Charles Brown Just A Lucky So And So

Charles Brown
Just A Lucky So And So
Bullseye Blues

Brown’s new Bullseye Blues album adds to the fine body of his recent recordings. The centerpiece of the backing is his excellent band with Danny Caron’s guitar, with its echoes of Oscar Moore as well as T-Bone Walker, and Clifford Solomon’s tenor saxophone, whose solos here show him to be the strongest horn player working in this idiom, with his solo on the remake of Black Nights, being particularly notable.

The big band charts add considerable punch with Wardell Querzergue’s arrangement on Drifting Blues building upon embellishments found in Johnny Otis’ treatment of the song. Song For Christmas is one of several non-blues and the strings add to Brown’s description of holiday times and spirits. Querzergue’s charts are never stodgy nor syrupy. Gloomy Sunday suggests Billie Holiday’s influence in how Brown delivers the vocal, although this performance sounds a tad lethargic. The Quintet shines on Danger with its New Orleans rhythms and superb solos from Caron and Solomon. Brown continues to show his considerable piano talent here and throughout the record.

There is no claim that this is Charles Brown’s best recent recording, but the handsome production insures that this is not simply more of the same (although excellent) music found on his recent albums.

I am pretty sure I received my review copy from Rounder Records at the time. This review appeared in the April 1994 Jazz & Blues Report (Issue 190). Here is a love performance from Charles Brown and his band.

"Our New Orleans" Was Rhythm And Blues After Katrina

In April 2006 I wrote reviews on several post-Katrina benefit albums. I will be posting these in the next few days (not necessarily consecutively). Here is the first which originally appeared in the April 2006 (issue 281) of Jazz & Blues Report as well as the April 2006 DC Blues Calendar, then the DC Blues Society’s newsletter. Some of the artists on this have passed on and it is still in print. I likely received a review copy, not sure if from the record company, a publicist or Jazz & Blues Report.

Our New Orleans on Nonesuch is a collection of new studio recordings by New Orleans and other Louisiana musicians recorded in various cities last September and October. The emphasis is less towards jazz and more towards blues and rhythm & blues.

Allen Toussaint opens with his Yes We Can Can, a song he originally wrote for Lee Dorsey and the spirit of helping each other make it is especially apt. Dr. John’s morose World I Never Made is followed by Irma Thomas, backed by Toussaint, singing an unfortunately topical Back Water Blues, singing “My house fell down and I can’t live there no more.” Davell Crawford adds a touch of gospel with his marvelous Gather By the River, one of several fine solo piano performances including Eddie Bo’s slow drag interpretation of When the Saints Go Marching On, Carol Fran’s Tou' Les Jours Ç'est Pas La Même with New Orleans rhythm accents as she sings bilingually about her man, “where were you when I passed by?”, and Allen Toussaint’s instrumental Tipitina and Me.

Traditional jazz is represented by clarinetist, Dr. Michael White, on a lively salute to King Oliver on Canal Street Blues and Preservation Hall on Do You Know What It Means to Miss New Orleans; cajun and zydeco are represented by Buckwheat Zydeco’s Cryin’ in the Streets (with a sullen feel and one of the best vocals I have heard from Mr. Dural with Ry Cooder on guitar) and Beausoleil’s bittersweet instrumental L’Ouragon; and street sounds of New Orleans are sampled by the Wild Magnolia’s Brother John is Gone/ Herc-Jolly-John, and the Dirty Dozen Brass Band’s My Feet Can’t Fail Me Now.

Charlie Miller plays sings and provides the only accompaniment on his trumpet on Prayer to New Orleans, while Donald Harrison’s alto is featured on The Wardell Quezerque Orchestra’s rendition of What a Wonderful World. The disc concludes with Randy Newman reviving his unfortunately appropriate Louisiana 1927 (about the flooding of cajun country in 1917) backed by the Louisiana Philharmonic Orchestra with members of the New York Philharmonic singing about “they are trying to wash us away,” a lyric that rings unfortunately true.

Remembering Honeyboy, Wardell and Big Eyes

September has seen some blues and rhythm masters leave us with memories and plenty of reason to celebrate their legacy.

Honeyboy Edwards at Western Maryland Blues Festival in Hagerstown, MD.  Photo © Ron Weinstock

David' Honeyboy' Edwards passing was the last link to the pre-war generation of Delta bluesmen. Edwards literally grew up and played with all of the masters of the style including Charlie Patton, Tommy Johnson, Big Joe Williams, Tommy McLennan and most famously Robert Johnson. It was his association that led Pete Welding to Edwards after Welding had asked Big Joe of any bluesmen who knew the legendary Delta artist. Welding recorded Edwards as well as interviewed him which led to an extensive article back in the sixties.


Big Joe Williams took first Edwards out on the road as a youngster and arguably Williams highly rhythmic style is the most obvious influence on Edwards. Edwards became at times a very capable blues performer in the Delta style. Certainly the recordings Edwards made for Alan Lomax were fine examples of the Delta style. In the post-war era he had a few commercial recording sessions leading to one issued 78 and sessions for Chess and Sun that went unissued at the time, although issued later. Even most of Pete Welding's recordings of Honeyboy were unissued until the CD era, although Honeyboy was among the artists brought to play with Fleetwood Mac in the late sixties. 


Honeyboy may not have had the powerful guitar style or passionate, charismatic singing style that might have appealed to commercial record labels, but his warm personality and his personnel connections to the giants of the pre-war blues made him a popular performer for the past few decades was was capable of reaching across cultural and generational lines so well.

Wardell Quezergue and Jean Knight at the Ponderosa Stomp.  Photo © Ron Weinstock

Wardell Quezergue earned the moniker "The Creole Beethoven" as a reflection of his ability to arrange for large groups. This New Orleans native was famed as a composer, producer and arranger. He put together the charts for "Big Chief," the legendary Professor Longhair-Earl King Mardi Gras classic. As a producer he have us chart-topping soul classics like King Floyd's "Groove Me," and Jean Knight's "Mr. Big Stuff." These two recordings were actually produced on the same day.


In more recent years his arranging touch was utilized for big band albums by Charles Brown and Gatemouth Brown; several acclaimed Dr. John albums (including the Grammy® Award Winning "Goin' Back to New Orleans"); and the wonderful "Deacon John's Jump Blues." Listening to the renditions on this CD and DVD, and comparing them with the original recordings, one appreciates how Quezergue translated small combo recordings into a big band language with considerable grace and elegance. He was spotlighted at a couple of Ponderosa Stomps in New Orleans as well as a special Stomp at Lincoln Center in new York City. When Dr. Ike asked Dr. John if he would consider doing some of his older songs on which he played guitar originally, he agreed when he learned Quezergue would be doing the arrangements and conducting. This gives a sense of the contributions of this marvelous person.

Willie 'Big Eyes' Smith at the 2010 Pocono Blues Festival, Lake Harmony PA. Photo © Ron Weinstock

Finally, we just received word that Willie 'Big Eyes' Smith passed away. Smith was honored with a Grammy® this past year alongside his friend and long-time band-mate, Pinetop Perkins, with whom he spent many years playing together with the legendary Muddy waters and later the Legendary Blues Band. Smith remained active until the stroke that recently felled him, and in more recent years was featured on harmonica and vocals and not simply handling the shuffle rhythms on drums. His presence with Muddy was in part responsible for the rock-solid swing of that band.


The quality of his music as a leader was also noteworthy. I said of his Hightone release Way Back, that it "showcases Smith’s harp as well as his amiable vocals on some choice covers as well as idiomatic originals." His son Kenny has become one of the best drummers in the blues today (and played on Way Back). What I will remember most about Willie was his infectious smile and the sparkle in his eyes. 


RIP Honeyboy, Wardell and Big Eyes.

RIP Wardell Quezergue

The late Wardell Quezergue conducting the band backing singer Jean Knight at
2007 Ponderosa Stomp  - the New Orleans House of Blues. Photo © Ron Weinstock.

Tuesday, fans of rhythm and blues and New Orleans music, received the sad word that Wardell Quezergue passed away.

Dr. John with Wardell at 2008 Ponderosa Stomp at New Orleans House of Blues.
Photo © Ron Weinstock

I had the pleasure of attending the Ponderosa Stomps in 2007 and 2008 when he was featured. A composer, producer, and arranger he produced many classic recordings including Smokey Johnson’s “It Ain’t My Fault,” the Dixie Robert Parker’s “Barefootin’, King Floyd’s “Groove Me,” and Jean Knight’s “Mr. Big Stuff.” His arrangements graced Grammy winning recordings by Charles Brown, Gatemouth Brown and Dr. John (“Going Back To New Orleans”) as well as “Deacon John’s Jump Blues” and Luther Kent’s 2009 Bobby Bland tribute.

Trio of New Orleans Musical Royalty: Dave Bartholomew, Allen Toussaint and Wardell Quezergue.
2007 Ponderosa Stomp at New Orleans House of Blues. Photo © Ron Weinstock

On my flickr page regarding the 2007 Ponderosa Stomp I wrote “Wardell Querzergue was spotlighted at this year's Ponderosa Stomp leading a Crescent City Big Band for a funky revue of southern soul and New Orleans Cups” “Iko Iko” and “Chapel of Love,”funk which included his first arrangements in several years, first kicking off with Smokey Johnson's classic "It Ain't My Fault, before being joined by the soulful Tony Owens (who recorded for Cotillion and other labels), Robert Parker (Mr. Q produced 'Barefootin'" and Jean Knight (Mr. Big Stuff) with a special treat being an extended performance by an equal legend, Dave Batholomew. Dave Bartholomew did an overview of some of the great music he produced over half a century.”

The marvelous music from that year and the following year’s Ponderosa Stomp still resonate in my memory. Dr. Ike Padnos even got Dr. John to revive some of his early recordings on which he played guitar because the Creole Beethoven would arrange and conduct the band for these. I myself was honored that a photograph of mine was used for the cover of the Jazz Foundation of America’s release of his album “After The Math: Part of the St. Agnes Sessions.”

Cover photo taken at 2007 Ponderosa Stomp.

Here are links to some obituaries and appreciations: http://www.nola.com/music/index.ssf/2011/09/wardell_quezergue_legendary_ne.html; http://offbeat.com/2011/09/07/honoring-wardell-quezergue/; http://www.nytimes.com/2011/09/08/arts/music/wardell-quezergue-hitmaker-of-new-orleans-rb-dies-at-81.html?_r=1&smid=tw-nytimesmusic&seid=auto.

For information on purchasing "After The Math" contact the Jazz Foundation of America, http://www.jazzfoundation.org/how-you-can-help/jfa-store and help support their mission.

Deacon John Jumps the Blues Again

2011-0501 New Orleans JazzFest Day 3-1220117, a photo by NoVARon on Flickr.

From the first time I had the pleasure of hearing Deacon John Moore on a WWOZ compilation ripping through a terrific rendition of Elmore James'  Happy Home, I have been a fan of this New Orleans Rhythm and Blues Legend. Then the entire JazzFest set was made available on CD which showcased his ability to take classics from Elmore, J.B. Lenoir, B.B. King and Jimmy Rogers his own. After that came the release of Deacon John's Jump Blues, an album of classic rhythm and blues with Deacon John and others turning in a spectacular performance of songs associated with Ray Charles, Erma Franklin, The Spiders, Smiley Lewis, Johnny Adams and Joe Liggins with superb Big Band Arrangements by the Creole Beethoven, Wardell Querzergue. Tricia Boutté joined him for a Shirley & Lee Medley as well as handing Aretha's baby sister's Piece of My Heart. On the latter tune Allen Toussaint gusted on piano, while Henry Butler pounded the 88s behind Jumpin' in the Morning, an early Ray Charles classic and Dr. John was on piano for Joe Liggins' Goin' Back to New Orleans. In addition to this great recording, there was also a concert DVD of a concert of these artists and these songs. Since then, Deacon John is a must see for me at JazzFest if he is performing while I am there.


Sunday, July 1, Deacon John was featured on the Gentilly Stage, where he led his revue for a hour of super music with some surprises but also displayed his range as a performer. His Big Band included not only his brother Charles on bass guitar, but a sister on percussion and his daughter joining in on vocals. While I would not be unsympathetic with Deacon John playing slide guitar for an hour, the mix of music here included features for his backing singers as well as classic rhythm and blues and soul, his renditions of some standards and, an unexpected delight, a terrific rendition of a Steely Dan number. Then there were strong renditions of songs from Deacon John's Jump Blues and other songs of the genre (a rendition of Joe Liggins' "The Honey Dripper"), before he took out the slide and launched into "Happy Home" and followed with some modern urban blues. 


It was a well-paced set that displayed just how good and diverse a performer he is. I wish he could have played for at least another half hour. Deacon John is special to these eyes and ears. Here is a link to a documentary on him on Snag Films.


http://www.snagfilms.com/films/title/going_back_to_new_orleans1/

Luther Kent's Bobby Bland Songbook

Veteran New Orleans singer Luther Kent gets to pay his homage to one of his idols on his new Vetter Communications disc, The Bobby Bland Songbook. Kent has been a devotee of Bland since as a 13 year old he caught Bland backed by the Joe Scott at a Baton Rouge club. The influence Bland had on him was reflected by him when talking about Bland and one of Kent’s greatest memories being on a Riverboat Cruise with B.B. King and Bland during a 1980s JazzFest.

Kent has always included a few songs from Bland and his contemporaries such as Little Milton in his set list for decades, but this disc is devoted solely to Bland’s music. Kent and Don Chesson have assembled a big band with the Creole Beethoven, Wardell Querzergue doing the arrangements and conducting the band.

Kent has selected a dozen of Bland’s more famous recordings from the period that is arguably his greatest period, the late fifties and early sixties recordings he made for Duke which includes such classics as Who Will the Next Fool Be, I Pity the Fool, Stormy Monday, Cry, Cry, Cry, St. James Infirmary, Don’t Cry No More, That’s the Way Love Is, and I Wouldn’t Treat a Dog. The performances are styled after Bland’s originals, in this sense he doesn’t reinvent them as much as Simply Red’s Mick Hucknall did on his own recent tribute, Salute to Bobby.

Querzergue adds his own characteristic touches to provide a fresh shine on the horn arrangements and Kent while reflecting Bland’s originals does put his own imprint on these recordings for a pretty solid recording, which understandably is somewhat overshadowed by the originals. I would have also liked to hear a few of Bland’s more recent recordings interpreted like Members Only, and You Got to Hurt Before You Heal, but that is a minor complaint.

Kent is a very good singer, although not on the level that Bland was back in this period (an out-of-print English Ace CD that had many of these original selections was aptly titled, The Voice).  This is a nice celebration by a fan of one of the great blues singers of the past fifty years. Its available at the Louisiana Music Factory in New Orleans (they do mail order and their website, www.louisianamusicfactory.com), cdbaby.com and Amazon among various retailers.


I purchased this CD and this review appeared in the August 2009, Jazz & Blues Report (Issue 319).