On Eponymously Titled Debut, Grégoire Maret Spins Harmonica Lyricism

Grégoire Maret has emerged as new voice in modern jazz world specializing in the harmonica. He has developed an approach that has him enlisted by the likes of Herbie Hancock, Pat Metheny, Cassandra Wilson, and Marcus Miller for their projects. He has also guested with the likes of George Benson, Jimmy Scott, John Ellis, Jacky Terrasson, Richard Bona, Sean Jones, Terri Lyne Carrington, Johnathan Blake, Kurt Elling, Robert Glasper, Lionel Loueke, and Jeff "Tain" Watts, Mike Stern along with some of pop music’s biggest names including Sting and Prince.

Raised in Switzerland, he went to the Conservatory in Geneva and then to pursue jazz studies, went to New York City’s New School. While After years as one of the most in-demand sidemen and guests in jazz (and beyond), Maret finally has made an eponymously titled debut recording for Entertainment One. On most of this he is backed by pianist Federico Gonzalez Peña (a longtime collaborator with Maret), along with bassist James Genus and drummer Clarence Penn. Cassandra Wilson and Marcus Miller both make guest appearances and the final track is a duet with jazz harmonica legend Toots Thielemans. Included are originals by Maret along with compositions by Pat Metheny, Stevie Wonder and Brazilian composers Ivan Lins and Milton Nascimento. There are also two suites that he and Peña collaborated on.

Maret brings a dreamy, lyrical and melodic approach to the harmonica displaying his obvious technical command but more importantly his ability to develop intriguing and captivating musical statements starting with his Lucilla’s Dream, that opens this followed by his lovely interpretation of Stevie Wonder’s The Secret Life of Plants, on which the acoustic guitars of Brandon Ross and Jean-Christophe Maillard are prominent in the accompaniment. Cassandra Wilson and Jeff ‘Tain’ Watts guest on the rendition of The Man I Love with a haunting vocal by Wilson and on which strings (arranged by Maret) are added.

Pat Metheny’s Travels displays how able Maret is able to develop a mood with his precise playing and his tones and Brandon Ross’ guitar serves as a counterpoint. One of the two suites here, Crepuscule Suite opens with Brazilian flavor and vocals before the second movement with Marcus Miller on fretless bass in a conversation with Maret and with Peña on piano with Watts on drums adding to the heat of Maret’s playing on the middle section.

Wordless vocals by members of Take 6 are heard on the ruminative Prayer with Peña adding some percussive accents in addition to his piano. Ivan Lin’s Lembra De Mim also again brings a Brazilian flavor to this charming interpretation. Children’s Suite is the other extended original contributed by Maret and Peña that is centered on Children’s Song, the middle section of the suite. Also delightful is the duet with Thielemans, O Amor E O Meu Pais which is also from the repertoire of the great Ivan Lins.

Maret’s playing is delightful and captivating. This is music that should have a wide appeal given the wonderful playing as well as the lyricism evident throughout this. Wonderfully recorded, Grégoire Maret’s self-titled debut should bring him well-deserved recognition.

My review copy was provided by a publicist for this release. Here he performs "The Man I Love."

Billy Gibson's Southern Livin'

This is an older review from 2007 and I did select this recording to be an outstanding blues recording of 2007. It appeared in the March-April 2007 Jazz & Blues Report (Issue 291). I received my copy from wither Inside Sounds or a publicist.

Born in Mississippi where he developed his distinctive soulful singing and harp, Billy Gibson has established himself as among the strongest blues acts in the Memphis area today. Gibson has a new album on Inside Sounds, Southern Livin’, that focuses on his marvelous vocals although he does not ignore his harp. Gibson’s band includes guitarist David Bowen and bassist James Jackson, both veterans of Albert King’s band along with drummer Cedric Keel and keyboardist Charlie wood along with some taut horns on several tracks and guest appearances from guitarists Preston Shannon and Daddy Mack Orr.

Bowen’s original Fireman opens with Bowen playing some guitar evoking Albert King before Gibson’s delivery of the clever lyric. Bowen & Gibson collaborated on Mississippi, a funky celebration his roots and the state’s people with a short harp break. Preston Shannon guests on guitar on Bowen’s I’m Single, a rocking shuffle about no longer being tied up and out having fun, while Too Many Times, is a soul-blues ballad reflecting on a relation gone bad as his woman tries to take two and make three with a killer line about how hard it is to forget her for as Willie Nelson says “you’re always be on my mind.”

Gibson's Hey Hey Pretty Baby. has him telling is woman he is going to rock and sock it to his woman that she’ll know it can’t be wrong, throwing in a short, focused chromatic harp-break. One of three covers included here is a tasty reworking of Sam Myers, I Got a Thing for the Voodoo Woman. Other covers include the fine rendition Booker T & the MG's classic, Hip Hug-Her, with exceptional harp, and the closing Sex Appeal (from Willie Dixon’s Pen, on which Daddy Mack takes the guitar lead), with another nice vocal.

There is hardly anything i can fault on this impressive release. The band is tight and Bowen and Wood are as impressive on their instruments as Gibson is on harp, but the focus remains on the songs and Gibson’s authoritative and convincing vocals. Highly recommended.

Here is Billy performing at the North Atlantic Blues Festival in 2007.

Musselwhite's Outstanding New CD, "The Well"

The veteran Charlie Musselwhite has returned to Alligator Records for his new CD, “The Well.” A career that on record dates back to the mid-sixties, Musselwhite continues to produce strong blues. On this session he brings his harp (and guitar on two tracks) to a session with guitarist Dave Gonzales; bassist John Bazz; and drummer Stephen Hodges with Mavis Staples joining for one track. All the songs are self-penned by Musselwhite (one with Zoe Wood) drawing on his personal experiences in many cases.

The opening “Rambler’s Blues,” with its adaptation of the “Catfish Blues” melody,  finds him delivering a lyric of rambling down his dark and dreary road. The perfomance has a nice harp break complementing the directness of the vocal. “Dig The Pain” is a nice shuffle that was generated from the days of heavy drinking and how he would dig the pain to get through it as he transfers the thought to a woman who he just can’t leave. Gonzales contributes a fine solo (playing with little distortion) with a fine solo from Musselwhite. “The Well” also takes a familiar blues melody to which Musselwhite recalls little Jessica McClure and how brave she was after falling into a Texas well and how Musselwhite said a prayer for her and gave up drinking to show some bravery himself and just like she was rescued and he came out a better man.

“Where Highway 61 Runs,” set against a Magic Sam-based groove, finds him remembering about the delta and how blues has been his comforter. “Sad and Beautiful World“ with Mavis Staples joining the vocals, is a moving song where he says some of things he wanted to when his mother was murdered with a fine harp break. “Sonny Payne Special” is a strong instrumental feature dedicated to the legendary King Biscuit Time radio show host. “Good Times” has Musselwhite on guitar as he recalls the days of youthful partying as he asks where did our good times go with nice slide guitar and effective spare backing. “Cadillac Woman” has Musselwhite’s thoughts about women who run over their men, while he delivers a spoken vocal with his ruminations on Marie Laveau and hoodoo Doctor John on the atmospheric “Hoodoo Queen.” “Cook County Blues” has a country flavor as Musselwhite recalls a time he was busted by a lying cop and spent time in Cook County jail. “Clarksdale Getaway” is a terrific instrumental where Musselwhite’s tone and solo evoke Big Walter.

His vocals may not be as robust as in his youth but they reflect his experiences more and his songwriting has matured. Wisdom has replaced the brashness of his vocals of his youth while Charlie Musselwhite’s songs reflect a life well-lived and all the pains and joys that has entailed. His harp playing remains strong and inventive. “The Well” may be Musselwhite’s best recording in years.



For FTC purposes, Alligator Records provided the writer with a review copy.

Bob Corritore's Bluesy Friends Help "Harmonica Blues" Shine

Bob Corritore has been championing blues for four decades, first while living in Chicago and producing albums by under-recorded harmonica masters Little Willie Anderson and Big Leon Brooks, then later after moving to Phoenix, Arizona, as a radio programmer on KJZZ as well as the operator of The Rhythm Room where so many blues greats and lesser known acts have played over the past couple decades. Corritore is a pretty fair harmonica player with a swinging touch and a nice fat tone and has recorded and played with many over the years, which have been represented on various compilations under his name or by the artist (such as a superb Robert Lockwood album). Delta Groove has just issued a solid new compilation of 15 performances, “Harmonica Blues,” on which Corritore adds his harp to a varied group of artists, some of whom are no longer with us.


The opening “What Kind of Man Is This,” has him supporting the late Koko Taylor with a solid band that includes the Bob Margolin. Louisiana Red is in fine form backed by Corritore and Rhythm Room regulars Chris James and Patrick Rynn, while Dave Riley, with whom Corritore has shared albums with is solid on a tune by the late Frank Frost. Its interesting hearing the late Nappy Brown on the Piedmont-ish “Baby Don’t You Tear My Clothes,” with atypical guitar from Kid Ramos and Johnny Rapp lending this a unique feel. Eddie Shaw is present for “1815 West Roosevelt,” an atmospheric instrumental with Shaw’s raspy sax complimenting Corritore’s harp, while Robert Lockwood reworks “That’s All Right,” with henry Gray on piano for a terrific take on the Jimmy Rogers classic. Big Pete Pearson really tears vocally into “Tin Pan Alley,” with Chris James and Johnny Rapp’s guitar among the sup[port and Corritore sounding terrific on chromatic harmonica.


Tomcat Courtney, another down home bluesman that Corritore has championed and recorded struts on “Sundown San Diego,” while That’s My Baby,” is a slightly frenzied Eddy Clearwater rocker. “Things Have Changed,” is a strong performance by pianist Henry Gray with the late Chico Chism, while Pinetop Perkins is heard on an engaging, if unremarkable “Big Fat Mama.” Chief Schabuttie Gilliame does a fresh take on “No More Doggin’” as if it was John Lee Hooker’s song, while Honeyboy Edwards has the company of Corritore, James and Rynn to help hold his performance of “Bumble Bee,” together. Carol Fran’s “I Need to Be Be’d With,” is a terrific vocal and the disc closes with a solid Little Milton performance that is a bit more down home in its flavor. It is a solid ending to a very spirited compilation of very good to superb performances. Bob Corritore’s solid harp enlivens all of these performances, but at no time does he overshadows the blues legends and masters he shares the recordings with on this most entertaining compilation of real deal blues.

The review copy was sent by the publicity firm for the recording company. Delta Groove’s website for this release is Harmonica Blues.  

Cephas & Wiggins Tell the Truth

This is a slightly updated review that origianlly appeared in 2002 in the DC Blues Calendar. Like Cephas & Wiggins other Alligator CDs it should be relatively easy to buy.

Back in 2002, Alligator issued a new CD, Somebody Told the Truth, by the accomplished duo of John Cephas & Phil Wiggins. Cephas, in the past three decades emerged as one of the finest singer-guitarists out of the Piedmont blues tradition while Phil Wiggins' virtousic harmonica complements his partners' warm vocals. With the exception of Cephas’ vocal on Darkness on the Delta where he is accompanied by Tal Farlow’s quintet, the disc has the Piedmont blues duo performing a variety of material including an original lyrical take on the classic Stagolee theme, Stack and the Devil, personal interpretations of classic blues from Robert Johnson (Last Fair Deal Gone Down) and Skip James (Sick Bed Blues), and some perceptive observations on life and personalities (The Pimp in the Pink Suit). Burn Your Bridges is a rollicking feature for Phil’s wonderful harp that will be familiar with the pair’s longtime fans. Also revived is the wonderful ballad, Reno Factory, that they first cut as part of some of their earliest recordings that appeared on L&R. John Cephas, in the booklet accompanying this disc, attributes the song to the late Foddrell Brothers. This has long been among my favorite songs by the duo and others will also welcome it being readily available again. This is a terrific recording, that stands up five years later and will be enjoyed by their longtime fans and others who love acoustic blues.

Farewell Paul deLay

Word has been filtering to the blues community that the multi-talented Paul deLay passed away from Leukemia. deLay had performed last weekend, and went into a Portland Hospital on Sunday when what was thought to be acute bronchitis turned out to be acute, end term Leukemia. On Tuesday he fell into a coma and died Wednesday, March 7.

deLay was a innovative blues harmonica player who incorporated jazz influences into his style. While a virtuouso, hi playing demonstrated a subtlety in his solos that eschewed simple crowd pleasing gimmicks. He also was a strong songwriter and vocalist with a soulful sound. He was also backed by a terrific band.

In the earlier part of his career, substance abuse hampered his career. After serving time for drug trafficking, he cleaned up and his career was rejuvenated producing several excellent albums including Ocean of Tears and Heavy Rotation for Evidence. I had the pleasure to hear him perform and meet him and he was a fabulous artist as well as a wonderful person. He will be missed.

John Németh's Magic Touch

John Németh

One of the real pleasures I have is hearing a new voice that just blows me away being rooted deep in the blues tradition, yet singing and playing with an authority that would have been at home on a blues recording 40 years ago. Born in Idaho, John Németh has been growing a body of followers including guitarist Junior Watson and Steady Rollin’ Bob Margolin and after a couple of CDs has signed with Blind Pig and has a new CD, Magic Touch, that is a stunning release. He is a wonderful singer that to this listener suggests Junior Parker mixed with Bobby Radcliffe (with a hint of Joe Louis Walker) and an equally superb harp player. This CD is produced by Anson Funderburgh (who plays on 1 track) with Németh backed by a terrific band that includes great Junior Watson on guitar and Kaz Kazanoff and the Texas Horns. Németh blasts off with a strong reworking of Junior Wells’ Blues Hit Big Town (great harp along with the vocal) before followed by the funky originals Blue Broadway and the title track, both sporting strong crying vocals and terrific playing from Watson (who gets into a rock and roll vein on the title track). Willie Dixon’s Sit and Cry the Blues, was one of Buddy Guy’s earliest recordings and the version here with Watson’s evocation of Ike Turner’s trebly playing on Guy’s original as Németh’s convincingly the lyrics in his natural soulful style. She Did Not Show sports some harp in a Rice Miller vein on a blues set to the Sittin’ on Top of the World/ Some Cold Rainy Day melody, while Up to No Good evokes Sam Cooke’s Bring It On Home, with more exquisite harp playing. Come On, a polka-blues (yes you read that correctly) closes this album on a fresh, delightful note. Blind Pig in their publicity for this suggests that Magic Touch “is destined to be one of the most remarked upon releases of 2007.” Well it is January as I write this, but they are likely right, as this is simply terrific and hopefully Németh will do some touring in support of this.