Koko Taylor and Philip Walker Reviews

 

Koko Taylor - The Old School - Alligator Records

As the title suggests, the recording is directed to hard-hitting, old-school Chicago blues and includes interpretations along with some originals. Chicago's Blues Queen Koko Taylor handles them in her own hold-nothing back style. One track is by The Blues Machine, and the other eleven tracks have a studio band led by Criss Johnson and drummer Willie' The Touch' Sutton (featuring guest appearances from Bob Margolin, Billy Branch, and Kaz Kazanoff. 

Most of the new tunes are from Koko herself. Gonna Buy Me a Mule is a striking song as she tells her man she's gonna take the place of him. The jaunty warning, You Better Watch Your Step, with Billy Branch playing some Jimmy Reed inspired harp. Bob Margolin adds slide guitar to Memphis Minnie's "Black Rat, and Lefty Dizz's Bad Avenue. The arrangements of both tunes are a bit cluttered, though, and the performances come off as too hectic. If Criss Johnson's arrangements allowed more space in the backing, Old School would have sounded more like Koko's first Alligator album, and I Got What It Takes. 

I have no fault with Koko's performances as she sings really well here-sounding so at home with the material. It's also nicely programmed with very nice covers of a couple songs associated with Muddy Waters, Don't Go No Further, and Young Fashioned Ways. I just wish the attempt at being 'old school' by the band had a bit lighter, more swinging groove than they play with here.

Phillip Walker - Going Back Home - Delta Groove

Going Back Home finds the Gulf Coast native and longtime West Coast bluesman in solid form. The strength of the Delta Groove disc is Walker's characteristically strong vocals (with just a hint of sandpaper in his voice) and a rocking/swinging guitar. 

Producer Randy Chortkoff has selected a solid backing band, including guitarist Rusty Zinn, Jeff Turmes on bass (and sax for a few tracks), Richard Innes on drums. Chortkoff also provided Walker with a great pack of songs from mighty pens. Eddie Snow's Mean, Mean Woman features an accompaniment derived from Junior Parker's Mystery Train. An original Chortoff song, Honey Stew, evokes Lightnin' Hopkins. The band might have limbered up on some of the grooves of Lightnin' Hopkins' Jewel Recordings. 

The backing is a bit too upfront, and the music loses some of its regional flavor. One wishes the rhythm section was not right on the beat. If it were more like the laconic Excello groove, the sound would have been better. These are still very good recordings, with Walker first-rate throughout. His takes on "Blackjack", "Leave My Money Alone," "Bad Blood," and Walking With Frankie" are particularly outstanding, and if not a perfect date, there is still plenty to enjoy.

These reviews appeared in a 2007 DC Blues Society newsletter. I received my review copies from the record companies or a publicist.

Alligator Records--50 Years Of Genuine Houserockin' Music

Various - Alligator Records--50 Years Of Genuine Houserockin' Music- Alligator Records

Alligator Records is celebrating its 50th Anniversary this year and, as it has in past years, compiled, 40th Anniversary Collection, a three-CD compilation of 58 recordings from the label since it released Genuine Houserockin' Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label. However, he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition. There is also a double LP vinyl edition with twenty-four selections.

Given the diversity of contents and the purpose of this collection, it is not my intent to review the contents here. I suspect folks will find selections they don't like and others they think are timeless. Besides celebrating Alligator Records history, this compilation hopefully will introduce some of the artists and recordings that some may be unfamiliar with. There are vintage selections from Koko Taylor, Hound Dog Taylor, Son Seals, Fenton Robinson, and Albert Collins. Also, there are contemporary acts like Michael Burks, Tommy Castro, Shemekia Copeland, and Selwyn Birchwood. 

There is a selection from the Grammy Award-winning collaboration between Albert Collins, Johnny Copeland, and Robert Cray, a track from Professor Longhair, a live Luther Allison track, a selection from Saffire-The Uppity Blues Women, and a duet between Corey Harris and Henry Butler. Other performers represented here include Guitar Shorty, Billy Branch, Joe Louis Walker, Janiva Magness, JJ Grey & Mofro, Tinsley Ellis, and Coco Montoya. Also, many of the recent albums on Alligator are represented, including tracks from Chris Cain, The Cash Box Kings, Curtis Salgado, The Nick Moss Band featuring Dennis Gruenling, Toronto Cannon, Rick Estrin & The Nightcats, Elvin Bishop & Charlie Musselwhite, and Roomful of Blues.

In addition to his overview of Alligator's history, label head Bruce Iglauer provides short bios of the various acts. I believe his concluding comments to the liner notes states things very well, 

"Today, after 50 years, Alligator remains proudly independent and still 100% dedicated to Genuine Houserockin' Music. With a roster that includes beloved veterans like Marcia Ball, Lil' Ed & The Blues Imperials, Elvin Bishop and Roomful Of Blues, rising stars like Selwyn Birchwood and Toronzo Cannon, and the 22-year-old sensation Christone "Kingfish" Ingram, we are committed to the past, present and future of the tradition. Now that illegal downloading has been replaced by digital streaming services reaching around the globe, Alligator's music can be heard in China, India, and across Africa, and in other countries where it was never available in physical form. Hound Dog Taylor & The HouseRockers would be amazed to see what happened to the tiny record label, now with over 350 releases, that was created to bring their music to the world. They'd be thrilled to know that billions of people can now discover the joyous houserockin' blues that they played every Sunday at Florence's Lounge."

"Alligator Records-- 50 Years Of Genuine Houserockin' Music" is a vibrant celebration of the impressive (and still growing) body of music produced by Alligator Records and Bruce Iglauer.

Alligator Records provided a download to review.

Pride and Joy: The Story of Alligator Records

A Robert Mugge Film
Pride and Joy: The Story of Alligator Records
MVDVisual

Among recent Robert Mugge films getting reworked for Blue-Ray release is his 1992 film, "Pride and Joy: The Story of Alligator Records." This film was centered around a Philadelphia Concert during Alligator's 20th Anniversary Tour," that featured performances by Koko Taylor and Her Blues Machine; the Lonnie Brooks Band; Elvin Bishop; Katie Webster; and Lil' Ed & the Blues Imperials. Interspersed with the performances are interviews with Bruce Iglauer and others involved with Alligator, along with clips of staff meetings and discussions that give of sense of what was involved in running this independent blues label that is now celebrating forty-five years.

The core of the film is the musical performances withe exceptional performances by all the named performers. Seeing Katie Webster was especially moving with her solo boogie and blues piano and vocals standing out even in such august company as Koko Taylor and Lonnie Brooks whose own performances are splendid. Everybody comes together for a closing, and rousing "Sweet Home Chicago," that is the musical climax of this wonderfully constructed documentary that marvelous integrates the performances and documentary segments. It is so welcome to have this new improved release.

I received my review copy from MVD Visual. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here is the trailer for this movie.

Alligator Records 45th Anniversary Collection

It has been 5 years since Alligator Records produced its last label retrospective/sampler, so now it has issued the two-disc "Alligator Records 45th Anniversary Collection," that allows Bruce Iglauer to mix some of the recordings from the label's history with tracks from more recent recordings. So a typical driving rocker from a 2008 Lil' Ed & the Blues Imperials release is followed by some searing Son Seals from his 1973 debut recording.

Rather than go through every artist and track, let me say that there is plenty of fine music here, even if some of the performances are not to my taste. Listening to Shemekia Copeland's rendition of her father's "Devil's Hand," one is impressed by the freshness of her rendition, and roots artist JJ Grey and Mofro is one of the more compelling artists Alligator has promoted over the past decade or so. It certainly is a teat to hear fresh new (not necessarily young) voices such as Toronzo Cannon, Jarekus Singleton and Selwyn Birchwood, along with the bluesy roots of Moreland & Arbuckle. Then one has vintage Koko Taylor doing "Voodoo Woman" from her first Alligator album along with Jimmy Johnson's "Your Turn to Cry" from the "Living Chicago Blues" series.

The rockabilly of Lee Rocker is mixed in with the roadhouse blues-country of Delbert McClinton and the rollicking Gulf Coast boogie of Marcia Ball. And it certainly is a treat to listen to A.C. Reed with Bonnie Raitt guesting, along with some sizzling live Luther Allison and the gospel of Mavis Staples and the Holmes Brothers. Both Guitar Shorty and Joe Louis Walker have been prominent relatively recent additions to Alligator's catalog although I would suggest that these are not the best recordings of their career. Of course, lets not forget selections by Billy Boy Arnold, Lazy Lester and Charlie Musselwhite.

Bruce Iglauer provides both an overview on the label and all the performances included. With about two and half hours of music among the 37 performances on these two-discs, it is priced as if it was a single disc so it represents good value along with the good music.

I reeeived my review copy from Alligator. This review appeared in the July-August 2016 issue of Jazz & Blues Report (Issue 367).

Maria Muldaur's Loving Memphis Minnie Tribute

Memphis Minnie was a pioneer in what we now call “country blues,” who recorded over 200 sides from the late twenties until the early fifties. One of the greatest blues performers of her time, her popularity was reflected by the fact she recorded as often as she was. A marvelous guitarist as she was a singer, she often recorded duets with then husband Kansas Joe McCoy in what some would call the “Memphis style.” After the break-up of their marriage, she started playing in small combos that would foreshadow the post-war Chicago blues ensemble style. In her career she made numerous classic recordings including Bumble Bee, Frisco Town, What Fault You Find Of Me?, What’s The Matter With the Mill, Tricks Ain’t Workin’ No More, Joe Louis Strut, Me and My Chauffeur, and Black Rat Swing. She recorded over 200 blues over her career. 

Maria Muldaur has long been a fan of Memphis Minnie and performing Minnie’s songs for decades. She has produced … First Came Memphis Minnie (Stony Plain), which is subtitled “a loving tribute.” Included are performances by Maria along with Rory Block, Ruthie Foster, Bonnie Raitt, Phoebe Snow and Koko Taylor with support from Del Rey, David Bromberg, Steve Freund, Alvin ‘Youngblood’ Hart, Steve James and Roy Rogers. 11 of the 13 performances are newly recorded. The performances of Phoebe Snow and Koko Taylor were previously issued.

There's plenty of music to enjoy here, much of it performed by Ms. Muldaur herself on a program that includes a few of Memphis Minnie’s most famous songs and a number of lesser known ones. If her voice is not quite a supple as in her own girlish days, Maria Muldaur is perhaps even more expressive a singer and this is evident on the opening Me and My Chauffeur Blues, with Roy Rogers providing nice easy swinging backing. Ain’t Nothin’ in Ramblin’, has a wonderful vocal from Bonnie Raitt with Steve Freund adding his guitar to hers. I’m Goin’ Back Home is one of two vocal duets by Maria with Alvin ‘Youngblood’ Hart (who provides guitar backing) that revive Minnie’s duets with Kansas Joe McCoy.

There is a bit larger group including Del Ray and Steve James backing Maria’s vocal on I’m Sailin’ with its wistful lyric. Rory Block’s sings When You Love Me backed by her guitars followed by Maria’s hopeful vocal on Long As I Can See You Smile, with Steve James adding mandolin in addition to Del Ray’s guitar, followed by Lookin’ the World Over, with just some lovely accompaniment from Del Ray. Phoebe Snow’s rendition of In My Girlish Days dates from a 1976 recording that included David Bromberg in the backing who adds mandolin along with guitar in the backing of Snow’s vocal. Ruthie Foster backed by a small group with Steve Freund’s guitar delivers a wonderful vocal on Keep Your Big Mouth Closed, which adapts the Sitting on Top of the World melody. Maria’s vocal on Tricks Ain’t Walkin’ is one of her finest here with Del Ray on guitars and Dave Earl adding mandolin here. 

The album closes with Koko Taylor’s rendition of Black Rat Swing that was licensed from Alligator from what I believe was her last album. Bob Margolin was among those on the session. It is an interesting choice insofar as it was written and sung by her husband, Ernest ‘Little Son Joe’ Lawler, under whose name it was originally released. In any event, it is a nice finale to this loving tribute to one of the greatest blues artists who ever lived.

I received a review copy from a publicist and it is scheduled for release on Tuesday October 9.

Alligator Records Is Now 40, Looking Back When It Was 20

While Alligator is celebrating its 40th Anniversary, MVD Visual has issued Blues and the Alligator: The First Twenty Years of Alligator Records, making available Jim Downing’s film from 1990 that has been issued by Gazell Film. The documentary is a mix of performance clips and interviews that serve to provide an overview of what led Bruce Iglauer to start his label and how it grew to become one of the most important (if not the most) labels producing new blues music.

The film opens with Lonnie Brooks in the studio recording with his band and Bruce in the control room discussing levels and such with the engineer before we start getting Bruce talking about his background and how Alligator got started. We see him at the studio as well as in his office having a business meeting with staff. The performance clips include a number of gems including a small excerpt of a band on Maxwell Street playing You Don’t Love Me, a fuzzy black & white film of Hound Dog Taylor followed by a live club shot of Lil Ed & the Blues Imperials.

Kenny Neal & Billy Branch’s duo album was contemporaneous with this film and a back porch performance by the two of Devil Child is followed by the two talking. We then are taken to a public school where Billy Branch conducting a “Blues in the School” program with the kids singing and playing Stormy Monday, and then starting Jimmy Reed’s Baby What You Want Me To Do, before we are taken to a clip of Kenny Neal and Lucky Peterson handling this.

No question that through Alligator and her recordings for them, Koko Taylor became internationally known as the Queen of the Blues” and was able to enjoy a recording career as opposed to housework. Recognition of her stature is reflected by showing her sing the Star Spangled Banner at Comiskey Park before Bruce and then her discuss how life has indeed changed. This is followed by her with Lonnie Brooks doing a strong Its a Dirty Job.

Bruce talks about how the blues has changed and ironically how Alligator has taken its artists from its roots playing in the community as they seek bigger pay checks and a bigger audience. As a result, the blues as they perform it has changed. Magic Sam’s recording of Sweet Home Chicago segues into a hot live rendition by Brooks that takes this film to its close. It is a nice end to what certainly is an intriguing look back at Alligator. BTW, it is about time Robert Mugge’s film on Alligator, Pride and Joy, made it to DVD.

I received a review copy from the label.

Congratulations For Alligator's 40 Years of HouseRockin' Music

Alligator Records is celebrating its 40th Anniversary this year and as it has in past years, compiled, 40th Anniversary Collection, a two-CD compilation of 38 recordings from the label since it released Genuine Houserockin’ Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label, although he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition.

Given the diversity of contents and the purpose of the CD it is not my intent to review the contents here. I suspect folks will find selections they don’t like and others they think are timeless. Besides celebrating Alligator Records, this compilation will hopefully introduce some of the artists and recordings that some may be unfamiliar with whether it is some vintage Koko Taylor and Albert Collins, or more contemporary acts like Michael Burks, Tommy Castro and Anders Osborne. There is a selection from the Grammy Award winning collaboration between Albert Collins, Johnny Copeland and Robert Cray as well as William Clarke’s reworking of Jimmy Witherspoon’s Daddy Pinnochio along with selections from current recordings by Roomful of Blues and Marcia Ball.

For each selection, Bruce includes comments on the artist and the particular recording, and at the booklet’s end he notes some of those performers he could not include which is a mini Blues Who Who in itself. I remember Bruce driving out to Buffalo in the mid-seventies in the middle of a snow storm trying to promote this young guitarist and singer by the name of Son Seals, and while he now has employees, he still is heavily involved at Alligator. The 40th Anniversary Collection is a vibrant celebration of the impressive (and still growing) body of Alligator Records and Bruce Iglauer

Alligator Records sent me my review copy.

Bob Corritore's Bluesy Friends Help "Harmonica Blues" Shine

Bob Corritore has been championing blues for four decades, first while living in Chicago and producing albums by under-recorded harmonica masters Little Willie Anderson and Big Leon Brooks, then later after moving to Phoenix, Arizona, as a radio programmer on KJZZ as well as the operator of The Rhythm Room where so many blues greats and lesser known acts have played over the past couple decades. Corritore is a pretty fair harmonica player with a swinging touch and a nice fat tone and has recorded and played with many over the years, which have been represented on various compilations under his name or by the artist (such as a superb Robert Lockwood album). Delta Groove has just issued a solid new compilation of 15 performances, “Harmonica Blues,” on which Corritore adds his harp to a varied group of artists, some of whom are no longer with us.


The opening “What Kind of Man Is This,” has him supporting the late Koko Taylor with a solid band that includes the Bob Margolin. Louisiana Red is in fine form backed by Corritore and Rhythm Room regulars Chris James and Patrick Rynn, while Dave Riley, with whom Corritore has shared albums with is solid on a tune by the late Frank Frost. Its interesting hearing the late Nappy Brown on the Piedmont-ish “Baby Don’t You Tear My Clothes,” with atypical guitar from Kid Ramos and Johnny Rapp lending this a unique feel. Eddie Shaw is present for “1815 West Roosevelt,” an atmospheric instrumental with Shaw’s raspy sax complimenting Corritore’s harp, while Robert Lockwood reworks “That’s All Right,” with henry Gray on piano for a terrific take on the Jimmy Rogers classic. Big Pete Pearson really tears vocally into “Tin Pan Alley,” with Chris James and Johnny Rapp’s guitar among the sup[port and Corritore sounding terrific on chromatic harmonica.


Tomcat Courtney, another down home bluesman that Corritore has championed and recorded struts on “Sundown San Diego,” while That’s My Baby,” is a slightly frenzied Eddy Clearwater rocker. “Things Have Changed,” is a strong performance by pianist Henry Gray with the late Chico Chism, while Pinetop Perkins is heard on an engaging, if unremarkable “Big Fat Mama.” Chief Schabuttie Gilliame does a fresh take on “No More Doggin’” as if it was John Lee Hooker’s song, while Honeyboy Edwards has the company of Corritore, James and Rynn to help hold his performance of “Bumble Bee,” together. Carol Fran’s “I Need to Be Be’d With,” is a terrific vocal and the disc closes with a solid Little Milton performance that is a bit more down home in its flavor. It is a solid ending to a very spirited compilation of very good to superb performances. Bob Corritore’s solid harp enlivens all of these performances, but at no time does he overshadows the blues legends and masters he shares the recordings with on this most entertaining compilation of real deal blues.

The review copy was sent by the publicity firm for the recording company. Delta Groove’s website for this release is Harmonica Blues.  

Son Seals' Blues Journey

Frank ‘Son’ Seals was arguably the most important discovery of Alligator Records and its chief honcho, Bruce Iglauer. Such albums as The Son Seals Blues Band, Midnight Son and Live and Burning are among the finest blues of the past four decades. Son Seals passed away in 2004 and his friend Peter Carlson has produced a documentary just issued on DVD, A Journey Through the Blues: The Son Seals Story (VizzTone), which will appeal to his many fans and will hopefully introduce others to this marvelous artist and person. The centerpiece of the documentary is interview footage of Son along with Bruce Iglauer, members of Son’s family, Koko Taylor, Dr. John and others set against footage of Son in performance, although the soundtrack for the documentary is taken from his recordings. Son’s early days in Arkansas, growing up in a home that served as a juke, learning drums and then guitar and the move to Chicago which led to his being discovered by Alligator are discussed here as well as an overview of his music and performances. There is footage (without sound) of his terrific nineties band that included saxophonist Red Groetzinger among others. Its a nicely done, although short bio-doc of him that is well put together. Also included are three live concert performances of Son from three different events that display how powerful a performer he was, although these are taken from after 2000 and it would have been nice to have included footage of his earlier bands (assuming such exists with sound). Also the three performances are a little under 1/2 hour. Maybe a European tv show of Son with his great band with Lacey Gibson and A.C. Reed will show up. Son was one of this writer’s favorite performers and I miss him as does anyone who got to meet and talk to him. I simply wish there was more than provided here on a well done video.

Chicago's Blues Queen Goes Old School

Its been several years since Koko Taylor has had a new album. This is remedied by the new Alligator release, The Old School. As the title suggests, the recording is directed to hard-hitting, old-school Chicago blues and includes five interpretations (most definitely not copies) of older songs along with some originals that Chicago’s Blues Queen handles in her own hold-nothing back style. One track is by The Blues Machine, and the other eleven tracks have a studio band led by Criss Johnson and drummer Willie ‘The Touch’ Sutton and guest appearances from Bob Margolin, Billy Branch an Kaz Kazanoff. Most of the new tunes are from Koko and Gonna Buy Me a Mule is a striking song as she tells her man she’s gonna take the place of him and the jaunty warning You Better Watch Your Step, with Billy Branch (excellent throughout) playing some Jimmy Reed inspired harp. Bob Margolin adds slide guitar to Memphis Minnie’s Black Rat, and Lefty Dizz’s Bad Avenue. The arrangements of both tunes are a bit cluttered and the performances come off as too hectic. Criss Johnson who did the arrangements on this album, would have done well to have listened to Koko’s first Alligator album, I Got What It Takes, and have allowed more spaces in the backing, and not have come across overbearing like so much recent Chicago styled blues of the past few decades. I have no fault with Koko’s performances as she sings really well here sounding so at home with the material. Its also nicely programmed with very nice covers of a couple songs associated with Muddy Waters, Don’t Go No Further, and Young Fashioned Ways. Just wish the attempt at being ‘old school’ by the band had a bit more of a lighter, swinging groove than they play with here. If I was giving this stars, 4 1/2 to Koko and 3 for the backing, or overall 4 stars.