With an overabundance of blues artists recording tributes to rock icons, "Vanthology" stands out. One reason that this tribute to Van Morrison works is that producer Jon Tiven has collected a number of blues and soul legends to perform songs associated with the legendary Irishman, setting this apart from many similar concept discs which seem to have an overabundance of blues-rock guitar pounders.
The performers here include Little Milton, Freddie Scott, William Bell, Bettye Lavette, Eddie Floyd, Sir Mack Rice, Syl Johnson, Otis Clay, Son Seals, Ellis Hooks, Chuck Jackson, Henry Butler, and Bobby Patterson. The producer deliberately did not use horns on this to distinguish these interpretations from Morrison’s originals. The studio band is anchored by Butler with Tiven on guitar, wife Sally Tiven on bass and Simon Kirke on drums who provide funky, sympathetic backing for the awesome vocal talent here. Highpoints among the exceptional performances here include Little Milton’s rendering of "Tupelo Honey," William Bell’s rendition of "Have I Told You Lately," Freddie Scott’s "Brown-Eyed Girl," Bettye pleading vocal on "Real Real Gone." and Eddie Floyd’s Crazy Love. It is a special treat to her Sir Mack Rice, writer of that overplayed staple of blues bar bands "Mustang Sally," take up Morrison’s own bar band classic, "Gloria."
Morrison has been heavily influenced by blues and soul artists, a debt he has freely acknowledged in developing his own distinctive body of music, and some of these the artists pay tribute in this very fine release.
I likely received a review copy from Evidence Records. This review originally appeared in the May-June 2004 Jazz & Blues Report (Issue 268). Here is Sir Mack Rice doing "Gloria."
With B.B. King's recent passing, Buddy Guy probably has assumed the role of elder statesman of the Blues. Regardless of this, Guy has a new recording to entertain folk with "Born To Play Guitar" (Silvertone/RCA Records), that has something for everybody in terms of material and performance style. In addition to Guy and his band, he also has guest appearances from Kim Wilson, Billy Gibbons, Van Morrison and Joss Stone and like his recent recordings is produced by Tom Hambridge.
The opening title track is a semi-autobiographical number as he sings he was born to play guitar and that he has a reputation that everybody knows his name, and has blues running through his veins, that opens with spare backing and which is generally played with restraint (compared to some of Guy's efforts). "Wear You Out," with Billy Gibbons adding his raspy singing, is more in a blues-rock vein and less satisfying to these ears. A rendition of the Little Walter recording "Too Late" has a nice vocal, rollicking shuffle piano and tough harmonica from Wilson, although I find the next track, " Whiskey Bear & Wine" less enjoyable because of the hard rock flavor of the rhythm (especially the bass).
Joss Stone joins for a duet on the Dinah Washington-Brook Benton hit, "(Baby) You Got What It Takes," and with Buddy adding chords and single note runs, Stone an him trade verses in an energetic manner. The interesting topical blues "Crazy World" makes use of vocal and instrumental effects as he sings about the selling water and someday they will sell the air we breathe while "Back Up Mama" is a variation on the back door man theme as he has a backup mama if mama number one is not around.
Van Morrison joins guy for "Flesh & Bone," a song occasioned by the passing of B.B. King as Morrison sings it ain't over when one dies, and when one goes, one's spirit lives on while Buddy remembers his parents and still with him even though long gone and this life is more than flesh and bones. "Come Back Muddy" finds Buddy unplugged and singing that he wishes Muddy would come back, that Buddy would love to hear his voice and let us make us some of that old nasty noise on a marvelous heartfelt performance to close this recording.
There is something for a whole spectrum of blues and rock fans here. Even those with more traditional blues tastes should enjoy a good portion of "Born To Play Guitar." In any event, Buddy Guy continues to follow his own muse with plenty of heat.
I downloaded a review copy thanks to a publicist. Here is the title track.
In celebration of Chris Barber’s 80th Birthday, Proper Records has compiled a double CD compilation of performances, Memories Of My Trip, that display how central a figure on the English music scene for six decades. The performances give a suggestion of the breadth of his musical interests which are centered around jazz, blues and skiffle. While several years ago there was a three CD series of primarily blues recordings from the 50s and 60s, the present compilation is more of a retrospective of some the many legendary and contemporary performers in performance with him. Barber himself provides recollections of the performers and the songs heard herein.
Opening is a Brownie McGhee recording from a Folkways recording of McGhee, that provides this compilation with its title, presenting McGhee’s fond recollections of his European travels with Chris and his traditional jazz band. McGhee, and his partner Sonny Terry, are heard on two selections with the traditional gospel number Do Lord, Do Remember Me. It is a spirited ensemble performance with Ottilie Patterson, Barber’s regular vocalist sharing the lead with Brownie. Weeping Willow is a recording of Barber on trombone with Eric Clapton taking the vocal and playing guitar. Muddy Waters and Pinetop Perkins can be heard on an enthusiastic rendition of Kansas City, with Muddy vigorously calling out for Chris. It is followed by a nice James Cotton performance backed by Alexis Korner on guitar and Chris on bass.
Rory Gallagher is heard playing slide and singing Muddy’s Can’t Be Satisfied, with just Barber’s bass and this is followed by Lonnie Donegan doing a raucous Diggin’ My Potatoes, backed by a full band. Barber traveled to Canada to play with Jeff Healey and His Jazz Wizards for a atmospheric blues Goin’ Up The River, with Barber singing and playing nice tailgate trombone along with the able support of Healey’s restrained guitar and trumpet. Van Morrison is heard on two nicely sung blues performances from a 1998 performance and a somewhat over-the-top vocal on Oh Didn’t He Ramble, from 1976 on a session that also included Dr. John. Ottilie Patterson herself was featured on Lonesome Road, while gospel legend Alex Bradford takes the lead on Couldn’t Keep To Myself where Chris and other band members provided the backing vocal chorus.
Traditional jazz with a New Orleans flavor is represented by selections by such important artists of the time as clarinetist Edmond Hall with a nice medley that included St. Louis Blues, and a brilliant version of the New Orleans jazz staple, High Society. Keith Emerson would be better known as a member of Emerson Lake and Palmer, but when he recorded Rock Candy in 1966, he was playing organ in the vein of Jack McDuff and Jimmy McGriff. Barber’s trombone spices up to this funky blues instrumental. A couple of selections feature former members of Louis Armstrong’s All Stars as Trummy Young brings his vocal and trombone (in addition to that of Chris) for Georgia On My Mind. Clarinetist Joe Darensbourg is heard on an intimate small group recording of a swing staple, “Rose Room.”
Another New Orleans clarinetist, Albert Nicholas, is spotlighted on the Ellington staple, “C-Jam Blues,” with lovely guitar from John Slaughter while Stu Morrison’s jangly banjo adds a clipped rhythmic flavor behind Nicholas’ very fluid playing. Eddie Durham was arranger for Count Basie and other bands, and one of the first jazz electric guitarists to record. He was also a trombonist of considerable capability and is featured on a blues that was called “Jack Teagarden Blues” after that famous trombonist.
After “Tailgate Boogie,” featuring the piano of Sammy Price, the CDs close with performances with Jools Holland and Mark Knopfler (of Dire Straits fame). Holland’s rendition of Jelly Roll Morton’s “Winin’ Boy Blues” is a marvelous rendition of this classic. Knopfler is on an appealing low-key rendition of The Delmore Brothers’ “Blues Stay Away From Me,“ with some lovely trombone from Barber along with a lovely updating of the Dallas String Band’s ”Dallas Rag” that opens with some nice picking from Knopfler. Pat Halcox’s trumpet is also quite nice here. These are very amiable performances that conclude a varied and entertaining release. Memories Of My Trip is Chris Barber’s own musical capsule of a musical life well lived.
My review copy was provided by a publicist for the recording. Here is a video of Chris Barber.
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