Johnny Burgin Live

Johnny Burgin
Live
Delmark Records

Rockin' Johnny Burgin notes that this new live recording is his first in 20 years, and first since he moved from Chicago to the West Coast. It was recorded in January of 219 at the Redwood Café in Cotati, California. His regular band of Chris Matheos on bass and Steve Dougherty on drums is augmented by Kid Andersen on guitar, harmonica players Aki Kumar and Charlie Musselwhite, saxophonist Nancy Wright, and vocalist Rae Gordon. Kid Andersen and Robbie Yamilov and was mixed by Andersen at Greaseland Studios. The 14 selections include twelve brand-new originals performed, as Burgin observes, "by artists who don't play together regularly… ."

This collection of performances is a very good collection of West Side Chicago style blues. Burgin has definite appeal as a vocalist with his high pitched, heartfelt singing. He may not be a great singer, but there is a marked absence of a harsh vibrato or false emoting in his straight-forward, fervent vocals. This is matched by his guitar playing that evokes early Buddy Guy, Jody Williams, and (especially) Jimmy Dawkins in his top-notch, imaginative soloing. From the opening "You Got To Make a Change," whose melody evokes early Clifton Chenier on Specialty, with Kumar's outstanding harp until the closing "Jody's Jazz," an instrumental dedicated to Jody Williams that hints at "Lucky Lou" and also showcases Wright's chicken scratching sax, Burgin impresses.

There are echoes of early Buddy Guy in his fiery fretwork "Can't Make It Blues," while one of the covers is a choice rendition of Earl Hooker's "The Leading Brand" where Burgin's slide guitar dances with Kumar's harp. Vocalist Rae Gordon surprises with her robust singing, whether enlivening a duet with Burgin on "I Got to Find Me a Woman" or pouring her heart, and asking a lover to come home in "Late Night Date Blues." Nancy Wright makes notable contributions to these performances. Backing her vocal on "You Took the Bait," Burgin lays down one of his most stunning solos before Wright adds her raspy sax. This song borrows from the melody of Eddie 'Cleanhead' Vinson's "Kidney Stew." Charlie Musselwhite joins Burgin with some brilliant harmonica on the torrid paced cover of Jimmy Rogers' "Blues Falling." It is followed by another hot shuffle, "California Blues," where Burgin sings about moving to California, and the three-in-the-morning slow blues, "When a Bluesman Comes To Town."

With so many first-rate performances, Johnny Burgin's adds to his fine body of recordings.

I received my review copy from Delmark. Here is a video of Johnny and Aki Kumar performing "When a Bluesman Comes To Town."

Howlin' At Greaseland

Various
Howlin' At Greaseland
West Tone Records

Some veterans and new names join together for a tribute to Howlin' Wolf that was recorded at Kid Andersen's' Greaseland studio and has a cover inspired by Wolf's Rockin' Chair album. Assembled for this besides Andersen on guitar, bass and piano, are Rick Estrin and Aki Kumar on harp, Lorenzo Farrell, Jim Pugh and Henry Gray on piano, Rockin' Johnny Burgin, Johnny Cat, and Chris James on guitar; Joe Kyle Jr, Patrick Rynn, Robby Yamilov and Vance Ehlers on bass; Derrick Dmar Martin, and Junior Core on drums; and Terry Hanck on sax, with vocals from Gray, Hanck, Alabama Mike John Blues Boyd, Lee Donald and Tail Dragger on vocals.

There are solidly played and sung performances in the manner of the originals, if not quite of the level of the originals. After all, there was only one Howlin' Wolf. Alabama Mike sings with urgency on "Meet Me In The Bottom," with Estrin's harmonica and Farrell's piano featured while "Smokestack Lightning," has the first of Boyd's vocals with Estrin doing a nice evocation of Wolf's harp over the solid vocal. Boyd also recalled seeing Wolf in 1956 visiting a school friend of his before launching into a rollicking "Riding in the Moonlight," with the spirit of Willie Johnson suggested in the guitar backing. After recalling, his father booking Howlin' Wolf in the sixties in suburban Chicago, Terry Hanck handles "Howlin' For My Darling," with a fine vocal and strong sax, while Johnny Cat emulates Hubert Sumlin.

Tail Dragger has a couple of recollections of Wolf here along with performances of "I'm Leaving You," and "Don't Trust No Woman," with his slightly muffled vocals with strong accompaniment from Rockin' Johnny Burgin on guitar, and Aki Kumar on harp. Henry Gray, who spent 14 years in Wolf's band, is backed by Chris James, Patrick Rynn, Ali Kumar (who shares the vocal) and Junior Core, doing a solid "Worried Life Blues." I believe this is the only song here not identified with Wolf. Also, Gray sings and plays "Little Red Rooster, with Kid Andersen's acoustic guitar the only other backing.

I am not familiar with Lee Donald, who is the strong vocalist on "Forty Four," and Boyd sings robustly on "Spoonful" that closes "Howlin' At Greaseland." While there is nothing earthshaking here, this is a fine, straightforward homage to one of the icons of the blues.

I received my review copy from a publicist. Here is John 'Blues' Boyd singing a Wolf classic not on this album, "Back Door Man."

Rockin' Johnny Burgin Neoprene Fedora

Rockin' Johnny Burgin
Neoprene Fedora
West Tone Records

This new release is a follow-up to "Greetings From Greaseland," and further chronicles Burgin's move to California from Chicago. Like the early recording, this was recorded by Kid Andersen (who plays guitar, bass, baritone guitar and piano on various tracks) at his Greaseland Studio. Others backing Burgin include Ali Kumar on harmonica and a couple vocals; Bob Welsh on guitar and piano; bassist Vance Ehlers; drummer June Core; drummer Stephen Dougherty; saxophonist Nancy Wright and accordion player Steve Willis.

There is a mix of material from the opening title track, an instrumental that bridges blues, surf and Tex-Mex guitar on a tune that deconstructs the melody of Herbie Mann hit "Comin' Home Baby" with Wight's raspy sax adding atmosphere behind Burgin's tremolo laced runs then transitions into a "Night Train" inspired segment segueing into a "Bo Diddley" beat groove with some Chuck Berry styled guitar. This tour de force is followed by a West Side Chicago blues "Guitar King" which suggests Otis Rush crossed with Jimmy Dawkins. Burgin is an amiable singer, if not a great one. He is convincing on "Won't Get Married Again," in the manner of the legendary Eddie Taylor. "Let Me Be Your Teddy Bear," has Magic Sam styled guitar with uncluttered backing reminiscent of Eddie C. Campbell.

Alabama Mike wonderfully handles the lead vocal on "Smoke and Mirrors," with its syncopated Byther Smith meets Bobby Rush accompaniment. Mike's other vocal is a nice soul ballad, "I Did The Best I Could," with a bluesy solo from Burgin. Besides the nods to Chicago blues, "Kinda Wild Women" is a zydeco flavored dance number followed by an attractive swamp pop ballad, "Please Tell Me," and "Our Time Is Short" is a waltz that employs the "Jole Blonde" melody. On this musical trip to the bayou, there is solid accordion and rubboard. "Self-Made Man" with shattering Jimmy Dawkins' flavored guitar along with Aki Kumar's reedy singing and terrific full-bodied chromatic harmonica. "I Ain't Gonna Be Working Man No More" brings back memories of the greatly underrated Johnny Littlejohn's "Chips Flying Everywhere," both with the interesting syncopation of rhythm.

"Goodbye Chicago" musically evokes Howlin' Wolf as Burgin sings about why he is going to California and has to put the Windy City down. As the song progresses he recites a list of Blues artists he played with in Chicago, and quite an impressive list it is. Wright takes a terrific tenor sax solo in the manner of Eddie Shaw on this. It closes another fine recording by Rocking Johnny Burgin who displays his deep Chicago blues roots while incorporating other sounds into his fertile musical garden.

I received a download from the artist from which I was able to do this review. Here is a video of Johnny and Ali Kumar performing in Finland.

George “Big” Wheeler Bone Orchard

George “Big” Wheeler*
Bone Orchard
Delmark

Classic Chicago harmonica blues can be heard in this debut album by veteran Chicago harpist, George ‘Big’ Wheeler. A Georgia native, he became friends with Little Walter who was a big influence, however his own style is more akin to the country flavor of a Smokey Smothers or Jimmy Reed than the fat saxophone-like sound of Walter.

Backed by the Ice Cream men, a band devoted to the classic Chicago blues band sound, he turns in a tasty set of originals along with covers from Jimmy Rogers, Little Walter, Joe Turner, Jimmy Reed and B.B. King. Wheeler is certainly an enjoyable singer and a pleasing harp player in his older style, and the Ice Cream Men (who previously backed Smokey Smothers for Blind Pig), do a credible job in backing Wheeler on an unpretentious, enjoyable recording.

I likely received a review copy from Delmark Records. This review appeared in the September 1993 Jazz & Blues Report (Issue 183). The Ice Cream Men, referred to in this review included Rockin' Johnny Burgin on guitar. This is available as CD and as a download. 

*I should note that it is Golden, not George Wheeler, but since I had it wrong when the review originally ran, I will leave the review as is and have this correction here.

Rockin Johnny Burgin Greetings From Greaseland California

Rockin' Johnny Burgin has impressed as a vocalist, guitarist and harmonica player who has worked with Sam Lay, Pinetop Perkins and Tail Dragger among others along with his own recordings for Delmark. While in the West Coast he stopped by fellow guitarist Kid Andersen's Greaseland Studio for a session with Andersen, harmonica player Aki Kumar, bassist Vance Ehlers and drummer June Core. The result is "Greetings From Greaseland California" (West Tone Records),  a collection of strong blues covering a diversity of Chicago blues styles.

Burgin is an earnest and solid singer who delivers the songs here without histrionics or artifice. Backed by this strong studio band, he plays Chicago blues with a tasteful, yet strong idiomatic approach so his performances  come off as relaxed and not rushed. The album opens with a terrific shuffle "Love Me Like I Want It." One is struck by the tempo anchored by Core's relaxed groove and Burgin's prickly, stinging guitar. The album concludes with a wonderful rendition of a lesser known Jimmy Reed number "Tell the World I Do," with Kumar's Reed styled harp played in the manner of Reed himself backing Burgin's laconic vocal.

In between these two songs are the instrumental "Havana Rocks' with terrific harp at the opening and a tempo change midway leading to strong guitar playing; "She's a Hit" another classic Chicago blues; a cover of a lesser known Robert Lockwood number, "Western Horizon" with Burgin's guitar evoking the the late blues legend; a rendition of Junior Parker's "Telephone Angel" in the manner of Son Seals; a "Tribute to John Wrencher" that conjures up that one-armed harp player; and "Empty Bed Blues," the album's highpoint in which a Josh White song is rendered as if by Earl Hooker.

"Greetings From Greaseland California" is another strong recording by Rockin Johnny Burgin that fans of Chicago blues will savor.

I received my review copy (as a download) from Johnny Burgin himself. Here Johnny does Otis Rush's "Homework."

Willie Buck Is a Rockin Cell Phone Man

There are few singers in Chicago with roots in the classic blues style heard in the Windy City in the 1950s. Vocalist Willie Buck is one and with The Rockin’ Johnny Band has a new album on Delmark, Cell Phone Man. Buck’s sound is heavily shaped by that of Muddy Waters classic fifties band and he is ably supported by the Rockin’ Johnny Band with Johnny’s guitar, the guitar of Rick Kreher, the bass of John Sefner and the drums of Steve Bass. They are augmented by Barrelhouse Chuck on piano and the harmonicas of Martin Lang and Bharath Rjakumar. 

In Scott Dirks liner notes, he observes Muddy Waters influence but also observes Buck has a style that is really more typical of the Chicago style of the fifties. Still when one has a recording that includes a number of songs associated with Waters like Two Trains Running (done acoustically), Going Down Main Street, Streamline Woman, Memphis Minnie’s What’s the Matter With the Mill (Can’t Get No Grinding), My Eyes Keep Me In Trouble, and Blow Wind Blow, the comparison is unavoidable. Willie certainly acquits himself in these performances. 

Buck’s strong rendition of Muddy’s Strange Woman, employs the Help Me bass line and in addition to some outstanding guitar (suggestive of Jimmy Dawkins with Carey Bell), displays the considerable harmonica skills of Bharath Rjakumar’s harmonica playing. While credited to Buck, Two Women Talking, sounds like the song Big Moose John Walker recorded as Baby Talk four decades ago for Bluesway. It is a solid performance which fortunately lacks the amplified wah-wah saxophone which did detract from Big Moose’s earlier recording. The title track is a strong Muddy styled original as he asks his woman to let Willie be her cell phone man, she won’t have to worry about a thing with biting guitar and Bharath acoustic harp standing out.

In addition to the steady rhythm provided by the Rockin’ Johnny Band (and fine guitar work from Johnny and Kreher), Barrelhouse Chuck is consistently outstanding and the harmonica work of both Martin Lang and Bharath Rjakumar also is top notch. Willie Buck is not Muddy’s equal, but who alive is. His vocals exhibit some of the same expressive qualities and with the strong backing here (which at times suggests some of the outstanding Delmark albums of the late sixties and seventies) has produced a strong recording of real-deal Chicago blues. 

Bill I was provided a review copy from Delmark. Here is a video of Willie with Rockin' Johnny doing some Muddy Waters.

Rockin' Johnny Has A Date With The Grim Reaper

Rockin' Johnny Burgin has been playing the blues for a couple decades, having a regular residency on Monday nights at a Chicago club while also honing his skills playing with a variety of blues folks such as Pinetop Perkins, Tail Dragger, Jimmy Burns, Sam Lay and Billy Boy Arnold. Delmark has just issued Grim Reaper, the second album by the Rockin' Johnny Band. The band is comprised of Rick Kreher on rhythm guitar; John Sefner on bass; Steve Bass on drums and Big D on harmonica with Kenny Anderson, Dudley Owens and Jerry DiMuzzio adding horns on occasion.

Comprised of several originals and interpretations of generally blues that have not been overly covered, Rockin’ Johnny has put together a solid album of Chicago blues. One can hear a variety of influences in his approach. On guitar, the West Side styling of Magic Sam and Eddie C. Campbell can be heard while Billy Boy Arnold’s low-power singing (to use Johnny’s characterization) is a strong influence on his vocals.

The title track is an original, co-authored with Ken Kemawshima, is a solid West Side Chicago styled blues with plenty of nice guitar and his earnest singing. It also displays his approach which is to not overplay and let the silences speak as much as what he plays. The band provides the appropriate support without laying down things too heavy. Johnny’s Window To Your Soul channels a bit of Magic Sam with a more low-key vocal and impressive, imaginative fretwork. On I Was Fooled, he channels Billy Boy Arnold vocally on a Jody Williams number that Arnold recorded for Vee-Jay. A swamp blues feel marks Lousy Dimes as he worries about his money problems and on which Big D takes a strong solo with Johnny adding chords and jazzy fills.

The venerable Rollin’ and Tumblin’ is given an understated treatment in a performance that owes as much to Sleepy John Estes (singing about of the river was whiskey and I was a diving duck) as Muddy Waters. Its Expensive To Be Broke is a laid back urban blues with the horn section, while the cover of Otis Rush’s My Baby Is a Good ‘Un, is taken a very leisurely tempo. He takes out the slide for some broom dusting on My Sweet Baby, where DiMuzzio adds his baritone sax behind Rockin’ Johnny’s vocal and guitar and then channels Fenton Robinson in a nice rendition of Robinson’s Somebody Loan Me a Dime with some nice guitar and a heartfelt vocal. Shoe Leather and Tire Rubber is about wearing out shoes and tires looking for some blues gigs as Big D contributes another solid harmonica solo.

Rockin’ Johnny is an engaging, low-key singer as well as a consistently imaginative and tasty guitarist backed by a sympathetic band. With a nice varied collection of songs he has produced a very appealing album.

Delmark provided me with a review copy. He he performs Fenton Robinson's I Hear Some Blues Upstairs.

Tail Dragger's New Live Album

Its been a few years since Delmark issued a live performance by Tail Dragger on CD and DVD. The prior release, “My Head Is Bald, Live At Vern’s Friendly Lounge, Chicago,” was well received and reportedly one of Delmark’s better selling releases. Three years later they follow with “Live at Rooster's Lounge,” with the Howlin’ Wolf inspired James Y. Jones performs straight Chicago blues in the vein of his mentor and friend as he redoes some of Wolf tunes along with some similarly structured originals and a few tunes associated with Muddy Waters, Sonny Boy Williamson, Little Walter and John Lee Hooker, although played in a Wolf-style.

This is a well-played performance with a solid band that includes Rockin’ Johnny Burgin and Kevin Shanahan on guitars, Martin Lang on harp, Todd Fackler on bass and Rob Lorenz on drums with Jimmy Dawkins added to one track. Jones is an expressive singer who suggests Wolf but whose slurred diction does detract a bit from the forcefulness of the performances and the band plays idiomatically. Shanahan and Dawkins are the only ones returning the earlier CD/DVD which benefited greatly from Lurrie Bell’s mercurial guitar. There is certainly nothing wrong with Jones’ covers of “Louise,” “Baby Please Don’t Go,” or “I’m in the Mood’, his own “Stop Lyin’,” and “Bought Me a New Home,” but also nothing amazing about them either. The DVD has additional performances and Delmark’s usual straight-forward video qualities.

On its own, an enjoyable, if unexceptional, recording. If you have the prior live recording, I find little here to call this a must purchase. This one may be easier to find and one might be fan of this viewing Tail Dragger as a Wolf tribute artist, but he is not such a compelling performer that the general blues fan would need everything he has recorded.

Since I wrote this, I received a email from Kevin Johnson at Delmark who reminds me this CD marks return of Rockin Johnny to recording and performing after almost a decade disappearance! Johnny has been one of the better young guitarists in Chicago at playing in a more traditional Chicago blues vein and its welcome that he is back in circulation.

For purposes of FTC regulations, I received a review copy of this from Delmark.