Duke Robillard & Friends Blues Bash!

Duke Robillard & Friends
Blues Bash!
Stony Plain

Duke Robillard had built up such a distinguished body of recordings as an artist and producer over five decades. This latest release is another chapter in his well-regarded career about which he states is "packed with plenty of bright sounding Fender guitar a la Ike Turner, Lefty Bates, etc. Just a good listening or dancing record like the blues records I bought when I was a kid." His intent was "to make a straight vintage-style blues album with rhythmic grooves and no hook-laden songs." "Blues Bash!" Certainly accomplishes his objective.

Playing on this recording is his band of Bruce Bears on keyboards, Mark Texiera on drums, and either Jesse Williams or Marty Ballou on bass. Then there is the horn section of Greg Piccolo on tenor sax, Rich Lataille on alto and tenor sax, and Doug James on baritone sax. Mark Hummel adds harmonica, and Robert Welch adds piano on one track. On a cover of Smiley Lewis' "Ain't Gonna Do It," the band consists of Mark Braun on piano, Marty Ballou on bass, Marty Richards on drums, Al Basile on cornet, and Sax Gordon on sax. Besides Duke, Chris Cote and Michelle Willson are heard on vocals.

Duke is focused playing his Fender guitar on these recordings, whether evoking Ike Turner behind Cote's vocal on the cover of the Kings of Rhythm recording "Do You Mean It," or channeling Lefty Bates on a rendition of Bates' instrumental "Rock Alley." He plays in the manner of Johnny Rogers in the cover of Roy Milton's shuffle "What Can I Do," as well as suggesting early Johnny Guitar Watson on "Give Me All the Love You Got."

The music is impeccably played with some top-flight singing, especially from Cote on "Do You Mean It" and Wilson, as she interprets a lesser-known Helen Humes recording, "You Played on My Piano." Her vocal exhibits plenty of humor the lyrics lend themselves to. Duke himself sings quite well with the Chicago styled blues "No Time," with Mark Hummel adding harmonica on perhaps Duke's finest vocal on the album. The other players are sterling, including Piccolo with a booting tenor sax solo on "Rock Alley" and Doug James rousing baritone on "You Played on My Piano."

The rest of the ten tracks are as entertaining and well-played with a special salute to the jazzy atmospheric instrumental "Just Chillin'" that closes this latest outstanding recording from Duke Robillard.

I received my review copy from a publicist. Here is "Do You Mean It!" from Blues Bash!"

Mark Hummel Way Back Machine

Mark Hummel
Way Back Machine
Electro-Fi Records

This is the latest recording in Mark Hummel's quite distinguished 35-odd year career with over 33 recordings, including several documenting his Blues Harmonica Blowouts. A substantial portion of this new release documents his relationship with The Deep Basement Shakers, who specialize in primal, joint-rockin', barrelhouse blues n' boogie. This East Bay Duo is Aaron Hammerman on piano and guitar and Dave Eagle on percussion, washboard/spoons/train whistles/animal calls/etc. Other playing on this include Kid Andersen on bass, Billy Flynn and Rusty Zinn on guitar, and Alex Pettersen on drums. Joe Beard adds guitar and vocals to three selections.

This recording focuses on the blues that pre-dated the electrified Chicago blues of the post-World War II era, along with a few choice originals. On this recording, Hummel sings with his usual authority, although his harmonica playing on this album is more in the vein of John Lee 'Sonny Boy I' Williamson than Little Walter. The band captures an easy rocking swing while guitarist Flynn (heard on most of this) is typically excellent as he channels Willie Lacey and Big Bill Broonzy.

Standout tracks include the topical original from RW Grigsby "Flim Flam," about the scammers in the world; Baby Boy Warren's "Hello Stranger"; Tampa Red's "So Much Trouble"; "Play With Your Poodle"; and Sonny Boy Williamson 1's "Cut That Out," which some may know from Junior Wells' recording. "Road Dog", with just the Barrelhouse Shakers is an imaginative skiffle style blues et to the medley of "Sloppy Drunk." Percussionist Eagle I found goes a bit over the top here and a couple of places elsewhere (including a rendition of Blind Boy Fuller's "Rag Mama Rag" and the instrumental "Breathtaking Blues," which is rooted in "Saint James Infirmary"). Hammerman, however, is a reliable, straight-forward pianist. Still, with solid blues performances like Robert Nighthawk's "Pepper Mama," and Jazz Gillum's "Gillum's Windy Blues," there is much to delight listeners. The latter number displays Hummel's ability to capture the reedy harmonica style of Gillum, with Flynn's sparkling guitar, a feature of an overall skiffle blues styled performance.

The three selections with Joe Beard's delta-rooted vocals are highlights here. With Kid Anderson on bass and Alex Pettersen on drums, Beard turns a sterling cover of Eddie Boyd's "Five Long Years," with a simple groove and terrific harmonica. Hummel contributed an original, "Say You Will," that Beard turns into a droning blues in the manner of early John Lee Hooker. A lively rendition of "Mean Old Frisco," provides a close to this album of first-rate performances of older blues gems mixed with a few choice originals.

I received my review copy from a publicist. Here is Mark performing as part of a Little Walter tribute band at last year's Calgary Blues Festival.

Mark Hummel Ain’t Easy No More

Mark Hummel
Ain’t Easy No More
Electro-Fi Records

West Coast harmonica wizard Mark Hummel has been increasing his visibility with his annual blues harmonica packages, which have brought together a number of harmonica legends and led to several outstanding CDs documenting the tours. The shows are anchored around Hummel and his fine band of guitarist Charlie Wheal, bassist Steve Wolf and drummer Marty Dodson. Electro-Fi has just issued Hummel’s third album for the label, which will certainly delight his fans and blues harp fans as well.

With a mixture of Hummel’s originals and some choice rearrangements of previously recorded blues, Hummel impresses most as a harp player and his band (augmented by horns on several tracks) is terrific supporting him. Hummel also writes some strong originals, including the topical "Big Easy (Ain’t Easy No More)," based on his reaction to the aftermath of Hurricane Katrina. Hummel is a pleasant vocalist but his delivery does not match the outrage of the lyrics here nor does he have the forcefulness to be completely convincing on Muddy Waters’ "i."

But on other tracks, his delivery works better and there is really little to fault whether listening to his reworking of a Ray Charles jump blues "Get on the Right Track," or a couple of fine Eddie Boyd songs, "You Got to Reap" and "Blues is Here to Stay." Harp features include his originals "Harpoventilating," and "Bird Brain," and Little Sonny’s "The Creeper Returns," all of which showcase his driving, full-bodied playing.

Overall quite a fine album and my quibbles about his vocals on a couple tracks should not be taken too far as his vocals are easy to take. Recommended highly.

I likely received my review copy from a publicist. This review originally appeared in the October 2006 Jazz & Blues Report (Issue 287). Here is a video of Mark Hummel and the Blues Survivors.

Golden State Lone Star Blues Revue

The eponymously titled Electro-Fi album by the Golden State Lone Star Blues Revue brings together singer and harmonica player Mark Hummel with guitarists Little Charlie Baty and Anson Funderburgh, R.W. Grisby on bass and Wes Starr on drums. They are friends although only some have played together prior to this revue. They are joined by Jim Pugh on keyboards, along with saxophonists Eric Spaulding and Jack Sanford for this recording that Chris "Kid" Andersen recorded at his Greaseland Studios.

Its a terrific set of all blues with any lumpy or rocky filler that contains a mix of interpretations of  lesser known blues gems along with originals penned by Hummel. Hummel has been and remains a real good vocalist and here this starts with the opening rendition of Gatemouth Brown's "Midnight Hour." In addition to Hummerl's vocal there is  plenty of slashing guitar by Baty and Funderburgh, both of whom delight with their contrasting styles. Hummel plays harp on Billy Boy Arnold's "Here's My Picture," followed by Hummel's original shuffle "Prove It To Me" with some greasy fafisa sounding organ and terrific guitar (I suspect from Charlie Baty). Hummel's moody "Cool to Be Your Fool," with backing from just piano and rhythm, borrows the "Sittin' on Top of the World" melody.

Lowell Fulson's "Check Yourself" takes listeners  into a jump blues vein with Hummel taking a harp solo followed by some blistering playing (likely from Funderburgh). Baty trades fours with Hummel's harp in the relaxed rendition of Mose Allison's "Stop This World," with Pugh terrific again. An older Jimmy McCracklin tune "Take a Chance," takes us uptown on a rocking number that sounds like it would have if Junior Parker had done it. "Walking With Mr. Lee" is a terrific feature for Hummel's harp, while the Grisby penned "Detroit Blues," is a nice lazy Jimmy Reed-style shuffle. Among the other selections is a solid cover of J.B. Hutto's "Dim Lights" if Hummel can't match the fervor of Hutto, it still has terrific slide guitar.

This is a terrific revue and reports of their shows seems consistent with the music here. The performances are marvelously performed and backed by an excellent rhythm section. Fans of real deal blues are in for a treat with this gem.

I received my copy from a publicist. Here is a recent performance by them.

Mark Hummel Leads Memorable Little Walter Tribute CD

Mark Hummel has put together blues harmonica tributes for quite sometime and a live concert recording that Blind Pig has just issued Remembering Little Walter, has Hummel and fellow harmonica masters Billy Boy Arnold, Charlie Musselwhite, James Harman and Sugar Ray Norcia each handling a couple of vocals as well as share vocals and harmonica on a closing “My Babe. They are backed by an outstanding band of Little Charlie Baty and Nathan James on guitar, RW Grigsby on bass and Junior Core on drums. 

You know this band is good when one notices Core’s marvelous support behind Hummel on the opening I Got To Go, as well as the guitars light support behind Musselwhite on Just a Feeling. Then there is the terrific shuffle groove behind Arnold on You’re So Fine, with Baty and James channeling Robert Lockwood Jr and Luther Tucker as Core drives things in the manner of Fred Below. Performances by Harman and Norcia are similarly well played, paced, and enjoyable.

Musselwhite, along with Arnold, were the only of the participants to have actually known Little Walter, but it is impossible to play blues harmonica today without being touched by Walter’s mastery and the other three all have assimilated Walter’s style while creating their own blues visions which are quite evident on the consistently excellent renditions of Little Walter’s classic blues recordings presented on this exceptional blues recording.

I received this from Blind Pig. Here is Mark Hummel doing a Little Walter tune.

 

Mark Hummel Finds It Ain't Easy No More

West Coast harmonica wizard Mark Hummel has been increasing his visibility with his annual blues harmonica packages which have brought together a number of harmonica legends and led to several outstanding CDs documenting the tours. The shows are anchored around Hummel and his fine band of guitarist Charlie Wheal, bassist Steve Wolf and drummer Marty Dodson.

Electro-Fi has just issued Hummel’s Third album for the label, Ain’t Easy No More, that will certainly delight his fans and blues harp fans. A mixture of Hummel’s originals and some choice rearrangements of previously recorded blues, Hummel impresses most as a harp player and his band (augmented by horns on several tracks) is terrific supporting him. Hummel also writes some strong originals, including the topical Big Easy (Ain’t Easy No More), based on his reaction to the aftermath of Hurricane Katrina.

Hummel is a pleasant vocalist but his delivery does not match the outrage of the lyrics here nor does he have the forcefulness to be completely convincing on Muddy Waters’ She’s Got It. But on other tracks his delivery works better and there is really little to fault whether listening to his reworking of a Ray Charles jump blues Get on the Right Track, or a couple of fine Eddie Boyd songs, You Got to Reap and Blues is Here to Stay. Harp features include his originals Harpoventilating, and Bird Brain, and Little Sonny’s The Creeper Returns, all of which showcase his driving, full-bodied playing.

Overall a strong album and my quibbles about his vocals on a couple tracks should not be taken too far as his vocals are easy to take. Recommended highly.

This review originally appeared in the October 2006 DC Blues Calendar and the October 2006 Jazz & Blues Report (Issue 287). I am not sure whether I received this directly from the company or a publicist for the label. Here is some Mark Hummel for your viewing pleasure. I reviewed last month Mark Hummel's recent Little Walter tribute.

Mark Hummel Salutes Little Walter

Mark Hummel’s Blues and Lonesome: Tribute to Little Walter (Rockinitus Records) is a compilation from recordings he has made over the years in homage to Little Walter. Little Walter Jacobs arguably was the most important and influential harmonica player of all time and his songs have been part of Hummel’s repertoire over the years.

Hummel, in his liner notes, was friends with three individuals who had spent time playing and recording with little Walter: Luther Tucker, Dave Myers and Francis Clay, as well as several musicians such as Willie ‘Big Eyes’ Smith, who played with walter when Walter would play with Muddy Waters Band in the sixties prior to his death in 1968. Tucker, Myers and Smith are present on several of these recordings, while many of the tracks feature members of Hummel’s band, the Blues Survivors.

While fans of Hummel may have most of these selections from his albums, it is convenient to have these all in one CD. His fans, and those of Little Walter’s music, will enjoy his tribute. The performances here are modeled on the originals and are strong, idiomatic renditions of classic Chicago Blues that Hummel sings and plays strongly on.

While the level of the performances is high throughout, several selections standout including the title track on which the late Luther Tucker is present. Tucker played on the original, and is able to stretch out with some startling guitar that he could not on the original 45 rpm single. With just guitarist Rusty Zinn, Hummel does a nice job reworking Walter’s “I Just Keep Loving Her,” and there there is the rocking shuffle “My Kinda Baby” with a terrific band that included the late Dave Myers along with Billy Flynn on guitars, pianist Barrelhouse Chuck, bassist Bob Stroger and drummer Willie ‘Big Eyes’ Smith.

I purchased this from bluebeatmusic.com and you might also check Mark Hummel’s own website, www.markhummel.com. Here is a video of Mark playing a Little Walter number not on the CD.

Hummel's Blues Harp Meltdowns Are Harp Fans Delight!

There are a number of today’s top practitioners of blues harmonica on the second volume of Blues Hap Meltdown: East Meets West Live at Moe’s Alley on Mountain Top. Recorded at the annual blues harp tour that Mark Hummel puts together, this recording features RJ Mischo, Gary Smith, Frank Goldwasser (aka Paris Slim), Mark Hummel, Paul Rishell & Annie Raines, Johnny Dyer and Gary Primich.


The two discs present over two hours of music that is often exceptional. Most of the performances might be described as in the West Coast jump vein, a mix of post war Chicago blues with jump blues rhythms and guitar seasoning that is associated with such artists as Rod Piazza and the late Hollywood Fats. The backing is provided by Hummel’s band, The Blues Survivors with Paris Slim and Paul Rishell each guesting on guitar on several tracks.


There’s plenty of muscular harp from the participants. RJ Mischo starts things off with Telephone Blues before Gary Smith, veteran of the San Francisco Bay blues scene, contributes the moody You Can’t Hurt Me No More and a rocking reworking of Little Walter’s It Ain’t Right, with Frank Goldwasser adding nice guitar. Goldwasser plays harp and sings Junior Parker’s All These Blues followed by Hummel on the Moon Mullican rocker, Seven Nights to Rock and I’m Gone. Paul Rishell laying down strong Elmore James flavored slide on this latter tune. With Annie Raines on harp, Paul revives a nice swamp blues, Nothing But the Devil to close out the first disc. Annie handles a couple vocals with the lyrics of Little Dog being amusing, and has a outstanding instrumental Annie’s Rocker. Johnny Dyer handles classic blues from Muddy Waters, J.B. Lenoir and Little Walter with a bit more down home vocal style before Gary Primich closes this two-disc set with a mix of originals and Smiley Lewis songs.


Overall some consistently very good blues to be heard on this. I understand Cephas and Wiggins were among those who performed at this year’s blues harp meltdown earlier this year which hopefully will be documented by a Volume 3.


In fact Cephas and Wiggins were among those on the third volume in this series by Hummel for which I did a short review as follows:

Cephas & Wiggins also heard on Blues Harp Meltdown Vol.3 Legends (Mountain Top), the third cd documenting Mark Hummel’s annual tour of harp masters. Recorded in January 2004, Hummel brought to the tour guitarist Steve Freund, drummer-harmonica player Willie ‘Big Eyes’ Smith, Carey bell & Lazy Lester for a smorgasbord of blues stylings.

Hummel himself is a formidable harp player and revives a Lloyd Price Crescent City rocker Where Y’at along with Little Walter’s Roller Coaster followed by Freund who sings two numbers followed by Smith ably handling Hoodoo Man Blues. Cephas & Wiggins come off typically fine on five numbers including an instrumental, Fats Domino’s Going to the River and Robert Johnson’s Walkin’ Blues.

The second disc has some strong performances by Bell including It Ain’t Right and I’m Ready while Lazy Lester handles his own Blues Stop Knocking, Slim Harpo’s Raining in My Heart and his Sugar Coated Love. Freund plays on Bell’s selections and Hummel’s band able supports all the performances except those by Cephas & Wiggins. Blues harp fans will find plenty of music to entertain them here.

Both of the above reviews appeared in the DC Blues Calendar, newsletter of the Dc Blues Society that I edited. The review of Blues Harp Meltdown Volume 2 appeared in the April 2004 issue while the review of Blues Harp Meltdown Volume 3 appeared in July-August 2006. The review of Volume 3 appeared in the July-August 2006 Jazz & Blues Report (Issue 284). I believe that this was a purchase.

Mark Hummel's Rocking Blues Parties

Mark Hummel has been playing the blues for decades and with his Blues Survivors, has shared the stages as well as backed numerous blues legends. In more recent years, he has been known for his tours of Blues Harmonica Blowouts, with recent tours being documented on disc on compilations on the Mountain top label. Now we have the good fortune to have new new compilations that go back to the vaults that help celebrate the blues. Electro-Fi, Hummel's current label has just issued Mark Hummel's Blues Harmonica Blowouts, subtitled "'Still Here and Gone' 1993-2007," while Mountain Top has released Mark Hummel's Chicago Blues Party subtitled "Recorded Live! 1980-1992."

For those who are fans of the Blues Harmonica Blowouts, the new double disc collects recordings by a variety of highly regarded players, some who are no longer with us. The focus on harp allows the presence of Magic Dick whose vocal talents nowhere approach his instrumental skills, as well as the brilliant Lee Oskar, who turns in a stunning instrumental rendition of Duke Ellington's In a Sentimental Mood. Hummel turns in his usual solid playing, rooted in the classic playing of Little Walter and Big Walter (a nice rendition of Hard Hearted Woman, along with the set's closing Summertime). There are nice representative performances from Lazy Lester, Sugar Coated Love; Carey Bell, I Got to Go; Billy Boy Arnold, Sugar Gal; Johnny Dyer, and Rick Estrin. Of special note are performances by several not with us: two by Paul deLay, Can't Stand Your Evil Ways; two by Sam Myers with Anson Funderburgh on guitar, especially I Done Quit Getting Sloppy Drunk; and three brilliant performances by William Clarke, including Stretch My Money and the instrumental Chrome Jumpin'. Rusty Zinn are on these selections while Junior Watson graces the James Harman and Paul deLay selections. The harp playing is high and most of the vocals are strong on a set with broad appeal.

Chicago Blues Party is even better with previously unissued performances spotlightling a number of now deceased blues legends: Jimmy Rogers, Eddie Taylor, Mississippi Johnny Waters, and Luther Tucker. The disc opens with five 1992 performances by the great Jimmy rogers backed by Hummel and a band that included Rusty Zinn on guitar from Slim's in San Francisco. Over a decade and a half later it is a delight listening to Rogers redo You're the One and Ludella with Hummel's harp embellishing the vocals so well. Less familiar Rogers songs like Tricky Woman, standout along with a rendition of Jimmy Reed's Big Boss Man. The late Eddie's set lacks reworkings of some of his better known recordings like Bad Boy and Big Town Playboy. Instead he focuses on reworkings of Wolf's Smokestack Lightning, Muddy Waters' Trouble No More, and Charles Brown's Sunny Road. Despite the familiarity of the material, Taylor is in good form. On Taylor's set, Mississippi Johnny Waters is on rhythm guitar and takes the lead vocal as well as plays some strong slide guitar for Dust My Broom. Waters, real name Johnny Sandifer, was a strong traditionally oriented Mississippi bluesman who Hummel played with for several years from 1977 on and there are two performances by Waters with guitarist Sonny Lane from the 1980 San Francisco Blues Festival including solid renditions of Wolf's Shake For Me and J.B. Lenoir's How Much More Long. These performances display strong vocals backed by a tight rocking band playing classic Chicago blues. The fact Waters recorded so little makes these especially valuable. Another 1985 Waters performance, a rendition of Long Distance Call, has Luther Tucker on guitar. Tucker himself is featured on two 1994 performances with Hummel handling the vocal with Tucker's solo on "Blue & Lonesome," based on his solo on Little Walter's original recording, arguably being the highpoint of a terrific disc of Chicago blues. Hummel is to be thanked for making these superb performances by some departed blues masters accessible.

As I write this, the “Chicago Blues Party” set may be hard to find. Bluebeat Music, www.bluebeatmusic.com has both of these.