Howlin' Wolf and Elmore James

Chester Burnett was well known as the Howlin’ Wolf, and The Chess Box is an excellent three compact disc boxed set which is a fine survey of his compelling recordings starting with a healthy dose of his early Memphis recordings for Sam Phillips with the great Willie Johnson on guitar through his classic Chicago recordings with the likes of Otis Spann and Hubert Sumlin. While some of his later recordings perhaps showed the wear from his health, the music remains as gripping, whether on his reworking of Charlie Patton’s Saddle My Pony, Smoke Stack Lightning, How Many More Years, I Asked For Water, Rocking Daddy, Spoonful, Who’s Been Talking, Back Door Man, Killing Floor and others. There is one recording from his London session album with a variety of rock superstars, a couple of solo acoustic selections recorded at the otherwise best forgotten psychedelic album and some brief excerpts from an interview. The booklet contains biographical information and a review of his music. Another classic boxed set reissue.

One artist who diffused Robert Johnson’s music was Elmore James, whose most celebrated recording, Dust My Broom, married Johnson’s riff from Rambling on My Mind, with the lyrics for I’ll Believe

I’ll Dust My Broom. Elmore recycled this along with several other themes throughout his recordings career that spanned from 1951-1963. His last recordings (from 1959 to 1963 (with the exception of a 1960 Chess session) were made for Bobby Robinson’s Fire, Fury and Enjoy labels. Recently I noted a fine Relic collection Rollin’ and Tumblin’, that had most of his best recordings for Robinson. Poor Relic, insofar as Capricorn has just issued Elmore James, King of Slide Guitar, The Fire/Fury Recordings, that may represent all of the songs Elmore recorded for Bobby Robinson. There is a booklet that includes remembrances of Elmore by Sam Myers, Bobby Robinson and others, a biography, general appreciation and discographical information. Although I have heard this on a preview cassette, the sound (like the Relic) seemed particularly good. Unless you already have the Relic, this is a must buy, and it isn’t extravagantly priced.

This review originally appeared in the December 1992 Jazz & Blues Report (Issue 177)  (along with reviews of Lightnin' Hopkins box sets that was posted yesterday). I likely received review copies from the record companies. Both sets are available as downloads and can be obtained as used (although Collectables has also has a box set of the Elmore). While not perfect, a recent public domain reissue of Elmore James, The Ultimate Collection (Not Now) is a handy compilation surveying his recordings from the entire span of his recording career although includes a few accompaniments to others as well as his featured recordings).

Anson Funderburgh & The Rocket's Best!

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the other two compilations will run in the next couple weeks. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue and you might want to check collector's choice music as well as other websites.

Shout Factory has been reissuing product from the catalog of the Black Top label, arguably the label that from the mid-eighties through its demise in the nineties, had the strongest catalog of blues releases in that period. Earlier releases included the discs of Solomon Burke, and a Hubert Sumlin one. Three new releases are “Best of” collections centered on three of the label’s artists that do include recordings these performers made for other labels.

It was ironic that I received, Blast Off -- The Best Of Anson Funderburgh & The Rockets, the day word that Sam Myers, the great Mississippi vocalist had passed away. It is odd that this reissue does not mention featuring Sam Myers who appeared on most of the Rockets discs after Myers joined Anson and his varying line-up over the years, especially since the band took off as one of the preeminent blues bands after Myers became featured. 

The above is not to say that the band was shabby with the original vocalist Darrell Nulisch who certainly turns in an amiable performance on Earl King’s Come On, but a younger Nulisch simply had not developed the authority that Myers brought with his singing and harp as evident on A Man Needs His Loving, Moose John Walker’s Ramblin’ Woman or Buddy Guy’s reworking of Barrett Strong’s Money, $100 Bill. Additionally Myers brought his considerable harp talent to the recordings and live dates. Anson himself displays his sizzling playing as well as his impeccable taste, and is featured on Down at JJ’s. While the backing personnel changed over the years, they remained a tight, swinging outfit. 

There are numerous pleasures to be heard on all 17 selections which is compiled from all nine Rockets recordings, including selections from the two Bullseye Blues albums and the two with Nulisch and one certainly hopes that at least a few of the Rockets CDs featuring Sam Myers including Sins, Rack ‘Em Up, and Tell Me What I Want to Hear, are issued in their entirety. 

Here is a video clip of Anson Funderburgh and the Rockets featuring the late legend, Sam Myers.

The Amazing Secret History of Elmore James

Among the greatest of all Blues artists, Elmore James’ influence is heard in the music of countless musicians today, whether his cousin Homesick James Williamson, Chicago slide guitar boogie master, Lil Ed Williams, New Orleans slide master Deacon John, Fleetwood Mac founder Peter Green or George Thorogood’s blues-rock. James’ recording of Dust My Broom is among the seminal blues recordings and covered or adapted by countless artists. Even forty years after his death, the passion and urgency in his music is evident to anyone who spends anytime listening to his recordings. Elmore’s music was so powerful that Steve Franz did his Masters research on Elmore. Several years ago, Franz published a discography of Elmore’s music.Adding additional research, he has completed the first full-length biography of James, The Amazing Secret History of Elmore James (BlueSource Publishing).

James died of a heart attack in 1963 right around the time interest in Chicago blues was growing outside the African-American community. He was only subject to cursory interviews by several Europeans, such as photographer George Adins who saw him performing in various Chicago night clubs. As a result, much of what we know about his life derives from interviews from those who played with him or knew him including his cousin, “Homesick” James Williamson, harmonica player and vocalist Sam Myers, the late drummer Odie Payne, James’ Atlanta manager Otis Ealey, and record producer Bobby Robinson.

There is also an account of Elmore in performance in a southern juke joint excerpted from civil rights pioneer James Meredith’s autobiography. Other information is gathered from various public and quasi-public records including those of the Chicago Musicians Union local. Included also are brief discussions of some of the myths about Elmore, his influence and biographies of the musicians who played with Elmore and some of the artists who were directly affected by Elmore including Homesick James, J.B. Hutto, Joe Carter and Hound Dog Taylor.

There is also an extensive discography of Elmore’s recordings including listings of various album reissues. This is copiously illustrated with pictures of Elmore and his musical associates. There are a few minor typos but this is an impressive contribution to the literature on the blues. This can be obtained from amazon or bluebeatmusic.com.

This review was written after I purchased this book. The review originally appeared in the April 2003 DC Blues Calendar, then the newsletter of the DC Blues Society. I have made minor stylistic revisions and updated the purchase information from the original review.

Mark Hummel's Rocking Blues Parties

Mark Hummel has been playing the blues for decades and with his Blues Survivors, has shared the stages as well as backed numerous blues legends. In more recent years, he has been known for his tours of Blues Harmonica Blowouts, with recent tours being documented on disc on compilations on the Mountain top label. Now we have the good fortune to have new new compilations that go back to the vaults that help celebrate the blues. Electro-Fi, Hummel's current label has just issued Mark Hummel's Blues Harmonica Blowouts, subtitled "'Still Here and Gone' 1993-2007," while Mountain Top has released Mark Hummel's Chicago Blues Party subtitled "Recorded Live! 1980-1992."

For those who are fans of the Blues Harmonica Blowouts, the new double disc collects recordings by a variety of highly regarded players, some who are no longer with us. The focus on harp allows the presence of Magic Dick whose vocal talents nowhere approach his instrumental skills, as well as the brilliant Lee Oskar, who turns in a stunning instrumental rendition of Duke Ellington's In a Sentimental Mood. Hummel turns in his usual solid playing, rooted in the classic playing of Little Walter and Big Walter (a nice rendition of Hard Hearted Woman, along with the set's closing Summertime). There are nice representative performances from Lazy Lester, Sugar Coated Love; Carey Bell, I Got to Go; Billy Boy Arnold, Sugar Gal; Johnny Dyer, and Rick Estrin. Of special note are performances by several not with us: two by Paul deLay, Can't Stand Your Evil Ways; two by Sam Myers with Anson Funderburgh on guitar, especially I Done Quit Getting Sloppy Drunk; and three brilliant performances by William Clarke, including Stretch My Money and the instrumental Chrome Jumpin'. Rusty Zinn are on these selections while Junior Watson graces the James Harman and Paul deLay selections. The harp playing is high and most of the vocals are strong on a set with broad appeal.

Chicago Blues Party is even better with previously unissued performances spotlightling a number of now deceased blues legends: Jimmy Rogers, Eddie Taylor, Mississippi Johnny Waters, and Luther Tucker. The disc opens with five 1992 performances by the great Jimmy rogers backed by Hummel and a band that included Rusty Zinn on guitar from Slim's in San Francisco. Over a decade and a half later it is a delight listening to Rogers redo You're the One and Ludella with Hummel's harp embellishing the vocals so well. Less familiar Rogers songs like Tricky Woman, standout along with a rendition of Jimmy Reed's Big Boss Man. The late Eddie's set lacks reworkings of some of his better known recordings like Bad Boy and Big Town Playboy. Instead he focuses on reworkings of Wolf's Smokestack Lightning, Muddy Waters' Trouble No More, and Charles Brown's Sunny Road. Despite the familiarity of the material, Taylor is in good form. On Taylor's set, Mississippi Johnny Waters is on rhythm guitar and takes the lead vocal as well as plays some strong slide guitar for Dust My Broom. Waters, real name Johnny Sandifer, was a strong traditionally oriented Mississippi bluesman who Hummel played with for several years from 1977 on and there are two performances by Waters with guitarist Sonny Lane from the 1980 San Francisco Blues Festival including solid renditions of Wolf's Shake For Me and J.B. Lenoir's How Much More Long. These performances display strong vocals backed by a tight rocking band playing classic Chicago blues. The fact Waters recorded so little makes these especially valuable. Another 1985 Waters performance, a rendition of Long Distance Call, has Luther Tucker on guitar. Tucker himself is featured on two 1994 performances with Hummel handling the vocal with Tucker's solo on "Blue & Lonesome," based on his solo on Little Walter's original recording, arguably being the highpoint of a terrific disc of Chicago blues. Hummel is to be thanked for making these superb performances by some departed blues masters accessible.

As I write this, the “Chicago Blues Party” set may be hard to find. Bluebeat Music, www.bluebeatmusic.com has both of these.