Maria Muldaur With Tuba Skinny - Let's Get Happy Together

Maria Muldaur With Tuba Skinny - Let's Get Happy Together -Stony Plain Records

Maria Muldaur's career spans some 57 years since she was part of the Jim Kweskin Jug Band, which played old-time blues, country, and hokum songs. Her latest recording, with the popular New Orleans traditional-swing jazz street band Tuba Skinny. Tuba Skinny consists of Shaye Cohn – cornet; Todd Burdick – tuba; Barnabus Jones – trombone; Jason Lawrence – banjo; Craig Flory – clarinet; Greg Sherman – guitar; Max Bien-Kahn – guitar; and Robin Rapuzzi – washboard. Muldaur first heard Tuba Skinny while shopping and their music was played over the store's speakers. About Tuba Skinny, Muldaur says, "They were not just playing a marvelous repertoire of cool tunes with great skill and authenticity, but somehow channeling the very atmosphere and vibration of that bygone era."  

Before the COVID Pandemic in January 2020, Maria asked Tuba Skinny to collaborate for a showcase performance at the International Folk Alliance Conference in New Orleans. The performance was so well-received, and this album was immediately conceived and recorded. Overall, the album (her 43rd album) is her latest excursion into vintage jazz and blues sounds of the 1920s/'30s. It is a fascinating mix of songs ranging from songs associated with the Goofus Five, Lil Hardin Armstrong, Duke Ellington, Billie Holiday, Valaida Snow, and Sweet Pea Spivey (Victoria's sister).

There is plenty of fun to be had listening, starting with the opening rendition of the Goofus Five's "I Like You Best of All." Played at a nice relaxed tempo, this listener is especially impressed by the solos here by Craig Flory on clarinet and Shaye Cohn on cornet. I note that Muldaur's vocals do sound a slight bit weathered. Still, her phrasing, timing, and her ability to deliver lyrics remain intact. Lil Hardin Armstrong wrote the bouncy title tune with nice interplay in the opening between trombonist Barnabus Jones and Cohn on cornet. Muldaur has an ear for relatively obscure songs, including a delightful rendition of Frankie' Half-Pint' Jaxon's "Be You Natural Self," with Jones contributing the first solo chorus followed by Cohn's bright brass play. There is also a reflective rendition of another Jaxon number, "Some Sweet Day," a theme that would be echoed in a variety of pre-World War II recordings.

There is a dreamily played treatment of Duke Ellington's recording of "Delta Bound," with a lovely clarinet solo. Another peppy performance is the vivacious rendition of Valaida Snow's "Swing You Sinners." Cohn's cornet and Flory's clarinet evoke Buck Clayton and Lester Young as Muldaur models her performance of "He Ain't Got Rhythm" on Billie Holiday's classic recording. Then Muldaur revives a Boswell Sisters recording, "Got The South In My Soul," followed by a revival of an amusing 'Dorothy Lamour" recording, "I Go For That." 

A revival of Sweet Pea Spivey's late twenties blues, "Road of Stone," solidly closes this recording. The musical meeting between Muldaur and Tuba Skinny has resulted in memorable, straightforward, and easy swinging jazz vocals and backing.

I received my review copy from a publicist. Here is the title track from this CD.

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.

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.

Maria Muldaur's New Release Displays Her Mature Soulfulness

Steady Love (Stony Plain) is the new release by Maria Muldaur and finds the soulful singer backed by a group of New Orleans musicians under the leadership of keyboard master David Torkanowsky. In addition to Torkanowsky, the backing band is Shane Theriot on guitar, Johnny Allen on bass and Kenny Blevins on drums, with Shannon Powell taking the drum chair on four tracks as well as among those adding background vocals with Rick Vito adding slide guitar to a track and Jimmy Carpenter and Ian Smith add horns to the title track. On a cover of Please Send Me Someone To Love, a band including guitarist Mighty Mike Schermer is present.

Muldaur's voice has aged and has a husky quality and body that lends an authority to the vocals. Her voice is certainly different from the younger singer who projected an innocence, yet seductiveness, on Midnight at the Oasis. David Torkanowsky has provided settings to enhance her vocals here. The band plays strongly throughout and the backing vocals at times lend a gospel flavor to some of the performances, some of which like the traditional " Done Made It In My Mind (to serve God until I die), Rev. W. H. Brewster's As An Eagle Stirreth In her Nest, and Stephen Bruton's Walk By Faith, are spiritual in message whereas other songs find her give an uplifting dimension to lyrics such as on the opening I'll Be Glad, as she sings about bad luck and suffering and being tired of living in this world of hurt and she will be so glad when she gets her groove back on.

Then there is her nice rendition of the late Bobby Charles' classic on backbiting so-called "friends," Why Are People Like That? In contrast, she gets sassy for the strutting groove of Soulful Dress, which contrasts with Greg Brown's Blues Go Walking, which has a country soul feel. Rain Down Tears is a strong blues performance with an interesting melodic twist that guitarist Arthur Adams and Will Jennings penned. Get You Next To Me, finds Maria singing about standing on the corner, cell phone in her hand while wanting her man to call her number as she can't wait until she gets her man next to her. Greg Brown also penned the title track with a bit more urban flavor (and a reggae feel to the rhythm).

Rick Zito's I Am Not Alone, is another spiritual affirmation. Zito's marvelous slide guitar and the arrangement lend this song the tenor of an updated Blind Willie Johnson song and puts a close to this exemplary recording that showcases the maturity that has come to Maria Muldaur's performances. Recommended.

I received this from a publicist for the label

Saluting 35 Years of Stony Plain Records - 35 More Please

Arhoolie Records and Alligator Records are not the only important independent labels that are celebrating an important milestone this year. Canadian Stony Plain Records is 35 years young and the label has a double CD celebration 35 Years of Stony Plain to celebrate that fact. In addition to the 41 varied performances, there is also a bonus DVD with some performances, such as Jay McShann and Johnnie Johnson together and special material such as a tour of Stony Plain’s headquarters. The booklet that comes with this release contains an essay from Richard Flohil that provides a concise overview of Stony Plain and the remarkable Holger Petersen who has been the force behind this remarkable label. The booklet also provides a concise overview of the marvelous contexts of the two CDs and the DVD.

I am not as familiar with the Stony Plain catalog, particularly since it’s catalog is not devoted to simply blues. Calling it a roots label is accurate and the first of the two CDs is subtitled “Singers, songwriters and much, much more …” The contents include folk, country and some swing jazz. Maria Muldaur is heard on a Dan Hicks song with backing that includes David Grisman and John Sebastian. Other highlights is the one of the explorations by the late Jeff Healy into early jazz with a wonderful revival of The Wildcat by Eddie Lang and Joe Venuti; country-folk troubadour Steve Earl; Canadian legend Ian Tyson; Tim Hus’ Country Music Lament on the sad state of today’s country music; Asleep at the Wheel’s Western Swing version of a Count Basie hit, That’s Your Red Wagon; the New Guitar Summit of Duke Robilliard, Jay Geils and Garry Beaudoin; Emmylou Harris singing Gram Parsons’ Wheels; Rodney Crowell; and three previously unissued Bob Carpenter demos. Most of this disc was totally new to me and delightful.

The second disc is subtitled “Blues, R&B, swing, jazz, and even more …” and contains more familiar material with some nice highlights from Joe Louis Walker, Jay McShann, Kenny ‘Blues Boy’ Wayne (this is a preview of his upcoming album) and Rosco Gordon from various recordings Duke Robillard has produced for the label. There is a terrific instrumental by Ronnie Earl from his most recent CD, Spread the Word, as well as a Rory Block song from her marvelous Mississippi Fred McDowell album. Its nice to hear selections from Sonny Rhodes and Billy Boy Arnold. This disc closes with a strong, unissued recording by the late Richard ‘King Biscuit Boy’ Newell, a fine harp player and singer; and four unissued sides from 1965 by Robert Nighthawk that likely were his last recordings. Nighthawk’s performance of Tampa Red’s You Missed a Good Man features particularly superb slide guitar.

This is a fine celebration of an important label that I will be returning to listen to. Stony Plain may be slightly cutting back on its release schedule compared to past years because of the changing nature of music and recording distribution. This reflects the hard reality of the fact few mortar and brick record stores still exist and digital downloads are increasingly important. Fans of blues, folk, country and other similar music need to support labels like Stony Plain that produce much terrific music that otherwise would not be so readily available. 35 Years of Stony Plain is well worth obtaining to savor the music, videos and the booklet. Here is to Stony Plain having another 35 years.


My copy was provided by the record company or a publicist for the label.