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.

Duke Robillard And His Dames Of Rhythm

Duke Robillard
And His Dames Of Rhythm
M.C. Records

This new release from Duke Robillard is a bucket item dream come true with him on acoustic arch-top guitar and occasional vocals along with his rhythm section of Bruce Bears on keyboards (with Kelley Hunt subbing on three tracks); Brad Hallen on bass; and Mark Teixeira on drums. There is also a horn section including regular collaborators Billy Novick on clarinet and alto saxophone; Rich Lataille on alto and tenor saxophone and clarinet; Carl Querfurth on trombone; and from Vince Giordano's Nighthawks, Jon Erik Kellso on trumpet and Andy Stein on violin, with arrangements mostly from Novick or Kellso. With these players, Duke has a program of songs form the twenties and the early thirties with the dames of Rhythm, Sunny Crownover, Kelley Hunt, Elizabeth McGovern, Maria Muldaur, Madeleine Peyroux and Catherine Russell handling the bulk of the vocals with Duke adding a couple.

The general tenor of the music here is early and pre-bop swing jazz as opposed to the jump blues of much of Duke's recordings. The music is handsomely played and the ambience is not far from that of Giordano's Nighthawks starting off with Crownover's bright, cheerful vocal, joined by Duke here, on the opening "From Monday On," with some terrific violin from Stein, and followed by Muldaur's wistful handling of "Got the South in My Soul," with Querfurth's growling trombone adding flavor, a lovely clarinet solo from Novick and a brief guitar break. Crownover has a naughty innocence on "My Heart Belongs To Daddy," with its light Latin groove and marvelous Novick arrangement.

Peyroux's is flirty on "Squeeze Me," however she lacks the emotional depth of Billie Holiday on "Easy Living," although she is nicely supported. Similarly, Elizabeth McGovern comes off lightweight on her interpretation of another number associated with Holiday, "Me, Myself and I." Catherine Russell is superb as always on a sublime rendition of Benny Carter's "Blues In My Heart," with John Kellso's superb arrangement and growling trumpet (along with Querfurth's similarly toned trombone) lending this sublime performance an Ellingtonian flavor.

"Please Don't Talk About Me When I'm Gone" features singing from Kelley Hunt with sparse backing primarily from Bears and Duke for the first couple verses, before the rhythm kicks in to back Mark Earley's tenor sax solo followed by Kellso's trumpet and then she leads the band on a rousing close. She also has a marvelous take on "Lotus Blossom," a number I am familiar with from Jimmy Witherspoon, and kudos to Rich Lataille for his arrangement. With the combination of Duke's guitar, her piano, Novick's clarinet, and Stein's violin, she does a marvelous rendition of the torch song, "If I Could Be With You (One Hour Tonight)."

Duke's own vocal features include the bouncy "Walking Stick," with Kellso's arrangement showcasing Stein along with Kellso's fiery trumpet, along with the gently swinging lament "What's The Reason (I'm Not Pleasin' You)." The instrumental "Call of the Freaks" closes this out with Duke playing Lonnie Johnson to Kellso's Henry 'Red' Allen on a nice rendition of a tune recorded by Catherine Russell's father, Luis in the early 1930s. If the vocals by Hunt and Russell stand out over the others here, it should be noted that there is appeal to all of the vocals, and does nothing to lessen the delights heard in Duke's revival of some musical gems from the distant past.

I received my review copy from M.C. Records. Here is "Squeeze Me," from the album.

Marie Knight The Gospel Truth Live

Marie Knight
The Gospel Truth Live
M.C. Records

A surprise is this posthumous concert recording by the late great Gospel singer, Marie Knight. Knight was then one of the last great singers from the Golden Age of Gospel (1940-1960), who may be kn own for association with Sister Rosetta Tharpe, the nationally famous gospel singer-guitarist, who she met in 1946. The two became gospel’s preeminent duo of the 1940s, recording hits for Decca Records, including “Didn’t It Rain,” “Up Above My Head,” and the gorgeous “Beams of Heaven.” By the late 1940s, Marie and Rosetta had split to pursue separate musical projects—Marie to do solo gospel work on Decca.

Tharpe and Knight still reunited frequently on stage during the 1950s, however. In addition to singing before thousands of gospel fans in Washington, DC in 1950, and touring with up-and-coming gospel vocalist Wynona Carr in 1954. In the 1960s, Marie cultivated a rhythm-and-blues career, touring with the likes of Brooke Benton, the Drifters, and Clyde McPhatter. After a hiatus, she re-emerged in the mid-1970s to record gospel music. After recording a song on a Sister Rosetta Tharpe tribute album, she recorded an album of the gospel songs of Rev. Gary Davis titled “Let Us Get Together” which came out on M.C. Records in June 2007 and was the last studio album she recorded.

The posthumous "The Gospel Truth Live," was recorded October 19, 2007 at a Gospel Festival at the Church Street Center in North Adams MA. As noted in Bil Carpenter's liner notes, it was a wet and overcast day when she first met with students at Massachusetts College of Liberal Arts and then headlined the school's Gospel Fest. She was accompanied only by pianist Dave Keyes on a program that is mainly drawn from the songbooks of Tharpe and Davis (not surprising since Knight's album of Davis songs had been released a few months earlier) interspersed with her introductions and parables about life, including a moving reminiscence of performing in California and learning her mother and two children perished in a fire and having to sing between the tears.

Certainly a good portion of the songs will be familiar including "Didn't It Rain," and "Up Around My Head," from her days with Sister Rosetta Tharpe (and the latter number seems very popular today), along with "I Belong to the Band," "12 Gates to the City," "I Am the Light of the World," and "Let Is Get Together," from Reverend Gary Davis. Then she mixes in traditional spiritual numbers like "Jesus Loves Me," "I'll Fly Away," "Closer Walk With Thee (on which Keyes sings) and "For Thine is the Kingdom." Keyes provides a stately, sometimes barrelhouse rooted, boogie backing that supported her wonderful singing, that belied her age of 87 at the time. Time had little affected the power she could invest her nuanced vocals with.

Less than two years later she would pass away, and a cherished voice was silenced. Not having the pleasure of seeing her perform, I can appreciate the honesty and passion of the music here. Thanks to Mark Carpentini for producing this and making this wonderful release available.

I received from my review copy from M.C. Records.  Here she sings Up Above My Head."

The Sherman Holmes Project The Richmond Sessions

The Sherman Holmes Project
The Richmond Sessions
M.C. Records

The origins of this album by the surviving member of The Holmes Brothers goes back to 2014, the year they were honored with a National Heritage Fellowship, the highest award given in the US for traditional arts. That same year they participated as master artists in the Virginia Folklife Apprenticeship Program where they mentored several young musicians. While they enjoyed the performances of those they mentored along with other traditional musicians, not long after in January 2015, Popsy Dixon passed away from cancer and then Sherman's brother Wendell died a few months later of multiple health problems. Sherman in that year continued to participate in the Apprenticeship Program mentoring 11 year old Whitney Nelson, and after backing her at the Apprenticeship Showcase, he was asked to sing a number in honor of Wendell and Popsy, and sat down at the keyboards to sing a traditional gospel number, "I Want Jesus." It was after that performance that Jon Lohman suggested they record this album.

Lohman suggests that in the spirit of The Holmes Brothers, this recording draws on a variety of genres and styles. While true, this recording has a strong bluegrass-Americana feel, with the blues and soul aspects somewhat less prominent. Lohman, besides producing this adds harmonica behind Holmes' vocals, bass and keyboards. Other notable musicians on this include Rob Ickes on dobro; Jared Pool on mandolin and telecaster guitar; Sammy Shelor on banjo; Jacob Eller on upright bass; and David Van Deventer on fiddle. Joan Osborne, long-time friend of The Holmes Brothers, adds her vocal on one track, while the Ingramettes add backing vocals to others selections.

Gospel songs are in fair abundance here ranging from the living bluegrass rendition of "Rock of Ages," with strong dobro and fiddle along with a terrific supporting vocal from one of the Ingramettes, the austere "I Want Jesus," with simple accompaniment (again with dobro prominent) and gospel chorus backing); the traditional African-American gospel rendered "Wide River," and a stunning bluegrass-rooted rendition of Carter Stanley's sentimental ballad "White Dove." There are strong heartfelt performances, renditions of Vince Gill's "Liza Jane" (not the similarly titled New Orleans number) and Jim Lauderdale's "Lonesome Pines." Toss in intriguing versions of The Band's "Don't Do It," and Creedence Clearwater Revivals' "Green River," with vocals that would likely have impressed Levon Helm.

There are two deep soul numbers, renditions of "Breaking Up Somebody's Home" (with a intriguing employment of traditional country instruments in the backing), and the James Carr classic, "The Dark End of the Street," with Joan Osborne guesting in support here. The Carr number has also been been one that a number of country performers recorded back in the sixties. The album closes with the Ben Harper composition "Homeless Child," with a powerful lyric, fervent backing chorus and focused backing. It is another heartfelt performance on this strongly performed and moving recording that may transcend classification but one that will enthrall those who simply love good music.

I received my review copy from M.C. Records. This review originally appeared in the July-August Jazz & Blues Report (Issue 374). Here Sherman Holmes performs "Green River."

Guy Davis & Fabrizio Poggi Sonny & Brownie's Last Train

Guy Davis & Fabrizio Poggi
Sonny & Brownie's Last Train
M.C. Records

Guy Davis' latest release, with his partner harmonica player Fabrizio Poggi is a tribute to the legendary duo of Sonny Terry and Brownie McGhee. While Terry & McGhee were among the leading exponents of the Piedmont blues style, Davis' approach is most assuredly his own. For example on "Shortnin' Bread," his guitar style employing a repeated riff is more akin to the Mississippi Delta and Memphis artists than heard in Carolina tobacco towns. Similarly, Davis' guitar accompaniment of "Baby Please Don't Go Back To New Orleans," evokes Mississippi Fred McDowell and Leadbelly. This is not a criticism but an observation. There are times they do play in the easy flowing Piedmont style as in the cover of Elizabeth Cotten's "Freight Train," although Davis modeled his playing here on Cotten's original (as he observes in his liner notes). This is not a criticism as Davis and Poggi deliver this performance in their own manner, and not as simple revivalists.

The album opens with Davis' title track, an affectionate tribute to the pair. The remainder are songs to some extent associated with Terry & McGhee, even if from other sources and several are probably more associated with Leadbelly such as "Shortnin' Bread," "Take This Hammer" and "The Midnight Special." "Take This Hammer," is an interesting performance with the accompaniment suggesting the gospel tune, "Glory, Glory, Hallelujah."

Among the performances rendered in the Piedmont style are the afore-mentioned "Freight Train," the superb "Hooray, Hooray These Women Is Killing Me," and "Step It Up and Go," associated with Josh White and Blind Boy Fuller, which Davis has recorded before. There is a strong rendition of "Walk On," one of the songs most associated with Terry & McGhee. If the rendition of St. Louis Jimmy's "Going Down Slow," is similar to the somewhat generic treatment Terry & McGhee gave it, Davis and Poggi are more in a Delta Blues style for Johnny Temple's "Louise, Louise" as opposed to the Broonzy cover that influenced Terry and McGhee.

Regardless of the manner specific songs are performed, there is plenty to enjoy on "Sonny & Brownie's Last Train." If Davis' somewhat gruff singing lacks some of the easy flowing quality of particularly Brownie McGhee, the interplay between him and Poggi is in its own manner as marvelous and Terry and McGhee. In his liner notes, Davis provides a written appreciation of Terry and McGhee and in an insert provides notes on the songs (although the notes on "Louise, Louise" fail to mention Johnny Temple's original) along with lyrics. This is an intriguing and welcome release, and one I suspect Terry and McGhee would appreciate if they still were with us.

I received my review copy from the record company. Here Guy and Fabrizio perform the title track. 

 

Dayna Kurtz - Secret Canon Vol. 2

I was not familiar with Dayna Kurtz prior to receiving her new album, Secret Canon Vol. 2 (M.C. Records), but when she starts singing the opening I Look Good In Bad, she immediately grabbed my attention. Now resident in New Orleans, she is originally from New Jersey and I have discovered she has quite a resume. This is her second album of of lost and obscure blues and R&B gems from the 1940's-1960's with a couple of originals added including the powerful opening track where she belts out “I’ve been bad since you left me, but I look good in bad.”

Recorded in New York and New Orleans, she is supported by Joe Cowherd on keyboards for both sessions. Papa John Gros is on organ for the New Orleans sessions that also included Jason Mingledorff on saxophone who is outstanding on “ Look Good In Bad. Kurtz displays a presence and authority throughout. And she certainly has selected some nice songs to revive. I share her love of Johnny Adams, and she is brave enough to do a solid cover of Adams’ recording of Reconsider Me, although I think it would have been even stronger if she hadn’t tried to emulate Adams’ falsetto. Then there is the soulful lament where she asks to meet him Same Time, Same Place. There is terrific trumpet from Barney Floyd behind her nuanced vocal on this. If You Won't Dance With Me, with a New Orleans second-line groove, is a playful number where she proclaims to her lover that if you won’t dance, than that guy will and “I don’t care you paid for dinner, you ain’t going home a winner.” The mood changes back to the blues as she does not ask for sunshine or for the world to be hers, but wistfully says that All I Ask Is Your Love. 

She turns down the heat on the jazz-tinged I Had My Moments, with John Bailey contributing the nice trumpet, that closes this excellent collection of blues, ballads and laments. With wonderful backing and choice selection of material, Secret Canon Vol. 2, wonderfully displays Dayna Kurtz’s striking vocals.

I received my review copy from M.C. Records. Here is a video of Reconsider Me that was made to help promote this CD.

Ann Rabson Strutted Her Stuff

In light of the passing of Ann Rabson, I though I would delve into my archives for a review from 2001 (The January-February 2001 Jazz & Blues Report (Issue 249) in which I reviewed her second recording as a solo act and not as a member of Saffire-The Uppity Blues Women.  I reviewed few months ago, her last CD which was a collaboration with Bob Margolin, Not Alone.

Ann Rabson’s Music Makin’ Mama disc on Alligator was a more than pleasant surprise when released a few years ago. The followup, Struttin’ My Stuff, by this uppity blues woman is on the increasingly important MC Records label. Like the earlier album, this allows her to mix some vintage blues songs with some telling originals with her boogie woogie piano being the musical anchor for most of this set (with unobtrusive bass and drums on several selections) while she switches to guitar for a few cuts. 

While her strongest musical suit is her piano playing, she is more than a capable guitarist and an affable vocalist. Her marriage of traditional boogie woogie motifs with more modern lyrics often results in this disc’s highpoints. Hassle Attack, on which Ann states she grafted her lyrics on a zydeco tune, comes across as a modern reworking of Cow Cow Blues, while this writer was delighted to see her marriage of Chuck Berry’s Sweet Sixteen lyrics to the boogie woogie of Meade Lux Lewis’ Honky Tonk Train, and the closing instrumental Careless Boogie is a nicely paced boogie woogie reworking of Careless Love.

I am not too enamored with the rendition of Eddie Bo’s Check Mr. Popeye, but that might be the result of the understated rhythm on this New Orleans funk number. Brownie McGhee’s Sportin’ Life Blues, is a gem, with her performance capturing the irony of a lyric akin to Willie Nelson’s Night Life. 

All in all, another recording that should appeal to the many fans she has as well as fans of her from Saffire.

Phillip Walker Live at Biscuits & Blues

It has been a little over two years since Phillip Walker passed away. The Texas-born, West Coast based blues singer and guitarist came a long way from his days playing with Clifton Chenier, and then later Bruce Bromberg produced an album for Playboy Records. The following review appeared in the September 2002 DC Blues Calendar to which I have made a few minor stylistic edits.

Its been several years since Phillip Walker had an album under his name (even the Lone Star Shootout album he made with Long John Hunter and Lonnie Brooks is at least three years old). Walker has a new disc with his big band on MC Records, Live at Biscuits & Blues. This recording features his longtime working band augmented by a full horn section along with guest appearances by Charlie Musselwhite, Angela Strehli and Rick Estrin. 

Its a solid set, if not quite as good as Walker’s best studio recordings, Walker performs his own Hello My Darling, as well as Jimmy McCracklin’s Think, Harold Burrage’s Crying For My Baby, the classic Breaking up Somebody’s Home and Dennis Walkers Don’t Be Afraid of the Dark on which Walker performs a bit more grittier version than Cray’s original. 

Its nice to have a new album by Walker whose grainy voice and raspy guitar playing is a distinctive blues voice. Some of his best stuff is out of print or hard to find so even if this is not quite his best stuff, it will make due for his fans or others not familiar with this grossly underrated blues veteran. 

Here is Phillip in performance.

Shout Sister Shout's Retro Jump and Swing

The quintet, Shout Sister Shout, took its name from a Sister Rosetta Tharpe song and brings together an enthusiasm for the music of the thirties and forties. MC Records has issued Hit That Jive which is a slightly enlarged version of a self-produced CD that has been available on cdbaby.

The Michigan based quintet is comprised of Rachel Davis on vocals; Joe Wilson on trombone, steel guitar and vocals; Andy Wilson on Harmonicas, trumpet and flugelhorn; Dominic John Suchyta on upright bass and vocals; and Joshua Davis on guitar and vocals. While its obvious when Ms. Davis sings, the male vocal on Louis Jordan’s No Sale, is not identified, but that track does feature some nice steel guitar. There is a bit of retro flavor to some of the performances which goes with the repertoire. This is not to say they get overly campy and don’t show respect to the music.

Ms. Davis is certainly easy to listen to and does a marvelous job on the Louis Jordan evergreen, Don’t Let the Sun Catch You Crying, as well as the standard Moonlight in Vermont, with nice steel guitar and harmonica in the accompaniment. It’s a Sin to Tell a Lie, has a bit of campy feel in the backing although their is some nice trumpet and steel guitar again before Davis’ straight-forward vocal. “Carolina Moon,” has a bit of campfire country flavor with steel guitar in the backing and country flavored harmonica.

Other selections come from the discography of Billy Holiday Ms. Otis Regrets, and God Bless the Child, the latter having more trumpet. She accounts for herself well although she not in Lady Day’s league as a singer (few are). Andy Wilson’s harmonica leads off “It’s a Paper Moon,” where one the men (Joshua Davis?) shares the vocal with the rhythm strutting behind the singers. On Don’t Let Your Eyes Go Shopping For Your Heart, Ms. Davis’ lovely vocal is backed marvelously by Joshua Davis’ restrained guitar. You Rascal You, one of the two tunes added to this edition of the recording, has some nice tailbone trombone and the closing Hit That Jive Jack, features an ensemble vocal.

Also included is a short behind the scenes video of clips of them recording and talking about themselves. Hit That Jive, may not be profound, but it certainly is a delightful recording that provides a refreshing change of pace for listeners.

This review originally appeared in the July 2009 Jazz & Blues Report (Issue 318) and my review copy was provided by M.C. Records.

Rest in Peace Marie Knight

One of the grand dames of gospel music has passed away. She was born June 1, 1925 and passed away Sunday August 30, 2009. M.C. Records, which issued her marvelous tribute to Rev. Gary Davis, Let Us Get Together: A Tribute to Reverend Gary Davis, issued the following upon her death.

"With heavy hearts, M.C. Records announces the death of gospel legend Marie Knight. She died in New York City on August 30, 2009 due to complications from pneumonia. Marie first came to prominence in 1946 when she met and started working with Sister Rosetta Tharpe. Together they would be one of the most popular gospel artists of the 1940's, and make music history through a string of gospel hits including Didn't It Rain, Up Above My Head, and the gorgeous Beams of Heaven. Marie Knight and Sister Rosetta Tharpe would tour frequently together through the 1950's. In the 1960's, Marie had several R& B hits, but in 1970's rededicated herself to gospel music and became a minister at the Gates of Prayer Church in New York City.

Marie Knight's recent comeback began in 2002 when producer and M.C. Records owner Mark Carpentieri invited Marie to record on Shout, Sister, Shout!: A Tribute To Sister Rosetta Tharpe. Mark recalls the phone call. "Gayle Wald, who was writing the liner notes for the project, asked me if I had contacted Marie Knight about participating in the project. I didn't know she was still alive! I called Marie, and she sounded so vibrant that I arranged studio time, and we’ve been working together ever since."

After the release of Shout, Sister, Shout!: A Tribute To Sister Rosetta Tharpe, tour work came in regularly for Marie Knight. In 2007, Mark Carpentieri put together Marie Knight's first full-length album in over 25 years, Let Us Get Together. The project was a tribute to Rev. Gary Davis, and was co-produced with Larry Campbell (Bob Dylan) (Ollabelle) (Levon Helm). The record was a critical success, with great reviews from The New York Times, The San Francisco Chronicle, The Philadelphia Inquirer and many more."

I reviewed Let Us Get Together for Jazz & Blues Report, (July-August 2007) as well as here in August 2007. The review is linked here. She was major talent who will be missed.