Jigsaw Heart Shows Off Eden Brent's Country Side

In 2008, I called Eden Brent’s album Mississippi Number One, “ is a stunning recording of blues, jazz and soul… .“ I also observed that “[a]s a singer she sings with the authority of the late Esther Phillips, if a bit less nasal, while displaying the sassiness of a Denise LaSalle and a bit of Bobby Gentry’s country soul.” I was similarly impressed by next album Ain’t Got No Troubles, noting it “mixes a marvelous pianist and vocalist with strong material, sympathetic backing and varied, imaginative programming resulting in a terrific recording that should appeal to blues and roots music fans.” Eden Brent’s latest album, Jigsaw Heart (Yellow Dog Records) is another recording that  displays perhaps more of her country side as a performer.

Like Ain’t Got No Troubles, this was produced by Colin Linden who also contributes guitar (and mandolin on one track). Some of the others playing behind Eden on this include John Dymond on bass, Gary Craig on drums, Dan Dugmore on pedal steel, Kenzie Wetz on fiddle. Brent’s originals are mixed with interpretations of songs from Joan Armatrading, Billy Taylor & Dick Dallas, and Jimmy Phillips amongst others.

The very first two numbers illustrate the range of music on Jigsaw Heart as well as the extent of Ms. Brent’s talent and artistry.Better This Way has her singing about leaving today but the relationship ended sometime before, so lets raise a glass to toast the past.. This is a classic country waltz that has a bit of a swamp pop feel as well. Everybody Already Knows in contrast is a romp about the whole town knowing Eden and her lover are messing round, with some wonderfully rollicking piano that evokes Jerry Lee Lewis (although perhaps not quite as wild). Both are superbly sung and played and display her considerable gift as a songwriter. The title tracks another wonderful lyric as she asks her cowboy angel whether he has what it takes to un-break her heart.

In addition to these wonderful originals she provides her own take on Joann Armatrading’s Opportunity, with a vocal that suggests Bobby Gentry. Another noted cover is the Billy Taylor- Dick Dallas penned I Wish I Knew How It Would Feel To Be Free, which was inspired by Nina Simone’s classic rendition of this. Its a good performance with backing singers, although I would love to hear Eden perform this just with her piano.

Jigsaw Heart is a superb recording. Eden Brent has a range as a pianist, singer and songwriter comparable to the late Charlie Rich. Like Rich she brings complete authority to renditions of blues, country and soul. I look forward to hearing more from Eden Brent and her continual musical growth.

I received my review copy from Yellow Dog Records. Here is a video of a interview and performance by Eden.

Lively Cajun Country Revival Is Right Musical Combination

It was blues researchers with eclectic tastes such as the late Mike Leadbitter, one of the forces behind Blues Unlimited, and Arhoolie Records’ Chris Strachwitz, that helped generate my enthusiasm for zydeco and cajun music while in college. Clifton Chenier’s music provided a bridge that led to an Arhoolie album by Lawrence Walker, and then the Hackberry Ramblers, and then mail order purchase of Cleveland Crochet, Joseph Falcon, The Balfa Brothers, Nathan Abshire, Joel Sonnier and Belton Richard. I could not understand the lyrics but the crying fiddle, the propulsive accordion, the heartfelt cries and yells and the lovely waltzes and driving two-steps enthralled me.

And then younger musicians like Michael Doucet and Beausoleil and Steve Riley helped keep the tradition alive while reinvigorating it as they revived obscure older tunes and wrote contemporary songs. More recently younger bands like The Pine Leaf Boys have also emerged. One of the members of this band is a young accordionist, Wilson Savoy, son of Marc Savoy, noted accordionist and accordion maker, and Ann Savoy, noted vocalist. His brother, Joel Savoy has emerged as a traditionally rooted fiddler who has partnered with accordionist Jesse Lége.

While in the Pacific Northwest. Jesse and Joel met up with he Portland, Oregon Caleb Klauder Country Band and they hit things so well that they came back to Eunice, Louisiana to record a terrific new recording as Jesse Lége, Joel Savoy and the Cajun Country Revival, The Right Combination, on Valcour Records. Valcour Records is a label that Joel Savoy started to promote music rooted in Louisiana traditions. In addition to Lége and Savoy, the musicians include Caleb Klauder, vocalist and guitarist; with Sammy Lind on guitar, fiddle and vocals; Nadine Landry on bass and vocals; Paul Brainard electric and steel guitar; and Ned Folkerth on drums. Savoy notes that many of the songs had not even had full run throughs before being recorded. “I hope that you put this record on and just smile. That’s all I want, just smile and be happy and know that this record was made the same way. We had so much fun making it and we’re proud to share it with you.”

The performances sure got my toes tapping and brought out a big smile from me. The instrumentation is a bit fuller than some of those accordion and fiddle bands I listened to on record 40 years ago. The exuberance and terrific music is the same. There are renditions of classic cajun recordings such as Adam Hebert’s Ouvre La Porte (Open the Door), a lively two-step which Lége’s sings with gusto, the lovely rendition of the classic Evangeline Waltz, and the closing blues, Corina, based on a Lawrence Walker recording Alberta (and it should be noted that Leadbelly also performed it as Alberta). In addition to these cajun delights, there is Wondering, with its mix of cajun waltz and Texas honky tonk sung by both Lége and Klauder; Tippy Toe, a lively cajun accented treatment of a Loretta Lynn recording, that Nadine Landry delivers a delightful vocal on; and the Porter Wagoner composed title tune, wonderfully sung by Klauder and Landry and wonderfully played.

The CD contains full liner notes in the form of an enhanced pdf file that contains song notes as well as song lyrics (including English translations), a video of Jesse and Joel with the Caleb Klauder Country Band in a Northwest studio performing Ouvre La Porte, excerpts from some of the original recordings interpreted here and more. Joel Savoy doesn’t like being called traditionalists in that they play in the moment, but still they display the joy of a living tradition. Their personality to the fore with their friends for a recording that will be a joy for all lovers of Louisiana music.

I caught part of The Cajun Country Revival’s Set set at JazzFest this year and it was as terrific and as much fun as the recording. Makes me wish i knew how to dance. You can check out valcourrecords.com for information on this which is also available at the Louisiana Music Factory in New Orleans, www.louisianamusicfactory.com, and better music vendors.

Saluting 35 Years of Stony Plain Records - 35 More Please

Arhoolie Records and Alligator Records are not the only important independent labels that are celebrating an important milestone this year. Canadian Stony Plain Records is 35 years young and the label has a double CD celebration 35 Years of Stony Plain to celebrate that fact. In addition to the 41 varied performances, there is also a bonus DVD with some performances, such as Jay McShann and Johnnie Johnson together and special material such as a tour of Stony Plain’s headquarters. The booklet that comes with this release contains an essay from Richard Flohil that provides a concise overview of Stony Plain and the remarkable Holger Petersen who has been the force behind this remarkable label. The booklet also provides a concise overview of the marvelous contexts of the two CDs and the DVD.

I am not as familiar with the Stony Plain catalog, particularly since it’s catalog is not devoted to simply blues. Calling it a roots label is accurate and the first of the two CDs is subtitled “Singers, songwriters and much, much more …” The contents include folk, country and some swing jazz. Maria Muldaur is heard on a Dan Hicks song with backing that includes David Grisman and John Sebastian. Other highlights is the one of the explorations by the late Jeff Healy into early jazz with a wonderful revival of The Wildcat by Eddie Lang and Joe Venuti; country-folk troubadour Steve Earl; Canadian legend Ian Tyson; Tim Hus’ Country Music Lament on the sad state of today’s country music; Asleep at the Wheel’s Western Swing version of a Count Basie hit, That’s Your Red Wagon; the New Guitar Summit of Duke Robilliard, Jay Geils and Garry Beaudoin; Emmylou Harris singing Gram Parsons’ Wheels; Rodney Crowell; and three previously unissued Bob Carpenter demos. Most of this disc was totally new to me and delightful.

The second disc is subtitled “Blues, R&B, swing, jazz, and even more …” and contains more familiar material with some nice highlights from Joe Louis Walker, Jay McShann, Kenny ‘Blues Boy’ Wayne (this is a preview of his upcoming album) and Rosco Gordon from various recordings Duke Robillard has produced for the label. There is a terrific instrumental by Ronnie Earl from his most recent CD, Spread the Word, as well as a Rory Block song from her marvelous Mississippi Fred McDowell album. Its nice to hear selections from Sonny Rhodes and Billy Boy Arnold. This disc closes with a strong, unissued recording by the late Richard ‘King Biscuit Boy’ Newell, a fine harp player and singer; and four unissued sides from 1965 by Robert Nighthawk that likely were his last recordings. Nighthawk’s performance of Tampa Red’s You Missed a Good Man features particularly superb slide guitar.

This is a fine celebration of an important label that I will be returning to listen to. Stony Plain may be slightly cutting back on its release schedule compared to past years because of the changing nature of music and recording distribution. This reflects the hard reality of the fact few mortar and brick record stores still exist and digital downloads are increasingly important. Fans of blues, folk, country and other similar music need to support labels like Stony Plain that produce much terrific music that otherwise would not be so readily available. 35 Years of Stony Plain is well worth obtaining to savor the music, videos and the booklet. Here is to Stony Plain having another 35 years.


My copy was provided by the record company or a publicist for the label.

The Country Side of Watermelon Slim

Watermelon Slim has emerged as a hot act in the blues and roots music realm. This is the final of three reviews I have written of his recordings from the past few years.  Reviews have been posted on this blog on December 5 of his eponymously titled 2006 release, and December 12 for No Paid Holidays. The following review of Escape From the Chicken Coop appeared in the September 2009 Jazz & Blues Report (issue 320).

Watermelon Slim’s gritty blues-based music has never been totally containable within any specific musical genre, so its not surprising that his latest disc, “Escape From the Chicken Coop,” (Northern Blues), is labeled a country disc. Recorded in Nashville, their may be a bit more twang here and a bit of country joint piano from Kevin McKendree (of Delbert McClinton’s band), but Slim’s raspy vocals and driving slide guitar is a cousin to that of the Duane Allman influenced playing that is sported in some country groups today.

He wrote some songs with Gary Nicholson (who also plays on most of this) such as the nice country duet with Jenny Littleton “You See Me Like I See You,” while he unplugs for his whiskey-voiced delivery of Ray Acuff’s “Wreck on the Highway.” The opening driving “Caterpillar Whine,” would not be out of place of one of Slim’s ‘blues’ albums. “Friends on the Porch,” is a short spoken narrative before “Should Have Done More,” which sounds like a modern country reworking of an old English ballad. “Hank Williams You Wrote My Life,” has an effective lyric and a hard edge to the performance while “American Wives,” is evocative of some of Waylon Jennings recordings. 

“Escape From the Chicken Coop,” makes for an easy listening and should appeal to fans of Watermelon Slim who shows a natural affinity for the material here as he does for his more blues-based stuff.

The review copies of this CD were provided by the record label, a publicist for the label or performer.

Arhoolie's 1963 Down Home Musical Journey

Arhoolie Records is celebrating its 50th Anniversary. It was a time when a California school teacher Chris Strachwitz went and met a British jazz and blues writer, Paul Oliver and toured part of the US and recorded and interviewed a number of primarily blues performers. A release in 1960 by Mance Lipscomb would launch the label which has produced albums of an incredible range of music. A book and 4 CD set “Hear Me Howling!” has been issued to celebrate this but their are other items to note as well.

In 1963, Strachwitz accompanied a German filmmaker, Dietrich Wawzyn, on a journey across the United States that resulted in three films for German television on blues, gospel and country music. The original negatives for those films have been lost, but with the surviving film and the assistance of the editing of Ingrid Tank, the Arhoolie Foundation presents “Down Home Music: A Journey Through the Heartland 1963.” As Strachwitz observes in his commentary track which one can listen to, the present DVD-film is more akin to his own memories of the 1963 journey than the three genre films produced. Also noted is that Wawzyn had a great interest in jazz and with the exception of the New Orleans jazz presented, apparently did not see get to film much jazz. This DVD has approximately 75 minutes of music from a variety of traditions that includes many amazing moments.

There is certainly some magic here to be seen. The film opens with the music of Jesse Fuller who then is seen entering a door (which Strachwitz advises us was Fuller’s home) and then getting behind the fotdella (a foot pedal bass), picking up a 12-string guitar and adding a rack with a harmonica and kazoo launching into a rousing “San Francisco Bay Blues,” with the camera work displaying his feet moving the pedals to play the bass as he adds harmonica and kazoo to the accompaniment of what has become a classic folk song. Its followed by a skittle band and the great folk singer Barbara Dane backed by a jug band and then a performance of Lowell Fulson in a Fillmore area club (with the night club audience scenes from another filming edited adroitly by Ms. Tank). Some powerful gospel music is presented with the fervent congregation of King Louis H. Narcisse, and the Arizona Pentecostal fervor of Louis Overstreet (on the streets and in church) as well as Brother Davis and a tent revival. There is an Indian conjunto trio presented as well as the traditional Navaho sounds of El Lee Natay.

Some of the most remarkable footage for blues fans follows next. Mance Lipscomb, Lightnin’ Sam Hopkins, and Black Ace are filmed on the porch, in their yard or living room. Their is a frustrating short live club clip of legendary steel guitarist Hop Wilson who Strachwitz in his commentary admits he did not think much of at the time but is regarded as a blues legend today. This little bit of video of Wilson may cause some jaws to drop (I remember the first time I saw a clip of Charlie Parker and Dizzy Gillespie on Joe Franklin’s New York City tv show. Then its followed by a terrific clip of pianist Whistlin’ Alex Moore pounding out some barrelhouse piano and whistling fiercely.

From then we travel to Louisiana for a terrific cajun two-step by Shorty LeBlanc, Jay Stutes and the Sugar Bees and gospel by Willie Thomas and family. The then recently opened Preservation Hall is the scene of the George Lewis Quartet with Sweet Emma playing and singing about not giving any of her jelly roll away while Lewis’ two selections include his marvelous “Burgundy Blues.” The filming is marvelous in capturing the personality of The Bell Girl as well as the warmth and soulful bluesy feel of the New Orleans clarinetist. Also filmed was the Eureka Brass Band coming to and from a video. This is priceless because this was the classic brass band. The American Music albums of the Eureka Brass Band are invaluable for those interested in this aspect of New Orleans music.

The remainder of the DVD is primarily devoted to traditional country music by the likes of The Hodges Brothers and J.E. Mainier’s Mountainers, but also includes some film from a Red Sovine Nashville recording session and the Western sound of The Willis Brothers with an amusing fiddle playing routine. Interspersed with this is some lively, archaic African-American string band blues and hokum from Blind James Campbell.

Those interested in American vernacular music will find “Down Home Music: A Journey Through the Heartland 1963,” a fascinating video glimpse at traditions that still move us today. I would suggest watching it and then way=tching it a second time with the optional audio track featuring off-the-cuff commentary by Chris Strachwitz. This is available at a variety of sources including www.bluebeatmusic.com, but you may want to check it out at Arhoolie Records own website, www.arhoolie.com.

I will be reviewing ”Hear Me Howling!” in a few days. That like this was a purchase.

Deke Dickerson's Lively Night at Duff's

I came across guitarist extraordinaire Deke Dickerson as he served to organize backing bands for headliners at the Ponderosa Stomp in New Orleans. Often Deke would be used to accompany some of the rockabilly or country oriented acts, but he could also be heard behind a bluesman like Lazy Lester as well as a Dale Hawkins. The core of his music might be old time country guitar mixed with some surf guitar. Plenty of country swing and twang with some jazz and blues accents added, like James Burton meets Duane Eddy with other genre hopping just like the backing band of the Modern Sounds whose approach may be rooted more in jazz and swing traditions, but provides a thoroughly compatible and sympathetic backing as they did for blues and boogie woogie stylist Carl Sonny Leylard as I blogged last September, http://inabluemood.blogspot.com/2009/09/totally-captivating-piano-blues.html.

There is a great picture of Deke with a 4 neck guitar in the inside cover of the live recording by him and the Modern Sounds, “Live at Duff’s Garage” (Major Label/ Ventrella) and the material that ranges from honky tonk to rockabilly to country to jazz and blues includes such driving rockers as “Mexicali Baby,” a terrific rendition of Lazy Lester’s “I’m a Lover Not a Fighter,” (with Patterson on harmonica here) the rockabilly vocal on “Snatch It and Grab it,” a spirited rockabilly polka instrumental “Early American,” and the jazzy “Lover Come Back To Me” (and no he doesn’t evoke dinah Washington). Listening him introduce “Ain’t No Grave Deep Enough,” as a country song that pyschobilly fans seem to like reminds me of some of the material Commander Cody waxed three decades ago, while “Good Time Gal,” features Patterson on steel guitar. Then there are covers of songs from Porter Wagoner, Conway Twitty, and Willie Nelson number (introduced as if Otis redding would have done it if Otis Redding was .... (well I am not giving away all of his intros)). This is a live recording (as suggested by the title), and sound is really good which matches the music.

Anyway, listening to this makes me wish I was at Duff’s that night. This ain’t blues or jazz, but it is a helluva lot of fun to just put on. Hey I paid for this with my own money and give a big thumbs up. Oh for those interested Deke has a website, www.dekedickerson.com from which you can order this (as well as from better online retailers like bluebeatmusic.com).

Lively old-time blues and hokum from Veronica & the Red Wine Serenaders

Enthusiasm for blues, old-timey and other American roots music has led not only to audiences worldwide, but also individuals and bands playing such music. One such group of musicians hails from Milan, Italy, Veronica & the Red Wine Serenaders. They have an eponymously (self-titled) recording on Totally Unnecessary Records that is a mix of old times blues, string-band, country, and hokum by a group that is a mix of string band and traditional jazz in its instrumentation. Veronica Sbergia fronts the band with her vocals, ukulele, kazoo and washboard and among the remaining musicians, the most prominent is Max De Bernardi who plays a variety of guitars including resophonic, as well as mandolin and contributes some vocals. Alessandra Cecola rounds the core of the band on bass with others adding dobro, harmonica, piano and clarinet to various tracks.

The recording opens with a nice rendition of the Mississippi Sheik’s “Bootlegger’s Blues,” with a nice vocal and some nice guitar and mandolin from De Bernardi. Miss Sbergia has a lovely voice and delivers this song in what this listener views as a more successful interpretation than pretentious rendition on the recent Mississippi Sheiks tribute CD. It’s followed up buy the hokum-ish “You Drunk Too Much,” with lively cdlarinet and stomp down piano. “Nobody Knows But Me,” is a nice performance of a number that sounds like it was from the songbook of the Blue Yodeler, Jimmie Rodgers. with some nice dobro. “Busy Bootin’” is a skittlish number with De Bernadi handling the “you can knock but can’t come in” type of hokum, with twin slide guitars and a feel suggestive of R. Crumb & the Cheap Suit Serenaders. I have no idea of the origins of “Lullaby of the Leaves,” which has an Hawaiian tinge. “Me, Myself and I,” is a vocal duet with nice slide guitar and a skittle feel (including a kazoo solo) that gives this song a different tone than the famous Billie Holiday recording. “Doggone My Soul,” is a nice handling of a traditional blues with the ensemble coming of as a jug band, while Hank Williams’ “Lovesick Blues,” shows more of the country side of this group. “Mr. Ambulance Blues,” is a classic blues styled performance again with clarinet, “You May Leave (But This Will Bring You Back),” is more jug band style with lively kazoo, and “I Wanna Go Back To My Little Grass Shack,” is a lively Hawaiian number. Among the remaining numbers are a couple of numbers from the era of classic blues, “I Wish I Could Shimmy Like My Sister Kate,” and a live performance of Bessie Smith’s “Good Ole Wagon.” While one would be hard pressed to describe this recording as deep blues or roots, it is a lively, entertaining disc that is fun to listen to. I do not know where one can obtain this in North America, but Veronica has a web presence at myspace (http://www.myspace.com/veronicasbergia) and on facebook (http://www.facebook.com/pages/Veronica-The-Red-Wine-Serenaders/129165736557).

For purposes of FTC regulations, I received the CD for review from Veronica & the Red Wine Serenaders.

Excellent new Holmes Brothers CD

The Holmes Brothers new Alligator album, State of Grace, is another solid disc by brothers Wendell and Sherman Holmes and drummer Popsy Dixon. Listening to this disc, like most of their recordings, one gets a mix of soulful R&B, gospel, country and blues which certainly transcends simple labeling of the trio as a blues group, a term that becomes increasingly meaningless but also one that does disservice to them. There are some choice originals like Sherman Holmes wonderful country soul ballad, Close the Door, and remakes of pop classics such as Nick Lowe’s (What’s So Funny ‘Bout) Peace Love and Understanding. Wendell Holmes handles the lazy southern funk of Gasoline Drawers. Rosanne Cash joins Wendell on a lovely rendition of Hank Williams’ I Can't Help It If I'm Still In Love With You, with some lovely mandolin from Larry Campbell behind the very heartful vocals. Glenn Patscha adds accordion and Campbell is on fiddle to add some cajun flavor to a lively rendition of John Fogerty’s Bad Moon Rising, while Popsy Dixon handles the vocal on Glenn Patscha’s Three Gray Walls, a terrific song that sounds like a classic R&B song from the pre-Beatles period. Joan Osborne takes the vocal joined by the Brothers on Those Memories of You, another soulful reworking of a country song, while Levon Helm joins in for I’ve Just Seen the Rock of Ages. Other delights include Sherman’s interpretation of he soulful-folk of Lyle Lovett’s If I Had a Boat, Wendell’s handling of George Jones’ Ain’t It Funny What a Fool Will Do, and his own Standing in the Need of Love, a strong blues original with a strong guitar solo from him as well, and the closing rendition of Lyle Lovett’s God Will where Popsy is at the forefront. The album displays the attention to good songs, solid musicianship where there is a recognition that understatement is often a virtue and marvelous singing that has been the hallmark of The Holmes Brothers recordings for the past few decades. This terrific disc is easily recommended even if difficult to classify as fitting within any particular genre.