Walter “Wolfman” Washington Blue Moon Risin’

Walter “Wolfman” Washington
Blue Moon Risin’
4 Tunes Records

After years working with Johnny Adams and making some recordings for small New Orleans labels, Walter ‘Wolfman’ Washington emerged as an important blues voice in his own right with several albums for Rounder, and then one for PointBlank that evidenced his emergence as one of the true major voices in contemporary blues. Now with Blue Moon Risin’, currently only available as an import, he has produced an absolutely stunning album that seamlessly integrates soul and funk elements into Washington’s blues gumbo.

Washington’s band, the Roadmasters (not to be confused with Ronnie Earl’s band of the same name), has a rhythm section of Jack Cruz on bass, Wilbert Arnold on drums and Brian Mitchel on keyboards that is as good as they get. While the regular Roadmasters horns are only present on two tracks, ten of the twelve tracks have the J.B. Horns (Maceo Parker, Fred Wesley and Pee Wee Ellis).

Wolfman’s mix of funk and blues is perfect for the J.B. Horns, whose crisp playing matches up with the hard funk groove of the Roadmasters on the strutting remake of Bill Withers’ “Use Me” and showcase Wolfman’s solo on “Fever.” Still the disc’s highest points are the originals by Wolfman and Jack Cruz, such as the opening “Stop and Think” (to which keyboard player Mitchel also contributed), the title track (with its opening line “There’s a blue moon risin’, in my heart & in my soul, passion and pain lying on everything I known”), and “Can’t Stop Lovin’ You,” a terrific driving updating on Otis Redding’s “Can’t Cut You Loose.”

“Cadillac Woman” may be the closest thing to a straight blues shuffle, but it has an interesting turn in the melody. And while his guitar is showcased, mixing in bits of George Benson and Kenny Burrell to the gulf coast blues guitar stew, his fervid singing is just as central to these performances. He’ll employ a strangulated falsetto for emphasis, or stretch out a syllable as necessary before cutting loose with a concise guitar solo as the horns riff in support.

I’ve listened to this repeatedly since buying it at the Louisiana Music Factory in New Orleans. Wolfman has made fine records before, but this is one of the best new albums in a very long time.

This review originally appeared in the July-August 1995 Jazz & Blues Report (Issue 203). This is available as downloads from amazon, iTunes and other sources, as well as used. Here he is performing the title track more recently.

Pancho Sanchez's mixed soul-latin jazz effort

I wrote the following for Jazz & Blues Report at the beginning of 2008, but I am uncertain whether it appeared in print.

Raise Your Hand (Concord Picante), the latest recording by Latin jazz master, Pancho Sanchez, is kind of a schizophrenic recording as it has several special guests joining him for some funk as well as hot latin jazz. Four of the selections have in a classic soul-funk groove while the remaining numbers have strong latin grooves. The album is bookended by a couple of Eddie Floyd classics, Raise Your Hand and Knock on Wood, with Sanchez handling the lead vocals but his band joined by Floyd, Steve Cropper and Booker T. Jones. The result are solid renditions that are not that removed from the Stax classics, but outside of some added percussion, not as intriguing as might have been suggested. The same is true with the remake of Junior Walker’s Shotgun as well as Maceo’s House, on which Maceo Parker adds his saxophone but which one wishes they was more stylistic fusion. The remainder of the album is strong latin jazz with Sanchez also handling the vocal on El Aqua De Belen with his terrific band that includes organist David Torres, trumpeter Ron Blake and George Ortiz on timbales, but these sides sound like a completely different recording than the other four tracks. The playing throughout is excellent, and if the four soul numbers had been a bit more imaginatively performed this would certainly have excited this listener more.

Wolfman Washington's Blues Masterpiece

Wolfman Washington is one of my favorite artists and when he was signed to Point Blank there was hope his career would reach new heights. Unfortunately there was a management issue and the album, Blue Moon Risin, was never issued in the US. I am not sure if it still can be obtained anymore byt the Louisiana Music Factory had copies a few years ago. IMHO, it was the best blues album of the 1990s. I believe it was also the last time the J.B. Horns recorded together. Here is my review as it appeared in Jazz & Blues Report back in July/August 1995.

After years working with Johnny Adams and making some recordings for small New Orleans labels, Walter ‘Wolfman’ Washington emerged as an important blues voice in his own right with several albums for Rounder, and then one for PointBlank that evidenced his emergence as one of the true major voices in contemporary blues. Now with Blue Moon Risin’ (4 Tunes Records), currently only available as an import, he has produced an absolutely stunning album that seamlessly integrates soul and funk elements into Washington’s blues gumbo. Washington’s band, the Roadmasters (not to be confused with Ronnie Earl’s band of the same name), has a rhythm section of Jack Cruz on bass, Wilbert Arnold on drums and Brian Mitchel on keyboards that is as good as they get. While the regular Roadmasters horns are only present on two tracks, ten of the twelve tracks have the J.B. Horns (Maceo Parker, Fred Wesley and Pee Wee Ellis). Wolfman’s mix of funk and blues is perfect for the J.B. Horns, whose crisp playing matches up with the hard funk groove of the Roadmasters on the strutting remake of Bill Withers’ Using Me and showcase Wolfman’s solo on Fever. Still the disc’s highest points are the originals by Wolfman and Jack Cruz, such as the opening Stop and Think (to which keyboard player Mitchel also contributed), the title track (with its opening line “There’s a blue moon risin’, in my heart & in my soul, passion and pain lying on everything I known”), and Can’t Stop Lovin’ You, a terrific driving updating on Otis Redding’s Can’t Cut You Loose. Cadillac Woman may be the closest thing to a straight blues shuffle, but it has an interesting turn in the melody. And while his guitar is showcased, mixing in bits of George Benson and Kenny Burrell to the gulf coast blues guitar stew, his fervid singing is just as central to these performances. He’ll employ a strangulated falsetto for emphasis, or stretch out a syllable as necessary before cutting loose with a concise guitar solo as the horns riff in support. I’ve listened to this repeatedly since buying it at the Louisiana Music Factory in New Orleans. Wolfman has made fine records before, but this is one of the best new albums in a very long time.