New Moon Jelly Roll Freedom Rockers

New Moon Jelly Roll Freedom Rockers
Volume 1
Stony Plain

As Luther Dickinson writes in the liner notes for this release, the genesis for the New Moon Jelly Roll Freedom Rockers was on a tour bus when Mavis Staples and Charlie Musselwhite hot the road together with the North Mississippi All Stars. Eventually, Luther (guitar, mandolin, and bass) and his brother Chris (drums and washboard) sat down for a guitar jam with ex-Squirrel Nut Zippers leader Jimbo Mathus, along with their father, Jim Dickinson (on piano), and blues greats Charlie Musselwhite (on harmonica) and Alvin Youngblood Hart (guitar and mandolin) for a blues and roots music celebration under the rubric of the New Moon Jelly Roll Freedom Rockers.

Word of this recording was mentioned only obscurely in interviews and referenced as a great old-school recording by those few witnesses. After Jim Dickinson died in 2009, it hung out in the archives until Stony Plain founder Holger Petersen heard about the sessions this year and expressed his enthusiasm to release it. Luther Dickinson and his partner/engineer Kevin Houston finished the production of the present album, which is the first volume. The second volume is scheduled for Spring 2021.

There are ten tracks with Musselwhite and Hart each singing three, while Jimbo Mathus and Jim Dickinson each singing two songs backed by varying configurations. There are times that the groove is straight Chicago blues as on Musselwhite's opening "Blues, Why You Worry Me." Musselwhite's vocals sound a bit more upfront than on some of his recent recordings while his harmonica has a full Mississippi sax sound, with Jim Dickinson strong on piano. In contrast, Musselwhite has a more measured vocal and on the Memphis Jug Band's "K.C. Moan," a performance with a skittle band feel and apt acoustic harp. A real surprise is his high-stepping reworking of "Strange Land" that he recorded on his first album some five decades ago.

Alvin 'Youngblood' Hart is among the finest interpreters of classic Mississippi blues as can be heard on renditions of Charlie Patton's "Pony Blues" and the Mississippi Sheiks' "Stop and Listen Blues." In addition to his robust singing, there is some sterling mandolin on "Stop and Listen." which is likely played by Luther Dickinson while Hart lays down the guitar parts. There is also an interesting cover of Jimi Hendrix's "Stone Free." Mathus is showcased on a brooding slow blues, "Night Time" (with terrific Musselwhite harp), and a raucous, jaunty skittle band rendition of "Shake It and Break It." Jim Dickinson handles the vocal on a bawdy "Come On In My House" with nifty mandolin and a rowdy cover of Wilbert Harrison's "Let's Work Together." The playing on this last number is a bit too busy.

There may be a few flaws here, but the long-overdue release of the first volume from the New Moon Jelly Roll Freedom Rockers should interest blues and roots music fans. The performances are mostly top-flight, resulting in some serious fun.

I received my review copy from a publicist. Here is a clip from 2008 of them performing "K.C. Moan."

Kenny' Blues Boss' Wayne Go, Just Do It!

Kenny' Blues Boss' Wayne
Go, Just Do It!
Stony Plain Records

"Go, Just Do It!" is the latest album by the veteran blues and boogie-woogie pianist, Kenny' Blues Boss' Wayne. Backing the keyboardist, who was inducted into the Boogie Woogie Hall of Fame in 2017, are former B.B. King bassist Russell Jackson, guitarist Yuji Ihara, drummer Joey Dimarco, and horn players Jerry Cook and Vince Maie. There are also appearances by Sherman Doucette on harmonica, and vocalists Dawn 'Tyler' Watson, Julie Masi, and Diane Schuur. Wayne's son SeQuel — Cory Spruell — infuses rap cadence and a fresh verse on one tune. There are ten originals from the Blues Boss and three covers.

Musically, this is a mixed bag. Wayne is an affable singer who is heard best in a relaxed boogie and blues approach like Fats Domino and Amos Milburn. There are tunes such as the relaxed boogie shuffle "You Did a Number On Me," where his voice seems to show a bit of wear. His piano shows little diminishment of his skills. His duets with Dawn 'Tyler' Watson, including the title track, are stronger performances that do benefit from her presence.

Arguably the finest selection is Percy Mayfield's "You're In For a Big Surprise," a duet with Diane Schuur, who has a vocal authority that matches Ray Charles and Johnny Adams, among the best interpreters of this song. Other stand-out performances include the brassy blues shuffle, "Motor Mouth Woman." Then there is the rocking Chicago-styled blues, "They Call Me the Breeze," with Doucette's saucy harmonica, in addition to the Blues Boss' piano. "Bumpin' Down the Highway," is a relaxed instrumental that allows Cook and Maie to stretch out before Wayne plays a sterling piano solo. Then there is a boogie train blues, "T & P Train 400," and the rollicking closing number, 'Let the Rock, Roll," with some Amos Milburn style boogie-woogie piano.

Given that this an election year, one can't be surprised that someone would cover the Percy Mayfield-Johnny 'Guitar' Watson song, "I Don't Want to Be President." But that song came out of the post-Watergate era, and Wayne's amiable vocal doesn't convey the wry, sport-spoken quality of Mayfield's recording nor the street-savvy wisdom of Watson's. SeQuel's rap on this track adds a fresh gloss on the performance. It is not a poor performance, just not outstanding.

I have been a fan of Kenny' Blues Boss' Wayne since his first album came out in 1998. This album may not be one of his best recordings, such as 2018's "Inspired By The Blues." That said, I doubt anyone buying this recording would be disappointed by the good times Kenny' Blues Boss' Wayne provides.

I received my review copy from a publicist. Here is "That's The Way She Is" from this CD.

 

Ronnie Earl and the Broadcasters Beyond the Blue Door

Ronnie Earl and the Broadcasters
Beyond the Blue Door
Stony Plain Records

Ronnie Earl and the Broadcasters have returned with this latest recording. Earl, one of the premier blues guitarists, is joined by his Broadcasters: The core group of Broadcasters – Dave Limina, Hammond B3 and piano; Diane Blue, vocals; Paul Kochanski, bass and Forrest Padgett, drums. Also joining them Anthony Geraci, piano; Peter Ward, guitar; Mario Perrett, tenor sax; Scott Shetler, Baritone Sax, Larry Luisgnan, guitar; Michael Rush, bass and Scott MacDougal, guitar. Also appearing are special guests David Bromberg, acoustic guitar and vocals; Kim Wilson, harmonica and vocals; and Greg Piccolo, tenor sax. Bromberg also provides notes on each of the 15 songs.

I have enjoyed Diana Blue on prior Earl recordings, but her cover of "Brand New Me" surprising me with her stunning singing. With Earl's subtle guitar and horns in the background, she delivers an impressive cover of an Aretha classic. Diana Blue also is heard on a medium-tempo shuffle, "The Sweetest Man," with Limina stretching out while Earl is excellent  behind Blue's splendid singing. She also puts her own stamp on Timmie Thomas' "Why Can't We Live Together," and she is superb on the revival of "A Soul That's Been Abused," with Earl dazzling, and Limina greasy. This song first recorded on a Hubert Sumlin Black Top album with Mighty Sam McClain singing and Ronnie playing the second guitar. Then there is the superb slow blues Earl wrote with Steve Gomes, "Peace of Mind." The Broadcasters create an after midnight ambiance behind Blue's vocal while Earl's playing is sublime. There is a terrific updating of the Gamble Huff Philadelphia soul classic "Drowning In a Sea of Love," with Earl spectacular as he pulls out all the stops.

Kim Wilson, Anthony Geraci, and Peter Ward join on a remarkably fresh interpretation of Howlin' Wolf's "Baby How Long." The tempo is slowed down into making this a relaxed shuffle with the marvelous interplay between Wilson's harp and Earl's skittering guitar with Geraci on piano and Peter Ward in rhythm guitar. Earl adds some scintillating obligatos behind Wilson's vocal. Wilson also takes a terrific harmonica solo, and there is some excellent, nuanced guitar by Earl and Ward. Wilson is also heard on Little Walter's "Blues With a Feeling." This is taken at a slower tempo than the original. Special kudos to bassist Kochanski and drummer Padgett for maintaining this slow drag tempo. Earl's backing again is exquisite behind Wilson's vocal and harmonica. Wilson and Geraci also join in on Earl's take from a phrase in "Smokestack Lightning."

"Drown In My Own Tears" displays Earl's impeccable phrasing and nuanced use of dynamics, and only the late Earl Hooker showed such an ability to convey such feeling with similarly small tone variations. Greg Piccolo contributes a strong chorus on tenor sax as well. A duet between Earl and Piccolo, "Alexis' Song," has Earl chording behind Piccolo's probing sax. "T-Bone Stomp" is a T-Bone Walker-inspired relaxed shuffle with Limina also featured. The closing track is a moving "Blues For Charlottesville," with Earl's guitar conveying as much feeling as any lyric might.

The least memorable track was the duet between Earl on his Stratocaster and Bromberg on acoustic guitar, a cover of Bob Dylan's "It Takes A Lot To Laugh, It Takes a Train To Cry," that is a bit too loosely played. It is a minor blemish on another marvelous Ronnie Earl recording.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a short video animation clip for "The Sweetest Man."

 

The Duke Robillard Band Ear Worms

The Duke Robillard Band
Ear Worms
Stony Plain

About "Ear Worms," his latest recording Duke Robillard states "“Ear Worms was conceived as an album of songs that I heard and was attracted to growing up. They are not of one particular genre or style, but rather songs I heard in my pre-teens to my later teens." The term 'ear worms' itself refers to "a song you can’t get out of your head because you love it so much, or it can also be a mundane piece of drivel that haunts you like a bad dream." Besides find some choice gems, he also has contributed some originals.

Backing Duke and his guitar is his long-term band of Bruce Bears on keyboards, Brad Hellen on bass and Mark Teixeira on drums. Robillard, Bears, and Teixeira each sing one vocal apiece, with guests Dave Howard, Julie Grant, Sunny Crownover, Chris Cole, Mark Cutler, and Klem Klimek, handling the remaining vocals. Duke himself observes he only sings one tune here as his voice has been giving him trouble. A variety of players add their instrumental talents to various tracks. This is a fun, wonderfully played recording with the liner booklets including Duke's comments on each song.

"Don't Bother Trying To Steal Her Love" opens this recording with Dave Holland ably handling the vocal. On this Duke channels Ike Turner a little in his rock and roll solo, Duke's only vocal is on the Gerry Goffin and Carole King penned "On This Side Of Goodbye," which he derives from an Eric Burdon recording. It is Baxter Hall doing the guitar rave-up. "Living With The Animals" was the title of an album by Mother Earth with Duke sounding like B.B. King backing Chris Cote's vocal. Duke's instrumental take on "Careless Love," that he opens focusing on the low strings with reverb and tremolo in Duane Eddy's style before moving to his own style with Bears taking a taut solo and the band striking a nice shuffle groove for all the swing dancers. Other instrumentals include his relaxed, trebly rendition of Arthur Alexander's"Soldier of Love," and the burn the town down cover of Link Wray's "Rawhide."

Arthur Alexander's "Everyday I Have To Cry Some" may be most familiar from Dusty Springfield's recording, but was also recorded by another British singer Julie Grant, who Duke met as a booking agent for Connecticut casinos and then discovered her history. She reprises her recording with Sunny Crownover adding her vocal here with terrific backing. Crownover does a marvelous job reworking Brenda Lee's hit, "Sweet Nothin's." Klem Klimek sounds like Levon Helm on Chuck Berry's "Dear Dad," on which one can almost imagine Duke doing a duck walk. Bruce Bears sings a nice rendition of Lee Dorsey's "Yes We Can" while Teixeira does the same on The Neville's "Yellow Moon." These are marvelously played covers of the New Orleans music classics.

A lovely, jazzy instrumental treatment of "You Belong to Me," brings this thoroughly engaging release to a close. I am sure I am not the only one who will have some 'ear worms' from the performances here.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although I have made stylistic revisions. Here is a recent performance of Duke Robillard doing a Tom Waits song.

 

Manx Marriner Mainline Hell Bound for Heaven

Manx Marriner Mainline
Hell Bound for Heaven
Stony Plain Records

The Manx Marriner Mainline is a project of Harry Manx and Steve Marriner, two of Canada’s most award-winning blues and roots music artists. The two two multi-instrumentalists (Manx on slide guitar, banjo and his trademark Mohan Veena and Marriner on electric, slide, baritone and 12-string guitars, harmonica, bass, Hammond organ and drums) Both sing ad contributed songs to the disc that also includes several venerable blues and gospel songs including a Charlie Patton blues, and gospel numbers from The Staples and Reverend Gary Davis. Clayton Doley adds Hammond organ, and Moe Duella is on drums on some of this recording.

There is a nice mix of material that is well sung and played starting with the opening Manx blues "Nothing," with nice guitar and harmonica from Marriner, along with an ice shuffle groove and Manx's appealing, slightly gravelly singing. In contrast, Manx's "Everybody's Knows" is a nice country-tinged number with Marriner adding atmospheric guitar. Marriner's "My Lord" is a solid gospel blues with some nice acoustic 12-string guitar and harmonica. Manx plays a banjo lead and delivers a wistful vocal to a lovely ballad "My Only One," with Doley adding Hammond organ. Manx sings an engaging, straightforward, vocal on a small ensemble reworking of Charlie Patton's "Rattlesnake Blues." This is one of three covers as Marriner does a nice rendition of the Staple Singers "Wish I Had Answered," with an accompaniment that evokes Howlin' Wolf and Ray Charles. On Rev. Gary Davis' "Death Have No Mercy,"  Manx adds slide guitar to Marriner's 12-string guitar

The last song is an enticing ballad performance, "Rise and Fall In Love." It is sung by Manx with Marriner's adept electric guitar accompaniment with Jim Bowskill adding viola and violin at the end. It closes this delightful collaboration by Manx and Marriner that brings us fresh renditions of older songs mixed with intriguing, idiomatic originals that are wonderfully played ad well sung.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although some stylistic revisions have been made to the published review. Here is the official music video for "Nothing."

Rory Block's flawed Bessie Smith Tribute

Rory Block
A Woman's Soul: A Tribute to Bessie Smith
Stony Plain Records

Having recorded a series of albums paying tribute to some of the great blues artists that influenced her, not simply by their recordings, but also through personal relationships she had with them, Rory Block now turns attention to the iconic early blues women. Block writes in the liner notes, "Power Women of the Blues is a project that has been simmering in my imagination for 54 years.It has been my longstanding mission to identify, celebrate and honor the early founders—men and women—of the blues. This series is dedicated to the music of some of my all-time favorite iconic female blues artists, many of whom were shrouded in mystery during the sixties blues revival, while the recordings of others had simply disappeared."

This writer has mixed feelings about some (not all) of Block's recent recordings which had some vocals that were unlistenable to these ears. Listening to renditions of songs from the Empress of the Blues, the vocals are better, but we are dealing with a body of song that has been performed by a number of women (and men) over the past ninety odd years including albums by Lavern Baker, and Dinah Washington, and countless other performers have recorded songs associated with Bessie including (but hardly limited to) Barbara Dane, Nina Simone, Saffire-the Uppity Blues Women, Catherine Russell, Queen Latifah and Cecile McLorin-Salvant.

If not enamored with Block's singing, I do find her listenable and what is interesting in that she has taken recordings that were rooted in a piano accompaniment (and often with early jazz combos) and transformed them into acoustic guitar blues so we get a slide guitar accompaniment on "Do Your Duty." She does a decent vocal on "Kitchen Man," and her guitar accompaniment is fine but not sure of why she has the rhythm which these ears found distracting. On "Jazzbo Brown from Memphis Town," her vocal would have benefited with a little restraint, and the drumming is pretty mechanical. This is a shame since the slide guitar, evocative of Casey Bill Weldon, is quite good. "Need a Little Sugar in My Bowl," is nicely sung and played, but what sounds like overdubbing of backing vocals and mechanical drumming on "On Revival Day," results in a lackluster performance.

I am ambivalent about "Empty Bed Blues," with a vocal that sounds a bit mannered, but has a nice backing. It sort of reflects the ambivalence this listener has on this entire recording. Others have sung tributes to Bessie Smith far better than Rory Block. I imagine if one listens to some of the tracks, and not view this as a tribute, one reasonably might have a more favorable view of this recording than this writer has.

I received from my review copy from a publicist. There are recent videos of Rory singing Bessie Smith from this album but for some reason, they are difficult to import into this post.

Sue Foley The Ice Queen

Sue Foley
The Ice Queen
 Stony Plain

Sue Foley's early recordings left me cold in part because her vocals came off flat to these ears, despite he undeniable strengths as a guitarist, What is striking on her latest recording on Stony Plain is how her vocals have dramatically improved. Joining her as special guests is a trio of legendary Texas guitar slingers – Jimmie Vaughan, Z.Z.Top’s Billy F Gibbons and Charlie Sexton - along with other Lone Star State all-stars, including Chris “Whipper” Layton (bass) (and George Rains (drums), Derek O’Brien (guitar), Chris Maresh and Billy Horton (bass) and The Texas Horns: John Mills, Al Gomez, Jimmy Shortell, Randy Zimmerman and Mark “Kaz” Kazanoff. Producer Mike Flanigan adds his keyboards to the striking backing on a set of blues and roots songs.

With two exceptions (from the Bessie Smith and Carter Family songbooks), Foley wrote all the songs (one being a collaboration with Flanigan). The music ranges from blues, blues-infused rock and roots. The performances are solid and Foley's fluid guitar playing displays her virtuosity, but also her musical intelligence and ability to craft marvelous solos with wonderful support. As indicated her singing has improved as heard on her opening "Come To Me," with the restraint in her delivery of slightly nasal singing. Charlie Sexton's slide guitar and backing vocal is noteworthy besides her own smoldering playing. Like the opening track, "81" is more of a blues-infused rock number with her brooding vocal and stinging guitar.

The title track is a nice slow blues with just Billy Horton's bass and George Rains drums with a choice lyric ("all the men agree that I'm too slippery to catch"), and a terrific guitar solo. It is followed by a buoyant duet with Jimmy Vaughan on the shuffle "The Lucky Ones," with them trading vocal lines as well as guitar solos. Another strong track is "Gaslight," with a gusty tenor sax solo from Elias Haslanger along with Foley's own crisp solo against the amusing lyric. Billy Gibbons adds his gravelly vocal, guitar and harmonica to "Fool's Gold," with a lazy shuffle groove and some greasy organ from co-composer Flanigan, before another terrific Foley solo.

"If I Have Forsaken You" is a wonderful song which will evoke the classic Bobby Bland Duke recordings in part to John Mills' arrangement for the Texas Horns. While Foley will never be viewed as a singer on the level of the late Bland, she sings with quiet conviction here, and certainly this is a song one might expect to hear others cover as well. In contrast, her updating of Bessie Smith's "Send Me To The ‘Lectric Chair," is more interesting musically than vocally. Much more appealing is the wistful "Death of a Dream," with her on acoustic guitar with standup bass and drums backing. The final two tracks have her on solo acoustic guitar. The flamenco-rooted, "The Dance," is a striking original followed by a adept rendition of the Carter Family's classic "Cannonball Blues."

Overall, this was a delightful surprise to this listener. Sue Foley is an exceptional guitarist, writes intriguing originals, and is now a capable singer with charm and conviction. If there are a couple of imperfect performances, the "The Ice Queen" still is a first-rate album of blues and roots.

I received from Stony Plain via a publicist. This review originally appeared in the March-April 2018  Jazz & Blues Report (Issue 377). Here Sue Foley performs "The Ice Queen."

Talking Music 2: Blues and Roots Music Mavericks

Talking Music 2: Blues and Roots Music Mavericks
Holger Petersen
Insomniac Press: London, Ontario
2016:428 pp

Canadian Holger Peterson may be best known as a record producer and head of the blues and roots label, Stony Plain Records. He also is a veteran radio broadcaster and founded the Edmonton Folk Festival among other activities. A few years ago, a collection of interviews he conducted with an assortment of musicians, Talking Music was issued by Insomniac Press. I purchased it, read it and enjoyed it madly. He now has a follow-up volume which I was pleased to receive a review copy from Stony Plain. This second volume has more interviews with am equally diverse set of individuals including recently deceased legends B.B. King, Allen Toussaint and Bobby Charles; such important blues and Louisiana music figures as Zachary Richard, Billy Boy Arnold, Charlie Musselwhite and Rory Block; to rock and rollers Sam the Sham, Ronnie Hawkins, and Wanda Jackson; guitar wizards, Amos Garrett & David Wilcox and James Burton & Alvin Lee; songwriters and singers Chip Taylor, Townes van Zandt; Tony Joe White and Dan Penn & Spooner Oldman; the great singer Solomon Burke and the blue-eyed soul singers, Bill Medley and David Clayton-Thomas; the unique Dan Hicks, the blues-rooted star Steve Miller, the recording genius Van Dyke Parks; the muse of jazz and blues, Mose Allison; guitar wizard Ronnie Earl and two ladies of the British Music Scene, Maddy Prior and Maggie Bell.

Peterson is a thoughtful interviewer and conversationalist and that comes through all of these chapters. With B.B. King, they explored a number of sounds that touched him, and some of his most memorable recordings, but he was insistent that Holger listen to The Mighty Sparrow's "Honesty." There was plenty of items for Allen Toussaint to speak of, including writing, arranging and producing records, as well as his collaborations with The Band and King Biscuit Boy, with some discussion of him performing post-Katrina and his association with Elvis Costello.

There is plenty of stuff I learned about artists I thought was familiar with such as Billy Boy Arnold discussing the origin for Ellis McDaniel adopting Bo Diddley along with recollections of the Chicago scene including Sonny Noy Williamson, Big Bill Broonzy and Sunnyland Slim while Charlie Musselwhite's memories of growing up in Memphis included not simply meeting will Shade, but also Johnny and Dorsey Burnette who lived across the street from him then. His Chicago recollections are fascinating as he recalls how his first recordings came about, his impressions of various folk like Muddy Waters, Howling Wolf and James Cotton, as well as catching music with Michael Bloomfield.

One reads about Rory Block's encounters with various early acoustic blues legends, Sam the Sham discussing touring and his hit records, Ronnie Hawkins fascinating career including being produced by the legendary Henry Glover, James Burton recalling the riff that made the Dale Hawkins' recording "Susie Q," working with Ricky Nelson and Elvis, and more recently with Emmylou Harris and was replaced by Alvin Lee. David Clayton Thomas' recollections include playing with John Lee Hooker as well as his role in the second incarnation of Blood, Sweat & Tears. Particularly interesting is his recollection of Blood Sweat & Tears touring with Thelonious Monk, Miles Davis, Cannonball Adderly and Nina Simone and how Simone did not like him singing "God Bless the Child" and how Miles defused the tension from this.

There are other nuggets of course to be found here such Ronnie Earl frankly discussing the challenges he faces from mental illness, Chip Taylor's recollections of the Brill Building and hearing recordings by The Troggs and Jimi Hendrix of "Wild Thing" or Merrilee Rush of "Angel in the Morning," Steve Miller recalling Les Paul spending time with his father as did T-Bone Walker, as a 14 year old being in a band backing Jimmy Reed, and years later playing on John Lee Hooker's "Endless Boogie" session which he characterized as "the record business at its ugliest on that session. It was a terrible thing. 'Endless Boogie' wasn't really a great record." Then there is Solomon Burke recalling the joy of recording with Willie Mitchell, Dan Penn and Spooner Oldham discussing the Box Top's hit "Cry Like a Baby," and Bill Medley talking about his love for Roy Hamilton.

The book comes off as a series of conversations between friends. At the same time we get a sense of the personalities of the subjects and learn more than a few things about the music we love. I read this book like I would read a thriller. It was that good a read and hard to put down until I had finished it. My comments on this volume also apply to the first one. If you like reading about blues, folk and roots musicians, you will greatly enjoy Holger Petersen's excellent "Talking Music" volumes.

As mentioned in the review, I received a review copy of Talking Music 2 from Stony Plain Records. This should be readily available from better online sources.

Duke Robillard and His All-Star Combo - Blues Full Circle

Duke Robillard and His All-Star Combo
Blues Full Circle
Stony Plain Records

"Blues Full Circle," the title of Duke Robillard's new Stony Plain recording, in part refers to his back to the basics approach of this mostly small band, old school blues. Duke is joined here by his long-time associates Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Gordon Beadle and Doug James each adding sax to one track There are guest vocals from Sugar Ray Norcia and Kelley Hunt and Jimmy Vaughan adding his guitar on one selection. Duke contributed eleven songs, eight recent ones (one a collaboration with Vaughn) and three from 30 to 45 years ago. Kelley Hunt contributed one and one was a Jimmy 'Baby Face' Lewis song.

Recording of this album was interrupted after recording of seven songs by rotator cuff surgery and after a year off the remainder was cut. I have noticed that in recent recordings Duke's phrasing of his vocals sound self-consciously deliberate. This can be heard on several tracks here including the opening "Lay a Little Lovin' on Me," although as one listens to the excellent performances here it is a minor issue. The spirit of Eddie 'Guitar Slim' Jones is evident on several selections here including the tribute "Blues For Eddie Jones" as well as "Rain keeps Falling," with the slashing guitar work and the slow "Morning Dove" that also suggests Johnny 'Guitar' Watson, one of numerous guitarists influenced by Slim (also Albert Collins, Buddy Guy, and Earl King).

A nicely paced shuffle "No More Tears," finds Duke more in a B.B. King guitar vein while "Last Night" is influenced by some of the Duke recordings of Bobby Bland and Junior Parker with a superb Sugar Ray Norcia vocal and Sax Beadle adding tenor and baritone. After the New Orleans groove of "Fool About My Money" with terrific piano from Bears, Kelley Hunt takes the vocal and boogie piano (Bears is on organ here) on her rollicking celebration of Duke's home studio "The Mood Room." Doug James adds baritone sax behind Duke and Jimmy Vaughan on their easy rocking instrumental duet "Shufflin' and Scufflin'," with some organ grease from Bears in addition to the expected superb solos from both guitarists.

As usual, Duke's band is in top form, and whatever quibbles I might have about Duke's singing (and it is a minor point), the music on "Blues Full Circle" is exceptional.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) although there are corrections and minor revisions from that published review. Here is Duke and Monster Mike Welch along with Duke's band.

 

Eric Bibb - The Happiest Man In The World

Eric Bibb and North Country Far With Danny Thompson
The Happiest Man In The World
Stony Plain

Eric Bibb has a new release with the band North Country Far on Stony Plain Records, "The Happiest Man In The World." Recorded in the English countryside, it has Bibb's vocals and guitar supported by North Far, musicians he met while living in Finland: Petri Hakala on mandolin and mandola and Olli Haavisto on dobro and weissenborn as well as other slide instruments and Janne Hakala on drums. They are also joined by legendary upright bassist Danny Thompson for this latest installment in the five-decades career of Bibb whose folk and blues roots continues to sprout exuberant as well as poignant new music.

Bibb's music has always been rooted in good songs, solid singing and guitar and an ear for fresh musical settings. North Country Far provides a definite string-band as well as country flavor to the music here and the songs themselves are usually far from the blues has got me down or mistreating women themes of many blues. The album opens with the title track has a lyric as he celebrates the woman who stands by him. His gruff vocals (reminds me of early Dylan but with the gentleness of a Mississippi John Hurt) are set against a jaunty backing with mandolin and dobro adding to the atmosphere. Bibb's lyrical gift is evident on "I'll Farm For You" in which Bibb incorporates a number of phrases, often used as double entredres, into what he would do for his woman, while on "Born To Be Your Man," where he sings Stevie Wonder was born to be the master blaster, Louis Jordan born to sing 'Caldonia,' Prince was born to sing Purple Rain,' Lazarus was born to rise again, and "You were Born to be my woman and I was born to be your man."

The folk side of Bibb can be heard on the lovely "Creole Café," as he sings about a place in the country, 40 miles west of Newport News where "she serves the gumbo and I serve the blues," with some nice mandolin fills during vocal, on the reflective ballad "Prison of Time," and charming "On the Porch." "Tell Ol' Bill" is a ballad that might not have been out of place in Leadbelly's repertoire (and Bibb recently issued an excellent Leadbelly tribute CD). There is also an atmospheric instrumental, "1912 Skiing Disaster" a love song "Wish I Could Hold You Now," before closing with a low-key cover of The Kinks "You Really Got Me" that after a pause segues into a short instrumental take of, "King-Sized Bed," as a bonus track.

There is so much to like about marvelous Eric Bibb's latest album. Perhaps not an album of deep acoustic blues, but with some wonderful songs (several worthy of covering) congenial quality and charm of these performances has considerable merit.

I received my review copy from a publicist. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here, Eric Bibb performs with Olli Haavisto and Petri Hakala.

40 Years of Stony Plain

Alligator Records is not the only independent label to issue an anthology celebrating its catalog. "40 Years of Stony Plain," is the latest installment in such compilations from the Canadian label, apparently the oldest independent Canadian record company still with the same ownership. Stony Plain is much more than a blues label, although love of blues and jazz is at the core of Holger Petersen who has also hosted blues radio programs for nearly fifty years, helped found the Edmonton Folk Festival and so much more. The Stony Plain catalog spans folks and roots to jazz and blues and has issued 15 albums from Canadian Country Icon Ian Tyson (formerly of Ian & Sylvia) as well as 20 Duke Robillard releases along with over a half dozen he produced with other artists, eight CDs and one DVD by Ronnie Earl and six releases from Eric Bibb. Richard Flohil provides an overview of Stony Plain including excerpts from his notes to earlier compilations as well as song notes in the enclosed booklet.

This celebration of the label has three discs. The first is entitled "Singers, Songwriters and much more" and includes performances, from amongst others, Colin Linden, Spirit of the West, Doug Sahm, Harry Manx and Kevin Breit, Emmylou Harris, New Guitar Summit, Rodney Crowell, Ian Tyson, Jennifer Warnes, Steve Earl and Eric Bib featuring Taj Mahal, The Blind Boys of Alabama and Ruthie Foster. Highlights on this disc include is the acerbic roots-rock of Linden's "No More Cheap Wine"; the Irish flavored "The Crawl" from Spirit of the West; an unusual folky Doug Sahm performance; the atmospheric reworked blues of Manx and Breit, "Do Not Stand at My Grave and Weep"; the revival of an Elvis Presley Arthur Crud-up cover by James Burton, Albert Lee, Amos Garrett, and David Wilcox; a hauntingly beautiful Emmylou Harris performance; Duke Robillard, Jay Geils and Gerry Beaudoin recorded a lightly swinging "Flying Home" as part of New Guitar Summit; the traditional country of Ian Tyson's "Cottonwood Canyon" and Tim Hus' "Wild Rose Waltz," and the Eric Bibb led gospel "Needed Time."

The second disc brings "Blues, R&B, Gospel, Swing, Jazz and even more," with performances by the likes of Kenny 'Blues Boss' Wayne, Joe Louis Walker, Rosco Gordon, Ronnie Earl & the Broadcasters, Maria Muldaur with Taj Mahal, MonkeyJunk, Jay McShann, Jeff Healey, Billy Boy Arnold, Ruthie Foster, Sonny Rhodes and King Biscuit Boy. There is a rollicking "Bankrupted Baby" by the Blues Boss from his most recent recording; Joe Louis Walker's revival of a swamp rockabilly number "Eyes Like a Cat"; late Rosco Gordon and Jay McShann (both from Duke Robillard produced sessions I believe); Ronnie Earl's revival of Otis Rush's "It Takes Time" with vocalist Michael Leadbitter from his latest album; Muldaur & Taj doing an impassioned take of Blind Willie Johnson's "Soul of the Man"; Jeff Healey's amusing swing era jive of "Hong Kong Blues"; a terrific Billy Boy Arnold Chicago blues; Ruthie Foster's excellent Memphis Minnie interpretation from Stony Plain's Memphis Minnie tribute album; and the late King Biscuit Boy's Louis Jordan cover. There are also acoustic blues interpretations from Rory Block and Big Dave McLean on this.

The third disc contains "Rarities and Previously Unreleased Material" starting with a couple of Duke Robillard numbers including a Smiley Lewis cover; two tracks from Eric Bibb including a hauntingly beautiful "Wayfaring Stranger"; live performances by Maria Muldaur of songs from Memphis Minnie and Reverend Gary Davis; a lively acoustic guitar instrumental blues by David Wilcox; Colin Linden and Doc MacLean backing the legendary Sam Chatmon on two songs from the long defunct Flying Fish catalog; two Bob Carpenter's two folk numbers and a closing instrumental by Shakey 'Walter' Horton backed by Hot Cottage. The inclusion of these rare selections enhance the already considerable value of compilations such as this one.

I received my review copy from a publicist. This review appeared in the July-August Jazz & Blues Report (Issue 367).

Ronnie Earl travels down Maxwell Stree

The title of the new Stony Plain album by Ronnie Earl & The Broadcasters, "Maxwell Street," is a reference to the late pianist (and former broadcaster) David Maxwell, to whose memory this recording is dedicated. Earl's guitar is joined by his band of David Limina on keyboards, Jim Mouradian on bass, Lorne Entress on drums and Diane Blue on vocals with Nicholas Tabarias appearing as a guest on guitar. This recording is split between instrumentals and vocals and provides plenty of space for Earl's guitar, but also allows Limina to showcase his piano and organ chops.

Using the word chops to describe Ronnie Earl or Limina's keyboards is perhaps inappropriate as both as musicians whose instrumental mastery is tied to a keen musical intelligence. Earl especially is a player of nuance and subtlety, with his employment of small changes in pitch, as well as his use of space recalling such blues guitar legends such as Earl Hooker, Johnny Heartsman, Clarence Holliman and Mel Brown. Listening to the spiritual feeling of the opening original "Mother Angel," and his T-Bone Walker tribute "In Memory of T-Bone," as Limina's hauntingly beautiful tribute to Maxwell ""Elegy For a Bluesman, and Earl's own "Blues For David Maxwell,” makes this evident. One also must note the responsiveness of Limina and the excellence of the rhythm section throughout.

Diane Blue has developed into an outstanding, soulful singer first heard here on the Earl-Blue original "Kismet," with its spiritual message, followed by a lengthy rendition of Otis Rush's 'Double Trouble," on which Earl again revisits one of his musical inspirations with both Limina and Earl taking lengthy solos. There is a surprising, bluesy rendition of the Gladys Knight and the Pips hit "Imagination," a nice reading of "You Don't Know Me," owing more to Ray Charles than Eddy Arnold, before the album closes with a moving rendition of the classic Peppermint Harris tune (credited to Don Robey), "As the Years Go Passing By."

Ronnie Earl, in his brief notes, comments about how deep Dave Maxwell's playing was, and that observation is true about the music here. Earl extracts so much emotion with his sublime guitar playing which touches deep into the listener's heart, and the result is the superb"Maxwell Street."


I received my review copy from a publicist. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). Here is a video teaser for Maxwell Street.

 

James Burton, Albert Lee, Amos Garrett and Dave Wilcox are Guitar Heroes

Stony Plain has a release that will certainly enliven the listening of guitar geeks, "Guitar Heroes." The album brings forth a performance from the Vancouver Island MusicFest by guitar legends James Burton, Albert Lee, Amos Garrett and Dave Wilcox backed by the keyboards of Jon Greathouse, the bass of Will MacGregor, and the drums of James Harrison Smith. Doug Cox, Artistic Director of the Festival discusses in the liner notes how this performance came together which I will leave for your eyes.

James Burton first came to notice on Dale Hawkins' early recordings including "Susie Q", before hooking up with Rick Nelson and then Elvis Presley. Albert Lee is best known to me as a country picker (an extension of Burton's chicken scratching style) who spent time with Emmy Lou Harris, Eric Clapton and Rodney Crowell. Amos Garrett was with Ian & Sylvia, Maria Muldaur, Paul Butterfield's Better Days and Bonnie Raitt while Dave Wilcox was also with Ian and Sylvia, Maria Muldaur, Nashville North, and The Ian Tyson (TV) show. This gives a sense of their roots but the music extends here to blues, rockabilly and jazz.

Lee and Wilcox handle most of the vocals in a most credible fashion. Certainly no issue about Lee's rendition of Arthur Crudup's "That's All Right (Mama)" that was Elvis' first single and the contrast between the switching leads and other guitarists providing support is delightful. Greathouse handles the vocal on "Susie Q" with Wilcox taking the first lead followed by Burton, Garrett and Lee, with Greathouse also soloing. It should be noted that both of these performances are little more than 5 minutes and allow each to display there licks and tricks but no one takes long self-indulgent solos. "Sleepwalk" is a showcase for Garrett's multiple string bending and tonal command followed by a lively rockabilly rendition of Ray Charles "Leave My Woman Alone," with Lee's affable vocal and some instrumental sparks, particularly the trading of licks between Lee and Greathouse for the first break and between Lee and Burton to ride out this 7 minute plus romp that seems shorter.

The opening of Jimmy Rogers "You're the One" sounds like they are about the hit "Honky Tonk" before Wilcox leads the  into a straight blues vein as he delivers a vocal a bit more forcibly than Rogers did before then calling on Burton to take the first solo, and after singing another verse introduces Lee. It is refreshing these gentleman handle this blues from the standpoint of country musicians and listening to their use of tone as well as their picking is a delight. Herbie Mann's recording "Comin' Home Baby" was a standard warmup track of blues bands in the sixties and the quartet of guitarists provide a lively rendering here. Wilcox's guitar introduces "Flip, Flop and Fly" which he sings and on which Lee is exceptional on. An instrumental renditions of the atmospheric "Only the Young" and a swampy rockabilly take on "Pork Salad Annie," are followed by a Wilcox original, "Bad Apple," the only forgettable performance him.

I know of the closing "Country Boy" from the Ricky Skaggs recording and the terrific video which was filmed in part in the New York subway system, but was not aware that Lee was one of the song's writers. It is a terrific number to close this performance. Lee may not have the range of Skaggs as a singer, but ably sings as well as takes listeners for a ride with some stunning playing here, with Greathouse and Wilcox also getting to take crisp breaks. This closes a terrific recording on a invigorating manner. "Guitar Heroes" captures four terrific guitarists on a festival performance where there mutual admiration meshes with often astonishing playing. Country roots and rock fans will find much listening joy here.

I received my review copy from a publicist. Here is "Susie Q" from this recording.

Ronnie Earl - Father's Day

Ronnie Earl has becoming somewhat prolific the past few years on the recording front and his latest album with his band, The Broadcasters, "Father's Day" is on Stony Plain. He is backed by Lorne Entess on drums, Dave Limina on keys and Jim Mouradian on bass with vocalists Diana Blue and Michael Ledbetter enlivening a number of tracks. Blue has been on recent recordings by Earl, while Ledbetter (a distant relative of Leadbelly) is best known for his role with Nick Moss' excellent band. This group is augmented by saxophones and guitar.

The title refers in part to Ronnie's reconciliation with his own father, but also indirectly relates to his rendition of a number of songs associated with a couple of his deep musical influences, Otis Rush and Magic Sam. Ledbetter handles many of the vocals here including a couple of covers of Rush numbers, "It Takes Time" and "Right Place Wrong Time," both of which are in the vein of Rush's recordings. Earl's original, "Higher Love" is a strong shuffle with horns adding to its flavor, a first-rate vocal duet between Ledbetter and Diane Blue, while Earl comes across as a cross between Rush and Kenny Burrell here.

Blue provides a nice vocal on Magic Sam's "What Have I Done Wrong" and if Earl's chording evokes Sam's original, his playing is more like Rush interpreting Sam. There is spectacular string-bending on this. Similar comments could directed on the rendition of "Every Night About This Time," a Magic Sam adaptation of Fats Domino's song with Ledbetter forcefully delivering the lyrics. Earl and Ledbetter co-authored the title track with its lyrics of making peace and forgiveness. Ledbetter's vocal and Earl's biting guitar make for a most moving performance. A brooding version of Brook Benton's "I'll Take Care of You" features more stunning guitar as well as Diane Blue's soulful vocal.

Bobby Timmons' "Moanin'" is a tip to Earl's jazz interests, followed by Ledbetter's vocal on "All Your Love," before closing as Diane Blue takes to church on Georgia Tom Dorsey's classic "Precious Lord." Earl is stunning, oft spectacular and the Broadcasters are typically in excellent form as they provide the apt, never rushed or frantic, backing. Limina's keyboards are especially worth saluting with a few choice organ solos, while guitarist Nicholas Tabarias solos on two of the 13 songs. In contrast to most his recent recordings which have been instrumentally focused, "Father's Day," showcases Earl accompanying two excellent vocalists for a wonderful recording for fans of various blues flavors.

I received my review copy from a publicist. This review appeared in slightly different form in the September-October 2015 Jazz & Blues Report (Issue 362). Here Ronnie Earl & The Broadcasters perform "Blues For Otis Rush."

Ronnie Earl Brings Good News

Ronnie Earl’s latest album, Good News (Stony Plain), certainly will be good news to the guitarist’s many fans. Earl is joined once again by The Broadcasters (Lorne Entress – drums, Dave Limina – keyboards and Jim Mouradian – bass), his band of over 25 years, to create a mostly instrumental CD. Also appearing is vocalist Diane Blue and guitarists Nicholas Tabarias and Zach Zunis. 

As great a guitarist as Earl is, the presence of Blue’s vocals on several tracks certainly adds to the pleasures heard here. The Disc opens with the Memphis music inspired I Met Her on That Train, with some rockabilly tinged playing (a bit of Scotty Moore mixed with Floyd Murphy). Ms. Blue is on hand to sing Sam Cooke’s A Change Is Gonna Come, with Earls’ thoughtful playing and attention to tone very evident. His facility on the fretboard is matched by the clarity and restraint of his playing. Few can convey such deep feeling, as even evident on the jazzy Time To Remember, with Limina’s organ playing standing out. 
 

Junior Wells is the source for In the Wee Wee Hours with another fine Diane Blue vocal and some playing from Earl that might suggest Buddy Guy (but with greater restraint than Guy would display today). Zach Zunis takes the first guitar solo here. It is followed by the infectious gospel-laced title track. Blues For Henry is a low-down instrumental tribute to the late Hubert Sumlin with Limina getting greasy on the organ.  

The closing track, Running in Peace, has lyrics written by Ilana Katz, who was near the finish line of the Boston Marathon when the first bomb exploded on April 15, 2013, which Diane Blue movingly delivers with Earl and the Broadcasters providing a sober background as Earl really gets down and pulls out all the stops on the solo here. It is a moving end to another excellent recording by one of the leading guitarists in the blues.

I received my copy from the label (and/or publicist). This review appeared in the July-August Jazz & Blues Report (Issue 355) and may be downloaded as a pdf file at jazz-blues.com. Ronnie Earl will be performing at the Pennsylvania Blues Festival at Blue Mountain Ski Resort on Saturday July 26. Here is my preview of the Festival, http://inabluemood.blogspot.com/2014/03/pennsylvania-blues-festival-celebates.html. Here is a video to give a taste of Ronnie Earl performing.

 

Rory Block's Tribute to Mississippi John Hurt

Stony Plain has just issued Avalon, the fourth of Rory Block recordings that pays tribute to some of the blues legends that inspired her and from whom she learned in developing her own music. To me this is a far better recording than her Reverend Gary Davis tribute where some of her vocals, or should I say shrieking on some vocals, made several of the selections unlistenable. 

While her vocals may sometimes come across as mannered, Block avoids going over the top on this. Importantly, Block evokes Hurt’s rolling guitar style and genial vocals without attempting to imitate his playing. She adds spoken and verbal asides in retelling the stories Hurt sang (Avalon is a particularly effective adaptation) and employs overdubbing to build up her guitar accompaniments for renditions of familiar songs associated with Hurt as Louis Collins Blues, Candy Man and Pay Day. Got the Blues Can’t Be Satisfied is an especially apt example how Block places her own stamp on Hurt’s music. 

In addition to her interpretations, Block contributed an original, Everybody Loves John, that recalls a little of Hurt’s life as well as how everybody loved Hurt as well as his music. It is the opening track on what is a marvelous and moving salute by Block to one of the most beloved artists located during the sixties blues revival.

I received a review copy from a publicist.  

Geils, Robillard and Beaudoin Have a New Guitar Summit

Stony Plain recently issued “Shivers,” the second collaboration of New Guitar Summit, comprised of guitarists Jay Geils, Duke Robillard and Gerry Beaudoin, Guitarist-vocalist Randy Bachman (of Bachman-Turner Overdrive and Guess Who fame) guests on two Mose Allison songs included among the eleven selections.

While I have not heard the prior recording, my familiarity with Robillard led me to expect a swing-based session and obviously the earlier collaboration was successful enough to justify this sequel. And one can understand, as all three obviously love the easy swinging groove throughout this collection of jazzy blues, swing classics (the title track is from Charlie Christian and Lionel Hampton), and the pair of Mose Allison numbers.

One hears echoes of Christian and Grant Green (listen to the opening of Beaudoin’s original Blue Sunset). They take the old Thurston Harris R&B hit Little Bitty Pretty One and turn it into a swing romp, followed by a spiffy jam on Flying Home. They really rip into the old swing romp, Broadway. Bachman’s low-key vocal delivery really contributes to the mood of the two Mose Allison numbers, Your Mind Is On Vacation, and Everybody’s Crying Mercy and adds his distinctive guitar style on these selections. Honeysuckle Rose may be taken a bit too slow, but that is more a matter of preference and the playing here is very lovely, as it is on the closing Mediterranean Nights.

This album just brings some friends together for a blues-tinged, swinging disc that will deservedly have wide appeal. 

This review originally appeared in the October 2008 Jazz & Blues Report (Issue 309), although I have made a few minor edits. I likely received a review copy from a publicist. Here is a performance clip of the New Guitar Summit.

Sunny Crownover and Her Joy Boys

Sunny Crownover is a Boston based vocalist that grew up[ as a military daughter, although spending much of her life from high school in Austin, Texas, honing her chops in various blues groups, and since moving to Boston sang with the 2120 South Michigan Avenue, a blues band led by Harvard professor Charles Sawyer. She becomes the axis around which guitarist Duke Robillard gets to put together a project to salute some of the women song stylists of the 30s to 50s. Duke added saxophonist and clarinetist Billy Novick, bassist Jesse Williams and rhythm guitarist Paul Kolesnikow to form Sunny and Her Joy Boys, with an album Introducing Sunny and Her Joy Boys on Stony Plain Records. 

With the exception of one track on which Duke plays conga drums, it is interesting that this swing-oriented album was made with a drummer, although the bass and rhythm guitar do provide a foundation for the engaging swinging performances. Sunny possesses an attractive voice with nice diction and phrasing. Although some of the material is more novel like the opening Strictly From Dixie, there are a number of well known standards of the era such as You’re Driving Me Crazy, Between the Devil and the Deep Blue Sing, Today I Sing the Blues, and Duke Ellington’s I Got It Bad (And That Ain’t Good).” The performances are enhanced by the swinging accompaniment and Novick’s traditionally oriented reed work is exemplary as are Robillard’s fills and solos. While having a very attractive voice, Sunny is not convincing as a bluesy ballad singer on Today I Sing the Blues, or I’ve Got It Bad, but her voice and delivery suits upbeat lyrics like Wrap Your Troubles in Dreams. 

For those looking for an engaging pop-jazz revival album of swing tunes from the classic era of American songs, this should fill the bill. 

This review originally appeared in the April 2009 Jazz & Blues Report (Issue 325). I have made some minor edits to the review. Duke has produced a new album by Sunny Right Here, Right Now, on Shining Stone Records that I will be posting a review of in a day or two. This new album is in a straight blues vein. Here is a video that was made to promote Sunny and Her Joy Boys.

Saluting 35 Years of Stony Plain Records - 35 More Please

Arhoolie Records and Alligator Records are not the only important independent labels that are celebrating an important milestone this year. Canadian Stony Plain Records is 35 years young and the label has a double CD celebration 35 Years of Stony Plain to celebrate that fact. In addition to the 41 varied performances, there is also a bonus DVD with some performances, such as Jay McShann and Johnnie Johnson together and special material such as a tour of Stony Plain’s headquarters. The booklet that comes with this release contains an essay from Richard Flohil that provides a concise overview of Stony Plain and the remarkable Holger Petersen who has been the force behind this remarkable label. The booklet also provides a concise overview of the marvelous contexts of the two CDs and the DVD.

I am not as familiar with the Stony Plain catalog, particularly since it’s catalog is not devoted to simply blues. Calling it a roots label is accurate and the first of the two CDs is subtitled “Singers, songwriters and much, much more …” The contents include folk, country and some swing jazz. Maria Muldaur is heard on a Dan Hicks song with backing that includes David Grisman and John Sebastian. Other highlights is the one of the explorations by the late Jeff Healy into early jazz with a wonderful revival of The Wildcat by Eddie Lang and Joe Venuti; country-folk troubadour Steve Earl; Canadian legend Ian Tyson; Tim Hus’ Country Music Lament on the sad state of today’s country music; Asleep at the Wheel’s Western Swing version of a Count Basie hit, That’s Your Red Wagon; the New Guitar Summit of Duke Robilliard, Jay Geils and Garry Beaudoin; Emmylou Harris singing Gram Parsons’ Wheels; Rodney Crowell; and three previously unissued Bob Carpenter demos. Most of this disc was totally new to me and delightful.

The second disc is subtitled “Blues, R&B, swing, jazz, and even more …” and contains more familiar material with some nice highlights from Joe Louis Walker, Jay McShann, Kenny ‘Blues Boy’ Wayne (this is a preview of his upcoming album) and Rosco Gordon from various recordings Duke Robillard has produced for the label. There is a terrific instrumental by Ronnie Earl from his most recent CD, Spread the Word, as well as a Rory Block song from her marvelous Mississippi Fred McDowell album. Its nice to hear selections from Sonny Rhodes and Billy Boy Arnold. This disc closes with a strong, unissued recording by the late Richard ‘King Biscuit Boy’ Newell, a fine harp player and singer; and four unissued sides from 1965 by Robert Nighthawk that likely were his last recordings. Nighthawk’s performance of Tampa Red’s You Missed a Good Man features particularly superb slide guitar.

This is a fine celebration of an important label that I will be returning to listen to. Stony Plain may be slightly cutting back on its release schedule compared to past years because of the changing nature of music and recording distribution. This reflects the hard reality of the fact few mortar and brick record stores still exist and digital downloads are increasingly important. Fans of blues, folk, country and other similar music need to support labels like Stony Plain that produce much terrific music that otherwise would not be so readily available. 35 Years of Stony Plain is well worth obtaining to savor the music, videos and the booklet. Here is to Stony Plain having another 35 years.


My copy was provided by the record company or a publicist for the label.

Rory Block Shakes 'Em On Down

Rory Block was fortunate to learn her music from (in addition to recordings) some of the masters of the blues idiom from such then surviving masters as Reverend Gary Davis, Son House, Mississippi John Hurt, Bukka White and Mississippi Fred McDowell. After her album devoted to Robert johnson’s music, she has continued with a disc of the music of Son House and now Mississippi Fred McDowell as part of a series of recordings where she salutes those who mentored her. Her Robert Johnson tribute was modeled closely on Johnson’s originals whereas her Son House tribute she mixed some performances with others that took more liberties. On her newest CD, Shake ‘Em on Down: A Tribute to Mississippi Fred McDowell (Stony Plain) she has written originals as well as given her own interpretation to McDowell’s songs.

The fact that her interpretations of songs associated with McDowell are personal interpretations along with her originals that incorporate elements of McDowell’s percussive, slide style without being a pastiche of such style, makes this a very different and, in my opinion, the most successful of her tribute recordings. It should be noted that it certainly sounds as if there is overdubbing of guitar parts and vocals, but it is wonderfully recorded so kudos to Rob Davis for the excellent engineering job.

This tribute opens with two of Ms Block’s originals. Steady Freddy, which has a forceful accompaniment as she has penned lyrics re-creating McDowell’s autobiography although the dialect is that of Ms Block and not Fred McDowell. It is followed by the remarkable Mississippi Man, a fully realized performance in part this song is Rory’s own story as a fifteen year old and her meeting the Mississippi Man. These lead in to her interpretations of McDowell’s songs that evoke the master while having her place her own stamp on them. She captures the mesmerizing flavor on Kokomo Blues, and that Eleven Light City. Good Morning Little School Girl is a bit more reflective and less rhythmically insistent than McDowell’s renditions, as she recasts the lyrics from the standpoint of the school girl who wants to go back home with the school boy. What’s the Matter Now, impressively builds on McDowell’s driving guitar style while vocally she lengthens the lyrics for her impassioned vocals.

Shake ‘Em Down illustrates her natural distillation of McDowell’s driving, droning guitar style while she overdubs vocals which she convincingly delivers, employs a pronounced rhythmic emphasis, while Worried Mind is a nice rendition of McDowell’s performance that might have come from John Estes’ Someday Baby, or perhaps Big Maceo’s Worried Life Blues. Whatever, Block makes this her own just like Muddy Waters, Fred McDowell, Big Maceo and others had done. The Man That I’m Lovin’, is likewise another song associated with Sleepy John Estes that McDowell translated into his style which again proves potent inspiration for Ms. Block who reinvents it yet anew.

Ancestral Home is another Rory original that incorporates elements of African musical traditions with her lyrics about the slave trade mixed with her overdubbing some African dialect in the vocal. Another original, the powerful The Breadline was originally an instrumental medley built from McDowell riffs to which she added lyrics about losing one’s home and can’t pay her lawyer and the rich folks on vacation “they don’t give a damn” with the line “hard times are here again” so contemporary and relevant. The album concludes with Woke Up This Morning, one of McDowell’s moving gospel songs with Rory’s moving multi-tracked vocals, followed by her strong re-imaging of another of McDowell’s signature songs, Write Me a Few of Your Lines.

Rory Block deserves kudos for this marvelous tribute with its ambitious and imaginative look at McDowell’s work that is inspired by the spirit of McDowell’s music, but has her imprint on all the performances. Of the eight songs associated with Fred McDowell, she has included a few of his signature songs, but also included lesser known parts of his repertoire and that added to her own originals making for a superb recording.


I received my review copy from Stony Plain Records.