Sunnyland Slim Legacy of the Blues

This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.

Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story. These sides make available albums from the 1970s that were issued in Europe on the Sonet label although some were imported in the United States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues recordings stateside. This latest batch includes more from that series along with other albums that Samuel Charters had produced for Sonet. I will be posting these reviews every few days.

Albert Luandrew, the legendary Chicago pianist known as Sunnyland Slim, is represented by some 1974 solo recordings recorded in Stockholm for The Legacy of the Blues. With his unique touch and his vibrato-laden vocals, Slim is heard hear on ten solid performances that includes such staples of his repertoire as She’s Got a Thing Goin’ On, Bessie Mae and She Used to Love Me. 

Slim’s strong two-fisted piano and singing is displayed on the rocking Gonna Be My Baby while he gets down in the alley on Couldn’t Find a Mule singing about “Oh Captain,” and his own recasting of Woman I Ain’t Gonna Drink No More Whiskey” singing about how his woman and whiskey take advantage of him laying down firmly played but spare bass while pounding out some strong right hand lines. The longest track Days of Old recalls his early days where he experienced the harsh conditions of a southern black laborer in the dark segregation days. 

Slim remained a foundation of the Chicago blues scene until he died in 1995 at the age of 88 and these recordings are a welcome reminder of his well-documented legacy.

I likely received my review copy from Jazz & Blues Report. Here is Sunnyland Slim performing.

Memphis Slim

This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.

Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story. These sides make available albums from the 1970s that were issued in Europe on the Sonet label although some were imported in the United States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues recordings stateside. This latest batch includes more from that series along with other albums that Samuel Charters had produced for Sonet. I will be posting these reviews every few days.

Memphis Slim, real name Peter Chapman, was another Chicago blues giant who became an expatriate, moving to Paris in 1962. Clyde Otis recorded him in New York in 1967 during a US tour with a band that included the great Billy Butler on guitar and Eddie Chamblee on tenor saxophone for a session that would not have been out of place on the Prestige-Bluesville catalog and was in The Legacy of the Blues series.

The set opens with a nice reworking of Everyday I Have the Blues and closes with Sassy Mae, completely reworked from his original which was built upon the Dust My Broom riff. Highlights include the peppy A Long Time Gone, where he sings about it being a long time since his baby called with Chamblee soaring with his solo as Slim plays his rock solid piano under him. I Feel Like Ballin’ the Jack is a retitled version of Big Bill’s Feel So Good, confidently sung. Slim’s considerable prowess on the piano is evident on Broadway Boogie, a storming instrumental with Chamblee and Butler taking crisp solos while Gambler’s Blues has him lament that “Last night I lost the best friend I ever had; I lost all my money, too bad, people how sad.” Sassy Mae which sports a larger (uncredited) horn section completes this welcome reissue.

I likely received my review copy from Jazz & Blues Report. Here is Memphis Slim performing "Slim's Boogie."

Eddie Boyd - Sonet Blues Story series

This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this batch of reviews every few days in the next couple weeks.

Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story. These sides make available albums from the 1970s that were issued in Europe on the Sonet label although some were imported in the United States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues recordings stateside. This latest batch includes more from that series along with other albums that Samuel Charters had produced for Sonet. I will be posting these reviews every few days.

Eddie Boyd, the Chicago pianist-vocalist who is most known for the classic Five Long Years, had become an expatriate in 1965 to escape racism and married a Finnish woman in 1970 prior to recording his album for The Legacy of the Blues series with some Swedish musicians and drummer Ed Thigpen for a solid session.

The opening notes of Lovesick Soul evoke Boyd’s classic before he launches in a nice Chicago blues ably backed with Peps Persson on harp as Christer Eklund adds tenor sax riffs and the rest of the set is a varied set of solid performances. Eklund sounds fine on tenor on I’m a Fool, while Boyd’s skill as a songwriter is present on Kindness For Weakness with Persson on guitar embellishing the vocal with some nice playing, while Black, Brown and White has Boyd confronting the issue of discrimination in a song that updates Big Bill Broonzy’s similar song.

Boyd’s years in Europe kept him out of the spotlight in the US, except for a brief 1986 visit associated with an appearance at the Chicago Blues Festival, but musically fertile. In addition to this welcome reissue (with two alternate takes added), Boyd’s Complete Blue Horizon Recordings, including those with Fleetwood Mac, has been issued and available at specialty outlets.

I likely received my review copy from Jazz & Blues Report. Here is Eddie Boyd performing Five Long Years.

Veronica Lewis - You Ain't Unlucky

Veronica Lewis - You Ain't Unlucky - Blue Heart Records

"You Ain't Unlucky" is an auspicious debut by a young New England pianist-singer-songwriter who is 17 and yet a seasoned pro. On this eight-song release, she is backed by a drummer with a sax added on several selections. Mike Walsh handles the drummer's chair for five of the selections, with Chris Anzalone playing on two and Ben Rogers on one. Don Davis plays sax on four selections, and Joel Edinburg heard on one.

One can hear a variety of influences in her two-handed piano playing. These go back to the boogie-woogie masters of the thirties to the Chicago blues of Otis Spann, the New Orleans piano style of Professor Longhair and Doctor John, and the hillbilly boogie piano of Moon Mulligan and Jerry Lee Lewis. Starting with the Crescent City rumba blues of the title track, the roadhouse boogie of "Clarksdale Sun" to her "Ode to Jerry Lee," and the closing "Memphis Train," Lewis shows that she is an exciting pianist with a crisp attack. This listener hopes to see her add a Jimmy Yancey styled approach to her slower material, but she is still growing and maturing after all. 

Although she sings with a tad bit too much vibrato for this listener's taste, she is a robust and tuneful singer. This is a quibble, and one would expect her to be more nuanced in her phrasing and vocal dynamics. In any event, this is quite a notable debut that shows more than promise.

I received my review copy from a publicist. Here is the official video for "You Ain't Unlucky."

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.

 

Pinetop Perkins Pinetop's Boogie Woogie

Best known as Muddy Waters' pianist after Otis Spann left, Joe Willie 'Pinetop' Perkins also spent time with the King Biscuit Time radio program, played (and recorded) with the likes of Earl Hooker, and Robert Nighthawk, and was a founding member of the Legendary Blues Band after Muddy's seventies' band split from their leader. He has a new album on Antone's Pinetop's Boogie Woogie which is a well played and recorded collection of Chicago style blues. He is backed by members of the Fabulous Thunderbirds (harpist Kim Wilson sounds particularly good here), James Cotton, Hubert Sumlin, Luther Tucker, Willie Smith and Calvin Jones. There is plenty of strong band work and soloing, and Pinetop's solid two handed piano provides more than a solid foundation.

Unfortunately, Pinetop's low-key vocals are not nearly as strong or colorful as his keyboard work and his treatment of jump blues like Eddie Vinson's Kidney Stew, and Louis Jordan's Caldonia, are not memorable. His laconic, low-key singing is more successful on Sunny Road, and is most effective on Jimmy Reed's You Don't Have to Go, and his own Ida B. (which reminds me of Robert Nighthawk's Anna Lee). The impact of these recordings is also diminished by the fact Pinetop has recorded many of the songs before.

This review originally appeared in Issue 178 of Jazz & Blues Report from 1992. I made some minor changes to this review. I likely received a review copy from the label or a publicist. 

Otis Spann Someday

Otis Spann

Someday

Silk City

An album of previously unissued Otis Spann performances, “Someday” (Silk City), is welcome, but alas the cheap packaging does not match the quality of the music. This is a collection of band and solo performances by the piano blues legend. Unfortunately the sparse packaging lacks any discographical information and the biography of Spann appears like it was copied from a second rate on-line website and incompletely discusses his recording career (the notes totally omit his Bluesway and BluesTime albums as well the terrific “Super Black Blues” recording with T-Bone Walker and Big Joe Turner). The cover graphics are simple and hardly stand out.

Compensating for the mediocrity of the packaging is the music which is very good. It opens with Spann leading an unidentified band through “Chicken Shack,” followed by terrific solo renditions of “Country Boy,” and “Worried Life Blues,” mis-titled as “Someday.” I find it hard to believe the producer of this disc did not know the correct song title. Also appealing is the solo rendition of Walter Davis’ classic “Come Back, Baby,” and a nice slow blues “Blind Man.”

In addition to “Chicken Shack,” band selections include the congenially rocking “Meet Me In The Bottom,” a solid rendition of “Worried Life Blues,” and a cover of T-Bone walker’s “Cold, Cold Feeling.” These also have nice harmonica and guitar in addition to Spann’s piano. There is also a rollicking instrumental, “Back Bay Shuffle.” “Spann Blues,” with sparse rhythmic backing is a lively boogie based track, while the closing vocal sounds a bit muffled.

There is some very fine music on “Someday,” and many fans of Otis Spann will likely want the music here, which is represented as previously unissued. There is only about 37 minutes of music on this and as stated, the presentation of the material is pretty shoddy. This is not an essential release, but the music here deserved better packaging than it received.

This was a purchase.This review originally appeared in the September-October 2012 Jazz & Blues Report (Issue 344). Here is Otis Spann from 1964.

Take 5 With Henry Gray

Legendary blues pianist and singer Henry Gray passed away on February 17 at the age of 95. The Louisiana native was an important part of the Chicago blues scene from 1946-1968, including spending 12 years with Howlin' Wolf. One of a number of pianists who were influenced by big Maceo, Gray was a strong two-handed player who played on recordings by Wolf, Morris Pejoe, Jimmy Reed, Junior Wells, Billy boy Arnold and others.

In 1968, he moved back to Louisiana and became an important part of the Baton Rouge blues scene. I believe his first recordings were on an Arhoolie Anthology, but he would record for a number of labels over the next 50+ years, as well as toured blues clubs and festivals throughout the world. Here is a short playlist of some of the recordings he played on as a sideman and as a leader.

First up is "Matchbox Blues" which Henry recorded for Chess Records.

Next up is Henry backing Billy Boy Arnold on the Vee-Jay recording, "I Was Fooled."

Henry played on a number of Howlin' Wolf recordings including "I Ain't Superstitious."

After he moved to Louisiana he recorded more frequently under his own name. Here is a selection for his "Lucky Man" album, "Finger Snappin' Boogie."

Finally, we leave with him performing "Blues Won't Let Me Take My Rest."

RIP Henry Gray

Henry Gray at the 2008 New Orleans Jazz & Heritage Festival

Just got word that blues pianist and singer Henry Gray passed away at the age of 95. The Louisiana native was part of the vibrant Chicago blues scene from the late 1940s to 1968 including spending 12 years as pianist with Howlin' Wolf. In addition to the Wolf, Gray worked and recorded with such other artists as morris Pejoe, Jimmy Rogers, Junior Wells, and Jimmy Reed.

In 1968, he returned to Louisiana where he became part of the Baton Rouge blues scene. He had recorded while in Chicago, but after returning to Louisiana, he recorded a number of songs and albums under his own name. I believe his first recordings after his return to Louisiana were as part of a Louisiana Blues anthology for Arhoolie records. This would lead to a number of recordings for a variety of labels.

In 2015, reviewing a Henry Gray album that Bob Corritore put together I wrote:

"Gray has been overshadowed by Pinetop Perkins amongst his contemporaries in general recognition, and while folks might argue on who is the stronger pianist, Gray, although an untrained singer, is more forceful and displays more personality, as reflected on his impassioned singing on the title track (most associated with Jimmy Rogers). But he certainly captures the spirit of shouter Grant Jones’ “Let’s Get High” and Hot Lips Page “They Raided The Joint.” On several tracks, he provides strong support behind some legendary figures including Robert Lockwood, Jr. on “Ramblin’ On My Mind,” and Nappy Brown on a superb rendition of “Worried Life Blues” that was a signature song of Gray’s major piano influence, Big Maceo. Dave Riley tackled “Ride With Your Daddy Tonight” while John Brim sings “That Ain’t Right.” Lowell Fulson’s “Trouble Blues” features one of Gray’s top vocals here with Bob Margolin adding slide guitar while Tail Dragger adds some color commentary to the rollicking “Boogie Woogie Ball.”"

Here is a link to an obituary for Henry Gray. Here is a video of Henry performing with Kid Ramos and others in a video celebrating the late Floyd Dixon.

Bruce Katz Solo Ride

Bruce Katz
Solo Ride
American Showplace Music

An album of solo blues piano without vocals might be as challenging for a listener as the pianist. Bruce Katz has met the challenge with "Solo Ride." I knew that Katz had played and recorded with such artists as Duke Robillard and Ronnie Earl, but unaware of his association with Greg Allman and John Hammond. I also was not aware that not only did he attend Berklee College of music, but was also a Professor of Piano there for 14 years.

This resume is only background for Katz's career of course, but Katz indeed produced a dozen solo piano performances that standup to continuous listening, not merely taken a few tracks at a time. One, of course, can hear influences such as the Chicago boogie-woogie masters Meade Lux Lewis and Ammons on the terrific original boogie-woogie, "Down at the Barrelhouse." Several selections indicate his love of New Orleans music, but his superb "Crescent City Crawl," sounds almost like an outtake from James Booker's magnificent "Classified" album. His touch and phrasing evoke the magic the Black Chopin usually produced. Another selection in this vein is "Red Sneakers." Other highlights include a straight instrumental take of Tampa Red's "It Hurts Me Too" out of the Big Maceo-Little Johnnie Jones-Otis Spann school, and the gospel-tinged "Praise House." "Dreams of Yesterday" has a classic country feel, while "Easy Living" is a nicely played solo in the manner of the late Charles Brown.

Katz displays his full command of the piano and blues related styles with a varied, and nuanced attack. The result is this first-rate terrific album of solo piano blues instrumentals.

I received a download to review from a publicist. This review originally appeared in the November-December 2019 Jazz & Blues Report (Issue 387). Here is Bruce with a band performing a  boogie-woogie.

Ben Levin Before Me

Ben Levin
Before Me
VizzTone

Listening to Ben Levin, one might believe as annotator Mark Thompson observes, is a "product of decades of long nights in dark clubs and smoky juke joints." He has just finished his first year of college even though he plays and sounds with a maturity far beyond his youth. He is from Cincinnati and been playing since he was 11. This is his second recording, and he is backed by Chris Douglas on bass, Oscar Bernal on drums along with his father, Aron Levin on several tracks. Bob Margolin on guitar and Bob Corritore on harmonica are several selections, while legendary King Records drummer Phillip Paul plays on two of the 12 songs.

One is impressed not merely by his solid blues piano technique, but the maturity he displays. His maturity is shown by the fact he never sounds like he is trying to impress people, but simply plays what sounds right. The opening track is a rendition of Big Bill Broonzy's "I Feel So Good." It is based on Muddy Waters' version with Margolin and Corritore helping provide the Chicago blues feel. In addition to his piano, he sings with an appealing, straight-forward, understated delivery. His approach is at the root of a memorable interpretation of Jay McShann's "Confessin' the Blues," with Corritore providing some horn-like harmonica and Margolin in a jazzy vein.

"Before Me" is an original that evokes classic Fats Domino that illustrates his touch, restraint, and taste. Much the same can be said about his playing on the instrumental, "Creole Kitchen." This is a striking tribute to Professor Longhair and other New Orleans piano professors. Phillip Paul takes over the drum chair for the cover of a Freddie King recording, "Lonesome Whistle Blues." This cover features a convincing vocal delivery, strong string-bending from Bob Margolin and an understated piano solo. Then there is "So Soon," an atmospheric blues with some effective spare piano.

Otis Spann's influence is evident during the interpretation of a James Cotton instrumental, "Lightnin'," with Margolin and Corritore capturing the flavor on the solid Chicago blues. Levin, Margolin, and Corritore collaborated on the closing instrumental "Open Late," that sounds like an unreleased Otis Spann slow blues with Corritore on chromatic harmonica. I was not familiar with Ben Levin before this recording. I was impressed by his talent and his musical sense from the first time I heard "I Feel So Good." After listening to this recording several times, I am struck by how fresh this music keeps sounding. "Before Me" is an exceptional recording.

I received my review copy from VizzTone. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of Ben with Bob Margolin on guitar and Phillip Paul on drums.

 

Henry Townsend and Roosevelt Sykes Blues Piano and Guitar: Washington University, Graham Chapel, 1973

Henry Townsend and Roosevelt Sykes
Blues Piano and Guitar: Washington University, Graham Chapel, 1973
Omnivore Recordings

Having recently been delighted by Omnivore's expanded reissue of Henry Townsend's wonderful Nighthawk album, "Mule," Omnivore has brought out this album of previously unissued performances recorded at a concert at Washington University in St. Louis, Missouri. Roosevelt Sykes was one of the greatest blues pianists of all time and recorded prolifically on his own and backing other musicians, while Townsend had a recording career that spanned nine decades. The two first met in St. Louis in the 1920s with Sykes gave Townsend pointers on playing the piano. In 1930, Sykes took Townsend and Walter Davis to a Paramount recording session. In 1931, Sykes and Townsend traveled to Louisville, Kentucky. The two remained lifelong friends and this concert performance was the first of several reunions before Sykes passed away in 1983.

Based on this recording, this was a magical evening with both artists performing a diverse group of numbers from their repertoire. Both were also at the top of their game. Townsend sounds and plays with considerable vigor on these recordings. He strongly reworks Clifford Gibson's "Tired of Being Mistreated," his own "Henry's Worry Blues," and with his wife, Vernell joining on a vocal, "Why We Love Each Other So." Then there is also a fine rendering of "Sloppy Drunk," and a superb rendition of "Tears Come Rollin' Down" with Vernell taking the lead vocal. He switches to piano for "All My Money Gone."

Sykes' performances open with his "Night Time Is the Right Time," and among his strong performances are "Driving Wheel," "The War Is Over" (also known as "Sunny Road") which is one of two performances on which Townsend adds his guitar behind Sykes piano and vocal, "Ice Cream Freezer," "Sweet Home Chicago" and an R-rated "Dirty Mother For You (You Don't Know)." Among his other performances is a barrelhouse boogie-woogie of "Boot That Thing," and an exuberant, robust rendition of Fats Waller's "Honeysuckle Rose."

This two-disc release, with 30 performances, captures the two at the top of their form. LeRoy Jodie Pierson, who produced this release with Cheryl Pawelski, contributed the liner notes along with several rare photographs to this outstanding release.

I received my review copy from a publicist. This review appeared in the March-April 2018 Jazz & Blues Report (Issue 383). Here is a video of Roosevelt Sykes playing.

Anthony Geraci Why Did You Have To Go

Anthony Geraci
Why Did You Have To Go
Shining Stone Records

Pianist and organist Anthony Geraci brings his four decades plus experience with Sugar Ray and the BlueTones to a second album under his own name. He has brought together quite a group of folks including vocalists Sugar Ray Norcia, Sugaray Rayford, Michelle “Evil Gal” Willson, Willie J. Laws, Dennis Brennan and Brian Templeton; guitarists Ronnie Earl, Monster Mike Welch, Kid Ramos, and Troy Gonyea; bassists Willie J. Campbell and Michael 'Mudcat' Ward; drummers Jimi Bott; Marty Richards, and Neil Gouvin; and horn players Sax Gordon and Doug Woolverton.

Geraci wrote all thirteen of the songs and they cover a variety of tempos and styles starting with the opening "Why Did You Have To Go" wonderfully sung by Norcia with some terrific Texas to West Coast slashing guitar from Welch. It is followed by a hot shuffle, "Don't the Grass Look Greener," with some shattering guitar from Kid Ramos along with a hot Rayford vocal. Ramos takes the lead on the Chicago blues shuffle groove of "Fly on the Wall." Willie J. Laws handles the vocal on a song that sounds like an unissued Johnny Young number while Ramos plays more in a traditional Chicago vein and Geraci superbly channels Otis Spann This number contrasts with the late night feel of "Angelina, Angelina," where Rayford pleads vocal about his woman leaving him stranded at the Courthouse door. "Long Way Home" has a New Orleans groove with horns adding punch  (Woolverton soars on his trumpet solo), while Geraci plays solid Crescent City styled piano.

"Two Steps Away From The Blues" sounds like a classic 50s Texas urban blues wonderfully sung by Michelle Wilson, while more Chicago styled blues can be heard in "Time's Running Out," with Norcia singing wonderfully and Ronnie Earl taking the lead guitar solo. "Baptized in the River Yazoo," is a delightful down-home Willie Laws vocal backed solely by Geraci's superb backing. Dennis Brennan, while not bad, is perhaps the less striking singer on this recording, although the backing he receives on "Too Many Bad Decisions" is excellent. "What About Me" is a nicely done vocal duet between Michelle Wilson and Brian Templeton.

After Geraci channels Spann again behind a first-rate Norcia vocal on "My Last Goodbye," (with more sterling Ronnie Earl guitar), this album closes with his jazzy instrumental "A Minor Affair," a swinging cool number with Woolverton plays with a nice middle-range tone, followed by a driving solo from Gordon. There is so much to enjoy on this recording from the fresh, varied material from Geraci, his own consistently strong playing, a solid studio band and terrific singing and playing. "Why Did You Have To Go" is superb.

I received my review copy from a publicist. Here is Anthony Geraci live.

Dave Keyes The Healing

Dave Keyes
The Healing
Keyesland Records

I am familiar with Dave Keyes from his work as a sideman behind the likes of Slam Allen, Alexis Suter and a Johnny Copeland tribute than as a leader. This is apparently his 6th album and a good one indeed. He is backed by Frank Pagano on drums (with Steve Rushton on some tracks) and bassist David J. Keyes with guests guitarists Popa Chubby and Arthur Neilson, singers Vaneese Thomas and Alexis Suter, and harmonica player Rob Paparozzi. Keyes penned 9 originals along with two covers on a program that includes soul-drenched rock, blues and boogie with some gospel touches.

What immediately struck this listener was the level of Keyes' vocals. I knew he had serious keyboard chops, but the quality, diction, dynamics, and authoritativeness of his vocals was a very pleasant surprise. This can be heard on his very intriguing reworking of Robert Johnson's "Traveling Riverside Blues," and Sister Rosetta Tharpe's "Strange Things Happening," both of which he places a personal stamp on. It is also true of his originals including his duet with Vaneese Thomas on the soulful "Ain't Looking For Love," with its chugging rhythm, nice harmonica from Paparozzi and its refrain of some people looking for love and some just looking for sex. Suter and the Brooklyn Interdenominational Choir provide vocal backing on the gospel-tinged "Faith Grace Love And Forgiveness," another performance which illustrates the honesty and conviction Keyes invests his singing with.

Keyes instrumentally is solid throughout whether as part of the rhythm section or playing rollicking solo boogie woogie on "Boogie For Stefan." Furthermore, his songs have memorable lyrics and are well played by the studio band resulting in this terrific recording. After listening to this, I would love to see Dave Keyes as a leader, not simply a sideman.

I received my review copy from Dave Keyes. Here Dave is performing "Blues For Stefan."

Pinetop Perkins
Portrait Of A Delta Bluesman
Omega

While there hasn’t been a shortage of Pinetop Perkins albums in recent months, this new album is of particular interest as it is Pinetop playing solo. Intermixed with his music performances are his recollections, so this comes off as a musical autobiography.

Pinetop himself prefers playing with a band, yet his performances of such blues as Come Back Baby, Big fat Mama, Chains of Love, Grindin’ Man, Forty Four, Caldonia, Pinetop’s Boogie Woogie, and other songs here are played in a relaxed fashion that is still full of plenty of feeling. While most of these songs will be familiar from other band recordings, Walter Davis’ Come Back Baby is a particularly pleasing performance.

He discusses his influences, growing up, playing around the delta (He was with the King Biscuit Show) and joining Muddy Waters. An elder statesman of the delta and Chicago blues piano traditions, this unpretentious collage of music and recollections is a fascinating portrait of the blues piano legend and his music. Highly recommended.

This review originally appeared in the January-February 1994 Jazz & Blues Report (issue 188). I may have received my review copy from a publicist, the record company or the publication.  This may be hard to find as a CD, but should be available as a download.

Otis Spann Sweet Giant of the Blues

Ace Records in the UK recently reissued a number of recordings that came out on Bob Thiele's Flying Dutchman and related labels. Included in these are albums that came out on the BluesTime subsidiary that included albums by T-Bone Walker, Eddie 'Cleanhead' Vinson and Big Joe Turner, along with otis Spann. Thiele had recorded Spann when he was at ABC-Paramount, producing for both Impulse and Bluesway. Both of the Bluesway albums had Spann backed by the Muddy Waters band. For BluesTime, Spann recorded "Sweet Giant of the Blues," which had Spann backed by Max Bennett on bass, Tom Scott on sax, Paul Humphrey on drums and Louie Shelton on guitar.

With this backing group, Thiele took Spann outside the straight Chicago blues setting of his previous recordings and tried to mix in some Latin and funk grooves of the time in an attempt perhaps to reach different audiences. Spann is in fine form, both on piano and singing. Bennett and Humphrey are solid  backing him. Scott plays well, although at times his playing comes across as  busy. Shelton is a good guitarist and his crisp playing on "Sellin' My Thing," a song in the hokum tradition, stands out but at other places his use of fuzz-tone, (perhaps a production decision ) is misplaced and is a distraction on otherwise fine performances like "Moon Blues." This latter title refers to the moon landing but Spann sings about having all that bread to send folks into space, but the cupboard is bare for us and baby we ain't going anyplace. Scott has a terrific flute solo on this with Spann adding splendid accompaniment under it.

"I Wonder Why" and the instrumental "Bird In a Cage" are other songs on which one wishes Shelton had put the fuzzbox away. Spann is terrific, and if not totally enamored with Scott's sax on the former number, I wish Shelton was absent on both. Thankfully he plays without effects on the slow blues "Hey Baby," and on Spann's gospel number "Make a Way," that closes this album. It is unfortunate that these flaws detract from an otherwise fine recording. Spann would have one other recording on BluesTime, the super-session, "Super Black Blues" with T-Bone Walker, Big Joe Turner and a terrific band that included George 'Harmonica Smith that Ace has also reissued and which I unequivocally recommend.

I purchased this.

Anthony Geraci and 50 Shades of Blue

“50 Shades of Blues” is a new Delta Groove recording by keyboard wizard Anthony Geraci and The Boston Blues All Stars. Geraci is best known in anchoring the keyboards for Sugar Ray and the Bluetones, and he is joined by his band-mates: Sugar Ray Norcia, guiatrist Monster Mike Welch, bassist Michael ‘Mudcat’ Ward and drummer Neil Gouvin (although Marty Richards handles the drum chair for most of this). Guests include Darrell Nulisch, Michelle ‘Evil Gal’ Wilson, and Toni Lynn Washington, who along with Norcia, handle the vocals. Geraci produced this, in addition to playing piano and organ, and writing all 13 songs.

He gives some really wonderful new blues heard in terrific performances by all involved. Darrell Nulisch sings the opening “Everything I Do Is Wrong,” that sounds a song Otis Rush should have recorded for Duke. It features a tough Welch solo while Geraci pounds the ivories. The title song follows, a jump blues duet shared by Norcia and Wilson, with rollicking piano. Welch plays in a T-Bone meets B.B. vein on this. The next two selections are classic Chicago styled blues. “Sad But True,” is a Tampa Red styled blues with Welch on slide and Norcia on harmonica. It is followed by the stunning Muddy Waters influenced “Heard Thet Tutweiler Whistle Blow,” with Norcia singing about going to Detroit to build a car for Mr. Ford. Geraci channels Little Johnny Jones and Otis Spann on these two songs.

More Otis Spann influence is present on the closing “Blues For David Maxwell,” a superb instrumental tribute to the late pianist with Geraci's at perhaps his finest (and he is exceptional thoughout). This performance builds in intensity as Welch adding fiery guitar before Ward’s bass leads the band into a surprising concluding portion where they evoke Pharoah Sanders “The Creator Has a Master Plan,” with Norcia playing wood flute here. It is a marvelous finale to a stellar recording. Anthony Geraci is a first-rate blues songwriter and a terrific keyboard player. With these superb musicians supporting him, there should be no surprise about the consistently marvelous music on “50 Shades of Blue.”

I received my copy from Delta Groove. Here is a performance from the CD release party.

The Henry Gray/ Bob Corritore Sessions Vol. 1

 

Bob Corritore has been championing the greats of blues, especially Chicago blues, for several decades. Host of a terrific blues radio program in Phoenix where he also operates the Rhythm Room, he also has produced a variety of blues recordings. His latest production celebrates pianist Henry Gray who turned 90 in January 2015. The Henry Gray/ Bob Corritore Sessions comes our way with “Vol. 1 Blues Won’t Let Me Take My Rest” (Delta Groove). Included are 14 selections featuring the pianist perhaps best known for his 14 years with Howlin’ Wolf as well as session work with a variety of artists for Chess and other labels. Its been about 45 years since Gray left Chicago and moved to Louisiana where he has played, playing festivals and clubs.

For “Blues Won’t Let Me Take My Rest”, Corritore has put together 14 selections from 12 sessions over a 19 year period (including one on Henry’s 90th Birthday) with Gray and Corritore joined by a wide range of blues legends and players including Robert Lockwood, Jr.; John Brim; Willie ‘Big’ Eyes Smith; Nappy Brown; Tail Dragger; Chico Chism; Dave Riley; Bob Margolin; Bob Stroger; Chris James; Patrick Rynn; Kirk Fletcher; Kid Ramos; and June Core.

Gray has been overshadowed by Pinetop Perkins amongst his contemporaries in general recognition, and while folks might argue on who is the stronger pianist, Gray, although an untrained singer, is more forceful and displays more personality, as reflected on his impassioned singing on the title track (most associated with Jimmy Rogers). But he certain captures the spirit of shouter Grant Jones’ “Let’s Get High” and Hot Lips Page “They Raided The Joint.” On several tracks he provides strong support behind some legendary figures including Robert Lockwood, Jr. on “Ramblin’ On My Mind,” and Nappy Brown on a superb rendition of “Worried Life Blues” that was a signature song of Gray’s major piano influence, Big Maceo. Dave Riley tackled “Ride With Your Daddy Tonight” while John Brim sings “That Ain’t Right.” Lowell Fulson’s “Trouble Blues” features one of Gray’s top vocals here with Bob Margolin adding slide guitar while Tail Dragger adds some color commentary to the rollicking “Boogie Woogie Ball.”

After a credible Jimmy Reed cover, “Honey Don’t Let Me Go,” this CD concludes with a moody swamp blues flavored rendition of B.B. King’s “She Don’t Move Me No More,” with Corritore (outstanding throughout) heard here in a Walter Horton vein. This is a solid and delightful collection of classic Chicago blues with a touch Louisiana swamp blues mixed in. Given that this is labeled Vol. 1, one looks forward to a further release of Henry Gray’s blues sessions with Bob Corritore.

I received my review copy from Delta Groove and this review originally appeared in the July-August Jazz & Blues Report (Issue 361). Here is Henry in performance.

Henry Gray Plays Chicago Blues

 

Since he moved back to Louisiana a few decades ago, former Howlin Wolf pianist Henry Gray has kept playing but has never enjoyed the level of recognition that contemporaries, such as Pinetop Perkins, have received. Besides being in Wolf's band for an extended period, Gray did a fair amount of session work, recording with Jimmy Rogers, Little Walter, Billy Boy Arnold and Jimmy Reed, as well as making his own recording for Chess. The biggest influence on Grays style is Big Maceo, and like that great master, he is a strong, two-handed player and he certainly sings with a definite sense of urgency.

Gray did record some swamp-blues flavored sides for an Arhoolie anthology, and some singles for small Louisiana labels, an album for Antone's which I believe is long out-of-print, and a live album for Lucky Cat which would have been better if some of the performances had been edited to be tighter. Hightone has issued a new cd by him, Plays Chicago Blues , which has him backed by guitarists Bob Margolin and Kid Ramos, fellow Wolf alumni Chico Chism on drums and Bob Corritore on harmonica.

My promo cd does not provide any more detailed information, but these are from various sessions that Corritore produced over several years. Its a nice mix of material including covers of classic Chicago blues including a couple songs associated with Elmore James, It Hurts Me Too and I Held My Baby Last Night, as well as Wolf's How Many More Years , The Maceo influence is quite evident on the slow moody Trouble Blues and It Hurts Me Too, while Henry’s Houserocker is a strong, rollicking instrumental. There is nothing fancy about this music but it strikes this writer as the best currently available disc of Henry Gray's music available.

Henry Gray had a recent album issued under Bob Corritore's direction, The Henry Gray/ Bob Corritore Sessions Vol. 1 that I will post my review of tomorrow. This review was written in  mid-2001 and likely was published in Jazz & Blues Report and the DC Blues Calendar. I likely received a review copy from Hightone and this may be still available.

Here is Henry in performance in 2009 at the Louisiana Music Factory.

Aaron Moore - Boot ‘Em Up!

Delmark Records posted in Facebook that pianist Aaron Moore has passed away. Here is my review of his Delmark album, Boot ‘Em Up!, that was published in the November/December 1999 Jazz & Blues Report (issue 242). 
Chicago pianist Aaron Moore worked with many legendary artists in Chicago’s scene, but did not appear on record until recently. Delmark has issued Boot ‘Em Up! This is a lively album of original traditionally based piano blues, all written by Mr. Moore. He is supported by James Wheeler on guitar, Robert Stroger on bass and Willie Smith on drums. Roosevelt Sykes and Memphis Slim are Moore’s most obvious influences, and he does suggest somewhat the late Mr. Sykes, if he is not quite of the level of that master. He reworks traditional blues melodies and themes in a fresh way. For example, You Look So Good to Me bears some resemblance to Jimmy Reed’s Take Some Insurance Out, while the rocking title track seems related to several of Sykes’ uptempo romps and Real Thrown Down reworks the Down Home Blues melody. The rhythm section keeps a propulsive swinging beat, and James Wheeler adds nifty guitar fills and breaks. This contributes to the attractiveness of Moore’s unpretentious, genuine performances here.