Corey Ledet Zydeco

Corey Ledet
Corey Ledet Zydeco
Nouveau Electric Records

Houston born Corey Ledet keeps the zydeco flame burning bright with this new release full of hot grooves and soulful vocals. It was mostly recorded at Dockside Studios, Maurice, Louisiana, in June 2019, with one selection recorded during the Covid-19 lockdown. Corey is featured on lead, harmony and background vocals, accordion, drums, and washboard. Others playing on this album are Cecil Green on Hammond B3 organ, bassist Lee Allen Zeno, harmonica player Grant Dermody, Julian Primeaux on rhythm and lead guitar and backing vocals, and Gerard Delafose on drums and washboard.

Ledet comes from a family rich in music history. His great grandfather played bass with Bunk Johnson, while his grandfather, Buchanan Ledet, was the first zydeco drummer playing with Clifton Chenier and Rockin' Dopsie. Buchanan invented the twice-pumped bass drumming pattern called "double clutching" that's been an integral part of the genre ever since and is celebrated by the exuberant "Buchanan Ledet Special," one of several songs enthusiastically delivered in French.

Things start with the spirited "This Is All I Want," which conjures up the non-stop grooves of Boozoo Chavis. It is followed by "Buchanan Ledet Special," which has a brief spoken introduction. "Mon Marche" is a French rendition of Fats Domino's "I'm Walking" in a manner that would make Clifton Chenier smile. A bit more of a Clifton Chenier flavor is heard on "Per Mo (Call Me)." Grant Dermody adds a harmonica solo here. Dermody also is featured on the warp speed rendition of Ledet's cover of Big Joe Turner's hit "Flip Flop and Fly." He captures some of the high energy of such post-Chenier-Buckwheat Zydeco acts like Dwayne Dopsie. Try not to at least move one's feet listening to this track.

"Nina's Hot Step" is a traditionally rooted two-step creole instrumental that is a solo performance that Corey recorded to complete this project and adds to the variety of music here. Also, there is a delightful waltz, "Mon Make (I Miss)" that evokes Chenier's "Louisiana Waltz" from an early Arhoolie album. Ledet evokes some of the zydeco greats without imitation and, with his superb accordion playing and first-rate singing, has produced a sterling recording. The only possible complaint is that the playing time is short, but there is not one wasted moment.

I received a review download from a publicist. After writing the review I came across an article about the issues the pandemic has created for cajun and zydeco artists with the closure of clubs and cancellation of festivals that were major sources of their income. Corey was one of the artists mentioned, so purchasing this album helps Corey out in addition to providing the listener with some superb music. It is available on Bandcamp, https://coreyledetzydeco.bandcamp.com. Here is a video of Corey performing a song not on this album, "Promised Land Two Step." Yes, that is Paul 'L'il Buck' Sinegal on guitar on the left.

Gregg Martinez MacDaddy Mojeaux

Gregg Martinez
MacDaddy Mojeaux
Nola Blue Records

Trumpeter and vocalist Gregg Martinez (pronounced MartNEZ with the I silent) has been a part of the Louisiana music scene for five deuces as the leader of such groups as the King Fish, The Boogie Kings and more recently Gregg Martinez and the Delta Kings. While some of his inspirations come from New Orleans R&B and the soul end of Swamp pop, he is a first-rate blue-eyed soul singer with influences from Sam Cooke and Donny Hathaway to G.G. Shinn, Luther Kent, and Johnny Adams. Mac Daddy is a nickname he earned decades ago, while Mojeaux is a spelling of 'maqereau,' a man Creoles believe has an unusual power over women.

Produced by Martinez and Tony Daigle, Martinez's singing is supported by a stellar cast of musicians that include drummer Tim Courville, guitarists Tony Ardoin and Tony Goulas, bassist Lee Allen Zeno, B-3 organist Charles Ventre, and saxophonist Ronnie Eades. One song features slide guitarist Sonny Landreth, accordionist Anthony Dopsie, and rubboard player Rockin' Dopsie Jr. On the final selection, Lawrence Sieberth[ contributes piano and string arrangement. Between them, Martinez and Goulas provide four originals to go with the nine covers.

On a rendition of Ray Charles' "I Believe To My Soul," Martinez establishes just how superb a soul singer he is. It is an arrangement based on Donny Hathaway's recording and illustrates the strength of his singing. Following this song is a robust reading of Don Nix's "Same Old Blues" with the guitarist channeling Freddie King. Other strong covers include the deep soul classic, "You Left the Water Running," the Clarence Carter recording, "Snatching It Back," and Tyrone Davis' immortal "Can I Change Your Mind." Charlene Howard joins Martinez on a Stax-influenced interpretation of Hamilton, Joe Frank & Reynolds' "Don't Pull Your Love."

Of the originals, Guolas collaborated with Martinez on the soul groover, "This House," that sounds like an unissued Muscle Shoals soul recording. Guolas also wrote the ballad "Just Stay Gone" with a superlative vocal that evokes the late Johnny Adams. Then there is Martinez's "Eva Zelle," with Landreth's slide guitar, Anthony Dopsie's accordion, and Rocking' Dopsie's rubboard adding a zydeco flavor for a rollicking performance. A passionate cover of Randy Newman's "Marie," with only piano and strings, concludes an outstanding recording showcasing Gregg Martinez's superb singing.

I received my review copy from a publicist. Here is a video for his performance of "I Believe To My Soul."

Cary Morin Dockside Saints

Cary Morin
Dockside Saints
Self-produced

A member of the Crow Tribal group, Cary Morin came to wide-spread notice as a member of the Pura Fé Trio. Subsequently, he followed a solo career in which his talents as a singer, songwriter, and guitarist showed a performer of great talent. His fingerstyle guitar playing itself was sensational. This writer was impressed by his fourth album, "Cradle to the Grave," in which his blues roots perhaps were more in evidence than this current release, which probably is best described as Americana or roots.

Recorded at Dockside Studios in Maurice, Louisiana, by producer Tony Daigle, Morin displays his versatility and immaculate musicianship and vocals on twelve originals. Daigle put together a remarkable group of Louisiana musicians including bassist Lee Allen Zeno, drummer Brian Brignac, accordionist Corey Ledet, keyboardist Eric Adcock, and electric guitarists. Keith Blair and John Fohl, fiddler Beau Thomas, and Celeste Di Iorio on harmony vocals. Morin fuses Zydeco, Cajun and Creole, Piedmont blues and country, gospel, and folk. This recording reminds this listener of Anders Osborne, who similarly blends a musical stew.

The wide range of grooves and moods starts with the zydeco two-step groove of "Nobody Gotta Know." With Ledet's organ-like chicken fried accordion and a driving rhythm, Morin sings with grits and conviction. It is followed by a haunting country-tinged ballad, "Exception to the Rule," and then the sultry "Prisoner" with a hypnotic acoustic riff. There is another country-tinged song, "Because He Told Me So," with another stunning vocal. He shares a vocal authority in common with such great roots singers as Levon Helm, John Fogerty, Marty Stuart, Bruce Springsteen, and Ruthie Foster. "Jamie Rose" is another South Louisiana to New Orleans groover with Beau Thomas' fiddle adding heat and Ledet's accordion. "Bare Trees" is a hauntingly beautiful instrumental with Ledet and Thomas adding atmosphere.

There is a remarkable song, "Valley of Tears," based on a true story that hishis great-grandmother told him at Morin's Crow naming ceremony. It was a story of her and friends escaping after being kidnapped as a teenager by a neighboring tribe. "When women were kidnapped back then, they were destined to a life of servitude." They escaped, stole their horses, and rode back home. "The moral of the story from my great grandmother to me was that there is nothing in life that you cannot overcome." He performs this without any melodramatics. The simple, honest rendition and the atmospheric backing results in an unforgettable performance.

Among the other musical delights, here is a funky blues-rock instrumental with Morin's electric fretwork, Ledet's accordion playing, and bassist Zeno showcased. Morin's artistry is on full display on the excellent "Dockside Saints."

I received my review copy from a publicist. here is a performance by Cary Morin from 2019 at the Kennedy Center in Washington.

Marcia Ball Shine Bright

Marcia Ball

Shine Bright
Alligator Records

It's been a 50 year run for Marcia Ball performing her mix of Gulf Coast blues and rhythm music and this is her seventh album for Alligator to go along 8 similar albums for Capitol, Antone's and Rounder. With her mix of a rollicking piano in the vein of Professor Longhair and Fats Domino and soulful singing influenced by the great Irma Thomas, she has been thrilling blues and roots audiences as a touring performer for nearly forty years. This latest recording was produced by Steve Berlin who adds baritone sax to many tracks with others heard here including guitarist Mike Schermer, organist Red Young, bassist Lee Allen Zeno and guitarist and accordionist Roddie Romero. Of course, Ball herself is at the center with her soul-laced singing and New Orleans-rooted boogie piano, as well as contributed nine originals to go with three interpretations of songs from other sources.

As to be expected there are plenty of hot grooves, rocking piano and searing guitar starting off with the title track and her fervent message of hope in these times and then followed by the second line funk of Ernie K-Doe's "I Got to Find Somebody" to love her right. Her piano captures on this the spirit of Allen Toussaint (who this album is dedicated to along with Fats Domino and Buckwheat Zydeco) and Eric Bernhardt's tenor sax solo is firming in the classic New Orleans tradition. There is more Crescent City fun on an original she wrote with Shelly King and Tim Cook, "When the Mardi Gras Is Over."

Gary Nicholson co-wrote, "They Don't Make 'Em Like That," with its complaint that the music of today doesn't hold up or is as lasting as the blues and country of yesteryear. Bernhardt shining. Mike Schermer co-wrote "Life of the Party," with its calypso groove along with Enrique Chi's fiery trumpet, followed by her heartfelt blues singing on Ray Charles' "What Would I Do." "Once in a Lifetime" is a soulful original where she advises the guys if it is really true love, make sure you treat her fine. Schermer takes a tightly constructed short solo. Then there is her heartfelt hope that we all come together on "World Full of Love," with just her piano, Young's organ and Schermer's acoustic guitar providing the effective, austere backing.

A boisterous zydeco-inspired rendition of Jesse Winchester's "Take a Little Louisiana," with Romero channeling Buckwheat Zydeco on accordion, is the finale of this Ball recording. This superb recording is full of first-rate material and splendidly sung and played music, that one has come to expect from Marcia Ball.

I received my review copy from Alligator Records. Here is a live studio session to promote "Shine Bright."

Almost Guitar Shorty's Best

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the Anson Funderburgh compilation has already run and another will run in the next few days. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue or mp3 and you might want to check collector's choice music as well as Amazon and other websites for the Black Top recordings.

David Kearney, best known as Guitar Shorty, was among the three major rediscoveries that Black top made (Robert Ward and Bobby Parker are the other two). The Florida born singer- guitarist was heavily influenced by Guitar Slim who made some choice recordings for Cobra Records and the LA based Pull label. For a period he was married to Jimi Hendrix’ stepsister and would swap ideas with the future leg-end. 

Kearney had recorded a wonderful My Way or the Highway for the English JSP label before joining Black Top where he recorded three albums, Topsy Turvy, Get Wise To Yourself, and Roll Over, Baby. After leaving Black Top, there were live albums on Collectibles followed by Evidence’s I Go Wild and more recently he signed to Alligator. Shout Factory’s The Best of Guitar Shorty: The Long and Short of It, is taken from the JSP album, the three Black Top CD and the Evidence. The highlights include a stunning remake of Hard Life, You Better Get Wise to Yourself, Swamp Dogg’s I Want to Report a Crime and a duet with Carol Fran, I’m So Glad I Met You. 

The two cuts from the JSP disc, No Educated Woman and Red Hot Mama, are almost equal to the Black Top discs which employed such first-rate players like Lee Allen Zeno on bass, Herman Ernest III, Shannon Powell or Raymond Weber on drums, David Torkanowsky on keyboards, Kaz Kazanoff on sax. Oddly the only number from Black Top that had South Central, his working band of the nineties, was a credible rendition of Hey Joe, a tribute to Hendrix which is ok, but there are some other selections that are missing, especially his rendition of Al Kooper’s (I Love You) More Than You’ll Ever Know, derived from Donny Hathaway’s recording. Hathaway was a major influence on Shorty as a singer, but you would never know it from most of which has been written about him that focuses on his guitar playing and Hendrix connection. 

With the more rock-oriented production of his recent recordings, his vocals also suffer. But if this gem had replaced a track from the Evidence album, then the title would be more accurate as opposed to really being Almost The Best of Guitar Shorty. Still this will have to do until Topsy Turvy and Get Wise To Yourself are reissued. The JSP is in print. 

Here is Guitar Shorty doing one of his signature songs, It's A Hard Life.