Johnny Jones Blues Is In The House

 

Johnny Jones
Blues Is In The House
NorthernBlues Music NBM 0007

A Fool Never Learns/ Girlfriend Blues/ I’m Gonna Love You/ Stacked in the Back/ I Could Be Dangerous/ I’ll Be the Judge of That/ Love Recession/ Good Idea At the Time/ Your Stuff Is Rough/ Farm Boy/ Why Can’t We Be Alone/ Really/ A Rock and a Hard Case/ The Blues Is In the House -1.

Jones, v, g; Fred James, g; Jeff Davis, b; Billy Earnheart, kybds; Dennis Taylor, s; Bryan Owings, d; Mary-Ann Brandon, Charles Walker, bckg vcl; Charles Walker, vcl-1. Nashville, TN. January 2000.

Nashville is not known as a blues and soul town, but it was home for several classic R&B labels including Excello. Johnny Jones is among the performers that have long been at the root of this scene. He has had several recent recordings for a variety of labels including a live European recording with deep soul singer Charles Walker. Blues Is In The House is Jones’ new disc on NorthernBlues Music, and includes a number of originals. Most of these are from the pen of Fred James who has been a driving force in the revival of the careers of Jones, Walker and others.

Walker is a solid soul-blues performer with a style akin to the late Fenton Robinson. The songs include some clever lyrics built, sometimes built around some everyday phrases like “A Rock & A Hard Place,” and “A Good Idea At the Time.” The latter number sounds familiar and may have been previously recorded by Jones and/or one of the other performers that James has worked with such as Roscoe Shelton or Earl Gaines. Jones is a pretty fair guitarist guitar and sings with plenty of heart and authority throughout. The studio band provides solid support with horns effectively employed on several tracks and a strong, swinging rhythm section. This is a notable recording of soul-infused blues.

This review was written in 2002 for Cadence Magazine and likely appeared there, and possibly also in the DC Blues Calendar. Note that I did not mention of the fact that Jimi Hendrix played with him nor his being part of the studio ban for the legendary The Beat!!! tv show. I likely received a review copy from Cadence of this item. Here is a you tube clip (sound only)  of him from one of his other recordings. This is out of print and may be hard to find.

Lets Give An Amen To Johnny Jones

The late Johnny Jones was a strong guitarist that was a mainstay of the Nashville Rhythm and Blues scene from the sixties on. The following review was part of a composite review of releases on the German Blue Label/SPV that appeared in the April 2007 Jazz and Blues Report (Issue 292) and I have made minor stylistic changes. I received my review copy from the publication.

Johnny Jones was a central part of the Nashville R&B scene for the past half century. Originally from the Memphis, he became part of Ted Jarrett’s traveling revue and eventually settled in Nashville where he was studio guitarist for many of Jarrett’s productions and also part of the studio band for The !!!!Beat TV show and led his band The King Casuals with bassist Billy Cox (Jimi Hendrix would Jones in this band, and Jones would give Hendrix some pointers). 

Jones' career was revived with the help of Fred James and was highly acclaimed overseas with albums on Black Magic and Northern Blues before the live recording, Can I Get An Amen, from Bern, Switzerland. Its a terrific performance with Jones straight forward vocals and guitar playing which suggests to these ears the late Son Seals. Albert King is an obvious influence with the fine opening, funky interpretation of Don’t Throw Your Love on Me So Strong, followed by William Bell’s Chip Off the Old Block. 

The title track opens with some down-in-the alley guitar before he launches into an intense vocal. Herb Stuffing is a funky instrumental with plenty of searing guitar and commentary from Jones. His friend Charles Walker joins on a fervent take on Don Covay’s Ain’t Nothin’ a Young Girl Can Do.This is a fine set of contemporary urban blues, sung with heart and played with plenty of fire which is easy to recommend

Here is a video of Johnny Jones from a few years ago shortly before he passed away.

Gaines Still Cranks Out The Blues

The following is a review that extracted from a longer review of several reissues of Nashville blues and R&B that Fred James had compiled. Earl is still with us and recently recorded for the soul-blues label, Ecko Records.

Earl Gaines first attracted notice with Louis Brooks & the Hi-Toppers as a vocalist and a drummer (he played on Arthur Gunther’s Baby Let’s Play House). Gaines vocal on Louis Brooks’ recording of Ted Jarrett’s It’s Love Baby (24 Hours a Day), and when Brooks was reluctant to tour, Gaines hit the road, working with the likes of Bill Doggett. While other Excello recordings did not chart, he continued recording for Ted Jarrett’s labels before hooking up with DJ Hoss Allen in the mid-sixties and recorded for a variety of labels including king, Hollywood and Sound Stage 7. Working as a log haul truck driver he only performed occasionally until the late 1980s and made a comeback album for the Atlanta Meltone label in 1989. Eventually he was part of the Excello legends and thrilled audiences at Blues Estaffe in Holland. He recorded for a variety of labels including Appaloosa, Blue Moon, Black Top and Cannonball and in 2005 was reunited with Jarrett for his Blue-Fye label. The new album,Crankshaft Blues, is a collection of out-takes and rarities that certainly will be of considerable interest. perhaps not as gifted a singer as Shelton, he is more than able with his heartfelt passion evident on a nice mix of material. The title track is a really solid slow blues while Roscoe Shelton joins him for Someday Things Are Gonna Change, a bluesy piece of soul, while Baby What’s Wrong With You, is a solid shuffle penned by Gaines on which Dennis Taylor rips off a strong tenor solo. James is first rate on guitar here as on the other discs, supporting the vocals and adding crisp, stinging solos while Gaines grainy vocal has particular appeal on the ballad, I Believe in Your Love whose melody evokes the classic Toussaint McCall recording, Nothing Takes the Place of You. There is a credible, if unexceptional treatment of Further on Up the Road, although the album closes on a strong note with his live rendition of the song that started it all, It’s Love Baby (24 Hours a Day). Earl Gaines may not quite be as strong a vocalist as his contemporary, Roscoe Shelton, but he provides a more downhome flavor as a singer. This is quite an entertaining release and provides a nice introduction for those not familiar with him.