Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime -

Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime - Blue Dot Records

Listening to a recording as good as "Not in My Lifetime" is bittersweet, knowing that there will be no more music from this marvelous soul and blues singer. Wee Willie Walker, who recorded for Goldwax Records decades ago, passed away three days after finishing recording this album. As a brief snippet of an interview with Willie that opens this album indicates, Willie went home feeling joyful after the music before dying in his sleep. It is a follow-up to "After A While," also with Anthony Paule leading the backing. I wrote about that album that it was "an imaginatively programmed and arranged recording, that showcases one of the last original soul singers. We should be thankful he is with us and still sings with all his vocal talent intact on a terrific recording." 

Paule on lead guitar and electric sitar leads a backing band consisting of Tony Lufrano on keyboards, Endre Tarczy on bass, Kevin Hayes. On drums, Derek James on trombone, Bill Ortiz on trumpet, Charles McNeal on tenor saxophone, and Rob Sudduth on baritone saxophone. Background vocals are provided by Larry Batiste, Sandy Griffith, and Omega Rae, with The Sons of the Soul Revivers doing the background on one track. Jon Otis adds percussion to four selections, and Curt Ingram adds french horn to one track. There are ten originals, one an instrumental by Tarczy, and nine songs are by Christine Vitale, mostly in collaboration with Paul and Batiste. One of the covers revives one of his Goldwax recordings, and the other two are songs that go back to Little Willie John.

The music here is consistently top-flight soul and blues with a strong dose of Memphis with a touch of the Philly Sound. The Soul orchestra is tight and pushes a strong groove behind Walker's soul-drenched singing, starting with Walker exhorting his women to "Don't Let Me Get In Your Way," as she tells her friends Willie is not satisfying. The Memphis feel of that opening track shifts to the soul ballad, "Over and Over," with the vocal chorus evoking the Philly sound. Then there is a Latin groove for "Real Good Lie," which punchy horns from Tony Lufrano's horn arrangement while Paule musically dancing with his guitar solo.

"Darling Mine" conjures the classic era of deep Memphis soul with a vocal that has some of the power of the legendary Johnny Taylor. The Sons of the Soul Providers provides a gospel feel for the positive message that we are in this together on "I'm Just Like You," and we should try to find common ground. "Make Your Own Good News" has the feel of a classic Curtis Mayfield recording if it had been recorded at Memphis or Muscle Shoals. I am not familiar with the Goldwax original "Warm To Cool To Cold," but Walker was still preaching his soul at these sessions. It is great to hear the covers of Little Willie John's recordings "Heartbreak" and "Suffering With the Blues," sung with such conviction and backed so wonderfully.

Tarczy's "Almost Memphis" is a funky instrumental that allows the band members to stretch out, followed by "'Til You've Walked In My Shoes," a jazzy-flavored and sophisticated performance with Paule's carefully crafted guitar solo along with Walker's outstanding singing. "Not In My Lifetime" is a recording that will stay in the hearts of soul and blues lovers for many, many years. Wee Willie Walker left us with a stellar recording that is sure to be on many Best of 2021 lists.

I received my review copy from a publicist. Here is a performance by Wee Willie Walker & The Anthony Paule Soul Orchestra.

Nancy Wright Alive & Blue

Nancy Wright
Alive & Blue
Direct Hit Records/VizzTone

It has been almost three years since saxophonist-vocalist Nancy Wright's prior recording "Playdate!" As I commented about that recording, "Listening to Wright's raspy sax (with plenty of vibrato) I am reminded of Junior Walker and Eddie Shaw, which certainly has an appeal." I would through also a mention of King Curtis whose "Soul Serenade" she performs on this live recording from the San Francisco venue, Saloon. The Saloon is where she first played in the mid-80s. While her prior CD had several guest appearances, this one features her and her Rhythm and Roots band: Nancy on sax and vocals, drummer Paul Revelli, Tony Lufrano on keys and background vocals, Jeff Tamelier on guitar and background vocals, and Karl Sevareid on bass. She contributed five of the twelve numbers here.

The album kicks off with a funky instrumental "Bugalu," with her chicken scratching sax ably backed by the band. Organist Lufrano and guitarist Tamelier provide riffs and licks that enhance her playing as well as take their idiomatic solos while Savareid and Revelli lock down the groove. It sets the table for this most entertaining live recording. Wright is a very capable singer with a relaxed, natural delivery. A solid example if her singing on an old Bobby Bland classic "I Don't Want No Man," with blistering solos from her, Lufrano on piano and guitarist Tamelier. Another choice performance is the soulful "In Between Tears," with a groove and guitar riff that evokes in part "Mr. Big Stuff."

Wright's original jazzy instrumental "Jo-Jo" may have her most interesting solo and Lufrano is superb on this. It is followed by a relaxed vocal on her cover of Lazy Lester's recording, "Sugar Coated Love," with Lufrano on an electric piano as well as her booting sax. After a nice original blues-ballad, "Warranty," is some belly rubbing music, "Bernie's Blues," with Temelier particularly superb on this early-morning, after-midnight instrumental. "Keep Your Hands Off of Him," set to the groove of "Got My Moho Workin'," is played with an almost frenzied, high stepping tempo with torrid tenor sax, piano, and chicken scratching guitar solos. Another notable track is the lengthy rendition of King Curtis' classic "Soul Serenade."

Recorded by Robby Yamilov at the Saloon in late 2018 and mixed by Kid Andersen, this very entertaining release certainly will please not only Nancy Wright's fans but also those into blues and classic soul.

I received my review copy from VizzTone. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is Nancy performing "Keep Your Hands Off of Him," from 2015.

 

Wee Willie Walker & The Anthony Paule Soul Orchestra After A While

Wee Willie Walker & The Anthony Paule Soul Orchestra
After A While
Blue Dot Records

An encounter performing in Europe first brought together California guitarist and band leader Anthony Paule with deep soul-blues singer Wee Willie Walker. This has led to the present recording where the one-time Goldwax artist is backed by a full band led by Paule. I recently reviewed a live album from the Notodden Blues Festival with a band led by Kid Andersen, about which I concluded "Wee Willie Walker certainly has it still and this live recording suggests just how moving and powerful a performer he remains." Walker is also present on a recent recording by Austrian organist Raphael Wressnig & Brazilian guitarist Igor Prado singing several songs that were associated with the legendary Little Willie John.

The present recording opens with the Memphis soul-styled "Second Chance," with the rhythm of Paule, Tony Lufrano on keyboards, Paul Olguin on bass, and Derrick 'D'Mar' Martin on drums laying down a form base for Walker's church-rooted singing with brassy horns. It was written by Christine Vitale, who contributed to several other songs including the title song and a performance (including the horn arrangements and Charles McNeal's wonderful tenor sax solo that evokes Little Willie John and other legends). Walker recorded George Jackson's "I Don't Want To Take A Chance," as a demo 50 years ago, but gets to record it anew for this marvelous rendition that again conjures up the classic R&B era of the 50s and early 60s. His soulful phrasing is supported by the handsome playing and Paule adds some nice chords and fills. Then we get a little big band treatment of the Lil Green classic "In the Dark," strongly sung in a manner that Little Willie John might have done it, and Paule takes a strong guitar solo in a jazzy-blues vein on this superb performance.

The message song "Hate Take a Holiday," has its call for love to take out hate, and folks of all colors and creed walk together in peace. teh recording has organ grease and a somewhat spare rhythm backing. It is followed by the Tex-Mex tinged romantic ballad, "Thanks For the Dance," with Paule on acoustic guitar on a song with a feel of a Drifters recording. There is a bit of Muscle Shoals funk underlying "If Only," while the soul ballad "Cannot Be Denied," is a lovely blue ballad. Both of these were written by Walker with Vitale and Paule. There is a stunning cover of a Little Willie John recording, "Look What You've Done To Me (not the Boz Scaggs song)," with brilliant playing from trumpeter Tom Poole and trombonist Derek James. Vitale and Paule's original "I Don't Want To Know," is a superb original blues in this same vein with a choice jazzy Paule solo.

After a punchy instrumental, "The Willie Walk," there is a wonderful duet with Terry Odabi updating The Clovers' hit "Lovey Dovey" followed by a return to the Memphis sound on a terrific soulful cover of the Mable John classic "Your Good Thing (Is About To End)." This is an excellent close to an imaginatively programmed and arranged recording, that showcases one of the last original soul singers. We should be thankful he is with us and  still sings with all his vocal talent intact on a terrific recording.

I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375), although I had edited my original review to clarify some points. Here is Wee Willie Walker & The Anthony Paule Soul Orchestra performing at the 2015 Porretta Soul Festival.

Bey Paule Band Not Goin' Away

 

The Bey Paule Band, a terrific soul-blues band featuring the vocals of Frank Bey and the guitar of Anthony Paule, return with "Not Goin' Away" (Blue Dot Records). The disc follows-up the terrific "Soul of the Blues." Like its predecessor, it mixes  choice originals with a few strong covers of lesser known material. In addition to Bey and Paule, the Band includes Tony Lufrano on keyboards; Paul Olguin on bass; Paul Revelli on drums; Mike Rinta on trombone; Tom Poole on trumpet and Nancy Wright on saxophone with guest appearances from Christoffer 'Kid' Andersen on guitar (and he co-produced, recorded and mixed this); and Jack Sanford on baritone sax with back-up singers added to half of the selections here.

Bey stands out as a singer (in my review of "Soul of the Blues" I compared him to Solomon Burke and Mighty Sam McClain) and he puts his stamp on everything here (except the instrumental "Noel's Haze") starting with the autobiographical opening "Black Bottom" where he sings about growing up in the Georgia sticks and now fronting a eight-piece band. Its slightly swampy feel is followed by the deep funk of "Kiss Me Like You Mean It," with some nifty guitar runs from Paule and greasy organ from Lufrano with punchy horns. Mike Rinta and Paule are responsible for the popping horn arrangements throughout. One track with punchy horns is the driving original from Bey, Paule and Christine Vitale, "Right In Front Of You," about a guy who understands the woman's problems but can't win her heart. It has strong playing from Lufrano on piano and Paule on guitar.

Vitale and Paule contribute "Next To My Heart" that comes off like a vintage seventies deep southern soul recorded at Muscle Shoals with an outstanding Bey vocal. "Nobody's Angel," another Vitale original, evokes some of Clarence Carter's recordings, with its storytelling and message and is wonderfully delivered by Bey and the band. The title track is a terrific rocker with a wonderful groove and Rinta delivering a superb trombone solo wonderfully framed by the other horns and the chicken fried organ. "Don't Ask Me How I Feel" is a blues performance that to these ears comes off as a cross of Al Kooper mixed with Donny Hathaway with perhaps the best horn arrangement here.

On "Not Goin' Away," the Bey Paule Band again provide listeners with a superb soul and blues recording. The album has a strong and varied program that is consistently well sung and performed. Certainly anyone who enjoyed "Soul of the Blues" will enjoy this, while fans of soul and blues who may not have heard them previously will find much to savor on this stunning recording.

A publicist sent me my review copy. While written for Jazz & Blues Report, I do not believe this review has been published. Here is a video of the Bey-Paule Band performing.

Frank Bey & Anthony Paule Band Have Soul For Your Blues

Frank Bey shared gospel bills with the Soul Stirrers with Sam Cooke, the Blind Boys of Alabama and others when singing gospel with his mother. As a teen he opened shows for Otis Redding and after committing himself to the blues, his career progress was undercut by a failing kidney. After several years of dialysis, he had a successful kidney transplant. A couple of years later he started making appearances with the Anthony Paule Band at Biscuits & Blues in San Francisco. In February 2013 they issued a solid live recording and now a year later Frank Bey & Anthony Paule Band have a new recording, Soul For Your Blues on Blue Dot Records. 

What is striking is just how strong the musical pairing of Philadelphia singer Frank Bey with San Francisco’s Anthony Paule Band is. Presented is a nice mix of lesser know blues and soul classics with choice originals and interpretations of lesser know numbers. The opening number is Willie Mitchell’s I Don’t Know Why with Bey’s strong singing suggesting the late Solomon Burke and Mighty Sam McClain. Tony Lufrano plays deep soul organ here and on most of this disc. Paule and guest Kid Anderson are featured on Paule’s driving blues I’m Leaving You, followed by the Muscle Shoals groove of Christine Vitale’s deep soul original I Just Can’t Go On. Paule evokes Steve Cropper with his fills and brief solo on this. Rick Estrin adds harp to a humorous Vitale-Paule blues, Don’t Mess With The Monkey. 

There is a jump blues feel to Wyonnie Harris’ Buzzard Luck with riffing horns behind Bey’s strong vocal and a T-Bone Walker styled guitar solo. Vitale, Paule and Karen Falkner wrote You're Somebody Else's Baby Too, that has the feel of mid-sixties B.B. King flavor. There is a nifty arrangement of Percy Mayfield’s Nothing Stays the Same Forever, with Mike Rinta on tuba (he is on trombone most of the recording. In addition to Rinta, kudos go to Nancy Wright’s tenor sax and Steffen Kuehn’s trumpet for their playing throughout. Bey is superb here with a vocal that suggests what Solomon Burke might have done with this song. There is also a wonderful interpretation of John Prine’s Hello In There, which again displays how Bey brings some of the same interpretative magic to a lyric that Burke did and MacLean still does, while marvelous restrained backing by the Paule Band. 

The funky Smokehouse and an instrumental rendition of “I Left My Heart In San Francisco showcase the band. Rinta takes an outstanding trombone solo on the former as does organist Lufrano, while Paule displays a crisp delivery and imaginative playing on San Francisco which closes this disc out. It should be noted that I have attempted to select highlights, but the performances by Frank Bey & Anthony Paule Band on Soul For Your Blues are first-rate throughout. This is a terrific recording.

I received my copy from a publicist. Here are the two in performance doing Ray Charles' Hard Times.