The New Orleans Catahoulas Homegrown

The New Orleans Catahoulas
Homegrown
Self-produced

According to their website, "The New Orleans Catahoulas (cat-a-hoo-las) feature All-Star New Orleanians performing the music of legendary Rhythm and Blues artists of the 1950-60s such as Smiley Lewis, Fats Domino, Lee Dorsey, Ernie K-Doe, Chris Kenner, and many others. The Catahoulas aim to bring back the nearly forgotten music of that era and expose these sounds and rhythms to both new and seasoned ears, which will encourage further exploration of New Orleans' deep musical history." The group' consists of Joshua Gouzy - bandleader, bass, vocals; Gerald French - drums, lead vocals; Steven Troy- piano and vocals; Kevin Louis - trumpet, vocals; Earl Bonie - tenor sax; Oliver Bonie - baritone & alto sax; Oliver Bonie -baritone & alto sax; and Bert Cotton - guitar.

"Homegrown" may not be a profound musical statement. Still, it certainly is a fun recording that covers a variety of songs from the 1950s and 1960s opening with Earl King's "Come On," which is better known as "Let the Good Times Roll." This recording includes some classics and lesser-known tunes associated with Snooks Eaglin, Papa Alfred French (Gerald's grandfather), Little Walter, Dave Bartholomew, Alvin' Shine' Robinson, Paul Barbarin, and Danny Barker.

Gerald French capably handles most of the vocals with his strongest performances perhaps being on "Shrimp and Gumbo" (Dave Bartholomew's reworking of "Mambo 5") and Alvin Robinson's "Down Home Girl." "Shrimp and Gumbo" features some spectacular playing by Kevin Lewis and a choice Latin-tinged piano solo. Louis takes a very capable vocal on the opening "Let the Good Times Roll," which also has Cotton evoking Earl King's guitar. There is also some superb playing from the horns on Papa Albert French's "Bald Headed Beulah."

The weakest performance is on "Bourbon Street Parade," with a fair vocal that does not sound like French and otherwise uncredited. Pianist Troy ably handles the vocal on "Walking to New Orleans," with an outstanding tenor sax solo from Earl Bonnie. Danny Barker's Mardi Gras Indian song "Tootie Ma" closes this album with an exuberant second-line groove. French also introduces the band members on this selection. This tune caps a welcome, wonderfully played and sung recording of classic New Orleans R&B songs. "Homegrown" is available as a download from Bandcamp at https://catahoulasnola.bandcamp.com/album/homegrown. One can also check out the band's website https://www.catahoulasnola.com.

I purchased this as a download from Bandcamp. Here is a short set of The New Orleans Catahoulas performing at WWOZ.

 

Louise Cappi Mélange

Louise Cappi
Mélange
Self-produced

New Orleans is home to many singers and performers who cross genres such as John Boutté, Davell Crawford, and the late James Booker. Daughter of a New York Jazz guitarist, singer-songwriter Louise Cappi is another Crescent City artist who mixes Afro-Cuban, soul, rock, funk, bossa nova, and blues in her performances as evidenced by this album. She is supported by a variety of musicians including pianist Jenna McSwain (who also arranged the four Cappi originals here), Paul Longstreth, who adds keyboards, and trombonist Russell Ramirez.

Cappi is not a dreamy chanteuse. She establishes her vocal personality with clean enunciation, horn-like phrasing, and tunefulness. This is evident on her original, “Talk To Me," that opens this recording with pianist McSwain soloing. There is a country-soul flavor to Randy Newman's "Guilty" with Alex Krahe adding some twangy guitar. One of the high points of this album is her paean to New Orleans, "Bella Nola” with Ramirez's growling trombone embellishing her lyrics. Another stunning original "It Is What It Is" that starts as a lament with a jubilant Afro-Cuban section before returning to a  close. Also of note is her rendition of “Summertime," during which she scats and interpolates Van Morrison's "Moondance."

Accompanied solely by pianist McSwain, she closes this album with a marvelous rendition of Leon Russell's "A Song For You." There are a couple of spots when I might have preferred if she had tempered her vocal, but that is a matter of personal taste. "Mélange" is a terrific recording showcasing Louise Cappi's dynamic vocals and musical personality.

I received my review copy from a publicist. Here is a video of her in performance.

Soul Brass Band Levels

Soul Brass Band
Levels
Self-Produced

According to a story in Offbeat Magazine, the origins of the Soul Brass Band go back to when CeeLo Green was shooting a video in New Orleans for his song "Music To My Soul." Drummer Derrick Freeman of Kermit Ruffins' Barbecue Swingers was asked to be a consultant and then asked to form a Brass Band. Given the word soul was central to the video's theme, Freeman used the name Soul Brass Band for the project and the producers provided traditional Brass Band uniforms for those in the shoot that Freeman kept.

After shooting a video with New Orleans Pelicans star Anthony Davis, Freeman was receiving requests for the Soul Brass Band. He formed an All Star ensemble snare drummer "Freeman, bass drummer Aron Lambert, trumpeter Leon “Kid Chocolate” Brown, trombonists Michael Watson and Terrance Taplin, saxophonist James Martin, guitarist Danny Abel and tuba player Steve Glenn." After checking with the Soul Rebels, they started performing with the first performance was opening for Red Baraat at Tipitina's and subsequently toured and played Festivals in Europe and more.

The music ranges from traditional Brass Band numbers to funky soul and pop covers over a wide variety of material. The recording opens with what sounds like static radio music before it segues into Soul Brass at full force on the driving swing of "Open Your Eyes," with its hints of Latin along Ivan Neville's vocal. Michael Watson takes a terrific trombone solo followed by Khris Royal's searing alto sax, the horn arrangement supporting the vocal is wonderful and the groove is irresistible. The title track has a groove that hints at "Funky Nassau," as Freeman shouts out the vocal of life being about levels as the horns help punctuate the vocal. Ricio Fruge takes a scorching trumpet solo before Martin's earthy tenor sax, with the percussion percolating while Doyle Cooper's sousaphone providing the anchor. There is more of a Caribbean groove on "How Far We Come," with Sean C adding his soulful vocal to Freeman's gravelly one. Corey Henry adds his muscular trombone to the funk. Sean C. also is present on "Circles" which also features Freeman's funk band Smoker's World, a the mix of rap and soulful singing.

There is plenty of soul on the spirited revival of "Ease On Down The Road" from The Wiz with an outstanding vocal by Erica Falls, and noteworthy solos from Mark Levron on trumpet and Danny Abel on guitar. The closing number goes back to a more traditional jazz vein with a rendition of Leroy Jones' "Rendezvous," with Kevin Louis high note trumpet featured before Terence Taplin's rambunctious trombone solo. While there is only a little over a half hour of music, the Soul Brass Band has plenty of spirit along and funk to go with its Brass Band foundation to produce a recording that should have folks at least tapping their fingers. If you can sit still through this album, you need to have your pulse checked.

I received a review download from a publicist. Here is a video of Soul Brass Band during a recent instore performance at New Orleans' Louisiana Music Factory.

 

Rockie Charles
Born For You
Orleans Records

A most pleasant surprise is this reissue of the late New Orleans based soul singer's 1996 release. Nicknamed "The President of Soul" after a 1970s recording released on his own label, he returned to recording when Carlos Ditta contacted him after seeing an ad Charles had placed, resulting in this recording. Outside of Smokey Greenwell's harmonica and Jerry Embree's tenor sax, none of the players on this session backing Charles' guitar and vocals is a name I remember. They do a fine job in backing Charles on his eleven originals here.

This was a marvelous soul session with a bit of country flavor in the vein of some of Joe Tex's recordings although Charles' voice is suggestive of Al Green. The album opens in a solid vein with his emotive yearning vocal on the lament "Born For You," with the smoldering heat in his vocal while Embree's tenor sax adds a mournful riff over the understated backing. "Old Black Joe," is a marvelous half-talking piece of story telling in the Joe Tex manner. Greenwell's harmonica adds to the atmosphere of another lament "Oh My Darling, Look What You're Doing to Me," as he sings about wanting to move but his body does not seem able. Another song with a Joe Tex feel is "Something Is Wrong With Our Love," with his plead to find a way out of this with solid idiomatic horn playing. Festis Believe in Justice." There is more of Memphis feel with the chugging rhythms of "I Need Your Love so Bad, I'm About to Loose My Mind," while there is also a fine holiday song, "I Just Called to Wish You a Merry Christmas" (and a Happy New Year."

With steel guitar added to the backing, Charles' lyrical skills are herd on the catchy ""Born For You," was a most welcome return for Rockie Charles which led to a variety of Jazz Fest, Ponderosa Stomp and other performances over the next decade. I had the pleasure of seeing him perform a couple times prior to his passing away in 2010. The soulful performances on this most welcome re-release, are gems of down-home, understated, southern soul.

I received my review copy from a publicist. This review originally appeared in the January-February Jazz & Blues Report (Issue 376) although I have corrected the year of Rockie Charles' death year as 2010 (the review had 2007). Here is Rockie Charles from an in-store appearance at the Louisiana Music Factory in 2007.

King James & The Special Men Act Like You Know

King James & The Special Men
Act Like You Know
Special Man Industries

Having moved from Seattle to New Orleans in 1993, James Horn went from busking on the streets, playing in dozens of different bands and genres before forming King james & The Special Men who play their own raucous, second-line rooted music, rooted in the classic New Orleans R&B and rock of the fifties and sixties. The sound was honed playing residencies at various New Orleans music halls and drinking establishments, the most recent being the Saturn Bar in the Bywater. Horn's vocals and guitar is supported by: Ben Polcer on piano, bassist Robert Snow, guitarist John "Porkchop" Rodli, Chris "Showtime" Davis on drums, Scott Frock on trumpet and the sax section - Jason Mingledorff and Travis Blotzky on tenor with baritone man Dominick Grillo.

And he six tunes on this are originals that evoke the sound of some Crescent City classics such as the rollicking rump and roll, Professor Longhair styled groove of the opening "Special Man Baby," while the playing on the slow blues "Baby Girl," conjures up Guitar Slim's "The Things I Used To Do." "Eat That Chicken" was inspired by Jessie Hill, with the horns riffing a simplified "Fannie Mae" horn riff against a Fats Domino styled backing. "Tell Me (What You Want Me to Do)," is another classic blues performance with more than a slight hint of the early, bluesy Ray Charles (think of "A Fool For You").

"The End is Near" is a medium tempoed blues with some emphatic playing from the horns and rhythm with a Huey 'Piano' Smith flavor (Polcer is especially fine here) that leads into the disc's closing, and longest performance, "9th Ward Blues," a funky jam that recalls some of the Dr. John & the Night Tripper jams. It is a rowdy close to a joyous celebration and original take on classic postwar New Orleans rhythm and blues and rock and roll.

I received a review copy from a publicist. Here they cover a Lee Dorsey recording.

The Gators Featuring Willie Tee Wasted

The Gators Featuring Willie Tee

Wasted

Funky Delicacies

This is one of several reissues of classic New Orleans music put together by Aaron Fuchs and Tuff City Records and associated labels. It is available on vinyl (although with only 10 of 15 tracks). Led by Willie Tee (noted for the hit Teasin’ You) and including drummer Larry Penia, Irvin Charles on bass and June Ray on guitar, there are comparisons to be made with the better known Meters, particularly given that both groups put out riff based funk grooves, although The Gators were perhaps more vocally oriented when these sides were made around 1970. 

A portion of this is comprised of funk grooves, often built around a bass figure from Irvin Charles, like on the opening Booger Man or Gator Bait. Tee’s vocals are featured both on dance numbers like Funky Funky Twist or other songs that seem somewhat influenced by the Commodores and similar acts (one song on the compact disc version is I’m Gonna Make You Love Me). A dance number Get Up, with a girl chorus taking the vocal lead features, has some nice saxophone, possibly by Willie Tee’s brother, Earl Turbington. 

Among the additional tracks on the compact disc is a fine soul-blues, One Thrill Fool,with noteworthy guitar from Ray. A significant omission in this interesting collection is the lack of liner notes. Still, fans of New Orleans music and seventies funk may likely wish to check this out. Coming out on the sister Night Train International label is New Orleans Twist Party, a compilation from Rip Records that will have rare cuts by Eddie Bo, Professor Longhair, Bobby Mitchell and others.

I likely purchased this and this review originally appeared in September 1995  Jazz & Blues Report (Issue 204). Here is The Gaturs performing Wasted.

New Orleans Social Club Sings Its Way Home

In April 2006 I wrote reviews on several post-Katrina benefit albums. This is the third and last review of those I am posting. Here is the first which originally appeared in the April 2006 (issue 281) of Jazz & Blues Report as well as the April 2006 DC Blues Calendar, then the DC Blues Society’s newsletter. I likely received a review copy, not sure if from the record company, a publicist or Jazz & Blues Report. There is also a live recording of them from the New Orleans Jazz & Heritage Festival that is available from jazzfestlive.com. Sadly some acts including Willie Tee have passed on.

The New Orleans Social Club’s Sing Me Back Home (Burgundy Records) is a collection of performances Cut last October in Austin. Dr. John and Irma Thomas (here with Marcia Ball) are the only performers on the Nonesuch disc, Our New Orleans, that are here.

Cyril Neville opens with the Impressions’ protest ballad, This is My Country, followed by Ivan Neville (Aaron’s son) funk reworking of Fortunate Son, with the lyrics about the “millionaire’s son” and “I ain’t no fortunate one,” reverberating with a once again timely message. Somewhere from “West Side Story,” takes a new meaning in light of Katrina as Henry Butler sings “There’s a place for us.” Irma Thomas & Marcia Ball sing about keeping a smile and a sense of things being better on Look Up, while Dr. John, with band, revisits Bobby Charles’ Walking to New Orleans (originally Fats Domino’s hit), although this time with a funk groove and not as gloomy as the take he did that closed one of the televised Katrina benefits.

Troy ‘Trombone Shorty’ Andrews, a threat on both trumpet and trombone, gets the spotlight on Hey Troy' Your Mama's Callin' You, a lively Caribbean-flavored instrumental. The Mighty Clouds of Joy contribute a gospel number while the Subdudes take on Earl King’s Make a Better World. New Orleans legend, Willie Tee contributes First Taste of Hurt, while the Sixth Ward All-Star Brass Band Revue featuring Charles Neville do Where Y’at, a medley of songs associated with Brass bands including Jesus is on the Mainline, I’m Walkin’, and (When) The Saints Go Marching In).

Big Chief Monk Boudreaux’s Chase is set to a reggae grove with its lyric questioning why one wants to send him away from home. Singer John Boutté closes with the moving ballad by Annie Lennox, Why, which is an amazing performance to close another album of terrific music.

"Our New Orleans" Was Rhythm And Blues After Katrina

In April 2006 I wrote reviews on several post-Katrina benefit albums. I will be posting these in the next few days (not necessarily consecutively). Here is the first which originally appeared in the April 2006 (issue 281) of Jazz & Blues Report as well as the April 2006 DC Blues Calendar, then the DC Blues Society’s newsletter. Some of the artists on this have passed on and it is still in print. I likely received a review copy, not sure if from the record company, a publicist or Jazz & Blues Report.

Our New Orleans on Nonesuch is a collection of new studio recordings by New Orleans and other Louisiana musicians recorded in various cities last September and October. The emphasis is less towards jazz and more towards blues and rhythm & blues.

Allen Toussaint opens with his Yes We Can Can, a song he originally wrote for Lee Dorsey and the spirit of helping each other make it is especially apt. Dr. John’s morose World I Never Made is followed by Irma Thomas, backed by Toussaint, singing an unfortunately topical Back Water Blues, singing “My house fell down and I can’t live there no more.” Davell Crawford adds a touch of gospel with his marvelous Gather By the River, one of several fine solo piano performances including Eddie Bo’s slow drag interpretation of When the Saints Go Marching On, Carol Fran’s Tou' Les Jours Ç'est Pas La Même with New Orleans rhythm accents as she sings bilingually about her man, “where were you when I passed by?”, and Allen Toussaint’s instrumental Tipitina and Me.

Traditional jazz is represented by clarinetist, Dr. Michael White, on a lively salute to King Oliver on Canal Street Blues and Preservation Hall on Do You Know What It Means to Miss New Orleans; cajun and zydeco are represented by Buckwheat Zydeco’s Cryin’ in the Streets (with a sullen feel and one of the best vocals I have heard from Mr. Dural with Ry Cooder on guitar) and Beausoleil’s bittersweet instrumental L’Ouragon; and street sounds of New Orleans are sampled by the Wild Magnolia’s Brother John is Gone/ Herc-Jolly-John, and the Dirty Dozen Brass Band’s My Feet Can’t Fail Me Now.

Charlie Miller plays sings and provides the only accompaniment on his trumpet on Prayer to New Orleans, while Donald Harrison’s alto is featured on The Wardell Quezerque Orchestra’s rendition of What a Wonderful World. The disc concludes with Randy Newman reviving his unfortunately appropriate Louisiana 1927 (about the flooding of cajun country in 1917) backed by the Louisiana Philharmonic Orchestra with members of the New York Philharmonic singing about “they are trying to wash us away,” a lyric that rings unfortunately true.

That Good Earl King Rhythm and Blues

Back three decades ago, Samuel Charters produced a series of blues lps for the Swedish Sonet label, The Legacy of the Blues, along with some other blues recordings. Charters is known as both a blues author (The Country Blues, The Poetry of the Blues, Bluesmen) as well as a producer of blues recordings, including the classic Chicago, The Blues Today! and albums by Junior Wells and Buddy Guy to name a few of the artists he recorded. Universal Music, through its Verve imprint has just issued seven of the seven Sonet lps for reissue in a series, The Sonet Blues Story. Six of these are from The Legacy of the Blues series. This is the seventh in a series of posts of my reviews from this series that originally appeared in the June 2006 Jazz & Blues Report (Issue 283).


It should be noted that on these Sonet reissues, the playing time is somewhat short. Even those with extra tracks (such as the one reviewed below) do not exceed 45 minutes. Still there is some good to exceptional music to be heard on these. This CD may be out-of-print but is available from various sellers and is available as mp3 files. I received my review copy from the publication.

The one release of the seven that was not part of The Legacy of the Blues series is the one by Earl King, that reissues the Sonet lp That Good Old/New New Orleans Rock and Roll. Charters got a tight band that included Dave Lastie and Clarence Ford on saxes, Maurice Richard on piano and the French Brothers, Bob and George on bass and drums respectively for King to reprise sole of his classics like Trick Bag, Mama and Papa and Come On Let the Good Times Roll, along with Let’s Make a Better World, that Dr. John had recorded, and Do Re Mi, which Lee Dorsey had recorded.


King always had a way of putting songs together with neat lyrical hooks but neither his soulful vocals or guitar playing were ever in the listener’s face, and the performances could show a certain quirkiness. Listening to less familiar songs like Baby Sittin’ or The Panic's On, one’s almost tempted to term the music quirky, but really there is a craftsmanship at work here in how the songs are put together and the restrained performances that is very engaging. Certainly this reissue is most welcome.

Remembering Honeyboy, Wardell and Big Eyes

September has seen some blues and rhythm masters leave us with memories and plenty of reason to celebrate their legacy.

Honeyboy Edwards at Western Maryland Blues Festival in Hagerstown, MD.  Photo © Ron Weinstock

David' Honeyboy' Edwards passing was the last link to the pre-war generation of Delta bluesmen. Edwards literally grew up and played with all of the masters of the style including Charlie Patton, Tommy Johnson, Big Joe Williams, Tommy McLennan and most famously Robert Johnson. It was his association that led Pete Welding to Edwards after Welding had asked Big Joe of any bluesmen who knew the legendary Delta artist. Welding recorded Edwards as well as interviewed him which led to an extensive article back in the sixties.


Big Joe Williams took first Edwards out on the road as a youngster and arguably Williams highly rhythmic style is the most obvious influence on Edwards. Edwards became at times a very capable blues performer in the Delta style. Certainly the recordings Edwards made for Alan Lomax were fine examples of the Delta style. In the post-war era he had a few commercial recording sessions leading to one issued 78 and sessions for Chess and Sun that went unissued at the time, although issued later. Even most of Pete Welding's recordings of Honeyboy were unissued until the CD era, although Honeyboy was among the artists brought to play with Fleetwood Mac in the late sixties. 


Honeyboy may not have had the powerful guitar style or passionate, charismatic singing style that might have appealed to commercial record labels, but his warm personality and his personnel connections to the giants of the pre-war blues made him a popular performer for the past few decades was was capable of reaching across cultural and generational lines so well.

Wardell Quezergue and Jean Knight at the Ponderosa Stomp.  Photo © Ron Weinstock

Wardell Quezergue earned the moniker "The Creole Beethoven" as a reflection of his ability to arrange for large groups. This New Orleans native was famed as a composer, producer and arranger. He put together the charts for "Big Chief," the legendary Professor Longhair-Earl King Mardi Gras classic. As a producer he have us chart-topping soul classics like King Floyd's "Groove Me," and Jean Knight's "Mr. Big Stuff." These two recordings were actually produced on the same day.


In more recent years his arranging touch was utilized for big band albums by Charles Brown and Gatemouth Brown; several acclaimed Dr. John albums (including the Grammy® Award Winning "Goin' Back to New Orleans"); and the wonderful "Deacon John's Jump Blues." Listening to the renditions on this CD and DVD, and comparing them with the original recordings, one appreciates how Quezergue translated small combo recordings into a big band language with considerable grace and elegance. He was spotlighted at a couple of Ponderosa Stomps in New Orleans as well as a special Stomp at Lincoln Center in new York City. When Dr. Ike asked Dr. John if he would consider doing some of his older songs on which he played guitar originally, he agreed when he learned Quezergue would be doing the arrangements and conducting. This gives a sense of the contributions of this marvelous person.

Willie 'Big Eyes' Smith at the 2010 Pocono Blues Festival, Lake Harmony PA. Photo © Ron Weinstock

Finally, we just received word that Willie 'Big Eyes' Smith passed away. Smith was honored with a Grammy® this past year alongside his friend and long-time band-mate, Pinetop Perkins, with whom he spent many years playing together with the legendary Muddy waters and later the Legendary Blues Band. Smith remained active until the stroke that recently felled him, and in more recent years was featured on harmonica and vocals and not simply handling the shuffle rhythms on drums. His presence with Muddy was in part responsible for the rock-solid swing of that band.


The quality of his music as a leader was also noteworthy. I said of his Hightone release Way Back, that it "showcases Smith’s harp as well as his amiable vocals on some choice covers as well as idiomatic originals." His son Kenny has become one of the best drummers in the blues today (and played on Way Back). What I will remember most about Willie was his infectious smile and the sparkle in his eyes. 


RIP Honeyboy, Wardell and Big Eyes.

RIP Wardell Quezergue

The late Wardell Quezergue conducting the band backing singer Jean Knight at
2007 Ponderosa Stomp  - the New Orleans House of Blues. Photo © Ron Weinstock.

Tuesday, fans of rhythm and blues and New Orleans music, received the sad word that Wardell Quezergue passed away.

Dr. John with Wardell at 2008 Ponderosa Stomp at New Orleans House of Blues.
Photo © Ron Weinstock

I had the pleasure of attending the Ponderosa Stomps in 2007 and 2008 when he was featured. A composer, producer, and arranger he produced many classic recordings including Smokey Johnson’s “It Ain’t My Fault,” the Dixie Robert Parker’s “Barefootin’, King Floyd’s “Groove Me,” and Jean Knight’s “Mr. Big Stuff.” His arrangements graced Grammy winning recordings by Charles Brown, Gatemouth Brown and Dr. John (“Going Back To New Orleans”) as well as “Deacon John’s Jump Blues” and Luther Kent’s 2009 Bobby Bland tribute.

Trio of New Orleans Musical Royalty: Dave Bartholomew, Allen Toussaint and Wardell Quezergue.
2007 Ponderosa Stomp at New Orleans House of Blues. Photo © Ron Weinstock

On my flickr page regarding the 2007 Ponderosa Stomp I wrote “Wardell Querzergue was spotlighted at this year's Ponderosa Stomp leading a Crescent City Big Band for a funky revue of southern soul and New Orleans Cups” “Iko Iko” and “Chapel of Love,”funk which included his first arrangements in several years, first kicking off with Smokey Johnson's classic "It Ain't My Fault, before being joined by the soulful Tony Owens (who recorded for Cotillion and other labels), Robert Parker (Mr. Q produced 'Barefootin'" and Jean Knight (Mr. Big Stuff) with a special treat being an extended performance by an equal legend, Dave Batholomew. Dave Bartholomew did an overview of some of the great music he produced over half a century.”

The marvelous music from that year and the following year’s Ponderosa Stomp still resonate in my memory. Dr. Ike Padnos even got Dr. John to revive some of his early recordings on which he played guitar because the Creole Beethoven would arrange and conduct the band for these. I myself was honored that a photograph of mine was used for the cover of the Jazz Foundation of America’s release of his album “After The Math: Part of the St. Agnes Sessions.”

Cover photo taken at 2007 Ponderosa Stomp.

Here are links to some obituaries and appreciations: http://www.nola.com/music/index.ssf/2011/09/wardell_quezergue_legendary_ne.html; http://offbeat.com/2011/09/07/honoring-wardell-quezergue/; http://www.nytimes.com/2011/09/08/arts/music/wardell-quezergue-hitmaker-of-new-orleans-rb-dies-at-81.html?_r=1&smid=tw-nytimesmusic&seid=auto.

For information on purchasing "After The Math" contact the Jazz Foundation of America, http://www.jazzfoundation.org/how-you-can-help/jfa-store and help support their mission.

Roy Brown and Ivory Joe Hunter Classic Blues Acetates

This review from the March 2006 DC Blues Calendar of what appeared to be a fascinating series of reissues from the important Cincinnati King and associated labels. In addition to these two blues albums, three country albums appeared in the series. When I wrote this review I suggested that this might become one of the most important reissue series. However, no further reissues came out based on the King acetates. These CDs are still available from sources like bluesbeatmusic.com and amazon.


The English Ace label has started a series of reissues, The King & Deluxe Acetate Series, which makes available the master takes of many classic R&B recordings and/or alternate takes to make some of this classic music in the best ever sound.


The initial release is Roy Brown, Good Rockin’ Brown, and collects all but three of the recordings Brown waxed for Deluxe Records (which was acquired by Syd Nathan’s King Records). Opening with Brown’s original Good Rockin’ Tonight, the disc contains several other songs that would become blues classics like Mighty Mighty Man, Deep Sea Driver, Miss Fanny Brown and ‘Long About Midnight, delivered in Brown’s pioneering crying shouting style that would influence numerous blues and soul singers. A few tracks also show the influence of Bing Crosby who Brown cited as an inspiration although one might otherwise find that hard to believe based on his most famous recordings were. The New Orleans legend is backed by some strong bands which included the legendary sax player, Leroy ‘Batman Rankin who the booklet notes was among the first real rock and roll tenor players.

Pianist and vocalist Ivory Joe Hunter actually recorded for the Library of Congress when 19, and was 30 when he first recorded commercially after having left Texas for California. His first recording with Johnny Moore’s Three Blazers, Blues at Sunrise, epitomized the cool blues and is included along with the sides he made for King starting in 1947. The sessions included on Woo Wee! are fascinating. They range from a Nashville session on which Owen Bradley played guitar to sessions with members of Duke Ellington’s Orchestra. Attempts at jump number were less successful than the blue ballads for Hunter. After leaving King, Hunter would record his first million seller, I Almost Lost My Mind for MGM Records which led King to heavily promote his King sessions. This promises to be among the most important blues reissue series of recent years and anyone with an interest in blues history and some forgotten giants, should check these out.


I purchased the CDs that are reviewed here.

Meet Me on Frenchman Street

Mystery Street Records is an affiliate of the fan-funded Threadhead Records, that was established after Hurricane Katrina, as a way for lovers of New Orleans, its food, culture, architecture and music, to assist in the recovery of the city and its musical scene. It issued earlier this year Frenchman Street, an anthology of New Orleans music mostly derived from Threadhead Records, but also including rare material from other sources.

Frenchman Street is itself in the Bywater area just outside the French Quarter and the location of music venues such as Snug Harbor, d.b.a., The Spotted Cat, Blue Nile, and other music venues where one can hear Jazz Bands, Trad bands, Funk bands and more to paraphrase Shamarr Allen’s delightful Meet Me on Frenchman Street on which fellow trumpeter Kermit Ruffins joins for a celebration of the scene there. Songwriter Alex McMurray perhaps echoes what many might think when he sings You’ve Got to Be Crazy to Live In This Town, while blues and R&B singer Jesse Moore is heard on When the Hoodoo Come Down from a pre-Katrina CD. Glen David Andrews may be better known for gospel but his Dumaine Street Blues is a blues with brass band seasoning followed by The New Orleans Night Crawlers” with the invocation to party, Alright Alright.

Margie Perez & the King Cake Babies celebrate Mardi Gras Carnival, while Holley Bendtsen & Amasa Miller, joined by the Pfister Singers take us Down to Jazz Fest. Echoes of trad jazz support Paul Sanchez on his Exit to Mystery Street, while he is joined by John Boutté for their collaboration Stew Called New Orleans from a fine Threadhead disc by the two. The disc closes with Boutté’s updated take (from the 2006 JazzFest) of Randy Newman’s Louisiana 1927 with his biting new lyrics about President Bush’s response to Katrina and the levees failing in addition to Newman’s lyrics about floods in cajun Louisiana. Previously it was available on a limited edition WWOZ fundraiser but this release makes this available to a larger audience and would almost be reason enough to buy this varied compilation by itself. But there are 11 other additional reasons for obtaining this lively collection.

Previously I ran my review of the Mystery Street compilation Vieux Carre and this is a companion to it. I purchased this disc.

Deacon John Jumps the Blues Again

2011-0501 New Orleans JazzFest Day 3-1220117, a photo by NoVARon on Flickr.

From the first time I had the pleasure of hearing Deacon John Moore on a WWOZ compilation ripping through a terrific rendition of Elmore James'  Happy Home, I have been a fan of this New Orleans Rhythm and Blues Legend. Then the entire JazzFest set was made available on CD which showcased his ability to take classics from Elmore, J.B. Lenoir, B.B. King and Jimmy Rogers his own. After that came the release of Deacon John's Jump Blues, an album of classic rhythm and blues with Deacon John and others turning in a spectacular performance of songs associated with Ray Charles, Erma Franklin, The Spiders, Smiley Lewis, Johnny Adams and Joe Liggins with superb Big Band Arrangements by the Creole Beethoven, Wardell Querzergue. Tricia Boutté joined him for a Shirley & Lee Medley as well as handing Aretha's baby sister's Piece of My Heart. On the latter tune Allen Toussaint gusted on piano, while Henry Butler pounded the 88s behind Jumpin' in the Morning, an early Ray Charles classic and Dr. John was on piano for Joe Liggins' Goin' Back to New Orleans. In addition to this great recording, there was also a concert DVD of a concert of these artists and these songs. Since then, Deacon John is a must see for me at JazzFest if he is performing while I am there.


Sunday, July 1, Deacon John was featured on the Gentilly Stage, where he led his revue for a hour of super music with some surprises but also displayed his range as a performer. His Big Band included not only his brother Charles on bass guitar, but a sister on percussion and his daughter joining in on vocals. While I would not be unsympathetic with Deacon John playing slide guitar for an hour, the mix of music here included features for his backing singers as well as classic rhythm and blues and soul, his renditions of some standards and, an unexpected delight, a terrific rendition of a Steely Dan number. Then there were strong renditions of songs from Deacon John's Jump Blues and other songs of the genre (a rendition of Joe Liggins' "The Honey Dripper"), before he took out the slide and launched into "Happy Home" and followed with some modern urban blues. 


It was a well-paced set that displayed just how good and diverse a performer he is. I wish he could have played for at least another half hour. Deacon John is special to these eyes and ears. Here is a link to a documentary on him on Snag Films.


http://www.snagfilms.com/films/title/going_back_to_new_orleans1/

James Booker's Unpredictable Keyboard Magic

The late James Carroll Booker III was one of the most unique and brilliant of the New Orleans pianists, recording on Imperial as a young teenager, later recording an organ instrumental, Gonzo, named after a character in a movie about drugs that became a minor hit, and doing hundreds of recording sessions including New Orleans R&B dates, and with artists as diverse as Ringo Starr, the Doobie Brothers and Freddie King. Plagued by personal demons, perhaps arising from a lifelong battle with drugs and alcohol (which he attributed to a prescription he was given after being hit by ambulance in his youth), his behavior was often erratic and his music could be extremely extroverted or painfully withdrawn inward. A child prodigy, he played Chopin as a child, and was drawn to the music of Errol Garner and Liberace. As indicated he played on countless sessions, although made few recordings under his own name. Like his moods, his playing could be inconsistent. While it was usually marvelous, he could ramble on, noodling. The various nicknames he had, Little Booker, Gonzo, Junco Partner, the Bronze Chopin or the Black Liberace, may give you an idea of what to expect. Rounder has added, to the few albums issued under his name, two new albums drawn from over 60 hours of live recordings of Booker playing the upright piano at New Orleans’ Maple Leaf Bar, perhaps his steadiest gig. These provide a fascinating glimpse at one of major piano stylists of recent pop music idioms. Resurrection of the Bayou Maharajah and Spiders on the Keys present slightly different perspectives on Booker’s art. Resurrection is comprised primarily of medleys of vocals along with his pounding boogie accompaniment while Spiders is an instrumental album. There is some overlap in the material. Tico Tico and Papa Was a Rascal can be heard on both, although in different forms. The latter tune is pure Booker, as he reworks the melody of St. Louis Blues. The vocal version contains outrageous lyrics including a warning to watch out for the CIA. Booker’s singing is also outrageous, suggestive somewhat of Professor Longhair, and may be an acquired taste. His song medleys often feature changes in tempo and mood. Many of the songs on Resurrection have some connection with New Orleans R&B, such as All By Myself, Lawdy Miss Clawdy and Junco Partner. His use of cross rhythms is reminiscent of Professor Longhair, although his piano playing is more ornate. Booker’s originality will be evident from listening to these. Furthermore, he could play songs very differently at different times. The version of Junco Partner, is quite different from a previous recording of his I had heard. And then he could follow that with Chopin. His versatility, and command was uncanny, leading to the admiration of many including Harry Connick, Jr.. Spiders is all piano and, includes interpretations of pop tunes, including Eleanor Rigby and the unlikely choice of A Taste of Honey. Particularly nice is Gonzo’s Blue Dream, which suggests Professor Longhair’s Tipitina. His solos have some disassembly of the melodies, but his style primarily is one of embellishing the melody. In any event, these two CDs make for fascinating listening, and both have been frequent visitors to my compact disc player. Its been some time since James Booker left this plane of existence. The review appeared in slightly different form in the December 1993 Jazz & Blues Report (issue 187) and these recordings are still available.

Marcia Ball's Superb New "Roadside Attractions"

A new album by Marcia Ball, Roadside Attractions (Alligator) will be welcome by her many fans who certainly will enjoy this release with its gulf coast grooves. This CD is produced by Gary Nicholson who has produced Delbert McClinton amongst others. One point of special interest is that Marcia wrote or co-wrote all the songs on this, and they are excellent songs. The performances are first rate, with consistently strong backing, whether provided by a small combo or a slightly larger group with a horn section.

The rollicking title track finds Marcia singing about all the sights and wonders of the world she has seen in her years on the road. There might be 7 billion people on this world but she is still her man’s girl and she is coming home. The country-flavored wistful Between Here And Kingdom Come” celebrates life in a two lane highway and one red light small town while, We Fell Hard is a rocker sporting a hot New Orleans groove. Look Before You Leap, has a driving groove with a philosophical lyric about her mom warning her to look before you leap or she might find yourself in too deep in trouble.

I Heard It All is lyrically akin to Robert Cray’s Right Next Door (Because of Me). This song is about Marcia going to a regular Friday hotel rendezvous and hearing an argument in the next room. She soon realizes that the man she has been seeing is now begging his wife to take him back. Whereas in Cray’s recording, he is full of guilt for breaking up a marriage, Marcia cannot believe he is treating herself like that. She confronts the cheating husband in front of the wife, saying she heard it all and warning her that he cheated once and he will do it again. It is a marvelously nuanced vocal and performance. The mood shifts radically on the next track, funky Believe in Love, where she celebrates how her man keeps her believing in love. There is a terrific saxophone solo on this song.

This Used To Be Paradise, has a topical bent about how life in the gulf coast changed after the oil man changed things. The performance benefits from the understated lyrics and vocal along nice accordion in the accompaniment. Mule Headed Woman, is a wry, slow blues about Marcia’s man who will keep drinking “his whiskey, even if it is killing him.” Closing the album is the hot rocker, The Party’s Is Still Going On, and with Marcia, the party never ends. While that is true, the performances and lyrics here show increased thoughtfulness and sophistication. Marcia Ball is not only a hot tamale baby that can boogie the woogie, but is also a superb singer who brings to life the exceptional songs here. This explains in part why Roadside Attractions is so exceptional.


My review copy was provided by Alligator Records

Rick Coleman's Blue Monday-Fats Domino Bio

I briefly blogged about Rick Coleman’s biography of Fats Domino back in May, 2006 which I would subsequently review in Jazz & Blues Report (August 2006, issue 285). That was one of my earliest blog entries here, but since this excellent biography is available in paperback, it is worth bringing to folks attention once more. I note that the Rock & Roll Hall of Fame honored Fats Domino and Dave Bartholomew's contributions this past fall. This book should not be hard to locate.

BLUE MONDAY: FATS DOMINO AND THE LOST DAWN OF ROCK’N’ROLL
by Rick Coleman

(DA CAPO 2006)

Antoine ‘Fats’ Domino is one of the most significant performers of the last half of the twentieth century, yet because of his easy-going persona and his rather quiet life outside of performing, his contributions to blues and rock’n’roll have not been given their due. This biography by Rick Coleman, who authored the booklet for the Bear Family box set of Domino’s Complete Imperial Recordings, is twenty years in the making and hopefully will result in Domino being recognized as the pillar of modern American music that he is. The fact that Fats is unappreciated perhaps reflects a certain Eurocentrism that marks much of pop music writing and rock media that inflates the importance of popular, but derivative rock artists at the expense of true music innovators. After all Lynard Skynard is in the Rock’N’Roll Hall of Fame, but the much more original Johnny ‘Guitar’ Watson is not.

Domino is a private man and somewhat shy, despite his ability to thrill audiences when performing. Coleman traces his biography and development as a musician in the context of the times including his father’s move to the Ninth Ward area, then a relatively rural area near the Industrial Canal, to the horrible events around Hurricane Katrina which devastated Domino’s home that was still on the same tract of land his father had purchased decades before.

Domino grew up in one of the most remarkable musical cities this country has ever had. Coleman traces its history, including the infamous history relating to segregation of the races which is invaluable in understanding Domino’s impact, not simply on music but in bringing people of different backgrounds together. Given the general easy going image of Antoine ‘Fats’ Domino, one is likely to be surprised when reading this about the riots his live performances often engendered. These riots were most often the result of those who objected to whites and blacks attending an event together, and even worse in the racist eyes of many, dancing and socializing together.

Influenced by Amos Milburn especially, Fats Domino was one of the greats in a long-standing New Orleans piano tradition. Roy Brown’s Recording of Good Rockin’ Tonight, is the earliest shot in the musical revolution of modern rhythm and blues that generated rock and roll. From when he went in the studio and cut his speeded reworking of the traditional New Orleans song Junker’s Blues as The Fat Man, Domino had a recording career that for about a decade and a half outsold anybody except for Elvis, and his music inspired performers including Elvis, Jerry Lee Lewis, John Lennon and countless others.

Coleman traces Domino’s recording and performing career as well as the major events of his personal life, but without focusing on scandals and then continues when Domino had ceased to be a major recording artist but remained a powerful live attraction on the oldies circuit and in Las Vegas. From when he first traveled to Europe in the mid-sixties, the adulation he received overseas led to regular tours there. And furthermore the level of his music remained consistently high. There is plenty of material here that was unfamiliar to me. I was not aware that of the many Domino-Bartholomew compositions, Domino’s chief contributions were the lyrics and the basic music, which Bartholomew worked and elaborated on. Also, I was not aware that Bartholomew generally played a very limited role in Domino’s live touring as we are given the details of the various persons who were members of the band and some of their foibles as well as musical contributions. But names like Earl Palmer, Roy Montrell, Herb Hardesty, Lee Allen and other names familiar to rock’n’roll and R&B collectors are part of this story as is label mate Rick Nelson.

Coleman has put together an impressive work that is long overdue. There is a factual quality of much of this, but again that is partly the result of Domino’s own private nature. He is best when describing some of the recordings and performances and there is a thorough list of sources although a list of recordings would have been very welcome here, or at least a listing of available recordings. But this is simply a small quibble on a most impressive work about a true Giant and Legend.

I must confess that I do not remember if I purchased this or received a review copy from the publisher.

Dr. John's Strong Piano Blues

Back in 2006, I had a chance to review together several recordings by Mac Rebannack, aka Dr. John for Jazz & Blues Report. The review appeared in the April 2006, Issue 281 issue. Here is that review. These CDs are available at amazon (although some may be available from third parties.

Sippiana Hericane
New Orleans native, Mac Rebennack, better known as Dr. John, was greatly affected by the destruction Katrina inflicted on his hometown. Shortly after Katrina’s destruction and the breach of the levies, Dr. John and his band, guitarist John Fohl, bassist David Barard and drummer Herman Ernest III, who he refers to as the lower 911, went in the studio and recorded Sippiana Hericane (Blue Note), a benefit recording, the proceeds from which benefit the New Orleans Musicians Clinic, the Jazz Foundation of America and The Voice of the Wetlands. This is a somewhat short recording, approximately 26 minutes or so that opens with Bobby Charles’ Clean Water with the heartfully sung plea to “clean all the waters in the world.” It is followed by the four-part Wade:Hurricane Suite, the opening part is derived from the spiritual Wade in the Water. The third part is a slow, bluesy section which evokes St. James Infirmary a little. The Final part harks back to Wade in the Water, although with a message, “Wade in the water, Comin’ back like we oughta ... Wade in The Bayou, Comin’ back and ya know why-o,” delivered against a funk groove. Dr. John and Cat Yellen reworked his Sweet Home New Orleans which he hears callin yet after the levee “Where y’aaat my lil darlin,” as he recounts some of the devastation. A short reprisal of Clean Water closes this very moving disc.


The Legendary Sessions

In addition to this new disc, three discs add to the good Doctor’s musical legacy. Clean Cuts Music has reissued Dr. John Plays Mac Rebennack, 1981 solo piano recordings (with a few vocals that often sound off-mike) at a time when he was without a recording contract. A couple years ago they issued The Legendary Sessions Volume 1, which makes available the first of the two albums issued of this material. The present reissue includes not only three selections first issued on the first cd release of this material but also four previously unissued tracks. Among the songs here is a marvelous one for his mother, Dorothy, with its graceful ragtime flavor; Mac’s Boogie, a solid boogie woogie in the Albert Ammons vein; a atmospheric Memories of Professor Longhair, which is a reworking of Longhair’s classic Tipitina; Delicaco also sports a bit of the rumba groove that Longhair favored; while Danse a La Negres is derived from a famous creole composer of the 19th century, and anticipates the opening track of his Going to New Orleans disc; and Silent Night gets a bit of a New Orleans reworking (likely based on the Huey ‘Piano Smith & the Clowns recording); Saints, his individual interpretation of the traditional jazz anthem, and among the previous unissued selections is a wonderful rendition of Careless Love. This comes in a digipak and has a booklet with liner notes and some rare pictures of Mac and his family. The playing on this holds up twenty five years after its initial release.

The Legendary Sessions Volume 2, originally was issued as The Brightest Smile in Town, and that was of the twelve numbers on its original release which I do not have. Included is a blues, Saddle the Cow, that foreshadows Mac’s Trajick Magick, that he performed on Hank Crawford's marvelous Roadside Symphony album; Waiting For a Train, a nice bluesy reworking of the classic by Jimmy Rodgers, the Singing Brakeman; the title track; Touro Infirmary, reworking the classic St. James Infirmary; a medley of Just a Closer Walk With Thee/Midnight Ramble; and his original,Suite Home New Orleans. Newly issued selections include Key to the Highway, Sippiana Midnight and Rockin’ Pneumonia and the Boogie Woogie Flu before closing with the Jerome Classic Yesterdays. Both of these are delightful and recommended. I trust that the packaging for Volume 2 will approach if not quite match that of Volume 1.


Right Place, Right Time: Live at Tipitina’s Mardi Gras ‘89

Last but not least is the Second Volume of The Rebennack Chronicles, a series of live recordings from over 600 cassettes that Dr. John has accumulated over the years, and issued on the Skinji Brim imprint that is distributed by Hyena Records. Volume One was the excellent All By Himself: Live at the Lonestar, a performance where he was only accompanied by his piano. The Second Volume is Right Place, Right Time: Live at Tipitina’s Mardi Gras ‘89, and has him backed by his band of the time that included Mr. Ernest III, and Mr Barard who are still with the good doctor sixteen years later. Tommy Moran was the guitarist, Charlie Miller on trumpet and Amadee Castanell on saxophone with Trazi Williams on percussion. This is a lively performance as he opens with a funky Junco Partner, which is followed by the Rebennack-Goffin Renegade during the middle of which he raps about “I like to do what I wanna do anytime I feel like doing what I wanna do, I like to say what I am sayin’ anytime I feel like sayin’ how I want to say it.” There is the Night Tripper classic, Walk on Guilded Splinters, and Travellin’ Mood on which Castanell solos in a most fiery manner. Earl King’s classic Let the Good Times Roll certainly is an appropriate tune to celebrate Mardi Gras and is followed by Louis Jordan’s ballad, Don't Let the Sun Catch You Crying. Willie Dixon’s Wang Dang Doodle and Mac’s Such a Night close out this most entertaining addition to the Doctor’s discography.


For purposes of FTC Regulations, I received review copies the Clean Cut CDs from Jazz & Blues Report, I believe I purchased Sippiana Hericane, and not sure whether I purchased or got a review copy of Right Place, Right Time.