Daryl Davis - American Roots

 Daryl Davis - American Roots - Armadillo

Daryl Davis is a fixture on the DC music scene and arguably one of the finest blues and boogie-woogie pianists anywhere, not just in DC. Influenced by many of the greats of jazz and blues piano, Davis was fortunate to have been taken under the wing of Chuck Berry's pianist, Johnnie Johnson, and the legendary Pinetop Perkins, who helped him mature into a master of blues and boogie-woogie piano. Additionally, as those who have witnessed his performances at clubs, festivals, or swing dance, he is no slouch on a guitar. While it has taken some time, he has put together an album, American Roots on the British Armadillo label. 

Put together at several sessions in the area, the disc displays Davis' versatility and is certainly a lively album which is at its best when his piano is at the fore. Comprised of originals, some like the rollicking I'm a Boogie Man display the pumping piano and Daryl's energetic vocals, although the backing vocal chorus is dispensable. As many know, Daryl often works with Chuck Berry, and We All Owe a Debt is a tribute to his sometimes employer. Other tunes evoke other legends of blues and rock'n'roll, including Little Richard (Let Me Boogie With Your Woogie) and Jerry Lee Lewis (Going Back to the Country). However, Lewis seems more of an influence on Davis' playing. Phil Wiggins adds his harmonica to this selection. 

With a variety of backing musicians present, the level of the groups varies, with some of the rhythm sections are more workmanlike than others. Bob Margolin lends his guitar to a rocking Broadminded, one of two selections on which Ron Holloway adds his authoritative saxophone. Two piano features, Double "D" Blues, a tribute to Johnnie Johnson, and the closing Y2K Boogie, dedicated to Pinetop Perkins, display his terrific piano playing. I'm Coming Back is a terrific slow blues that suggests that Davis could produce a killer straight blues album.

Some of the material may be a bit lightweight, but this is in keeping with Davis' ability to get people up and dancing. And his playing is never insubstantial. 

I likely received this CD from Armadillo, This review originally appeared in the June 2002 DC Blues Calendar. Many of the songs here are available on a CD Daryl produced, Greatest Hits. Here is Daryl performing.

Moonshine Society Sweet Thing

Moonshine Society
Sweet Thing
Mojo Music Group

"Sweet Thing" is the second album by the DC area band, Moonshine Society. The core of the band is guitarist Joe Poppen and vocalist Black Betty (Jenny Langer), along with bassist Chris Brown and drummer Rodney Dutton and they have developed their blues and roots music stew. Lending support on some of the tracks are keyboardists Wes Lanich and Benjie Porecki, bassist Tod Ellsworth, and the horns of the great Ron Holloway, Vince McCool and Ken Wenzel. Jason Ricci's harmonica was added onto two tracks. Black Betty and Poppen, when not fronting Moonshine Society, are members of The Ron Holloway Band.

There is a fascinating mix of blues, blues-rock, and soul starting with the opening title track that was penned by Langer. It might be viewed as an answer song to Muddy Water's "Mannish Boy," with Ricci providing some energetic harmonica behind Langer's insistent vocal as she tells her man not to play games with her. "Shake" has a nice groove with a riff that evokes Nick Gravenites "Born in Chicago." Langer sings about going out and dancing the night away with Poppen laying down some fiery single note runs while Holloway has a booting solo. A particular standout selection is the reworking of the Ruth Brown hit, "Mama, He Treats Your Daughter Mean." It is set to a New Orleans second-line groove with Porecki on piano laying down some Crescent City styled piano. Vince McCool takes a brief, fiery trumpet solo, and Holloway on tenor sax and Wenzel on baritone sax take robust solos with the three horns leading the second line until performance fade out. Langer's "Come On Home" is a stunning performance in a Memphis soul style with Porecki channeling Booker T and Poppen evoking Steve Cropper.

There is a tribute to Johnny Winter on "Southern Road," which is more in a blues-rock vein with Ricci adding to this wide-open performance. Another highlight is a mash-up of Bill Withers' "Use Me" and Dr. John's "On Gilded Splinters," with her striking vocal backed by Poppen's explosive blues-rock guitar. Langer ably covers Etta James' "I'd Rather Go Blind," with a nicely shaped guitar solo and backing Langer whose vocal builds with passion as the performance unfolds. "Deal the Devil Made" contrasts with a more restrained vocal and backing. Poppen takes a solo on acoustic guitar on this selection.

A bonus track, "The One Who Got Away," is included. It was recorded in cooperation with "Cancer Can Rock," with a different backing band but also serves as another example of Langer's powerful, focused singing. It adds to the pleasures of an impressive recording.

I received my review copy from a publicist. Here is a video of a recent live performance of "Sweet Thing."

 

Global Noize Reimagines Sly and the Family Stone

The music of Sly and the Family Stone was innovative and has influenced so many artists. Sly Stone's music's impact can still be heard today. Reflecting this influence is an extraordinary release by Global Noize, Sly Reimagined on the Zoho Roots label that shows how Sly and the Family Stone remain contemporary. 

Jason Miles is the instigator (along with DJ Logic) behind Global Noize and this release.  Jason came to notice with his groundbreaking synth programming for Miles Davis’ ‘80s recordings Tutu, Music from Siesta and Amandla, and later contributed to a genre-crossing array of artists as well as a variety of legacy-based dedications to Marvin Gaye, Ivan Lins, Vandross, and Grover Washington. Miles, a visionary conceptualist, producer, arranger, composer and keyboard wizard, has organized this tribute to the legendary Sly and the Family Stone with a remarkable group of contemporary singers and musicians including, but not limited to) (b DJ Logic; vocalists Nona Hendryx; Roberta Flack; Fatu; Maya Azucena; and Mike Mattison; guitarist Will Bernard; trumpeters Ingrid Jensen and Barry Danielian; saxophonists Jay Rodriguez and Ron Holloway; bassist Amanda Ruzza; and drummer Greg Errico (Sly’s original drummer).

Miles first saw Sly and the Family Stone opening for Jimi Hendrix in 1968 and has been listening and playing their music over the past 40 + years. As he writes in the liner notes “Making an album of Sly’s music has been on my mind for over a decade. I saw the opportunity to reintroduce this great music and re-imagine Sly’s music for 21st century sensibilities.” Sly’s original music itself transcended categories while contributing to the development of funk and fusion. His original recordings still have a freshness to them. What Miles has done here is to provide a broad musical palette in rendering some of the classic songs that Sly left us, fusing, funk, jazz and hip hop for the stirring musical results.

What one hears is Sly’s music that captures the spirit of Sly’s originals without imitating them. Perhaps it is the presence of Errico on the opening Time who sets forth the groove as Nona Hendryx handles the vocal. Ingrid Jensen channels Miles Davis with her trumpet behind the vocals of Roberta Flack (mostly repeating the title) and James D Train Williams on It’s a Family Affair, while Jay Rodriguez takes a couple of tenor sax breaks. This performance is one of two presented here in two separate mixes, and in both cases illustrate the skill Jason Miles has in mixing the various musical elements together. I was not familiar with Maya Azucena, but her vocal on Fun set against a tough funk groove really got my attention, and her vocals on You Can Make It If You Try, (shared with James D Train Williams) and Stand, are equally outstanding. Rodriguez does some serious bar walking on his sax during You Can Make It If You Try, on which Jensen is heard playing without a mute. 

I don’t want to slight the leader’s keyboards either. Not only did he organize this and create the arrangements of the songs, but his playing also is an integral part of these terrific performances.  Sly Reimagined shows how contemporary Sly and the Family Stone's music remains today. Just like Sly's original recordings, this is serious musical fun for listening and partying..

I received my review copy from a publicist. I note that today (when this is posted) will be a CD release event at Joe's Pub in New York City.

Some Scorching Ron Holloway saxophone from 1996

Here is a review from the October 1996 Jazz & Blues Report of one of the four Milestone albums by tenor saxophonist Ron Holloway. Ron, as I write this, currently tours with Susan Tedeschi, but when home with DC is liable to play with anybody, bring his robust playing to whatever setting he is then situated in. This, and his other Milestone albums can be purchased through various sellers at amazon, although amazon does not carry it, itself.

Ron Holloway’s tenor saxophone has been heard at numerous blues shows around the Washington, D.C. area over the years, including accompanying boogie woogie legend, Sammy Price, and Cathy Ponton King at past D.C. Blues Festivals. He is amongst the area’s most accomplished jazz musicians, although completely at home with the blues, and was a member of Dizzy Gillespie’s last band, He also has played with Root Boy Slim and Gil Scott-Heron (with whom he still tours). Milestone has just issued Scorcher, Holloway’s third album, and this disc lives up to its title. Just like Holloway who transcends musical genres, Scorcher includes a diversity of settings from an organ based combo with guest Joey DeFrancesco, a couple of vocals by Gil Scott-Heron, and even a rap track where Holloway’s tenor sax swirls around the raps of M.C. RIP and Shorty Bones. Trumpeter Chris Battistone and guitarist Paul Bollenback (from the organist’s trio) also play an important part on this album. Material ranges from burning renditions of bebop standards like Hot House as well as Lee Morgan’s Slidewinder, Freddie Hubbard’s Red Clay, a hot Sonny Rollins number, The Everywhere Calypso, and a couple of numbers with Gil Scott-Heron, one of which is a blues on which Nighthawk Mark Wenner plays. Holloway’s tenor sound is somewhat suggestive of Rollins (which is certainly not the worst source of inspiration) and his lengthy solos show his own musical personality, full of passion and thoughtfulness. He is supported by some terrific players as well, and the result is some compelling music. The last track is a rap with a positive message, on which Holloway’s fiery saxophone does not completely integrate with the backing or the performance. While to this listener, this experiment was not successful, it reflects Holloway’s ranging musical interests. In any event, it is a minor flaw in a set with almost 75 minutes of music, played with plenty of heart and head.


Subsequent to posting this, Ron alerted me to the fact that his Milestone albums can be downloaded from Concord Records website as MP3s.