Sugar Blue Colors

Sugar Blue
Colors
Beeble Music

Richard Whiting, better known as Sugar Blue, is amongst the most astonishing musicians in the blues genre. "Colors" is his latest album and an exciting, imaginative romp in the blues and related genres. With Rico McFarland on guitar and others including John B. Gayden or Ilaria Lantieri on bass, and Brady Williams or Yan Bodhoo on drums, and Damiano Della Torre on keyboards, Sugar Blue is heard on a smorgasbord of music.

Sugar Blue is a virtuoso on the harmonica s evident on the opening, "And the Devil Too," a high energy salute to Bo Diddley with a passionate vocal and astonishing harp playing that explores the full tonal range of the instrument. Not as obviously electrifying, but equally brilliant is his acoustic harp playing on his song about the original Lone Ranger "Bass Reeves," or "We'll Be Alright." The latter number is sung with Africa Riz, a Soweto, South Africa youth choir.

His vocals have a clarity, a clean diction, and warmth that perhaps contrasts with his instrumental virtuosity. Still, he pours everything into a startling cover of The Beatles' "Day Tripper." Max DeBernardi's superb fingerpicking guitar and Washboard Chaz's percolating percussion provide the backdrop to the delightful "Good Ole Days." Singing through his harp mike, he delivers a strong vocal on "Man Like Me," where he tells his lover of she didn't make him feels so good, Sugar Blue wouldn't feel bad. This song has another outstanding harmonica solo. With McFarland's terrific guitar, he delivers a straight-forward blues performance that also is a rebuttal on toxic masculinity. On this song, he sings about needing a blue pill, and if he gets down, he may need help getting up. Then there is a wistful ballad, "Shanghai Sunset," where he pays homage to this vibrant city. Guest Ling Bo solos on the sheng, an ancient Chinese reed instrument with an organ-like quality.

"Colors" is a superb recording that transcends merely being a blues recording. It has first-rate backing, fresh and memorable songs along with Sugar Blue's heartfelt vocals and imaginative, virtuoso musicianship. The result is an extraordinary recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2020 Jazz & Blues Report (Issue 388). The published review has several errors including capitalization issues which have been corrected here. Here is a preview for this recording.

Sharon Lewis & Texas Fire - Grown Ass Woman

Sharon Lewis & Texas Fire
Grown Ass Woman
Delmark Records

When some artists seem to be releasing new recordings at least annually, it has been 5 years since Sharon Lewis last recorded her impressive "The Real Deal." She returns here with her band Texas Fire for her latest release "Grown Ass Woman," with her fine band of guitarist Stephen Bramer, keyboardist Roosevelt Purifoy, bassist Andre Howard and drummer Tony Dale. Guests on various tracks include guitarist Joanna Connor, harmonica wizards Sugar Blue and Steve Bell, and the horns of Kenny Anderson, Hank Ford and Jerry DiMuzio. Both Lewis and Bramer each contribute 6 originals and there are two covers on the performances here.

The late Washington, D.C. street singer Flora Molton referred to her gospel-rooted music as "Truth Music." Similarly, Sharon Lewis is quoted in David Whiteis' liner notes, "The blues tells stories about life. This was part of our oral history. The blues is about struggle - about surviving and overcoming." It is also celebrating good times as well as well. In any case, Lewis' powerful, nuanced vocals, the strong backing and excellent material make for  solid listening starting with the opening "Can't Do It Like We Do," a celebration of blues as Black expression where she notes of the imitators she sees touring the world "can't shuffle like Billy Branch, slow blues like Magic Sam," and if you think she's being a snob well she proudly says she is and notes you can't fully learn it because it is more than learning books. Sugar Blue adds magic with his backing and soaring harmonica solo. It is notable that one of the covers here is a fervent rendition of the B.B. King- Dave Clark classic "Why I Sing The Blues."

Lewis certainly knows how to party with the blues ("we ain't gonna play no rock and roll") on the horn driven "Hell Yeah," while she then tells a story about a woman born and raised on mean streets and a big city girl, "Chicago Woman" who won't be denied as she is an independent bitch. This is set against a somewhat heavy backing with blues-rock flavored slide. While this listener was not enamored with the backing here, Lewis still sings powerfully. "They're Lying" is a marvelous original with a southern soul styled vocal. Bramer's "Don't Try To Judge Me" is melodically reminiscent of Johnny Winter's "Don't Take Advantage of Me," as Lewis sings that she don't intend to play the game of those who want to judge her. There is a terrific organ solo from Purifoy here.

Steve Bell's harmonica enlivens the Earl Hooker styled 'galloping horses" groove on a marvelous take on a vintage blues theme "Old Man's Baby." She rather be wined and dined than be a young man's fool. The title track is a celebration of Black Women, delivered with plenty of sass as well as panache. "Walk With Me" (if you're going my way) again shows her soulful manner and followed by Bramer's topical number "Freedom" with its references to violence directed against Blacks with a refrain freedom can't be freedom unless its freedom for everyone" Joanna Connor's slide guitar adds to the atmosphere here.

The album closes with a moving interpretation of Warren Hayne's modern classic number, "Soul Shine" which she opens saying she wants to reach out and touch the listener's hearts. That she does here and throughout. Lewis is a powerful, expressive singer, and her vocals are full of conviction, warmth and humor. She certainly is a "Grown Ass Woman," and with the mostly excellent backing has produced another fabulous recording.
 
I received my review copy from Delmark Records. Here is Sharon Lewis performing.

 

Eddie 'The Chief' Clearwater Is No Flimdoozie

Eddy ‘The Chief’ Clearwater is a favorite among blues fans. The following review appeared in the DC Blues Calendar in 2001 at the time Rooster Blues reissued one of his 1980’s albums on compact disc. I likely received my review copy from the label.

A reissue on Rooster Blue is Eddy Clearwater’s Flimdoozie, a mid 1980’s session with Sugar Blue on harmonica, Abb Locke on saxophone and Otis Rush sharing guitar leads with Clearwater. Its not a bad album, particularly with the all-star sidemen, and some of the tracks like the rocking Sugar Baby with a great Sugar Blue harp solo and Clearwater belting out the vocal like Carey Bell are pretty good. Some of the material is pretty lightweight including the title track and Do This Town Tonight, but played well.

Clearwater’s mushy diction undercuts the long slow blues, a medley of Black Night with Clearwater’s Fallin’ Down Heavy. Rush is in terrific form on the five tracks on which he is heard, but despite his presence, this is a secondary work in Clearwater’s discography.

Here is Eddy performing at the Chicago Blues Festival in 1991.

Buddy Scott & Big Daddy Kinsey Sang Real Deal Blues

Here is a vintage review of albums by Bid Daddy Kinsey and Buddy Scott, who may not be household names, but produced some solid work. I note my comments in the review about Verve issuing this material which was not stuff that would have been the most commercial type of recording to market as ‘blues.’ Scott died not long after his CD was released, while Kinsey (who died in 2001) had a subsequent album on Verve. Thankfully they viewed things in other than strictly commercial terms. My review originally appeared in the August 1994 Jazz & Blues Report (Issue 190) when it was still a print publication in Cleveland. Amazon shows the releases below available from other sellers.

Two releases, Buddy Scott’s Bad Avenue and Big Daddy Kinsey’s I Am the Blues, are companions on Verve to Joe Louis Walker’s Blues Survivor. They are both more traditionally oriented than Walker’s album, and Verve’s release of these albums indicates that Verve is not intending to market rock records as contemporary blues. Neither Buddy Scott or Big Daddy Kinsey are household names, nor are they guitar heroes. These are both solid Chicago blues artists who were reared on the music of Sonny Boy Williamson and Muddy Waters, and deliver renditions of the classic blues in a classic Chicago blues fashion.

Verve’s release of Buddy Scott’s Bad Avenue is particularly interesting since Scott is a Chicago club singer who has made few recordings, the most notable ones being as Scotty and the Rib Tips as part of Alligator’s Living Chicago Blues series. The music here is a bit less soul-influenced here than the Alligator recordings. Renditions of Merle Haggard’s Today I Started Loving You Again and Sam Cooke’s Bring It On Home To Me (using the same melody as Charles Brown’s I Want to Go Home), involve a fair amount of testifying. The songs associated with Little Walter, My Babe and Blues With a Feeling, both feature some very fine harp from Billy Branch, and while neither Rock Me or Big Boss Man are particularly novel numbers, the choice of Wake Up Old Lady from the second Sonny Boy Williamson ( going back to an old English ballad), is a refreshing change of pace with the song rearranged as if Howlin’ Wolf was going to sing it, while the traditional Big Fat Woman incorporates B.B. King’s Please Love Me arrangement. In addition to a couple of originals from Scott, the album closes with the fine title track that was penned by the recently deceased Lefty Dizz. Scott is a strong, straightforward singer and effective guitarist although his rhythm guitarist Joe Moss takes the lead on Big Boss Man. In all, a very solid date.


Lester ‘Big Daddy’ Kinsey may be familiar from albums on Rooster Blues and Blind Pig, and as the father of most of the members of the Kinsey Report. I Am the Blues is dedicated to Muddy Waters who is an obvious influence on Kinsey as a singer and as a guitarist. He is backed here by Buddy Guy on the title track and an all star cast including son Donald, Jimmy Rogers, James Cotton, Billy Branch, Pinetop Perkins, Lucky Peterson, Rico McFarland, Ray ‘Killer’ Allison, Calvin Jones and Willie ‘Big Eyes’ Smith. Included are several titles Waters had axed years ago including Walking Thru the Park (with an explosive Sugar Blue harmonica solo) , Mannish Boy and Got My Mojo Workin’, while renditions of Little Red Rooster, Don’t You Lie To Me and Nine Below Zero are done in similar form. Big Daddy Kinsey contributed three songs, the anti-drug song, Somebody’s Gonna Get Hooked Tonight, Good Mornin’ Mississippi, where he plays slide in a manner that recalls Muddy, and his tribute to the late Albert King, The Queen Without a King, with guitarists Donald Kinsey and Rico McFarland playing in an Albert King style. There is no great surprises here, just a strong session of Chicago blues. Incidentally, Kinsey has toured Europe with Pinetop, Jimmy Rogers, Calvin Jones, Willie Smith, Jerry Portnoy and Luther Johnson, Jr., as part of a Tribute to Muddy Waters, and there is a possibility that this group of artists will tour the US in the spring, 1994.


I do not recall my source of the review copies back in 1993-1994, as to whether it was from Jazz & Blues Report or from Verve directly.