the vein of classic Freddie King.

An Estrin-Andersen collaboration "Dona Mae" takes us to Chicago in a performance in the manner of vintage Muddy Waters, while the musical setting of "I'm So Weak Right Now" evokes B.B. King's "The Thrill Is Gone," as Boyd sings about not being able to get himself together as his lady has gone. Then there is a terrific slow blues with some haunting sax at the opening "Screaming in the Night" with a great vocal and backing evocative of an unissued Otis Rush Cobra side, whereas musically "(Have You Ever Been To) Marvin Gardens" is reminiscent of the Willie Dixon Argo album by Walter Horton. Unlike the limited vocal of the late harmonica wizard, Boyd handles the vocal with plenty of personality and there is some fine harp here.

The album closes with Boyd's marvelous "John, The Blues Is Calling You," as he sings he knows what must do, because he was born a blues disciple with some greasy organ and more terrific guitar. With the excellent players Kid Andersen assembled, it would be pretty hard to produce something other than a very entertaining recording. When one adds a terrific singer like John Boyd, then one has a stellar recording that is as impressive a contemporary real blues debut as one might have heard in some time.

I purchased this. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is a video that introduces John Boyd.

Chris James and Patrick Rynn Find That Trouble Don't Last

As Bill Dahl observes in the liner booklet to "Trouble Don't Last," the new Vizztone Records release by Chris James and Patrick Rynn, "the blues tradition has always been central to" their approach to music. Vocalist/guitarist James and bassist Rynn joined forces in Chicago two decades ago and played behind a number of legends as well as established themselves on their own with several choice albums. On "Trouble Don't Last" they are backed by drummer June Core (Robert Lockwood, Jr, Charlie Musselwhite and others) and harmonica players Aki Kumar and Rob Stone who even are both heard on two of the twelve selections.

Starting with the opening "Shameless," the duo give as good a lesson on how to play traditional Chicago Style blues with Core laying down a crisp shuffle groove followed by a strong interpretation of Calvin Frazier's "Lilly Mae" with Kumar's harp wailing behind James' warning to her if he finds her misbehaving on Hastings Street. James is a terrific 'old-school' guitarist and Rynn and Core lay down a solid backing. There is some nice unison guitar-harp playing here on a selection that evokes the early 50s recordings from Joe Van Battle's Hastings Street shop. There's a lively reworking of Freddie King's "Lonesome Whistle Blues," with a dual harp horn section followed by a terrific Muddy Waters' styled "Going Down to the Ocean" which was inspired by the days Rynn played with the Griswold Brothers in Toledo, and with some deep blues guitar from James. The title track is built around some nimble finger picking fretwork with a simple rhythm and Kumar's supporting harp and followed by a strong down-home flavored treatment of R.C. Smith's "Down Drive Me Away." "Good Idea At The Time" is a brooding blues (in a John Lee Hooker vein) with James singing about sitting in jail and no one to blame but himself so he has to do his time.

Sunnyland Slim's reworking of the "Rollin' & Tumblin'" theme, "Roll, Tumble and Slip" receives a lively reworking (with harp solos from both Stone and Kumar) that exhibits not only the excellent musicianship, but strong ensemble playing that is characteristic of this entire recording. James is a straight-forward singer who does a solid job delivering his originals and with Rynn and the rest of the band has provided another blues gem.

I received my review copy from VizzTone. This review appeared in the November-December 2015 Jazz & Blues Report (Issue 363). Here is a video of the two in performance.

Rockin Johnny Burgin Greetings From Greaseland California

Rockin' Johnny Burgin has impressed as a vocalist, guitarist and harmonica player who has worked with Sam Lay, Pinetop Perkins and Tail Dragger among others along with his own recordings for Delmark. While in the West Coast he stopped by fellow guitarist Kid Andersen's Greaseland Studio for a session with Andersen, harmonica player Aki Kumar, bassist Vance Ehlers and drummer June Core. The result is "Greetings From Greaseland California" (West Tone Records),  a collection of strong blues covering a diversity of Chicago blues styles.

Burgin is an earnest and solid singer who delivers the songs here without histrionics or artifice. Backed by this strong studio band, he plays Chicago blues with a tasteful, yet strong idiomatic approach so his performances  come off as relaxed and not rushed. The album opens with a terrific shuffle "Love Me Like I Want It." One is struck by the tempo anchored by Core's relaxed groove and Burgin's prickly, stinging guitar. The album concludes with a wonderful rendition of a lesser known Jimmy Reed number "Tell the World I Do," with Kumar's Reed styled harp played in the manner of Reed himself backing Burgin's laconic vocal.

In between these two songs are the instrumental "Havana Rocks' with terrific harp at the opening and a tempo change midway leading to strong guitar playing; "She's a Hit" another classic Chicago blues; a cover of a lesser known Robert Lockwood number, "Western Horizon" with Burgin's guitar evoking the the late blues legend; a rendition of Junior Parker's "Telephone Angel" in the manner of Son Seals; a "Tribute to John Wrencher" that conjures up that one-armed harp player; and "Empty Bed Blues," the album's highpoint in which a Josh White song is rendered as if by Earl Hooker.

"Greetings From Greaseland California" is another strong recording by Rockin Johnny Burgin that fans of Chicago blues will savor.

I received my review copy (as a download) from Johnny Burgin himself. Here Johnny does Otis Rush's "Homework."

Andy Santana And The West Coast Playboys Watch Your Step!

Andy Santana is a triple threat as a singer, guitarist and harmonica player (and he is also a songwriter) whose name will be most familiar to those of the West Coast, but some may have seen his name as a sideman to some albums or perhaps have his independently produced recordings. Anyway his profile will rise greatly with the release of "Watch Your Step!" by Andy Santana And The West Coast Playboys on Delta Groove. The West Coast Playboys include Kid Andersen (who co-produced this with Andy), Anthony Paule, Mike Schermer, Bob Welsh, Rusty Zinn (who penned the liner notes), Lorenzo Farrell and June Core.

While there are a few Santana originals sprinkled in, most of this are taken of covers of songs that have not been cooked and burned to death (no "Sweet Home Chicago" type numbers). Santana is a wonderful singer that sings with a natural, relaxed soulfulness akin to such Gulf Coast legends as Tommy McClain, Warren Storm, Freddy Fender and Doug Sahm. And he brings a distinctive attack to the guitar (Rusty Zinn likens him to the love child of Wild Jimmy Spruill and Johnny Guitar Watson) and his harp playing is terrific.

What a range of material too from the opening swamp rocker by Carol Fran "Knock Knock"; a tasty cover of Bobby Parker's title tune that is modeled on Parker's original recording. It showcases Santana's crisp, biting guitar, and is ably sung (although he is not on Parker's level); "Playgirl," one of two Smiley Lewis songs here, on which he takes both guitar and harp solos (his harp playing suggests some of Papa Lightfoot's recordings); the rollicking "You May Not Know: with a smokin' groove and a performance (with backing vocals) suggestive of Clyde McPhatter and the Drifter's "What Ya Gonna Do"; a song co-written with Rick Estrin, "No Double Talk," with Kid Andersen adding greasy fafisa organ and shattering Ike Turner-styled guitar; and a terrific instrumental, "Greaseland" (named after Andersen's studio) which showcases several of the guitarists. The rest of the performances on "Watch Your Step!" are similarly impressive making for an impressive recording.

I received my copy from Delta Groove. Here is Delta Groove's video promoting this recording.

The Henry Gray/ Bob Corritore Sessions Vol. 1

 

Bob Corritore has been championing the greats of blues, especially Chicago blues, for several decades. Host of a terrific blues radio program in Phoenix where he also operates the Rhythm Room, he also has produced a variety of blues recordings. His latest production celebrates pianist Henry Gray who turned 90 in January 2015. The Henry Gray/ Bob Corritore Sessions comes our way with “Vol. 1 Blues Won’t Let Me Take My Rest” (Delta Groove). Included are 14 selections featuring the pianist perhaps best known for his 14 years with Howlin’ Wolf as well as session work with a variety of artists for Chess and other labels. Its been about 45 years since Gray left Chicago and moved to Louisiana where he has played, playing festivals and clubs.

For “Blues Won’t Let Me Take My Rest”, Corritore has put together 14 selections from 12 sessions over a 19 year period (including one on Henry’s 90th Birthday) with Gray and Corritore joined by a wide range of blues legends and players including Robert Lockwood, Jr.; John Brim; Willie ‘Big’ Eyes Smith; Nappy Brown; Tail Dragger; Chico Chism; Dave Riley; Bob Margolin; Bob Stroger; Chris James; Patrick Rynn; Kirk Fletcher; Kid Ramos; and June Core.

Gray has been overshadowed by Pinetop Perkins amongst his contemporaries in general recognition, and while folks might argue on who is the stronger pianist, Gray, although an untrained singer, is more forceful and displays more personality, as reflected on his impassioned singing on the title track (most associated with Jimmy Rogers). But he certain captures the spirit of shouter Grant Jones’ “Let’s Get High” and Hot Lips Page “They Raided The Joint.” On several tracks he provides strong support behind some legendary figures including Robert Lockwood, Jr. on “Ramblin’ On My Mind,” and Nappy Brown on a superb rendition of “Worried Life Blues” that was a signature song of Gray’s major piano influence, Big Maceo. Dave Riley tackled “Ride With Your Daddy Tonight” while John Brim sings “That Ain’t Right.” Lowell Fulson’s “Trouble Blues” features one of Gray’s top vocals here with Bob Margolin adding slide guitar while Tail Dragger adds some color commentary to the rollicking “Boogie Woogie Ball.”

After a credible Jimmy Reed cover, “Honey Don’t Let Me Go,” this CD concludes with a moody swamp blues flavored rendition of B.B. King’s “She Don’t Move Me No More,” with Corritore (outstanding throughout) heard here in a Walter Horton vein. This is a solid and delightful collection of classic Chicago blues with a touch Louisiana swamp blues mixed in. Given that this is labeled Vol. 1, one looks forward to a further release of Henry Gray’s blues sessions with Bob Corritore.

I received my review copy from Delta Groove and this review originally appeared in the July-August Jazz & Blues Report (Issue 361). Here is Henry in performance.

Charlie Musselwhite Visits The Juke Joint Chapel

Over 45 years ago a young Charlie Musselwhite recorded his first album for Vanguard Records. His career that has found him become an elder statesman of the Chicago styled blues which has found him playing with so many legends of the music, exploring Brazilian music (and incorporating aspects of such music in his own) as well as leave a legacy of over twenty albums. His latest album is Juke Joint Chapel on his own Henrietta Records label. This was recorded at The Shack Up Inn, on Highway 49 in Clarksdale, Mississippi and had him with a band including guitarist Matt Stubbs, bassist Mike Phillips and drummer June Core (an alumnus of the late Robert Lockwood Jr’s Band).

Its a fine band that plays with a rootsy, idiomatic approach. June Core’s drumming is particularly noteworthy, but it is Musselwhite himself who sings and plays with a vigor that has not been apparent on some of his recent recordings. On those his vocals conveyed a sense of world-weariness to some extent and his harp playing was somewhat more evocative of the second Sonny Boy Williamson. Here his vocals are a bit more direct and his harp playing has a bot harder sound. This is apparent in the opening rendition of Eddie Taylor’s Bad Boy, as well as his reprisal of Shakey Jake’s Roll Your Money Maker, with Stubbs evoking Magic Sam’s guitar playing and Phillips providing a backing vocal.

There is a strong cover of Little Walter’s It Ain’t Right, that brings back memories of Musselwhite's forty year old albums on Arhoolie, and his Blues Overtook Me as he sings about how the blues took over when he was a child. Another Musselwhite original, Strange Land, has a lyric about getting lost and having to find his way set against a rocking Catfish Blues groove. Stubbs crisp, trebly playing is quite effective, and Core again displays his ability to push the groove and add interesting accents in a manner few blues drummers do today. Another choice original is Feel It in Your Heart where he takes us on his journey to Brazil as he celebrate show music can bring us together with a driving groove that has a Brazilian accent. 

The album closes with Duke Pearson’s Cristo Redentor, originally recorded by Donald Byrd and covered by Musselwhite on his debut album. It remains a showpiece for him and his nuanced playing evidences not simply his virtuosity, but his good taste. The location recording quality is fine so that Musselwhite and his fine band sound almost like this was a studio recording. The result, Juke Joint Chapel, may be one of Musselwhite’s finest recordings in some time.

I received my review copy from a publicist for the release. It is available from cdbaby.com and Charlie's website, http://www.charliemusselwhite.com. Here Charlie performs Blues Overtook Me.