Larry Davis - Jeffrey Scott reviews

Larry Davis - Funny Stuff - Rooster Blues

Best known for the original recording of "Texas Flood," which was popularized by Stevie Ray Vaughan, Larry Davis had a relatively short but distinguished career, which included at one time being signed to B.B. King's Virgo label. Originally a bass player, he started playing guitar while touring with Albert King. 

In 1982 Rooster Blues issued his album, Funny Stuff, which won the 1982 Handy Award for Best New Album and contained the two tracks that won for Best Single. Davis sang with plenty of gospel-based soul while playing his Flying V Gibson in a hard-edged style that clearly reflected Albert King's influence. He produced one of the strongest recordings of the Eighties. This is a welcome reissue of that album.

From the title track, a terrific song about a lady who has hoodoo'ed him to the closing rendition of Albert King's "Got to Be Some Changes Made," Davis pours his heart into the vocals while turning out some high-energy solos. Other high points include his funky renditions of "That Will Never Do" and George Jackson's "Find' Em, Fool 'Em & Forget 'Em." There are also the searing, slow blues "Teardrops" and "Worried Dream." 

Legendary saxophonist and producer Oliver Sain produced this as well as played sax and keyboards. Billy Gayles, of Kings of Rhythm fame, played drums on half of this while Johnny Johnson played piano on five of the ten tracks. The album holds up wonderfully and one would be hard-pressed to find any better modern blues recordings since this came out. There may be some as good, but not better.

Jeffrey Scott - Rattlesnake Daddy

With John Jackson as his uncle, and friends with the likes of John Cephas and Doc Watson, one

should not be surprised that the debut album of Jeffrey Scott, the self-produced "Rattlesnake Daddy" is firmly in the East Coast fingerstyle guitar tradition. 

This disc contains a selection of songs from Blind Blake, Blind Boy Fuller, Arthur Crudup, and Big Bill Broonzy among others, Scott displays a crisp, fluid guitar style while his tenor is a bit brighter sounding than John Jackson's straightforward delivery of a lyric. Perhaps he is not yet as deft a guitarist as his uncle or John Cephas, but he does maintain a nice relaxed groove on "Step It Up and Go" as well as "That's All Right Mama." 

This is a very enjoyable disc and indicates Scott is a talent with more than simply promise here.

These reviews originally appeared in the 2001 November DC Blues Calendar, then the DC Blues Society's newsletter. I have made minor edits for readability. I likely received the Larry Davis from a publicist. I do not remember whether I bought the Jeffrey Scott or not. The Jeffrey Scott is currently available at Amazon. The Larry Davis may be hard to find. Here Jeffrey Scott performs "Red River Blues."

Cephas & Wiggins Homemade

Cephas & Wiggins
Homemade
Alligator Records

 I’m sure many of your are already familiar with the talents of John Cephas, one of today’s leading exponents of Piedmont blues fingerstyle guitar, and a singer whose honey-tinged vocals suggest the legendary Big Bill Broonzy. One should not forget that his partner, Phil Wiggins is a marvelous master of the blues harmonica whose subtly nuanced playing and solos complement and enhances Cephas’ singing. The two have become favorites around the world with their distinctive sound.

"Homemade" is a mix of some classic blues songs that should be highly familiar to their many fans along with some strong original blues. Included are such staples of their live concerts as Blind Boy Fuller’s "Mamie" and "Pigmeat," Memphis Minnie's "Me and My Chauffeur," and Skip James’ "Illinois Blues." While I believe some of these songs have been recorded by the duo before, those recordings may have been only on out-of-print tapes or records. All of these songs receive very personalized and thoughtful interpretations. Daryl Davis adds his strong piano to the rendition of "Worried Life Blues," which is dedicated to the late Big Chief Ellis, with whom Cephas and Wiggins played with years ago. There is also a fine idiomatic rendition of the classic "Trouble in Mind" which mistakenly lists the Richard Jones composition as traditional.

Additionally, the album contains a number of new songs including one about the dangerous "Spider Woman" that Mike McQuade contributed the lyric to while Cephas composed the melody. John, Phil, and producer Joe Wilson combined to put together the bawdy original, "Jelly Roll," and Phil wrote the original "Sounds of the Blues," on which he takes the vocal. Cephas’ describes his own "I Was Determined,"  simply as “That’s mine, my story,” as he sings about his life in music. This is another solid recording sought after by their already existing fans and certainly serves as a nice introduction to their music.

This review originally appeared in 1999 in issue 238 of the Jazz & Blues Report. I received my review copy from Alligator Records. Here are the two performing at the White House in 1999.

 

It's The Best Stuff Yet! Great Piedmont Blues

Various Artists
It's The Best Stuff Yet
Frog Records UK

This is a double CD set of rare Piedmont blues packaged in a DVD sized box with a 32-page booklet. One CD is a collection of rare sides, unissued tests, clean originals and field recordings of classic Piedmont blues. The second CD contains the entire 1956 sessions by Blind Willie McTell (The Last Session) that was recorded by Ed Rhodes that includes material that was not included in the original Prestige release of such material. The handsomely illustrated 32-page booklet includes essays from Paul Swinton and Chris Smith, along with full discographical information.

The first disc includes some spectacularly wonderful performances of Piedmont blues with a spotlight primarily, but not exclusively, on the blues of Atlanta. It opens with a wonderful duet by Ruth Willis and Blind Willie McTell, "Talkin' to You Wimmin About the Blues," followed by McTell accompanying a vocal by her. Then comes the sublime first recording by McTell, "Mamma, T'aint Long Fo' Day'," with a wonderful vocal and superlative 12-string slide guitar. Performances like this as much as the better-known "Statesboro Blues" explain why McTell is regarded as among the greatest blues artists who ever played. Also included on this disc is McTell's Library of Congress recording of "Delia's Gone," about a 14-year-old girl shot by her 14-year-old boyfriend.

The McTell sides are not the only brilliant performances here. There is Blind Blake's "West Coast Blues" from his initial recording session, as well as a previously unissued test by Blind Boy Fuller of "Rag, Mama, Rag #1." This superb, animated performance had the great Fuller supported by Gary Davis on guitar and Bull City Red on washboard. Then there are two terrific performances by Prince Moore about who little is known and two wonderful performances from unissued tests by Buddy Moss. "Red River Blues #2" is another fabulous Piedmont fingerpicked blues. Curley Weaver, with harmonica player Eddie Mapp, deliver a bit of hokum on the title track, while there are two dynamic songs from Barbecue Bob with his robust vocals and 12-string guitar playing. Also, there is a radio aircheck of Josh White performing "John Henry," as well as short unexpurgated party disc of "Darktown Strutters," that definitely is not radio-friendly. The great Virginia Piedmont blues artist, John Jackson is heard on two stunning selections from private recordings that show the influence of Blind Blake.

The remaining selections on this first disc are of similar interest and merit. If this was issued as a single disc, one would recommend it highly. The second disc contains the entirety of the recordings, both songs, and interview segments, that Ed Rhodes made with Blind Willie McTell and issued in part as "The Last Session." as we hear him tell stories about the instrumental "Kill It Kid Rag," and "The Dyin' Crapshooter's Blues." There are surprising songs like "Pal of Mine," 'Salty Dog," "My Blue Heaven," and "Wabash Cannonball," along with McTell's remembrances of his early life and more. This second disc is not only a historical document but contains more exquisite blues and folk songs. In addition to this, there is an interview by Larry Cohn of Ed Rhodes discussing Mctell and the recordings produced by Rhodes decades later.

There have been some extremely important releases of historical blues material this year. "It's The Best Stuff Yet!" is as good as any of them and would make a terrific holiday gift to the blues fan in your world, or simply a marvelous gift for oneself. For more information on this release visit Frog Records at their website: https://www.frog-records.co.uk/products/its-the-best-stuff-yet. Frog Records has a superb catalog of vintage blues and jazz reissues including what is generally considered the best sounding reissue of Bessie Smith's music (on 8 CDs).

I purchased this.

Classic Piedmont Blues From Smithsonian Folkways

Various
Classic Piedmont Blues From Smithsonian Folkways
Smithsonian Folkways

A new acoustic blues compilation from Smithsonian Folkways delves in the archives for the selections on this. Piedmont blues has an easy flow played in a finger-picking style where the guitarist, according to the late John Cephas, uses "thumb and fingers with an alternating thumb and finger style. I keep a constant bass line going with my thumb, and on the treble strings I pick out the melody or the words of the song I'm singing." Cephas is quoted in the cogent booklet with liner notes on the Piedmont blues, and the specific songs included (along with artist biographies), by Barry Lee Pearson.

From the opening John Jackson performance of "Truckin' Little Woman," the delightful Warner Williams performance, "Hey Bartender There's a Big Bug in My Beer" with Kentucky flatpicker Eddie Pennington, several performances of Brownie McGhee and Sonny Terry, Baby Tate's wonderful "If I Could Holler Like a Mountain Jack," along with the incomparable Rev. Gary Davis' instrumental "Mountain Jack," John Cephas and Phil Wiggins' rendition of Blind Boy Fuller's "Mamie," Elizabeth Cotton's "Going Down The Road Feeling Bad," Pink Anderson's "Meet Me in the Bottom," to the closing tribute by Archie Edwards to his friend  Mississippi John Hurt, "The Road Is Rough and Rocky," this is marvelously played music by some of the style's  finest artists.

There are also included a few performances by old-time music artists such as Hobart Smith, Doc Watson and Roscoe Holcomb, and as Pearson notes there was plenty of musical interaction between such a artists with Black artists. One of my finest memories of John Jackson was him playing old-time string band music with former musical students of him and it is unfortunate that none of the performances he and Doc Watson performed together at The Smithsonian Folklife Festival have been issued as they would have made this wonderful collection even better.

I do note that the Archie Edwards performance had been previously issued on the similarly theme Smithsonian-Folkways collection "Classic Appalachian Blues" and it is unfortunate another performance by him was not chosen. Still this is a first-rate collection of this blues style.

I purchased this recording. Here is the late John Jackson performing.

Jeffrey Scott Is a Rattlesnake Daddy.

I was pleasantly surprised to see an article in the current Living Blues of John Jackson's nephew. Jeff Scott, having had the pleasure of seeing him perform several times. He is one of a number of artists who frequented the Archie Edwards Blues Foundation's jam sessions when they were held at the Bunker Hill Road address that housed Archie's Barber Shop. One thing I recall was how much like his uncle he was in performance, even telling similar style of jokes. At the time, Jeff had a wonderful self-produced CD, Rattlesnake Daddy, that I reviewed for the DC Blues Society's newsletter, the DC Blues Calendar in November 2001. I believe I purchased this CD but I do not believe it is currently available. Hopefully with the renewed attention to Jeffrey's music from the Living Blues article it will be reissued.

With John Jackson as his uncle, and friends with the likes of John Cephas and Doc Watson, one should not be surprised that the debut album of Jeffrey Scott, the self-produced Rattlesnake Daddy is firmly in the East Coast finglestyle guitar tradition. This disc contains a selection of songs from Blind Blake, Blind Boy Fuller, Arthur Crudup and Big Bill Broonzy among others, Scott displays a crisp, fluid guitar style while his tenor is a bit brighter sounding than John Jackson’s straightforward delivery of a lyric. Perhaps he is not yet as deft a guitarist as his uncle or John Cephas, but he does maintain a nice relaxed groove on Step It Up and Go as well as That’s All Right Mama. This is a very enjoyable disc, and indicates Scott is a talent with more than simply promise here. 

Here is a short video clip of Jeffrey Scott performing.

Smithsonian Folkways' Classic Appalachian Blues

As Jeff Place, who with Barry Lee Pearson compiled Classic Appalachian Blues (Smithsonian-Folkways) states, the ‘Classic’ series on Smithsonian Folkways aims to draw attention to significant recordings from the Folkways and Smithsonian collections. Classic Appalachian Blues “features musicians from the region known as the Southern Appalachians. It includes musicians from deep in the mountains as well as from the foothills leading up to them.” The Folkways label had a number of fine recordings in its catalog of performers in this tradition by the likes of Brownie McGhee, Sonny Terry and Pink Anderson and adding recordings from the Folklife Festival collection by John Jackson, Big Chief Ellis and others makes this a particularly valuable collection.

Tracks by Stick McGhee, whose voice and guitar is joined by the harmonica of Sonny Terry and J.C. Burris, open and close this CD. McGhee is heard on the upbeat My Baby’s Gone, as well as a spirited reprise of his hit recording Wine Blues (Drinkin’ Wine Spo-Dee-O-Dee). There is a fine performance by Stick’s brother, Brownie McGhee, on a 1945 recording Pawnshop Blues, an adaptation of a Blind Boy Fuller number. At the time of these recordings both had relocated to New York as had Reverend Gary Davis, certainly amongst the greatest acoustic blues guitarists, he is represented here by a stunning 1957 instrumental rendition of Hesitation Blues. Another Piedmont legend who established himself was Josh White who had gone from a singing evangelist and Piedmont Tom to Cafe Society by the time he performed the solid Move to the Outskirts of Town heard here.

Not all of the Appalachian masters moved to New York. Pink Anderson stayed in South Carolina and is heard on a fine You Don’t Know My Mind. Sonny Terry’s nephew, J.C. Burris moved to California . He is heard on Blues Around My Bed, with just his harp (sounding like his uncle) accompanying his strong vocal. Arhoolie issued a full album of his music. The lovely One Dime Blues is from a 1992 Barns of Wolf Trap performance by Etta Baker who charmed so many with her agile guitar picking and warm manner. Baby Tate, who was friends with Pink Anderson, was another artist influenced by Blind Boy Fuller, and his rendition of See What You Done Done, echoes Red River Blues and Crow Jane, in its accompaniment that is part of a first-rate performance.

The Washington DC area was a destination for many folks. Phil Wiggins and the late John Cephas met through Alabama pianist Big Chief Ellis who formed the Barrelhouse Rockers and back backing pianist Big Chief Ellis on Louise Blues, from the Smithsonian Folklife Festival in 1976 with Wiggins driving harp accompaniment contrasting with Ellis’ understated boogie piano. John Jackson was prominent in the Washington DC area for the last four decades of his life and is heard on a fine rendition of the bad-man ballad Railroad Bill. The late Archie Edwards was another Washington DC area treasure, and is represented by a 1978 Folklife Festival rendition of his signature song, My Road Is Rough and Rocky, his tribute to Mississippi John Hurt, his boyhood idol and later good friend. It is a performance with an affable vocal and wonderful rolling guitar.

The Appalachian area was one where there was considerable interaction between Black and White musicians despite the fact of segregation and Doc Watson is heard on a lively Sitting On Top of the World, taken at a bit brisker tempo than usual. I have fond memories of Watson and John Jackson playing at Folklife Festivals. Another performance crossing racial lines is Roscoe Holcomb who brings a mountain guitar approach to Mississippi Heavy Water Blues, originally recorded by Atlanta bluesman Barbecue Bob. Then there is E.C. Ball from Rugby, Virginia and mentor of guitarist (and luthier) Wayne Henderson. Ball is a marvelous player and heard on Blues in the Morning His cited influences include Riley Puckett, Chet Atkins, Sam McGee and Maybelle Carter.

John Jackson was among the greatest of the finger style guitarists along with Blind Blake and Reverend Gary Davis. Another on that level was Bill Williams, born in Richmond, Virginia but who moved to Kentucky and who actually teamed up with Blind Blake in Bristol, Tennessee. Williams was briefly ‘rediscovered’ and made some recordings (some for Yazoo’s Blue Goose subsidiary). His 1971 Folklife Festival, performance Don’t Let Your Deal Go Down, is a song that crossed racial lines, with Williams providing a driving accompaniment here. In contrast to many solo performances here, is a fine string band performance by Martin, Bogan and Armstrong with Carl Martin’s mandolin and vocal and Howard Armstrong’s violin standing out in their string band blues, Hoodoo Blues. 

Others heard on this include Leslie Riddle, who is best known as having been a friend of the Carter Family (Mother Maybelle Carter learned her guitar style from him). He is heard from 1976 on the Appalachian blues standard Red River Blues, with steady guitar and vocal. Also from 1976, was the veteran medicine show performer Peg Leg Jackson with just his vocal and harmonica on a spirited Walking Cane. The Foddrell Brothers, Marvin and Turner, were from Stuart, Virginia and were wonderful traditional blues performers as illustrated by their 1977 Folklife Festival rendition of I Got a Woman. Also from 1977 comes a nice performance from John Tinsley, Girl Dressed in Green. 

With twenty-one performances and about 66 minutes of music, Classic Appalachian Blues offers considerable value as well much excellent music. Inclusion of many artists who made few recordings which are often hard-to-find as well as a generous selection of performances from the Smithsonian’s Folklife Archives adds to the value as does the excellent and informative booklet by compilers Jeff Place and Barry Lee Pearson.

I was provided a download of a review copy from Smithsonian-Folkways from whom one can purchase this (as well as the booklet I refer to).

Ernie Hawkins Plays Those Rags & Bones

As you may be aware, I am a fan of Piedmont blues stylist Ernie Hawkins and earlier in 2012, I posted a review of his most recent recording, Whinin' Boy, while a few days earlier I posted a 2001 review of his CD, Bluesified. I recently discovered I never posted my 2006 review of his CD Rags & Bones which appeared in the March 2006 DC Blues Calendar and the May/June 2006 Jazz & Blues Report (Issue 282). I likely received my review copy from Ernie Hawkins or his management.

The masterful finerpicking guitarist, Ernie Hawkins, has a delightful new CD , Rags & Bones (Say Mo’ Music). The talented disciple of the legendary Rev, Gary Davis opens with a superb rendition (played on a 12-string guitar) of Davis’ Make Believe Stunt, a tune Davis derived from a lick of Scott Joplin’s Maple Leaf Rag. The bones of the title are heard backing another guitar rag from Davis, The Boy Was Kissing the Girl (and Playing Guitar at the Same Time).

There are enjoyable covers here including Mississippi John Hurt’s Avalon Blues, country music pioneer, Jimmie Rodgers’ TB Blues, Henry Thomas’ Texas Easy Street, and Mance Lipscomb’s G Rag, with Hawkins delivering relaxed, easy going vocals to go with his deft fretwork. Most interesting are guitar adaptations of three classics of twenties jazz, Louis Armstrong’s Potato Head Blues and Cornet Chop Suey, along with Singin’ the Blues which is adapted from the legendary Frankie Trumbauer/ Bix Beiderbecke recording and a George Gershwin piano roll.

Maria Muldaur guests with a wonderful vocal on Rev. Davis’ I Am the Light of This World, and the album closes with Hawkins handling an African tune Massanga. Its a delight listening to the music hear and how wonderfully the guitar sounds. For further information check www. erniehawkins.com or better mail order stores.

Here is a video of Ernie teaching how to play a Reverend Gary Davis number.

Reverend Gary Davis Celebrated O Glory

In the nineties, Gene Rosenthal was especially active in making available his recordings (some previously unissued) on compact discs. One of these was a very interesting and valuable album by the Reverend Gary Davis. The following reviewed appeared in the DC Blues Calendar at the time and the October 1997 Jazz & Blues Report (Issue 225). I likely received a review copy at the time.

Reverend Gary Davis’ O, Glory: The Apostolic Studio Session (Genes) is a valuable addition to the Genes’ Blues Vault Series, featuring one of the most extraordinary musicians of the Piedmont school of ragtime blues. After his conversion in the thirties, he would rarely perform or record secular lyrics, though few illustrate the commonality of blues and gospel as did Davis. This album is particularly valuable in that it contains some rare examples of Davis with accompaniment, vocal chorus, tracks on which he plays piano and banjo, and a harmonica solo (Birmingham Special, a train imitation with spoken asides). Most of these recordings date from March 1969 for what would prove to be his last studio album. They are augmented by four recordings that Stefan Grossman recorded in 1964 and 1965. His instrumental work is exemplary and, while I would not call these the greatest examples of his art, there are some typically spectacular moments, and the rare examples of his piano, banjo and harmonica which add to the album’s historical value. Not from this CD, but here is the late musical legend in performance.

Precious Bryant's Piedmont Blues Mastery

Here is another older review (with a few stylistic changes that originally appeared in the DC Blues Calendar, then the DC Blues Society’s newsletter back in its November 2005 issue. Its among the many wonder releases associated with the Music Maker Foundation (www.musicmaker.org).

Born in a family of traditional musicians, Georgia’s Precious Bryant started playing guitar when she was very young. She has developed into a splendid performer in the Piedmont tradition. A couple years ago, Terminus Records issued the absolutely wonderful Fool Me Good. The Music Maker Relief Foundation has championed her and her music and has released another absolutely magical recording, My Name is Precious (Music Maker).

This was recorded between 1995 and 1999 in Georgia and New York, with accompaniment on some tracks by Tony Bryant (her son?) on bass, Cootie Stark on vocals and Tim Duffy on guitar). The 26 selections range from very enjoyable covers to Bryant’s own buoyant originals. There are lively covers of songs associated with Muddy Waters, Guitar Slim, Fats Domino, Joe Turner, Denise LaSalle and Jimmy Reed. Bryant’s originals include the lively Hey Baby as well as the sparkling instrumental, Georgia Buck.

There is not a bad track on this disc although Music Maker certainly could have done a bit more about getting composer credits correct as opposed to Traditional arranged by P. Bryant found on several tracks. To reiterate, the music here is wonderful and if you cannot locate this in stores, check the Music Maker Foundation website, www.musicmaker.org.

Michael Roach Is No Innocent Child

I recently had the pleasure to see Michael Roach at a performance in Falls Church, Virginia. Mike and I had an association with the DC Blues Society two decades ago, and I had been following his maturation as a performer over the years after he left his native Washington and moved to England. He has also become important as a blues educator and historian. Innocent Child is his most recording on his Stella Records label, and the source of many of the songs he performed that April night in Falls Church, Virginia.

Michael, who currently lives in Cheltenham, England, was fortunate to be mentored by such blues artists as John Cephas, Archie Edwards, John Jackson and Jerry Ricks, has developed into a formidable performer of the blues, rooted in the East Coast finger-style tradition. On this recording he is joined by harmonica master Johnny Mars on several selections as well as the Black Voices, an a-cappella group from Birmingham England. There is a selection of originals and personal interpretations of songs associated with Frank Stokes, Mississippi John Hurt, Josh White and Charlie Jordan.

The title track is a part autobiographical, part reflective about blues and the place of the African-American in the world. his children and the Black Voices join in this performance where he even evokes Mannish Boy singing he ain’t no “B-O-Y.” Mars adds his harp to a nice rendition on Frank Stokes What’s the Matter Now, where his finger style playing recalls John Hurt through the prism of Jerry Ricks. Michael noted in Falls Church performance that Ricks shared a tape that Hurt made for Ricks to teach Ricks his style. Rick’s influence is also present in performances of Hurt’s Got the Blues and Can’t Be Satisfied, and Staggerlee. Music at the Close of Day was written by Richard Journet after John Jackson’s passing, and Michael here reworks it for his heartfelt remembrance of Ricks.

There are several gospel performances here including Remember Me that is based on recordings by the Swan Silvertones and the Harmonizing Four. This, with the Black Voices, is performed in tribute to John Cephas. The Black Voices also join Mike on Jesus Knows I’m Coming that was originally recorded by Josh White with the Carolinians, and “Didn’t It Rain,” associated with the great Mahalia Jackson. Johnny Mars backs Michael on this rendition of the traditional number, Noah”

More in the Piedmont blues tradition is Michael’s dynamic acoustic rendition of Junior Parker’s Mystery Train, as well as Be a Man, an evocative number adapted from a Brownie McGhee recording to which Michael added his words. The lyrics make reference to Detroit and DC, while the superb guitar playing would have made Blind Boy Fuller proud.

The varied repertoire here is matched by Michael’s natural, heartfelt vocals and adroit and thoughtful guitar. The result is the marvelous music on “Innocent Child. For more information on this recording and Michael Roach visit, www.michaelroach.com and www.stellarecords.net.

This was a recording I purchased. Here is a video of Michael and the late Louisiana Red.

Shelton Powe's Carolina Blues and Gospel

One of the latest recordings issued by the Music Maker Foundation is the debut of Shelton Powe, Carolina Blues and Gospel. While his earliest musical memories were the tent revival circuit with his family, as a youngster he immersed himself in the blues scene of Atlanta and mentored by the likes of Cora Mae Bryant, Neal Pattman, Cootie Stark and Frank Edwards. Over the years he has developed an extensive repertoire of songs and lyrics that he performs with a genial and ingratiating style with deft, fingerstyle guitar and relaxed vocals that convey a bit of the warmth of others in this East Coast style.

Songs cover both the secular realm as on the opening Stranger Blues, and the sacred one as heard on “Send Me,” with his firm rhythmic bass contrasting with his responsive use of the treble strings. His relaxed and agile fingerstyle playing is displayed on the instrumental Vestapol, where the melodic line suggests Robert Wilkins That’s No Way To Get Along/ Prodigal Son, while he plays slide guitar (suggestive of Fred McDowell) on Diving Duck Blues. He provides a personal interpretation of the traditional This Train, while he shows himself able on country blues harmonica on One Monkey Don’t Stop The Show, which complements his earnest singing. Down On Me is another performance on which his harmonica provides accompaniment (and another voice) to the vocal. “Buckdancer’s Choice is a fingerstyle instrumental in the vein of Etta Baker while he returns to slide guitar on his version of John Henry, where his slide accompaniment which also borrows a bit from Robert Wilkins’ afore-mentioned melody.

After a nice sacred When i Lay My Burden Down, with more nice slide guitar, he is joined by Drink Small who takes the lead on This Little Light of Mine, where Shelton adds vocal harmony and the guitar accompaniment. Shelton Powe may not be the next coming of Blind Boy Fuller or John Jackson, but he shows himself to be a very capable singer and musician rooted mostly in the traditions heard from Virginia down to Georgia.

I received this recording from the Music Maker Foundation in return for support I have provided the organization. The website of Music Maker Foundation is www.musicmaker.org, and there is information on Powe and this recording there. This video (on youtube) of Shelton performing is on his page at the Music Maker Foundation.  

John Dee Holeman Says You Can’t Win All the Time

One can certainly appreciate the work of Tim Duffy and the Music Maker Foundation. The Foundation’s efforts to assist and promote mostly southern rural musicians certainly have benefited a number of musicians. They have also made available recordings by a number of artists, although these vary considerably in quality. North Carolina bluesman John Dee Holeman is one of the artists that has fallen under the Music Makers Recordings umbrella with his latest CD, You Got to Lose, You Can’t Win All the Time.

Holeman, a veteran Piedmont bluesman who learned from Blind Boy Fuller, has been honored by the National Endowment of the Arts with a Heritage Fellowship. This album was produced by Zeke Hutchins, who plays with country artist Tift Merritt, and essentially has him mostly reworking a variety of down home blues standards from the pens of Muddy Waters, Lightnin’ Hopkins, Sleepy John Estes, Memphis Minnie and Lowell Fulson. While credited to Holeman, the title track is a slowed down version of an Ike Turner song that was recorded for Cobra with Tommy Hodge handling the vocal. In additions to Hutchins, others heard in the backing band include Duffy and Cool John Ferguson on guitars, and Slewfoot on harp. Several tracks have backing vocals.

This is at times entertaining but oftentimes somewhat anonymous, down-home flavored performances of the songs. This type of small group down home blues deriving from the recordings of the likes of Muddy Waters and Lightning Hopkins has been done more compellingly by the likes of Lightnin’ Slim on Excello or Louisiana Red for a variety of labels over the years. Proceeds of this does support the Foundation’s worthy efforts, but otherwise this only gets a reserved recommendation. For more on the Music Maker Foundation and its various programs and recordings, check www.musicmaker.org.

This review originally appeared in the August 2008 Jazz & Blues Report (Issue 307) and I likely received my review copy from Music Maker Foundation. Incidentally there are several other recordings by Holeman available from the Music Maker Foundation so check out their website. Here is a video of him performing When Things Go Wrong.

Big Boy Henry's Carolina Blues

North Carolina bluesman, Richard ‘Big Boy’ Henry is among the blues artists that have been assisted with the Music Maker Relief Foundation. Music Maker Recordings has issued a delightful disc by this Patriarch of the Carolina Blues, Beaufoot Blues, that was produced by Lightnin’ Wells and Tim Duffy.

Henry’s contributions are limited mostly to vocals as Wells, Duffy and Michael Parrish provide backing for most of the tracks. Wells plays wonderful slide (suggesting Bukka White) on a rousing John Henry while the simple guitar of Parrish and Duffy enhance Henry’s vocal on Old Bill, a nice piece of storytelling about the killing of his rooster. Moan&Cry has some outstanding fingerstyle playing from Wells as Henry asks his woman to rock him. Duffy’s rolling guitar is wonderful behind Henry on Vellevina.

Big Boy’s son, Luther is accompanied by Wells on a warmly sung Tell Me What to Do followed by Big Boy’s a cappella vocal on Nina Mae. Pleading with his woman to tell him what’s on her mind, Henry accompanies himself on Turn the Key, telling his woman to turn the key and let Big Boy ride in her automobile and on Walking Day &Night, where, Parrish adds some low key piano in support of Henry’s enjoyable playing. Sandwiched between those tracks is Beautiful City, a gospel blues associated with Rev. Gary Davis.

One might wish Henry played a bit more, which is not to fault the wonderful accompaniments he receives through, but the strength of this release is the wonderful heartfelt singing of Big Boy Henry who is a wonderful storyteller and who invests all these performances with heart and honesty.This may be hard to find but you can obtain from some mail-order outlets as well as from the Music Maker Relief Foundation at its website, www. musicmaker.org, see http://www.musicmaker.org/artists_profile/Big-Boy-Henry

This review appeared in the April 2003 DC Blues Calendar, then the DC Blues Society’s newsletter. I may have purchased this CD.

Josh White and Big Bill Come Visiting and Singing

Empire Musicwerks issued back in 2007, Josh White Comes A-Visiting Big Bill Broonzy Comes A-Singing, which makes available on CD music originally issued on two 10-inch LPs originally issued on the Period label. The album notes calls the two among the greatest exponents of the folk-blues idiom and that would not be unfair description of these discs as both artists are quite urbane in their presentation.


White, who had gone from a Piedmont blues and gospel singer-guitarist to a member of the emerging folk scene in the post-World War II era is heard backed by a small rhythm combo as well as a vocal chorus that included his daughter Beverly. Material ranges from the opening Bonbons, Chocolates, and Chewing Gum; Bury Me High and She’s Too Much For Me, which are very ably performed with deft musicianship and very appealing vocals.


The Big Bill Broonzy selections were recorded in Paris and include a rendition of Baby, Please Don’t Go (miscredited to Broonzy) along with Do Right Blues, Backwater Blues, and Hollerin’ and Cryin’ the Blues, all wonderfully sung and played with some crisply delivered guitar, if perhaps the vocals are taken with a certain self-consciousness.


I suspect no one call these performances by either essential, but certainly there is quite a bit that is very enjoyable.


This review originally appeared in the August 2007 Jazz & Blues Report (Issue 296) and that publication likely sent me the review copy of the CD. This is shown as still available on amazon.

Another Cephas and Wiggins Piedmont Blues Treasure

I had the privilege of knowing that late John Cephas as well as Phil Wiggins who were cornerstone’s of the Washington DC and vicinity blues scene as well as became internationally known for their style of Piedmont blues. The following review was originally published in the July-August 2006 DC Blues Calendar, then the DC Blues Society’s newsletter. It also appeared in the July-August issue of Jazz & Blues Report (Issue 284). I have made very slight stylistic edits. This was I believe their final album on Alligator.


The release of the new Alligator CD, Shoulder to Shoulder by (John) Cephas & (Phil) Wiggins will certainly be welcome by lovers of acoustic blues lovers everywhere, not simply here in the DC area. The two are in usual fine form with Cephas assured guitar and Wiggins remarkable crying harmonica. Ann Rabson adds piano to six tracks while Daryl Davis is heard on one.


This opens when a fine Cephas original, Ain’t Seen My Baby that shows off Cephas Piedmont guitar style, and closes with a blues taken from Robert Johnson’s Walking Blues, The Blues Three Ways on which Daryl Davis adds some solid piano. In between those numbers, the pair rework Skip James recording of the Delta classic Catfish Blues, on which Cephas shows himself to be one of the most consistently able interpreters of James’ music. Another highpoint is Cephas’ Piedmont reworking of Charlie Patton’s deep delta blues, Dirt Road, with Rabson’s piano adding to the tunes flavor. Seattle Rainy Day Blues is another standout original with a wonderful lyric and solid piano from Rabson behind the two.


The performances are consistently strong with the piano especially lending a bit more city feel to some of these excellent performances in what is another excellent addition to their body of recordings.


I received my review copy from Alligator.


As a postscript, while John Cephas passed away, Phil Wiggins stills performs as well as teaches. He can often be heard performing with Corey Harris, as well as with DC area bluesman Rick Franklin. He regularly gives harmonica workshops at the Archie Edwards Blues Heritage Foundation.

Richmond Blues Final Musical Statement By Cephas & Wiggins

Living in the Washington DC area, I have had the pleasure of knowing the late John Cephas and Phil Wiggins. Phil Wiggins met Cephas at a Smithsonian Folklife Festival where Wiggins sat in with pianist Big Chief Ellis and Cephas, later joining the Barrelhouse Rockers, beginning a partnership that would last until Cephas passed away in March 2009. It was one that would be marked by tours around the world, and a number of recordings for a number of labels. The last album the duo recorded, Richmond Blues was for Smithsonian Folkways, part of the label’s African-American Legacy Series and issued in 2008 prior to Cephas’ passing.

It is an album that sounds is oriented more to the duo’s Piedmont blues roots than some of their other relatively recent recordings that included Cephas distinctive interpretations of Skip James and Phil Wiggins’ original songs. The ghost of Blind Boy Fuller hovers over much of this disc as a number of songs the pair perform here are associated with Fuller, including Mamie, Pigmeat Crave, Prison Bound Blues (not the Leroy song of the same title but a song also known as “County Jail Blues), and Step It Up and Go. Fuller’s guitar style is also heard throughout on Cephas’ finger style guitar picking throughout this on performances of Julius Daniel’s Richmond Blues, Big Bill Broonzy’s Keep Your Hands Off My Baby, the sprite Crow Jane, and Key to the Highway.

Cephas was such a solid guitarist, perhaps not quite as spectacular as his friend John jackson, but his fluid playing was complemented by one of the richest voices in acoustic blues that this writer felt had some of the same warmth and expressiveness as Big Bill Broonzy. Wiggins grew into one of the blues most accomplished harmonica players, which he continues to display in performances with Corey Harris, DC area acoustic bluesman Rick Franklin and others. On this, his expressive, vocalized harp work embellishes Cephas’ vocals as well as soars on his own solos.

And while the pair has recorded a good number of these songs before, it certainly is worthy that they chose to revisit some of these, especially the traditional Reno Factory, about the factory that burned down. Cephas learned this from Marvin Foddrell of the Foddrell family of Virginia, themselves quite accomplished although they made few recordings. This was one of the earliest recordings by John Cephas and Phil Wiggins I heard and it still affects me to hear this song so soulfully and wonderfully played. The final recording by two of the blues most significant and accomplished performers, Richmond Blues provides a strong finale to their musical legacy. For more information you might visit the Smithsonian Folkways website, http://www.folkways.si.edu/index.aspx. For “Richmond Blues” follow this link: http://www.folkways.si.edu/albumdetails.aspx?itemid=3216.


Smithsonian Folkways provided me a download of the CD as well as a pdf file of the accompnaying booklet for this review.

John Jackson's Superb Piedmont Blues

I was at John Jackson’s last performance on New Year’s Eve, 2001 as part of the City of Falls Church Virginia’s annual celebration. Alternating sets with an old time string band, John was his usual warm self and the vigor of his performances belied the fact that he would soon go into the hospital for treatment for cancer. Less than three weeks later he passed and the church where his funeral was held was full of his many friends, some who came from great distances to pay their respects to a wonderful musician but also one of the most wonderful persons one could ever meet. In the release of Jackson’s music, Rappahannock Blues, Smithsonian Folkways, the late Piedmont blues master is lovingly represented by 20 selections (18 previously unissued) that demonstrate his marvelous finger style playing, his untutored vocals and the warmth of his personality that comes out through the nearly hour of music here.

The performances, taken at various performances represent the breadth of his repertoire that extend from his interpretations of songs associated with his main influence, Blind Blake ( Too Tight Rag, Diddy Wah Diddy,” and West Coast Rag); standards of the Piedmont tradition such as Blind Boy Fuller’s Truckin’ Little Baby, and Step it Up and Go, along with Red River Blues; adaptations of country songs such as Tom T. Hall’s The Year Clayton Delaney Died, and the Delmore Brothers Brown’s Ferry Blues; and traditional songs and ballads like Cindy (played on banjo), and Railroad Bill. Also included are religious songs like Don’t You Want to Go Up There, and Just a Closer Walk With Thee, and Jackson’s adaptation of Candy Man, from his friend Mississippi John Hurt.

Frankie and Johnny has been performed numerous times by numerous folk, but listening to Jackson’s vocal and his nimble and precise picking, is like listening to this number afresh. Perhaps no better demonstration of John Jackson’s superb guitar playing is John Jackson Breakdown, a brilliant guitar tour de force that is proof that he was amongst the greats of the Piedmont style guitarists, and was on the same level as Blind Blake and Reverend Gary Davis. For further proof, one can listen to his sterling recreation of Blind Blake’s West Coast Rag with which this album closes.

There were only six albums by John Jackson issued during his lifetime. Fortunately two CDs on Arhoolie and one on Alligator are still readily available. “ Rappahannock Blues” is a terrific addition to this body of music. Anyone who has any interest in acoustic blues, especially the Piedmont tradition, will find this an essential purchase. Included is a booklet with copious notes on John and the songs from producers Barry Lee Pearson and Jeff Place that matches the quality of John jackson’s exquisite performances. For information on this release and others from Smithsonian Folkways, visit, http://www.folkways.si.edu/index.aspx. For this release follow this link: http://www.folkways.si.edu/albumdetails.aspx?itemid=3273. 


Smithsonian-Folkways provided me with a download of this CD.

The Blues Doctor Cures The Blues

I have written about the Music Maker Relief Foundation several times (such as here) and the activities they undertake on behalf of blues and other musicians in need. MMF has compiled a substantial body of recordings by its associated artists and among the latest CDs they have issued is Hallelujah Boogaloo by Drink Small, who is known as “The Blues Doctor.” The Blues Doctor label drink uses in part is a reference to his ability to play a variety of styles. After all, he grew up in the church (first recording as part of a gospel group) as well as learning Blind Boy Fuller tunes. It also refers to his ability to make you feel good by his playing the blues.

Drink Small is among the Music Maker Foundation Artists that has a significant body of recordings for having recorded for a variety of labels including Ichiban and his own Bishopville label (referring to South Carolina hometown). The present CD was recorded by Tim Duffy between 1997 and 2005 by Tim Duffy. It contains 11 songs and clocks in at just under 45 minutes. These are solo performances and cover a wide range of material and while all the songs are credited to Drink Small, some are not such as Blind Boy Fuller’s “So Sweet” and “Blues By the Drink” which is a revamped “Baby Please Don’t Go.”

There is a gregarious quality to Drink Small’s performances that is evident throughout, whether on the opening “Widow Woman” with a folk-tinge, to his exquisite rendition of Fuller’s So Sweet, as well as his Song With No Name, where he references Howlin’ Wolf and howls and moans. His language can get raunchy at times as on Moanin’, which is definitely not radio friendly or simply descriptive as on Woman Love a ManThat Can Play The Slide. His guitar playing whether in a Blind Boy Fuller mode as on So Sweet or playing slide, is thoughtful and crisply executed . The vigor of his performances and the varied material makes for quite an enjoyable recording.

I obtained this as part of my Givin’ It Back Record Club membership which includes a quarterly CD release as a premium for my donation to MMF, but also can be acquired on its own from MMF at musicmaker.org.

I am writing this a week before the Music Maker Foundation hosts on Monday March 14 Capitol Blues Night at Clyde’s, at Gallery Place in Washington DC. Only a limited number of tickets are available for this fundraiser for Music Maker Relief Foundation. There will be musical performances by Captain Luke, Ironing Board Sam, Big Ron Hunter, Mudcat, Bubba Norwood and Sol, the event offers an evening of diverse and feet-stompin’ music and in addition to the phenomenal entertainment, tickets will include beer, wine and hors d’oeuvres. Go to musicmaker.org for more details on the event and how to order tickets.

Rev. Gary Davis 1952 Recordings Newly Issued

One of the masters of acoustic finger-style guitar in the Piedmont tradition, the legendary Reverend Gary Davis exerted considerable influence on a whole variety of musicians who had the opportunity to see him and perform. There has plenty of Gary Davis albums that are available including a Yazoo reissue of his early recordings (including some secular sides), albums on Smithsonian Folkways, Prestige Bluesville, and more. Shanachie has a marvelous 3-CD box of various live performances from the late fifties and early sixties and various anthologies contain examples of his spectacular holy blues.

Field Recorders Collective is an group of collectors who have recorded mostly old-time string-band music but have issued some cajun and creole recordings. In 2009 they released a CD of the music of Dink Roberts, a banjo player whose music as a link between the African-American traditions and Appalachian styles. Among the five releases for 2010 is one of Reverend Gary Davis, “1952 Wire Recordings from the Collection of John Cohen.” Cohen, who founded the New Lost City Ramblers with Mike Seeger & Tom Paley in 1958, was introduced to Davis at a 1950 Leadbelly concert and with his brother Mike, he made these wire recordings of Davis at Davis’ Harlem home in 1952. These recordings, accordingly, predate the 1953 tape recordings of Davis that have been issued on Smithsonian Folkways.

There will be few surprises among the songs or the performances of Davis on this recording which opens up with “I Am a True Vine” and concludes with “Twelve Gates to the City.” Among the highlights to these ears are “Please Don’t Drive Your Children Away” and his fervent rendition of “I’m Gonna Meet You At The Station,” both with plenty of his cleaned picked playing and hoarse shouted vocals. On a few tracks the spoken encouragement and vocals of McKinley Peeples are held as on the brief instrumental rendition of “Cocaine.” It is Peeples who takes the lead vocal and guitar on “I See the Sign of Judgement” where he salutes Gary Davis in his lyric, while the roots of Blind Boy Fuller and his musical followers are evident in “Tell Me, John,” with some brilliant picking here. Given the source of this material, the sound is acceptable although the treble end is a bit muffled. While there are other places to start with the music of Reverend Davis, this will be welcomed by his many fans and fans of fingerstyle guitar.

This can be obtained from Field Recorders’ Collective at their website, www.fieldrecorder.com. It is packaged in a mini-lp jacket with brief notes on Davis and the source of this disc.

I purchased this disc.

New John Jackson CD coming out

John jackson's Last Performance-105, originally uploaded by NoVARon.

I found out this past weekend that Smithsonian Folkways will be issuing a CD of live performances by John Jackson, one the DC area's masters of Piedmont Blues. The performances were compiled from his performances at Smithsonian events over many years. I am hopeful that some of the duets with his son James as well as with the great Doc Watson are among the performances included.