Alabama Slim The Parlor

Alabama Slim
The Parlor
Music Maker

Born Milton Frazier, Alabama Slim was scheduled to have a breakout performance at the 2020 New Orleans Jazz & Heritage Festival. That performance never happened because the Festival was canceled as a result of the Covid-19 pandemic. He grew up "listening to the old blues since I was a child. I spent summers with my grandparents who had a farm. Them old folks would get to moanin' while they worked, and I just started moanin' with them. That's where I learned to sing. When I got grown I formed a band and we played little juke joints in the '50s and '60s."

He moved to New Orleans in 1965 and started jamming with his cousin Little Freddie King. The two have become tight as brothers and also tight musically. It was while visiting Freddie King that Tim Duffy, of the Music Maker Foundation, discovered Slim. Post-Katrina, the two lived in Dallas initially and in 2007 recorded for Music Maker's album, "The Mighty Flood." Slim is also featured in the CD that is a companion to Duffy's photography book, "Blue Muse." The album title, The Parlor" comes from the recording studio that Slim with King and drummer Ardie Dean spent recording this album. Later, Matt Baker on bass and Jimbo Mathus on piano and organ were added to this recording.

The publicity for this recording observes "Slim and King's guitars interweave between Dean's mastery of the drum kit to create a driving boogie with Slim's soothing vocals sprawled out on top, reminiscent of John Lee Hooker." The album opens with the simple driving low-key boogie flavor of "Hot Foot." Little Freddie King takes the vocal on the driving "Freddie's Voodoo Boogie," a reworking of "Boogie Chillum," with an irresistible groove. "Rob Me Without a Gun" is a strong slow brooding performance with Mathus' light organ adding to the feel of the two guitars, while "Rock With Me Momma" is an easy Hooker shuffle evocative of Hooker's recording "Dimples." There is a bit of political commentary directed at a certain President in "Forty-Jive." "Midnight Rider" has a bit of the moaning blues feel of Junior Kimbrough, while the rendition of "Rock Me Baby" has a North Mississippi juke-joint flavor.

The album closes with the swamp blues styled "Down In the Bottom." After listening to this recording several times, I agree that the music here is reminiscent of John Lee Hooker, although I might describe it as Hooker-lite. This is not a criticism but reflects that Slim ably evokes Hooker's sound; however, he doesn't bring the same amount of authority that Hooker did. Having listened to the recording several times, I doubt that listeners will be disappointed by the music here. It is a highly entertaining recording of modern down-home blues.

I received my review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits. Since writing this review I noticed that I had reviewed a previous album by Alabama Slim, "Blue and Lonesome," back in  2011 that is not mentioned in my review. This is the link to that review. Here is Alabama Slim performing "Rob Me Without a Gun."

Down Home Blues Classics: Texas 1946-1954

Various
Down Home Blues Classics: Texas 1946-1954
Boulevard Vintage

A four CD European Public Domain reissue of Texas down home blues has just been re-released after being unavailable for several years. This is one of a series of reissues that makes available some terrific 'country' blues from the years following the end of World War II. Including a booklet from blues scholar Neil Slavin, the first disc is devoted to 25 of the finest early recordings of Lightnin' Hopkins including classics like "Katie Mae," "Short haired Woman," "Let Me Play With Your Poodle," "Tim Moore's Farm," and "One Kind Favor." The other three discs include selections from Frankie Lee Sims, Mercy Dee, Lil' Son Jackson, Clarence Garlow, Texas Alexander, Smokey Hogg and many others. I note that the fabulous 4 disc set devoted to early Chicago postwar blues is also available.

I purchased this CD. This is one of a number of short reviews I have written for the 2015 Holiday Gift Guide edition of Jazz & Blues Report. Here is a performance by Smokey Hogg of "Worried Blues," to give a sample of what is on this compilation.

 

Little Freddie King Still Chasing the Blues

A icon of the New Orleans music scene, Little Freddie King has a new CD on the MadeWright Records label, Chasing the Blues. There is nothing fancy about his blues. There is a bit the swamp blues of such folks as Lightnin’ Slim, Lonesome Sundown, Lazy Lester, Clarence Edwards, with some of the North Mississippi Hill Country blues of R.L. Burnside and Junior Kimbrough. His vocals and guitar as supported by drummer “Wacko” Wade Wright, bass guitarist Anthony “Sheets” Anderson, the harmonica of Lewis diTullio, Jr. and an uncredited pianist. They provide simple, direct backing which suits King well.

The influence of the swamp blues opening Born Dead, with its stark lyrics about hard times growing up in Mississippi, while the feel of Crackho Flo, with its simple lyrics, is more in the vein of some of the somber slow drag recordings of Junior Kimbrough. An uncredited pianist is added to Louisiana Train Wreck, with a simple Hill Country styled groove with King rapping the blues here. Got Tha Blues On My Back is another swamp blues with King’s guitar bursts complemented by as he sings about having the blues in a great big cotton sack.

Better is Pocket Full of Money, which adapts the melody of Slim Harpo’s I’m a King Bee, as he tells his women he has plenty of money and let him come inside. Back To New Orleans takes us back down in the alley.” An easy going instrumental, Little Freddie’s Shuffle has the harmonica more prominent. Better is the slow moody instrumental, Night Time in Treme. In contrast, another instrumental “Bywater Crawl” leaves little impression on the listener.

Little Freddie King is a wonderful entertaining performer who perhaps is limited as a guitarist and songwriter. He still has a way of delivering a performance. Chasing The Blues is not an essential blues recording but it has atmospheric and entertaining music.

I purchased this. Here is Little Freddie King helping the Louisiana Music Factory celebrate its 20th Anniversary. That is poet, activist and music historian John Sinclair introducing him.

John Dee Holeman Says You Can’t Win All the Time

One can certainly appreciate the work of Tim Duffy and the Music Maker Foundation. The Foundation’s efforts to assist and promote mostly southern rural musicians certainly have benefited a number of musicians. They have also made available recordings by a number of artists, although these vary considerably in quality. North Carolina bluesman John Dee Holeman is one of the artists that has fallen under the Music Makers Recordings umbrella with his latest CD, You Got to Lose, You Can’t Win All the Time.

Holeman, a veteran Piedmont bluesman who learned from Blind Boy Fuller, has been honored by the National Endowment of the Arts with a Heritage Fellowship. This album was produced by Zeke Hutchins, who plays with country artist Tift Merritt, and essentially has him mostly reworking a variety of down home blues standards from the pens of Muddy Waters, Lightnin’ Hopkins, Sleepy John Estes, Memphis Minnie and Lowell Fulson. While credited to Holeman, the title track is a slowed down version of an Ike Turner song that was recorded for Cobra with Tommy Hodge handling the vocal. In additions to Hutchins, others heard in the backing band include Duffy and Cool John Ferguson on guitars, and Slewfoot on harp. Several tracks have backing vocals.

This is at times entertaining but oftentimes somewhat anonymous, down-home flavored performances of the songs. This type of small group down home blues deriving from the recordings of the likes of Muddy Waters and Lightning Hopkins has been done more compellingly by the likes of Lightnin’ Slim on Excello or Louisiana Red for a variety of labels over the years. Proceeds of this does support the Foundation’s worthy efforts, but otherwise this only gets a reserved recommendation. For more on the Music Maker Foundation and its various programs and recordings, check www.musicmaker.org.

This review originally appeared in the August 2008 Jazz & Blues Report (Issue 307) and I likely received my review copy from Music Maker Foundation. Incidentally there are several other recordings by Holeman available from the Music Maker Foundation so check out their website. Here is a video of him performing When Things Go Wrong.

Raucous Country Negro Jam Session

The following review of an album of real down home blues appeared in the August 2006 Jazz & Blues Report (Issue 285).

A new release from Arhoolie is one of those rare recordings that features an African-American blues fiddler. Fiddler James ‘Butch’ Cage & guitarist Willie B. Thomas are heard on a disc of Old Time Black Southern String Band Music, a title that is slightly misleading insofar as the two are heard on a program of mostly down-in-the-alley blues with Cage’s vigorous, rough-hewn fiddle complemented by Thomas’ rhythmic guitar.


The duo was recorded by folklorist Dr. Harry Oster in Zachery, Louisiana in the 1950s and selections by them were issued on the Folk-Lyric album, Country Negro Jam Session (later available on Arhoolie who had acquired the Folk-Lyric label) and an Arhoolie issued several other selections on the CD I Have to Paint My Face. With the exception of one track, the music here is previously unissued. Much of it is comprised of traditional blues themes or their renditions of blues standards such as Some Day Baby (the Sleepy John Estes song sometimes known as Worried Life Blues), Mean Old Frisco, The Dirty Dozen, Rock Me Mama, Easy Rider Blues, Careless Love Blues, Since I Layed My Burden Down and You’ve Gotta Move. On the latter two, Rosalie Wilkerson takes the lead on the vocals (with Cage and Thomas enthusiastically joining her) while Robert Jenkins sings on I Had a Dream Last Night (All I Had Was Gone).


This is far from polished and one can imagine the house parties with the corn liquor flowing as the two kept the music running all night long as the blues would get shouted, Thomas would keep a good beat with his rhythm and Cage’s fiddle would be like a buzzsaw. A good time can be has listening to this.


I do not recall if I purchased or received a review copy.

Grady Champion's Down Home Harp and Blues

Mississippian, Grady Champion, has been singing the blues and playing harmonica for a number of years, having self-produced his debut CD and then he had two albums on Shanachie before returning home to Canton, Mississippi in 2002, where he played locally with Eddie Cotton before putting together The Grady Champion revue. In 2007 he recorded the CD, “Back In Mississippi Live At The 930 Blues Cafe,” that was issued on GSM. Earlier this year, he was the winning performer at the International Blues Challenge and is appearing on a number of major festivals as a result. Earwig has just taken over the distribution of “Back in Mississippi Live.”

I have had the original release of this and have listened to it at various times over the past two years. the albums strengths include the fact that Grady is a terrific vocalist who exhibits considerable personality and enthusiasm as he sings and has a first-rate backing band with stand-out guitar from Eddie Cotton (his playing on “Lonesome Bedroom Blues,” is simply one example of his exceptional guitar playing throughout this recording). We do not need new recordings of “I’m Ready,” or “Spoonful,” but he does place his own vocal stamp here as well as on the hard-edged “Baby What You Want Me Do.” He is an effective, credible harp player if not a virtuoso, with Rice Miller being an obvious influence. Champion is also writes some very interesting original material including “You Got Some Explaining To Do,” with a nice funky groove as he tells his woman that too many of her stories just don’t add up or ring true, or “1-800-Blu-Love,” the number for a woman to call when her man ain’t at home. The latter number has a nice harp break.

There is social commentary on “Policeman Blues,” where he sings about being stopped and beaten by Mr. Policeman. It is curious how restrained Grady’s lyrics are compared to the language a rapper would use (and there is a rapper on this track who is a bit more direct about this mistreatment). Of the songs covered here, the slow, doomy rendition of “Lonesome Bedroom Blues,” stands out,” with Cotton’s afore-mentioned guitar playing and Grady’s fine singing. “Love and Memories,” is a heartfelt R&B ballad dedicated to his mother’s memory. “Wine and Women,” don’t mix and leave you with a terrible fix is the message of the rocking shuffle that Grady and Eddie Cotton co-wrote and is followed by “Brother, Brother,” which oddly evokes (in these ears) the Doobie Brothers with a nice groove and rhythm, and then a lovely ballad, “I’m Yours,” as he sings “your my heart, my everything … you can count on me, I’m your lover, I’m your friend, I’m your man.” The disc closes with a fine holiday blues, Grady’s “Blues on Christmas.”

There’s plenty of music here (71 minutes or so), and even if some of the material might be too familiar, there is much new material, some being really exceptional. It is helpful that Earwig has picked this up that along with Grady’s greater visibility from winning the IBC, should ensure that he becomes a more familiar name to the blues world.


For purposes of FTC regulations, I was sent this by the publicist handling Earwig releases.

Big Daddy Stallings at the 219 Restaurant

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Originally uploaded by NoVARon

Its been way too long since I had the pleasure of seeing Charles 'Big Daddy' Stallings and his band live, so when I got the word that he would be appearing in Old Town Alexandria, Virginia at the 219 Restaurant's Bayou Room, I made plans to attend and after fighting the brutal traffic on King Street I made it there just as they started playing.

Stallings has a fine band led by saxophonist Joe Thomas and includes Steve Levine, a harmonica player who has really developed over the years. I apologize for not having the names of the other players. Opening up with the Hugh Maskela classic 'Grazing in the Grass," the band opened with several soul instrumentals with the horn line of sax, trumpet and harmonica being very effective. Then a couple instrumentals featured Levine who channeled his inner Walter Horton, "Easy" and the Duke Ellington standard, "Don't Get Around No More."

The it was time for Big Daddy to get out of his chair and take the vocal mike opening with a pair of Louis Jordan numbers "Choo Choo Ch' Boogie," and "Caldonia," before tackling his own originals. Stallings has a down home vocal approach, yet is as much as home with a Jimmy Reed groove as when his band gets into a funk groove. His down home style helps invest such songs as his "4 X 4 Woman," with quite a bit of their charm as well as his lively "I've Got the Blues," set to a "Hootchie Kootchie Man" groove. Enlivening songs with his solos as well as some of Thomas, Levine and the excellent trumpet player, when they closed the set to Archie Bell's "Tighten Up," with the band getting introduced, it was quite an enjoyable set and well worth the drive.

Mercy Dee's Troublesome Blues

It was back in the early 1990s that Arhoolie made available its 1961 recordings by Texas pianist-singer Mercy Dee Walton Troublesome Mind. Mercy Dee, who died in 1962, was one of the more distinctive performers and lyricists of the postwar blues. You may not have heard his Specialty recording, One Room Country Shack, but are likely familiar with other recordings of the song (Including Buddy Guy) and will have a sense of the powerful lyrical imagery conveyed (“People, I sitting here a thousand miles from nowhere. Here in my one room country little shack,”). The album includes a remake of it along with several songs employing the same melody as well as also possess distinctive and equally compelling lyrics like Have You Ever Been Out In The Country. While not as extroverted a showman as other Texas born pianists who moved to the West Coast such as Amos Milburn and Little Willie Littlefield, Mercy Dee played crisply and thoughtfully. On the slow pieces he plays a spare bass while playing authoritatively with his right hand. He certainly could barrelhouse with the best of them as on Mercy’s Shuffle or the rocking Red Light, with his clever use of rhymes in the tradition of What’d I Say. Mercy Dee's straightforward vocals mixed with his lyrical imagery and solid piano (backed by among others K.C. Douglas and Sidney Maiden) packed a real punch. This is a first rate reissue.

(This is rewritten from my original review which appeared in the February 1992 Jazz & Blues Report.