GAYE ADEGBALOLA Neo-Classic Blues

GAYE ADEGBALOLA
Neo-Classic Blues
HOT TODDY MUSIC

This is Gaye Adegbalola’s most recent “embrace” of the classic blues and the classic blues women, Accompanied by pianist Roddy Barnes, Gaye interprets some well- known, and rescues some more obscure songs from the earliest days of blues recording. In addition, she sings several originals that are presented in the same vein as the early blues foremothers.

From the opening moments of Ma Rainey’s Black Bottom to the last notes of Roddy Barnes’ Summer Sky, we are treated to some exquisite performances. There is a fair number of selections associated with Ma Rainey in addition to the opening track that include Yonder Come the Blues, Prove It to Me, and the immortal See See Rider, all of which Gaye delivers wonderfully with Barnes’ complimentary backing. The bawdy The Dirty Dozens receives spirited treatment as does does Lucille Bogan’s BD Woman Blues. Another Bogan song, Sloppy Drunk, is taken at a distinctively slower tempo than Ann Rabson performs the number with Saffire. Gaye’s original, Twisted Woman Blues fits in seamlessly with Sippie Wallace’s Up the Country Blues, while her ballad How Can I Say I Miss You, compliments her rendition of the Duke Ellington-Paul Webster classic, I Got It Bad and That Ain’t Good. 

A couple of songs from blues history are also refreshed by Gaye here, Perry Bradford’s Crazy Blues, the bluesy Perry Bradford song that Mamie Smith recorded to launch the blues craze, and Alberta Hunter’s Down Hearted Blues that was Bessie Smith’s first recording. In addition to the wonderful performances, Gaye provides short but insightful comments on all the songs. This is simply a marvelous disc of blues performed with so much heart and panache that is unreservedly recommended.

This review appeared originally in the July-August 2004 Jazz & Blues Report (Issue 269). I likely received a review copy from a publicist. This still should be available at finer sellers. Here is a video of Gaye and Roddy Barnes performing I Got It Bad and That Ain’t Good.

 

Gaye Adegbalola The Griot

Gaye Adegbalola
The Griot
VizzTone

On the back cover of Gaye Adegbalola's new album, "The Griot," she provides a definition of The Griot as "a member of a class of traveling poets, musicians, and storytellers who maintain a tradition of oral history on parts of West Africa … and on this CD." On the second selection of this Cd "Definition: The Griot," she does a recitation set against Jackie Merritt's bones accompaniment that among other things observes The Griot is also "a REPOSITORY, a LIVING ARCHIVE … of Oral History." Additionally, the griot is, in part, a singer, seeker, teacher, preacher, "the entertainer, the unchainer, the keeper of our history, the remover of whitewashed mystery." This should give a sense of the spirit that infuses this recording, much of which might be termed 'protest' songs, but I prefer the term truth songs that the late street gospel singer Flora Molton termed some of her recordings. On this latest musical journey of mostly original songs, she is backed by her co-producer Jeff Covert on electric and acoustics, drums, bass, banjo and keyboards; her own acoustic guitar and harmonica; Roddy Barnes on piano on several selections; Reesa Gibbs on chant and backing vocals on several tracks; Jackie Merritt on bones on three tracks and a horn section led by trumpeter Zack Smith.

There is a definite tinge of anger in her vocals on such tunes as "Nothing has Changed" where she recalls sit-ins and picket lines, dogs, water hoses, burning crosses and lynchings as well as James Byrd dragged by a truck, and brings us up to date singing about the KKK and Nazis marching in Charlottesville with a chorus of "How Can I Be Angry?" There's been some change it's true. Too slowly in my lifetime, much more we can do." Set against a smoldering blues-rock backing and a bit of acid in her vocal, it sets a tone for this remarkable recording. The mood is present in "Hypocrisy: Liearrhia," where she confronts the discourse of the day "You've got a bad case of liearrhia/ You keep running off at the mouth/ Your tongue comes from the devil/ And your truth is crapping out … ."

She addresses female genital mutilation in "Sexism: FGM," with a middle eastern tinge to the vocal as she sings how she will fight to prevent one from taking a woman's Joy. There are also lyrics addressing poverty in a blues track subtitled "Dirty Sheets" with biting guitar; pollution in "Flint Water" set against a rollicking shuffle groove with Covert's Allman Brothers' inspired slide guitar; and protest on "Kaepernicked" where she proclaims him her new Muhammad Ali.

There are several covers including Doc Pomus and Kenny Hirsch's "(There is Always) One More Time" to illustrate hope; the Bessie Smith classic (also done by Nina Simone) she has been singing since her days with Saffire-the Uppity Blues Women three and a half decades ago, "Need a Little Sugar in My Bowl"; and a modern arrangement of Ma Rainey's "Jelly Bean Blues" that closes this CD. "The Groit" has provocative songs along with Gaye Adegbalola's most passionate singing. It makes for compelling listening.

I received my review copy from Vizztone. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video of Gaye Adegbalola performing at a 2019 House Concert.