James Burton, Albert Lee, Amos Garrett and Dave Wilcox are Guitar Heroes

Stony Plain has a release that will certainly enliven the listening of guitar geeks, "Guitar Heroes." The album brings forth a performance from the Vancouver Island MusicFest by guitar legends James Burton, Albert Lee, Amos Garrett and Dave Wilcox backed by the keyboards of Jon Greathouse, the bass of Will MacGregor, and the drums of James Harrison Smith. Doug Cox, Artistic Director of the Festival discusses in the liner notes how this performance came together which I will leave for your eyes.

James Burton first came to notice on Dale Hawkins' early recordings including "Susie Q", before hooking up with Rick Nelson and then Elvis Presley. Albert Lee is best known to me as a country picker (an extension of Burton's chicken scratching style) who spent time with Emmy Lou Harris, Eric Clapton and Rodney Crowell. Amos Garrett was with Ian & Sylvia, Maria Muldaur, Paul Butterfield's Better Days and Bonnie Raitt while Dave Wilcox was also with Ian and Sylvia, Maria Muldaur, Nashville North, and The Ian Tyson (TV) show. This gives a sense of their roots but the music extends here to blues, rockabilly and jazz.

Lee and Wilcox handle most of the vocals in a most credible fashion. Certainly no issue about Lee's rendition of Arthur Crudup's "That's All Right (Mama)" that was Elvis' first single and the contrast between the switching leads and other guitarists providing support is delightful. Greathouse handles the vocal on "Susie Q" with Wilcox taking the first lead followed by Burton, Garrett and Lee, with Greathouse also soloing. It should be noted that both of these performances are little more than 5 minutes and allow each to display there licks and tricks but no one takes long self-indulgent solos. "Sleepwalk" is a showcase for Garrett's multiple string bending and tonal command followed by a lively rockabilly rendition of Ray Charles "Leave My Woman Alone," with Lee's affable vocal and some instrumental sparks, particularly the trading of licks between Lee and Greathouse for the first break and between Lee and Burton to ride out this 7 minute plus romp that seems shorter.

The opening of Jimmy Rogers "You're the One" sounds like they are about the hit "Honky Tonk" before Wilcox leads the  into a straight blues vein as he delivers a vocal a bit more forcibly than Rogers did before then calling on Burton to take the first solo, and after singing another verse introduces Lee. It is refreshing these gentleman handle this blues from the standpoint of country musicians and listening to their use of tone as well as their picking is a delight. Herbie Mann's recording "Comin' Home Baby" was a standard warmup track of blues bands in the sixties and the quartet of guitarists provide a lively rendering here. Wilcox's guitar introduces "Flip, Flop and Fly" which he sings and on which Lee is exceptional on. An instrumental renditions of the atmospheric "Only the Young" and a swampy rockabilly take on "Pork Salad Annie," are followed by a Wilcox original, "Bad Apple," the only forgettable performance him.

I know of the closing "Country Boy" from the Ricky Skaggs recording and the terrific video which was filmed in part in the New York subway system, but was not aware that Lee was one of the song's writers. It is a terrific number to close this performance. Lee may not have the range of Skaggs as a singer, but ably sings as well as takes listeners for a ride with some stunning playing here, with Greathouse and Wilcox also getting to take crisp breaks. This closes a terrific recording on a invigorating manner. "Guitar Heroes" captures four terrific guitarists on a festival performance where there mutual admiration meshes with often astonishing playing. Country roots and rock fans will find much listening joy here.

I received my review copy from a publicist. Here is "Susie Q" from this recording.

Joanne Shaw Taylor Almost Always Never

Joanne Shaw Taylor’s newest album (her 3rd), Almost Always Never (Ruf Records), has been quietly making an impression on me for some time. The CD was recorded and produced in Austin, Texas by Mike McCarthy (Producer of Patti Griffith and others) and features the British singer-songwriter and guitarist backed by David Garza (keyboards), Billy White (bass/slide guitar) and J.J. Johnson (drums). With the exception of Frankie Miller’s Jealousy, Taylor penned the songs on this.

Her smokey, soulful vocals have the strongest appeal with a simmering intensity which is displayed on Beautifully Broken, with the crisp backing (Garza’s organ really helps frame her vocal) and Taylor’s rocking solo. At spots, her guitar is too much in a rock vein for my taste (the opening Soul Station), but her vocals never disappoint here as she moans and never screams her blues-laced performances. Furthermore, her lyrical takes on standard themes are fresh such as her take on a break-up, You Should Go, I Should Stay, where she tells her ex on her leaving that “you’ve got nothing to be sorry for.” Miller’s Jealousy might be the highlight as she wears her heart on her sleeve with passionate singing with smoldering backing and crisp, searing blues-rock guitar. 

With the performances ranging from the hard rock of Soul Station and Tied and Bound, to the buoyant, rocking ”A hand In Love” and the low-key, acoustic country blues flavor of Army of One, there is plenty to sustain a listener’s interest throughout Almost Always Never. The solid production, and Joanne Shaw Taylor’s strong blues and soul infused performances contribute to a very memorable recording.

I received this from a publicist. Here is a video of her performing Piece of the Sky.

Matthews Stubbs Soul Bending Guitar

Another young guitarist, Matthew Stubbs makes his debut on the VizzTone release, Soul Bender. Stubbs, only 25, has certainly quite some experience, having competed in the Blues Foundation’s International Blues Challenge, and toured as a sideman with Janiva Magness, John Nemeth and Linwood Slim. Currently he is in Charlie Musselwhite’s Band. Pretty impressive resume receiving strong endorsements from Bob Margolin and Junior Watson.

Soul Bender was produced by Stubbs and includes Sax Gordon Beadle leading a tight horn section along with a tight rhythm section on an all instrumental program. Listening to this, one can agree with Bob Margolin who suggests this is what Freddie King might have sounded like if he had recorded in Memphis with the Bar-Kays. There is a mix of hot blues riffs infused with some surf instrumental twang set against a funk groove and riffing horns syled after the Memphis horns.

Taken a few tracks at time, or put in an ipod or other mp3 player put in a shuffle mode, Stubbs fiery, yet tasty guitar is best appreciated along with some blasts of Beadle’s gutbucket tenor (20 Gallons of Beadle Juice or Sticky Bunz). Rivelli’s Mood, is a nice slow gospel-tinged instrumental with the horns setting the mood with Stubbs stating the theme before blasting out a call and response with Beadle. The rocking Stompin’ On Thru, opens with Stubbs setting out with a blistering tempo and mixing is single note runs with some chords that Beadle gets works off of.

While there are moments that might evoke King Curtis’ Memphis Soul Stew, the songs are based on funky grooves and riffs that start to sound the same listened to in one sitting. Bear in mind that some of us also find albums of Freddie King instrumentals best taken in small morsels.

I likely received this release from a publicist or VizzTone and it originally appeared in the May 2009 Jazz & Blues Report (Issue 316). Matthew has a subsequent release that I have not heard. Here is Matt and Mr. Beadle on sax.

Dan Mahar's Lone Stone's Throw

Dan Mahar is a singer-guitarist from Sioux Falls, North Dakota, who is a former Nashville sideman and session player and toured with Country star Billy Dean. He has a new album on White Smoke Records, Long Stone’s Throw, which is a blues-rock disc in the vein of a Coco Montoya or a Tinsley Ellis. This is not to say that he is necessarily quite up to their level, but this recording will have its most immediate appeal to fans of that musical style.

He certainly is a solid singer and certainly pulls out all the stops on his solos. The band is solid and keeps a rock-solid, heavy groove going, which suits Mahar. The performances are originals, although Linda Lu sounds like a reworking of the Ray Sharpe classic rock and roll number and has nice harp from Karl Kabbage. You Don’t Have to Tell Me has a clever opening, with a riff from Johnny Cash’s Folsom Prison Blues, before launching in the quick walking tempo with twin guitars soloing against each.

I Never Meant Us to Fall is a nice change of pace, with a relaxed vocal on a r&B tinged ballad. The title track is a nicely done shuffle with particularly nice guitar, the rhythm section swings and some nice horns in the background. This writer assumes that Mahar is playing the dobro on, I Got My Baby Working, which places new lyrics to Got My Mojo Working, and again benefits from a more laid back rhythm. The closing track, Someday I’m Gonna Know, is a gospel number which he performs accompanied solely by his dobro.

For my taste, this is a mixed bag. Some of the tracks sound a bit heavy-handed and the backing is too busy. Those whose tastes lean towards a rock-tinged blues may find much more here to their liking.

This review originally appeared in the April 2008 Jazz & Blues Report (Issue 304) and I have made some minor stylistic revisions. I am not sure of my source for the review copy although it likely came from a publicist or Jazz & Blues Report.

Pete Anderson Evens Things Up

Best known as guitarist/producer with country giant Dwight Yoakam, Pete Anderson actually has roots in blues growing up in Detroit and while he has flourished producing and playing with other roots artists, he has finally done a blues-centered album, “Even Things Up,” which was originally a limited edition and recently reissued with four new recordings as a deluxe Edition (Little Dog Records/VizzTone). Playing harmonica and drums on one track in addition to some vocals, he is joined by Michael Murphy on keyboards and accordion and others including Bekka Bramlett on one vocal.

This writer is not familiar with the prior release, but this opens up with a rocker, “ Honky Tonk Girl,” that one could easily see done as a country rocker, but he does provide a bluesier spin along with some energetic twisting twangy guitar that captures the spotlight along with his enthusiastic vocal. The appealing chicken-scratching instrumental “Booker Twine” has a funky groove might be a tribute to the classic Booker T and the MGs Stax recordings, while “That’s How Trouble Starts” is a driving number with credible singing, and some stunning guitar (sounds like he is playing lap steel guitar). Kudos to Herman Matthews’ lively guitar here.

Anderson adds some nice harmonica to the musical stew on the title track before showcasing his imaginative and spicy fretwork. “ Wes’ Side Blues,” is a lively, instrumental with an enticing latin flavor and punchy horns, while and “Dogbone Shuffle” (named after the Burbank, CA studio this was recorded at), is another intriguing instrumental. Two takes of “Still in Love,” are included with a low-key vocal by Anderson and a vocal Bekka Bramlett that takes one to church. On “110 in the Shade, Anderson eschews a band and provides nice country-blues styled guitar and accompaniment to his vocal. This new edition of the release also includes two live performances.

Anderson is an effective vocalist but his vocals are not his strength. Those who have heard his work with Yoakam and others will not be surprised by his tone, chops nor his musical imagination on a most entertaining disc.

A publicist for this release provided the review copy.

Peter Parcek Solves The Mathematics of Love

Peter Parcek’s website, describes his guitar style as weaving “rock, gypsy-jazz, country, folk, and blues-- especially blues-- into a tapestry of melody, harmony and daredevil solos that push those styles to their limits without sacrificing the warmth of his own personality.” He has a release to showcase this musical blend and his virtuosity, “The Mathematics of Love” (VizzTone). As for this album he states the influence of Django Reinhardt, “Django’s performances are breathtakingly beautifully and technically demanding. I’ve really been taken with the purity of his acoustic guitar sound, and he played electric with such abandon. His music is very much alive and creative, so I also tried to bring those qualities to ‘The Mathematic of Love.’” He is backed here by drummer Steve Scully and bassist Marc Hickox with appearances by Mandolin virtuoso Jimmy Ryan, violinist Dan Kellar and upright bass Marty Ballou.

The recording opens with a rendition of Peter Green’s “Showbiz Blues,” with the mood incorporating Elmore James licks, a driving hill country groove with blistering slide. While not a great singer, Parcek convincing asks “Do you give a damn about me.” The title track follows with a hesitant slow tempo, as he hauntingly sings “don’t lie to me, don’t erase me, you know the Mathematics of Love are plain and simple as a A B C,” with nice acoustic slide contrasted with his use of electronic effects. “Rollin’ With Zah,” is an dazzling instrumental tour de force as Parcek snaps, crackles, chicken scratches and lays down some heavy runs.

A surprising, but striking, cover is from the pen of the late Jessie Mae Hemphill’s “Lord Help the Poor and Needy,” which he sings and plays at a dirge tempo with vibrato and echo prevalent and a synthesized drone, before he takes an impressive, carefully developed solo against this thudding rhythm. “Get Right With God,”is a rocking instrumental take of a Lucinda Williams song with more guitar pyrotechnics. He takes a softer approach on “Tears Like Diamonds,” with his vocal being a bit more effective here. “Kokomo Me Baby,” takes a number associated with Mississippi Fred McDowell, and takes it into warp drive with an able vocal and dazzling guitar. The cleanness of his picking as well as his use of sonic textures again stands out.

“New Year’s Eve,” again takes a more country blues feel with some tasty harp by Mike Fritz and Ronnie Earl adds his guitar to the performance. This is followed by an instrumental interpretation of “Busted” with Al Kooper guesting on organ. Parcek employ’s a heavy, nasty tone at the beginning as his guitar sings the lyrics before taking off on his sonic explorations.

“The Mathematics of Love,” is a first-rate recording of blues roots and guitar explorations that mixes tradition with a heavy dose of the contemporary. While his vocals may vary in convincingness, (he shines when he is in an acoustic-oriented vein), he always is listenable. However, his guitar playing will unquestionably be the recordings strongest appeal; and fans of the legendary Danny Gatton and Roy Buchanan should enjoy listening to Parcek’s impressive fretwork.

This review originally appeared in the June 2010 Jazz & Blues Report (issue 326) at pp.19-20 (www.jazz-blues.com) to which I made minor stylistic corrections. The review copy for this CD was provided by a publicist.

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).

Essential Albert King

Albert King was one of the most important and influential blues artists from the sixties until his death, and had a number of great recordings including two highly influential albums. One was the Stax release, Born Under a Bad Sign that Fantasy reissued in 2002. This record is still currently available. Here is a review that appeared in the October-November 2002 issue of Jazz & Blues Report.

Fantasy Records which acquired Stax Records sometime ago has reissued the classic Albert King album, Born Under a Bad Sign. This 1967 album was the first album by King for the Memphis label and matched King with a studio band centered around Booker T & the MGs. This was a highly influential recording which, along with Kings mid-seventies album I’ll Play the Blues For You, included a number of songs that became part of the core blues repertoire and shaped how so many artists played the music. Songs include the title track with its great line, “If it wasn’t for bad luck I would not have any luck at all,” the remake of the delta blues Crosscut Saw, with a hot rhythm section and blasting horns, the jaunty The Hunter, with stinging guitar and the bravado line about pretty women being King’s game, the classic blue ballad As the Years Go Passing By, and Personal Manager, where he tells his lady how he would love to manage her affairs. King delivers the vocals and plays some classic guitar mixing long sustained notes with short staccato runs. His sense of phrasing and use of silence is something setting him apart from his many imitators and those influenced by him. The liner notes focus a bit too much on King’s influence on Stevie Ray Vaughan, but the fact is that even as spectacular a guitarist as Otis Rush, who had already made some classic recordings a decade earlier, incorporated elements of King’s style into his own approach. This is an essential disc although much of it might have been previously issued on CD on Atlantic as King of Blues Guitar.