Kid Ramos/ Bob Corritore Phoenix Blues Sessions

Kid Ramos/ Bob Corritore
Phoenix Blues Sessions
SWMAF Records/ Vizztone

This album is one of three new releases from harmonica player and blues producer Bob Corritore's vaults. These are sessions from the late 1990s to the early 2000s that were initially released as a benefit album for Kid Ramos in 2012 when he had a cancer scare. It has been revised, remastered, and reimagined for a commercial release. Included are previously unissued material, new mixes of material, and alternate takes. Besides Ramos on guitar and Corritore on harmonica, Chico Chism is on drums throughout. Chico sings on one track. Other singers here include Nappy Brown on two songs, Henry Gray on four (he plays piano on five), Chief Schabuttie Gilliame on two, Big Pete Pearson on two, and Dr. Fish on one. Other players include Johnny Rapp on guitar or mandolin, Paul Thomas on bass on all but one song, Mario Moreno on bass on one, and Tom Mahon on piano for six.

There is plenty of straight-forward and noteworthy performances starting with an exceptional shuffle rendition by Nappy Brown of Walter 'Lightnin' Bug' Rhodes' "Aw Shucks Baby," with the Kid laying down an easy rhythm accompaniment as Henry Gray rocks the ivories. In contrast to Nappy's blues shouting, he takes a more relaxed folky vocal on Smokey Hogg's "Baby Don't You Touch My Clothes." Kid Ramos is more prominent with some slashing guitar backing Henry Gray's vocal on "Come On In." I am not familiar with Dr. Fish, but he is outstanding singing Eddie Boyd's "24 Hours." Corritore is terrific on chromatic harmonica while Kid Ramos plays some jazzy single note fills. Henry Gray returns for a first-rate rendition of Elmore James' "I Held My Baby Last Night." Gray is upfront with Kid Ramos' guitar in the background as he channels some of Elmore's accompaniments to Willie Love and Sonny Boy Williamson. Gray also enthusiastically revives Hot Lips Page's "They Raided The Joint," and the easy rocking shuffle "Talkin' Bout You."

Big Pete Pearson's cover of Albert King's "Natural Ball" is taken at a more relaxed pace than King's original, with Kid Ramos adding drive to the groove with his playing. Kid Ramos' stunning Muddy Waters styled slide guitar is present on Pearson's reworking of Little Milton's recording "Possum in My Tree." Pearson takes this strong soul-blues and makes it an intense Chicago blues for one of this album's highlights. Chico Chism handles the vocal on an imaginative rendition of "Mother-in-Law Blues," as Kid Ramos channeled Willie Johnson and Calvin Newborn. It is a sterling performance taken at a much slower tempo than the song is usually performed at. Chief Schabuttie sings "No More Doggin'" with a hoarse, graveling vocal set against a chugging groove. Kid Ramos adds some stunning playing to Schabuttie's "Snake Crawls at Night" that closes this disc.

Blues lovers will enjoy this collection of very entertaining traditional ensemble blues, and for those, like me, who missed the original release will welcome this edition.

I received my review copy from Vizztone. Here is a performance by Bob Corritore and Kid Ramos but not from this album.

John Lee Hooker & Nappy Brown

John Lee Hooker & Nappy Brown

Atlantic has two new releases in its Savoy Blues Legends series. Both spotlight a great of the post-World War II blues scene. John Lee Hooker, Detroit Blues 1948-1949 finally makes available on compact disc, Hooker’s Savoy recordings. Recorded by Elmer Barbee a few days after the landmark Boogie Chillen session, the first twelve selections here were his second recording session in November 1948, discounting some demos. The other eight selections come from February 1949 sessions and include four acoustic recordings by Hooker (he would not record acoustically until his  Folk sessions a decade later), and four with a small, sometimes chaotic, combo. The solo Hooker sides range from moody, introspective songs to hot boogies where he plays his guitar mixing in intricate picked runs with heavy percussive chordal playing.  Those who are unfamiliar with John Lee Hooker’s early recordings should give a listen to these sides. It may be a bit demanding at times of the listener, but the rewards are great. Hooker authority, Dave Sax, contributes liner notes that help understand the originality of Hooker s music. Whether one needs this for their blues collection depends on part how much John Lee Hooker of the late forties and early fifties one already has. There is some first-rate John lee Hooker to be heard here.

Nappy Brown’s  Night Time is the Right Time, collects the 36 recordings Brown waxed for Savoy on two discs. Colin Escott captures the mood of Nappy Brown’s music, Instant Soul. There is no other way to describe Nappy Brown. Brown is still a great, commanding singer. These fifties recordings do suggest his gospel roots, but also showcase him as a powerful blues shouter. His false stutter on several numbers like Don’t Be Angry, Piddley Piddley Patter or Well, Well, Well Baby La, easily could have become a short-lived novelty with a lesser singer. Brown’s use of this device avoids it becoming cliched. Brown also benefits from terrific New York studio bands which included such giants as Mickey Baker, Sam “The Man” Taylor, Budd Johnson, Al Sears, Panama Francis, Sammy Price, and Ray Barretto. He further benefitted from some great songs from the hand of R&B songwriting legend Rose Marie McCoy. He was a pretty fair songwriter himself.  Some of the songs like Well Well Well Baby La (done by Snooks Eaglin and Johnny Copeland) and The Right Time  (covered by Ray Charles), have since become blues standards. There are a few songs that may be musically and/or lyrically second-rate, but overall, the recordings showcase Brown’s forceful musical persona and the performances have aged well.

I likely received these recordings from the record company or a publicist. This review likely appeared in the DC Blues Calendar in late 2000. These may be out of print, so you may need to check used CD sources or online auctions. Here is Nappy doing Don't Be Angry.

The King Bees Keep On Stingin' and Swingin'!

The Carolina Band, The King Bees, is celebrating 25 years of stingin' and swingin' as the cover to their latest recording Carolina Bound (Original High John Records) proclaims. The group is anchored around the bass, vocals and songs of Queen Bee Penny Zamagni and guitarist Hound Dog Baskerville Hound Dog Baskerville. The band has worked with and learned with so many great blues artists, some of whom (Jerry McCain, Nappy Brown, Carey Bell and Chick Willis) are featured on some of the performances here.

The King Bees play straight blues without any hard rock trappings. Their originals are idiomatic and display the same solid style that make them such a fine back-up band for the various blues legends they have supported over the years such as the late Nappy Brown on his solid rendition of Howlin' Wolf's Natchez Burning, and Carey Bell's What Mama Told Me, which was a staple of his repertoire. Chick Willis does a solid "Yonder's Wall," a regular feature of his performances.

The title track has the line about going to the Carolina's, but also a travelogue of the states as Penny sings about loving that Carolina sound, and Tarheel Slim, Pink Anderson, Nappy Brown, Maurice Williams and Drink Small is still around as she encourages guest Roy Roberts to strut his stuff as the pianist pounds the ivories. There is some nice slide guitar on this track as well. Roberts also adds guitar to the nice blues-ballad You Were There, while McCain adds tough harmonica on the shuffle Run Your Reputation Down. One of the group's originals Its Tight, makes use of a melody that evokes Rocket 88.

There is nothing revolutionary about The King Bees latest recording. Carolina Bound just has some solid straight-ahead blues played with feeling. It is available on amazon, cdbaby and itunes.


I received my review copy from The King Bees.

Steady Rollin' Bob Margolin Gets "Down In The Alley"

Bob Margolin came to the notice of folk during his lengthy tenure in Muddy Waters Band, with which he played a significant role in helping maintain the classic Muddy Waters sound. After his time with Muddy he has been one of those trying to keep alive the classic “old school’ Chicago blues sound alive and vibrant. “Down in The Alley” was the first of three albums he would record for Alligator Records and the following review appeared in the January/February 1994 Jazz & Blues Report (Issue 188). I likely received my review copy from Alligator Records at the time. Bob Margolin certainly has become one of the foremost interpreters of older blues styles since his time in Muddy Waters’ band. Since leaving Muddy’s band and setting out on his own, he has devoted himself to playing blues in the manner of Muddy and of others of what Bob terms the old school. He has become a fine interpreter of the classic Chicago Blues tradition. His new album shows his continual maturation as a blues performer, and although he will never win an award as a blues vocalist, his singing is more forceful with a phrasing that almost overcomes his natural limitations. Of special interest are guest appearances by John Brim (who reprises his Tough Times in a duet with Margolin, and Nappy Brown, who shows a different side as he sings the Clovers’ Down in the Alley and Big Maceo’s classic, Worried Life Blues, backed only by Margolin’s guitar. Margolin covers considerable musical territory raging from a rocking Boogie at Midnight, Elmore James’ Twelve Year Old Boy, and his own Big Tree Blues, with some very nice slide. Dave Maxwell on keyboards, Ronnie Earl on guitar, and Kaz Kazanoff on saxophone (who co-produced this with Bob) help out on what is Margolin’s best recording. His strong idiomatic playing continues to impress and he is ably supported throughout. While he may not have the voice of Muddy Waters or Nappy Brown, his phrasing shows their influence and helps, with the strong band playing, make for a very entertaining set of blues.

Outstanding New Blues Recordings of 2007

The first of three posts to include CDs that I consider outstanding releases of 2007. This focuses on the blues and soul releases. I have links to reviews posted on this blog.

Carey Bell & Lurrie Bell - Gettin’ Up Live (Delmark) Last recordings of harp icon with son who played DC many times. Also available on DVD.
Lurrie Bell - Let’s Talk About Love (Aria B.G. Records) Excellent disc by Carey's son
Nappy Brown - Long Time Coming (Blind Pig) Excellent disc by veteran singer with DC area's Big Joe Maher on drums
Franklin & Baytop - Searchin’ For Frank - (Patuxent) DC area artists doing terrific acoustic blues
Billy Gibson - Southern Livin’ (Inside Memphis)
ZZ Jill Jr - Goin' To Mississippi (Delta Roots) Great soul blues recording by Chicago based singer
The Holmes Brothers - State of Grace (Alligator) Marvelous album that defis categorization
Marie Knight - Let Us Get Together: A Tribute to Reverend Gary Davis (MC) (Inspired tribute to the legendary fingerpinker)
Frankie Lee - Standing at the Crossroads (Blues Express) One of my favorites singers.
Lady Bianca - Through A Woman's Eyes (Magic-O) Amazing good singer and pianist. Marcia Ball has nothing on her.
Little Milton - The Last Concert - (Juke Joint Media). The last performance a few weeks before he suffered stroke and passed. I have DVD but I believe there is CD of this. I was there.
New Orleans Rhythm Conspiracy -Dancin' Ground (self-produced). Post-Katrina band formed by members of Walter Woilfman Washington's RoadMasters, bassist Jack Cruz and drummer Wilbert 'Junkyard Dog' Arnold along with guitarist George Sartin with Uganda Roberts, Jimmy Carpenter and the Wolfman present on a set of blues, soul-funk and Mardi Gras Indian chants. Marilyn Barbarin and Tyrone Pollard handle the vocals with Brother Tyrone covering Blue Moon Risin', one of my favorite Wolfman Washington recordings (Wolfman and Cruz wrote it) updated for post-Katrina comments.
Nick Moss & the Flip Tops - Play It ‘Til Tomorrow (Blue Bella) Great double album of Chicago blues, one electric in style of Magic Slim and the Teardrops and the other acoustic
John Németh - Magic Touch (Blind Pig)
Darrell Nulisch - Goin’ Back to Dallas (Severn)
Papa Grows Funk - Mr. Patterson's Hat (self-produced) Latest recording by New Orleans and his jamming funk band that includes guitarist June Yamagishi, and drummer Jeffrey 'Jellybean' Alexander
Big Pete Pearson - I’m Here Baby (Blue Witch)
Tad Robinson - A New Point of View (Severn)
Ryan Shaw - This is Ryan Shaw (Columbia) Amazing twenties singer brings Wilson Pickett and others to life
Roscoe Shelton - Save Me (SRV Blue Late veteran Nashville R&B blues shouter
Various - House Rockin’ and Blues Shoutin’!, (Blue Witch)

Nappy Brown returns

Its been a decade since Napoleon Brown Goodson Culp, better known as Nappy Brown, last had a new recording out. Thanks to producer Scott Cable, Brown has a terrific new recording available on Blind Pig, Long Time Coming. Helping on this new recording is a terrific band that includes guitarists Bob Margolin, Junior Watson and Sean Costello, keyboardist Jim Pugh, bassist Mookie Brill, saxophonist and harpist John Nemeth, and drummer Big Joe Maher. There is a mix of new versions of some of the songs most associated with Nappy Brown (Don’t Be Angry and The Right Time (which Ray Charles made famous as Night Time is the Right Time) along with a nice selection of material that range from hot jump blues like the opening Keep On Pleasin’ You to the more downhome feel of Walter 'Lightning Bug' Rhodes Aw Shucks Baby, You Were a Long Time Coming and the Little Walter classic Who. Aw Shucks Baby is the one track not from this session as it was from a performance at the Phoenix, Arizona club, The Rhythm Room. Brown's voice sounds like he has lost little over the years, comparing his renditions of Aw Shucks Baby and The Right Time with renditions on a 1991 Ichiban album by him. The new versions benefit from a much crisper band that adds more punch to the proceedings. I know Margolin has performed with Nappy over the years, but special mention must be made of Big Joe Maher’s drumming. Maher anchored the band that backed Nappy Brown in 1991 DC Blues Festival, and besides his own swing based jump blues, has been a sought after drummer for touring acts as diverse as Earl King, Johnny Adams, James ‘Thunderbird’ Davis, and Jimmy ‘T-99’ Nelson. Maher’s playing playing is consistently in the pocket. The foundation of Maher's drums and the electric bass of Mookie Brill is one reason the music here sounds so crisp and vigorous. There is plenty of terrific guitar throughout and Nappy is in real good voice, whether employing a stuttering shouting vocal on Don’t Be Angry, handling a ballad, Give Me Your Love, or singing with faith on the closing, Take Care of Me. One would be hard pressed to find any recording by Nappy as good as this one since his classic Savoy recordings. Highly recommended. For those in the Washington DC area, Nappy Brown appears at the State Theatre in Falls Church, November 2.