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."

Music Maker's John Henry anthology

A neat idea was collecting ten renditions of the ballad John Henry (Music Heritage Relief Foundation) with the renditions representing different genre and stylistic approaches from Delta blues, to Piedmont blues to old-time string band making for fascinating listening.

Big Boy Henry, with Lightnin' Wells on guitar, opens this CD with a rendition that comes off like a Bukka White recording. Cootie Stark and Neal Pattman lend a more East Coast style rendition, slide guitar and all. Is Dom Flemons playing quills on a rendition that musically evokes Henry 'Ragtime Texas" Thomas while Carl Rutherford's finger-style guitar instrumental rendition is akin to the legendary Doc Watson while Benton Flippen leads an old time string band rendition.

Guitar Gabriel (aka Nyles Jones) rendition is more in a Piedmont vein with Tim Duffy adding guitar and Michael Parrish piano to support Gabriel's marvelous Blind Boy Fuller influenced picking, while John Lee Ziegler high pitched singing and spare slide guitar (is he using a knife) is an affecting performance, the longest one here. With Tim Duffy on rhythm guitar, the legendary Etta Baker does a marvelous instrumental version with he finger-picked slide playing while a small group backs John Dee Holeman's juke joint and drink house rendition.

Samuel Turner Stevens closes this CD with a rendition performed on a banjo with slide. It concludes a very interesting and captivating compilation that can be obtained from Music Maker Relief Foundation on their website, www.musicmaker.org.

I received this for donations to the Music Maker Foundation. Here John Dee Holeman performs John Henry.

Ironing Board Sam Will Be At Capital Blues Night

Ironing Board Sam (seen from last New Years Eve at The Hamilton Live) is among
those who will be performing at Capital Blues Night, Wednesday evening at The Hamilton Live

Some of you may be aware that I have been a supporter of the various programs and activities of the Music Maker Foundation. The North Carolina-based organization has been a life send to many roots music performers who were in hard economic and health times whether helping pay medical bills, provide a decent housing situation and record and issue recordings of these often under-documented performers. In addition MMF has promoted performances at clubs and festivals of their artists throughout the United States and the world.

I had the pleasure of seeing such performers as Big Ron Hunter, Captain Luke, Sol Roots, and Ironing Board Sam at what was then a new Washington DC venue, The Hamilton last New Year's Eve. The Hamilton will be hosting Capital Blues Night Wednesday evening, October 24. The doors open at 6:30PM and the show starts at 7:30 and features the performers I listed above along with Cool John Ferguson and Ardie Dean for what promises to be a terrific evening of music. 

Captain Luke will return to The Hamilton Live on Wednesday October 23.

One should be particularly excited about the return of Ironing Board Sam whose career the Music Maker Foundation has revived. Ironing Board Sam was for years a fixture in New Orleans (including the annual Jazz & Heritage Festival), and with his career back on the upswing and with new recordings produced by Music Maker Foundation, returned back to New Orleans this past spring for his first JazzFest performance in too many years. Its an example of what the Music Maker Foundation does to assist roots music artists. And then there is Captain Luke, whose baritone will evoke the smoky baritone of Brook Benton. They will be heard along with the showmanship of Cool John and more.

For more information on the Music Maker Foundation, check out, www.musicmaker.org. You can purchase tickets at The Hamilton’s website, http://www.thehamiltondc.com/live. 

Here is Ironing Board Sam in performance.

Here is Cool John Ferguson backing Captain Luke.

Sweet Betty's Live & Let Live

Based in Atlanta, Sweet Betty started singing in church and later after singing around was encouraged and featured by saxophonist Grady ‘Fats’ Jackson. Performing, she made many fans including Bob Margolin who introduced her to Tim Duffy, head of the Music Maker Relief Foundation. 

Sweet Betty had a cd on JSP some years ago, but it was a special treat to receive from the Music Makers Foundation her newest recording, Live & Let Live. On it she is backed by bassist Bill Rich and drummer Kester Smith of Taj Mahal’s band, keyboards from Dave Keyes and a variety of other musicians that provide a definite uptown blues and deep soul feel. The material covers a range of moods and grooves. 

The disc opens with the shuffle, Party, where Betty launches into her vocal with the force of a Koko Taylor although with a bit cleaner deliver. Next she handles Eddie Hinton’s soulful Everybody Needs Love, and Joe South’s Untie Me. The title track has a nice funk groove with Sweet Betty soulfully telling us that we have to live for oneself and not someone else, but most importantly live, live and let live and love one another. Touched By You is a strong southern blues number with a nice dance groove followed by a terrific rendition of Damn Your Eyes. Other pleasures to be heard include Sam Cooke’s Ain’t That Good News and two gospel numbers that close out this wonderful release. 

This is yet another nice addition to the Music Maker catalog and can be purchased from the website, www.musicmaker.org. Purchases not only support the artist but also the mission to help the pioneers of Southern musical traditions.  Visit the website, www.musicmaker.org.

This review originally appeared in the November 2005 DC Blues Calendar. I do not know if I received this from Music Maker Foundation as a premium for membership or received a review copy. Here is a video clip of her backed by The Shadows at Blind Willie's in Atlanta.

Precious Bryant's Piedmont Blues Mastery

Here is another older review (with a few stylistic changes that originally appeared in the DC Blues Calendar, then the DC Blues Society’s newsletter back in its November 2005 issue. Its among the many wonder releases associated with the Music Maker Foundation (www.musicmaker.org).

Born in a family of traditional musicians, Georgia’s Precious Bryant started playing guitar when she was very young. She has developed into a splendid performer in the Piedmont tradition. A couple years ago, Terminus Records issued the absolutely wonderful Fool Me Good. The Music Maker Relief Foundation has championed her and her music and has released another absolutely magical recording, My Name is Precious (Music Maker).

This was recorded between 1995 and 1999 in Georgia and New York, with accompaniment on some tracks by Tony Bryant (her son?) on bass, Cootie Stark on vocals and Tim Duffy on guitar). The 26 selections range from very enjoyable covers to Bryant’s own buoyant originals. There are lively covers of songs associated with Muddy Waters, Guitar Slim, Fats Domino, Joe Turner, Denise LaSalle and Jimmy Reed. Bryant’s originals include the lively Hey Baby as well as the sparkling instrumental, Georgia Buck.

There is not a bad track on this disc although Music Maker certainly could have done a bit more about getting composer credits correct as opposed to Traditional arranged by P. Bryant found on several tracks. To reiterate, the music here is wonderful and if you cannot locate this in stores, check the Music Maker Foundation website, www.musicmaker.org.

Shelton Powe's Carolina Blues and Gospel

One of the latest recordings issued by the Music Maker Foundation is the debut of Shelton Powe, Carolina Blues and Gospel. While his earliest musical memories were the tent revival circuit with his family, as a youngster he immersed himself in the blues scene of Atlanta and mentored by the likes of Cora Mae Bryant, Neal Pattman, Cootie Stark and Frank Edwards. Over the years he has developed an extensive repertoire of songs and lyrics that he performs with a genial and ingratiating style with deft, fingerstyle guitar and relaxed vocals that convey a bit of the warmth of others in this East Coast style.

Songs cover both the secular realm as on the opening Stranger Blues, and the sacred one as heard on “Send Me,” with his firm rhythmic bass contrasting with his responsive use of the treble strings. His relaxed and agile fingerstyle playing is displayed on the instrumental Vestapol, where the melodic line suggests Robert Wilkins That’s No Way To Get Along/ Prodigal Son, while he plays slide guitar (suggestive of Fred McDowell) on Diving Duck Blues. He provides a personal interpretation of the traditional This Train, while he shows himself able on country blues harmonica on One Monkey Don’t Stop The Show, which complements his earnest singing. Down On Me is another performance on which his harmonica provides accompaniment (and another voice) to the vocal. “Buckdancer’s Choice is a fingerstyle instrumental in the vein of Etta Baker while he returns to slide guitar on his version of John Henry, where his slide accompaniment which also borrows a bit from Robert Wilkins’ afore-mentioned melody.

After a nice sacred When i Lay My Burden Down, with more nice slide guitar, he is joined by Drink Small who takes the lead on This Little Light of Mine, where Shelton adds vocal harmony and the guitar accompaniment. Shelton Powe may not be the next coming of Blind Boy Fuller or John Jackson, but he shows himself to be a very capable singer and musician rooted mostly in the traditions heard from Virginia down to Georgia.

I received this recording from the Music Maker Foundation in return for support I have provided the organization. The website of Music Maker Foundation is www.musicmaker.org, and there is information on Powe and this recording there. This video (on youtube) of Shelton performing is on his page at the Music Maker Foundation.  

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.

Big Boy Henry's Carolina Blues

North Carolina bluesman, Richard ‘Big Boy’ Henry is among the blues artists that have been assisted with the Music Maker Relief Foundation. Music Maker Recordings has issued a delightful disc by this Patriarch of the Carolina Blues, Beaufoot Blues, that was produced by Lightnin’ Wells and Tim Duffy.

Henry’s contributions are limited mostly to vocals as Wells, Duffy and Michael Parrish provide backing for most of the tracks. Wells plays wonderful slide (suggesting Bukka White) on a rousing John Henry while the simple guitar of Parrish and Duffy enhance Henry’s vocal on Old Bill, a nice piece of storytelling about the killing of his rooster. Moan&Cry has some outstanding fingerstyle playing from Wells as Henry asks his woman to rock him. Duffy’s rolling guitar is wonderful behind Henry on Vellevina.

Big Boy’s son, Luther is accompanied by Wells on a warmly sung Tell Me What to Do followed by Big Boy’s a cappella vocal on Nina Mae. Pleading with his woman to tell him what’s on her mind, Henry accompanies himself on Turn the Key, telling his woman to turn the key and let Big Boy ride in her automobile and on Walking Day &Night, where, Parrish adds some low key piano in support of Henry’s enjoyable playing. Sandwiched between those tracks is Beautiful City, a gospel blues associated with Rev. Gary Davis.

One might wish Henry played a bit more, which is not to fault the wonderful accompaniments he receives through, but the strength of this release is the wonderful heartfelt singing of Big Boy Henry who is a wonderful storyteller and who invests all these performances with heart and honesty.This may be hard to find but you can obtain from some mail-order outlets as well as from the Music Maker Relief Foundation at its website, www. musicmaker.org, see http://www.musicmaker.org/artists_profile/Big-Boy-Henry

This review appeared in the April 2003 DC Blues Calendar, then the DC Blues Society’s newsletter. I may have purchased this CD.

Alabama Slim's Down Home Blue & Lonesome Blues

Here is the latest installment in my series on small blues gems issued by the Music Maker Relief Foundation, Alabama Slim's "Blue & Lonesome" Slim was born Milton Frazier in Vance, Alabama in March, 1939. He grew up playing in juke joints before moving to New Orleans in 1965 and got jobs with a moving company and later making cooking oil before hooking up with his cousin Little Freddie King with whom he would jam ever so often. Drinking heavily for a period, he cleaned himself up in the 90's and resumed a close friendship with King. The pair have shared an album on Music Maker and Blue & Lonesome is a welcome solo disc by Slim who towers near 7 feet tall.


Slim is rooted in such artists as Lightnin' Hopkins, Muddy Waters, Jimmy Reed and especially John lee Hooker, which is made clear in his rendition of Fannie Mae that opens this up a duet with Freddie followed by a Hooker-styled rendition of Muddy Waters' Someday Baby, and then on the invigorating Old Folks Boogie, a take on Hooker's Boogie Chillum, and Junior Parker's Feeling Good. Ardie Dean adds some light percussion for this performance on which Slim's controlled performance adds to its appeal. "Weather Done Got Cloudy," is the first of several tracks featuring him with a Huntsville, Alabama band and is a nice brooding blues in a Hooker-ish vein which has lyrical allusions to "Checking on My Baby."


Ain't I Been to You is a one chord Hooker styled blues that would sound at home in the North Mississippi Hills with some biting guitar runs. Joined by Freddie, West Texas Blues, is a nice song showcasing Slim's restrained, pleading style. Two O'Clock in the Morning is a spare Texas styled blues based on Lowell Fulson's Three O'Clock in the Morning. There is a bit more modern flavor on Has Anybody Seen My Baby, which sounds like as Hooker interpreting a B.B. King blues, while "I Love My Guitar" is a Hooker-styled boogie as Slim tells his woman not to get hooked on him as he loves nothing but his guitar. The album closes with I'm Blue and Lonesome, a lazy Jimmy Reed blues interpreted in a manner that John Lee Hooker might have.


Alabama Slim has produced an entertaining collection of blues with strong evidence of the influence of John Lee Hooker. While one might not call this essential, it should appeal to fans of post-war, down-home, country blues. It certainly caught this reviewer's ear.


I received this from the Music Maker's Relief Foundation as a donor to that organization. Visit www.musicmaker.org for information on purchasing this and other recordings as well as contribute to help blues and other roots musicians.

Adolphus Bell's Entertaining One Man Band Blues

The Music Maker Relief Foundation has been a boon to practitioners of southern musical traditions which has enabled a number of individuals to gain recognition as performers and also meet their day to day needs including emergency medical and housing assistance, purchasing and repairing musical instruments, recording the performers and issuing the recordings, and presenting artists in concerts around the world.


Adolphus Bell, One Man Bell, is among recent releases by the Foundation and features the one-man band from Birmingham, Alabama. While born in Birmingham, he grew up in Pittsburgh where he learned guitar from George Benson. Frustrations from dealing with band members led him start playing as a one-man band, playing drums, harp and guitar while singing. Over the years of playing the streets he has developed a lively performance style as indicated on the opening The One Man Band, where he introduces the various members of the band.


Bell displays a fondness for a couple of songs associated with Bobby Bland including You Got to Hurt Before You Heal and the Bill Withers classic that is such a part of Bland’s live show, Ain’t No Sunshine, along with the vocal group classic, Cherry Pie, the Motown classic, (I Need Some) Money, and Sam Cooke’s Let the Good Times Roll. Other songs are originals like Ever Had the Blues and some topical numbers, Child Support Blues, Passport Blues and Black Man’s Dream. The latter number has a message that America better get things together or it is gonna be in for dark times.


Musically, Bell brings a soulful singing style mixed with some witty banter. His accompaniments often are simple and nicely delivered with a Jimmy Reed-flavored grooves. He adds some spare single note fills and takes some solos as well, mixing in some comments and replies as he performs. Despite the valuable documentation of a number of performers, I have found some Music Maker Foundation releases to be uneven. This however, is one of the better recent releases and its nice to have another one-man band to join such long-gone legends as Jesse Fuller, Dr. Ross and Juke Boy Bonner.


This may be in some stores, and cdbaby.com does offer many releases of artists of the Music Maker Relief Foundation. You can also obtain this from the Foundation’s website, www.musicmaker.org, which has full information on their mission and all of the marvelous recordings and books they offer. You will be getting some fine music and helping deserving artists.


This review appeared originally in the April 2006 DC Blues Calendar and April 2006 Jazz & Blues Report (issue 282). I have made some minor editorial changes. I have been a long time supporter of the Music Maker Relief Foundation and likely received this in my capacity of a donor to the organization.

The Blues Doctor Cures The Blues

I have written about the Music Maker Relief Foundation several times (such as here) and the activities they undertake on behalf of blues and other musicians in need. MMF has compiled a substantial body of recordings by its associated artists and among the latest CDs they have issued is Hallelujah Boogaloo by Drink Small, who is known as “The Blues Doctor.” The Blues Doctor label drink uses in part is a reference to his ability to play a variety of styles. After all, he grew up in the church (first recording as part of a gospel group) as well as learning Blind Boy Fuller tunes. It also refers to his ability to make you feel good by his playing the blues.

Drink Small is among the Music Maker Foundation Artists that has a significant body of recordings for having recorded for a variety of labels including Ichiban and his own Bishopville label (referring to South Carolina hometown). The present CD was recorded by Tim Duffy between 1997 and 2005 by Tim Duffy. It contains 11 songs and clocks in at just under 45 minutes. These are solo performances and cover a wide range of material and while all the songs are credited to Drink Small, some are not such as Blind Boy Fuller’s “So Sweet” and “Blues By the Drink” which is a revamped “Baby Please Don’t Go.”

There is a gregarious quality to Drink Small’s performances that is evident throughout, whether on the opening “Widow Woman” with a folk-tinge, to his exquisite rendition of Fuller’s So Sweet, as well as his Song With No Name, where he references Howlin’ Wolf and howls and moans. His language can get raunchy at times as on Moanin’, which is definitely not radio friendly or simply descriptive as on Woman Love a ManThat Can Play The Slide. His guitar playing whether in a Blind Boy Fuller mode as on So Sweet or playing slide, is thoughtful and crisply executed . The vigor of his performances and the varied material makes for quite an enjoyable recording.

I obtained this as part of my Givin’ It Back Record Club membership which includes a quarterly CD release as a premium for my donation to MMF, but also can be acquired on its own from MMF at musicmaker.org.

I am writing this a week before the Music Maker Foundation hosts on Monday March 14 Capitol Blues Night at Clyde’s, at Gallery Place in Washington DC. Only a limited number of tickets are available for this fundraiser for Music Maker Relief Foundation. There will be musical performances by Captain Luke, Ironing Board Sam, Big Ron Hunter, Mudcat, Bubba Norwood and Sol, the event offers an evening of diverse and feet-stompin’ music and in addition to the phenomenal entertainment, tickets will include beer, wine and hors d’oeuvres. Go to musicmaker.org for more details on the event and how to order tickets.

Guitar Gabriel & the Music Maker Foundation

I first became acquainted with Tim Duffy when he was a folklorist as well as promoting a cassette of a downhome blues musician named Guitar Gabriel. It turned out this Guitar Gabriel was a person who had recorded a marvelous album I had as Nyles Jones, called “My South/ My Blues” on an obscure Pittsburgh label, Gemini. The music was small group downhome blues that displayed the influenced of Lightning Hopkins and Blind Boy Fuller, with a strong rendition of “Betty and Dupree” as well as “The Welfare Blues” where he told his woman “what in the world are you gonna do, when the welfare turns their back on you.”

Locating Guitar Gabriel was at the beginning of what would be the Music Makers Foundation, an organization Tim and his wife Denise formed to provide assistance primarily for musicians in southern roots music traditions. Assistance has run from purchasing instruments, arranging for medical care, helping with housing, booking for concerts and festivals, production of CDs for artists to sell and other similar activities. It has been an activity that has attracted the support of many (such as this writer) including well-known musicians Taj Mahal, Bonnie Raitt, and Eric Clapton.

In its early years, the Music Maker Foundation issued some releases through an arrangement with a major US label, and veteran producer Mike Vernon was involved with some releases if I recall correctly. More recently, the Music Maker Foundation has released recordings on its own. In the course of its activities, it has documented the music of many artists and issued new recordings of artists that more commercial labels would never attempt to do, and also the process of manufacturing CDs has gotten cheaper so small batches of recordings can be produced as needed. These releases range from informal packages with simple cardboard covers and links to the web for liner notes to fuller CD packages with a full CD cover and a liner notes booklet.

MMF has not eschewed totally working with commercial labels, and in recent years has licensed material for release overseas on the French DixieFrog label with commercial distribution. Tim Duffy was in Washington DC recently where we discussed over lunch the ongoing work of the MMF and after lunch handed me a copy of a CD/DVD release from 2009 on Dixie Frog by Guitar Gabriel entitled “The Beginning of The Music Maker Story.” The CD is dedicated to Guitar Gabriel and includes 21 songs, most of which were recorded in the early part of the 1990s but also included are two selections from his 1970 album, “Ain’t Gonna Let No Woman,” and “The Welfare Blues.” These tracks sound like they were dubbed from copies of the vinyl lp. The rest come tapes and some of these performances which likely have been previously been released on cassette tapes or CDs by Gabriel. {Since I wrote this Tim Duffy has advised me that the majority of the tracks were previously unissued}.

The CD here has over seventy minutes of music and serves as a fine document of Guitar Gabriel’s music. His father was Sonny Jones who hung around and recorded with Blind Boy Fuller, one of the great Piedmont bluesmen of the thirties (a big influence on John Cephas, John Dee Holeman and others), and these Piedmont roots are evident throughout the performances here which range from talking blues, a gospel number sung with his brother. There are wonderful renditions of familiar folk-blues like “Betty and Dupree” and “John Henry” showing that he remained a facile guitarist able who had lost little in the two decades since recording “My South/My Blues.” Tim Duffy is present on many of these tracks as a second guitarist with other folks like pianist Michael Parrish, and fiddler Sam Duffy joining in. His voice may not be as flexible and able to reach the high notes as he was in 1970, but he remained an expressive vocalist and story teller.

Tracks of special note, in addition to the two reissued from 1970, include “Wahoo Rap,” a talking blues about an elixir he used to pitch in his younger days to cure whatever ails one; “Started Out This Morning,” with some agile guitar; the lively cover of “Going to New York”; the terrific fingerpicking on his rendition of “John Henry”; the charming “Old Man Rivers” with his narrative and some flugel horn added by Mark Levinson; “I Got the Right to Cry Sometimes,” with his spare electric guitar employing an atmospheric tremolo; “Baby Please Don’t Go” done as a string band performance with sam Duffy’s violin adding color; and “Done Got Tired,” with Tim Duffy adding slide-guitar, has a swamp blues tinge in the deliberate guitar and gravelly vocal from Gabriel. One other track to note is“You Got To Watch Yourself” that might seem like a genially sounding talking blues except for Gabriel’s expletive filled recitation and vocal. It is definitely not safe for broadcast. A few bum notes perhaps, and some source material is rough, but this stands as a wonderful testament of Guitar Gabriel’s music

In addition to the CD, the DVD contains the film, “Toot Blues: The Story of the Music Maker Foundation,” a film directed by Chris Johnstone that includes oral history from Tim and Denise Duffy and others involved in MMF over the years along with clips of performances, and in a casual setting, of many of the performers (some have passed on such as Guitar Gabriel) and provides an insight into how the programs of assistance MMF makes started an evolved. One consequence of the MMF’s programs that was not initially intended was the community that has formed among the musicians who have been assisted and who have gone from neighborhood performers playing for friends and neighbors to touring the world, singing their blues, country, folk and other musics to folk in Europe and South America. One really appealing scene is in Argentina where the MMF musicians are scene playing with Miguel Botofogo, who has fanned the blues flame for decades himself. A marvelous documentary that explains what Music Maker Foundation does better than mere words.

Together this is a terrific package although MMF may show this as I write this as out-of-stock at their website, http://musicmaker.org/, in fact they have copies and this should be in their web-store when you check. The music is available on itunes and available from Dixiefrog, http://www.bluesweb.com/p_home.php3?id_rubrique=2, and other European sources. Hopefully Music Maker Foundation will have this back in stock soon as it is a terrific package.

I received this from the Music Maker Foundation.

Cocktail Boogie Captures Delightful Pianist

The Music Maker Foundation (www.musicmaker.org) is a marvelous organization that is devoted to helping preserve some of America’s southern music traditions and the persons who perform them. It notes as its mission to help the true pioneers and forgotten heroes of Southern music gain recognition and meet their day to day needs. We present these musical traditions to the world so American culture will flourish and be preserved for future generations.

MMF accomplishes this through three programs: Musician Sustenance- grants to meet basic life needs and emergency relief; Musician Development - grants and services for recipient artist professional development and career advancement; and Cultural Access - supports the preservation and proliferation of American musical traditions. It puts together tours of its artists, it records and documents the lives of these performers, as well at meets immediate needs of its performers.

Mr Q as Tim Duffy looks on

The driving force behind the MMF is Tim Duffy a folklorist, that I first was in contact with around 1991 when he was issuing recordings by one Guitar Gabriel. What was amazing was this individual was a gentleman that had recorded a superb album of down home blues for the Gemini label in the 1970s that was under the spell of Blind Boy Fuller and Lightnin’ Hopkins. His efforts at recording and promoting some of the treasures of the southern blues and other traditions led to the creation of the Music Maker Foundation and over the years MMF has issued over 100 albums of music that document many artists who are have made few recordings. The albums are of uneven quality but there are many gems and recordings by Beverly Watkins, and Jerry McCain played significant part in the revival of their performing careers. Then there was Etta baker, who chose to stay home rather than travel to Newport in 1957, but whose guitar playing is on the level of Elizabeth Cotton. Many of these performers played neighborhood bars or simple house parties.

One of the recent releases is by a pianist, Mr. Q. A slip in the very simple cardboard cover for the CD, “Cocktail Boogie,” says liner notes are downloadable and one should be able to get a pdf file. The biographical information from Tim Duffy of the MMF notes that Mr. Q was born in 1913, and that this self taught pianist fashioned his own sound by mixing the piano styles of Art Tatum, Earl Hines and Oscar Peterson, interspersed with songs by the Ink Spots. After graduating North Carolina A&T in the ‘30s; after finishing school he started his career by traveling and performing with Blanche Calloway’s orchestra as a singer. At some point Mr. Q migrated to Harlem and got a job playing the harmonica with the Savoy Sultans, the house band at the Savoy Ballroom. He sang at tables at local nightclubs. He went to all-night jam sessions where he witnessed the legends of the day perform- legends such as Oscar Peterson, Art Tatum and Teddy Wilson. In 1963, he returned to Winston-Salem and became a fixture performing at piano bars.

The music on “Cocktail Boogie” was recorded by Tim Duffy in 1991, 1992 and 1993, after he had been introduced to Mr. Q by Guitar Gabriel. Mr. Q was always dressed in a perfect suit and thought highly of himself as a musician; his entire life, he had made a living with his music. Mr. Q was a regular member of the early Music Maker Revue with Willa Mae Buckner, Macavine Hayes, Preston Fulp, Jahue Rorie and Guitar Gabriel. He also played the Blues to Bop festival with John Dee Holeman. He died of natural causes in 2000 so did not live to see his music released.

“Cocktail Boogie” may not be an essential piano blues-jazz recording, but still is a delightful collection of piano bar performances. Particularly on vocal tracks, the piano sounds a bit muffled. Mr. Q sings a range of uptown blues (“Everyday I Have the Blues,” “What’d I Say,” and “Juice Headed Woman”), pop standards (“(Left My Heart In) San Francisco,” “You’’ Never Know,” and “Thank-You Pretty Baby”), and several instrumentals (“title track, “Mr. Q’s Blues, “Mood Indigo,” and Begin the Beguine”). Despite the muffled audio quality, Mr. Q displays an agile style whether handling a boogie or a more complex melody and while not a great singer, I wouldn’t be surprised to learn that he had a significant regular local following at the time Tim Duffy made this recordings of him.

“Cocktail Blues” is an enjoyable collection of urbane piano performances with blues roots. This can be ordered at the MMF’s website on the store page and as I write this is among the Foundation’s most recent releases. it is also available on itunes through the website. The website has much more information on the MMF and its activities.

I received this CD from Music Maker Foundation as a member of MMF’s Givin' It Back Record Club, one of the various membership categories for supporters of the Music Maker Foundation.

Jerry McCain Still Got The Blues All Over Him

Harmonica player Jerry McCain who first recorded for Trumpet Records in the early 1950s continues to record today with recent efforts under the Music Maker Foundation’s rubric. Here are three reviews of albums by hot dating from 1993, 2000 and 2002 to showcase what a superb blues artist he has been and continues to be.

From Jazz & Blues Report December 1993 (Issue 187).

I Got The Blues All Over Me (Wild Dog Blues / Ichiban). [Ichiban issued several albums by him, and while this might be hard to find on a physical CD (Copies of unopened copies of this can be expensive), it is available for download.]

Harp legend Jerry McCain’s four decade career included sides on Trumpet and continued with a variety of labels. His recording, Steady, is a definitive harmonica instrumental, displaying his full-bodied tone, and subtle phrasing. While he has recorded quite a bit over the years for a number of labels, it often has been in spurts. This is at least his fourth album for Ichiban and may be the best yet, with the instrumental Tumblin’ in the Sea, showing that he still can play with the fat tone of his classic 45s, while other songs have him playing in a Sonny Boy II manner, as on Lucy Pearl, where he is backed just by acoustic guitar. He contributes original, oft witty songs, which he delivers in a slightly raspy voice. The studio band occasionally comes across as stiff, but this is a minor complaint. This is a solid effort, full of good songs, great harp and solid singing.


From Jazz & Blues Report September-October 2000 (Issue 247).

This Stuff Just Kills Me (Cello / Sire) [When this was issued Ichiban had stopped producing new CDs so the Music Maker Foundation picked up the slack. Unfortunately this seems to only be available as a collector’s item and not even as a download.]

One of the harmonica masters who probably has never received his due, Jerry McCain has a terrific new album on Cello/Sire that is part of the series of albums associated with the Music Makers Foundation. Since first recording for Trumpet in the fifties, McCain has produced a body of recordings that feature stellar harp, strong songs and fine vocals. Possessing a full-bodied tone and an irresistible swing in his playing, McCain’s instrumental Steady, has to be regarded as one of the essential blues recordings, while the flip side, She’s Tuff, may be best known from the Fabulous Thunderbirds rendition, but his original is equal to any cover. Madison Mood on this release gives full spotlight to his commanding harp tone and technique, being a wonderful atmospheric slow blues. He has remained a witty, contemporary songwriter who is not afraid to touch topical themes as he does on such tracks here as his anti-drug song, Ain’t No use For Drug Abuse or Mama’s Gone, where he comments on the effect on the kids of Mom not being at home. In contrast, on the title track McCain is celebrating his woman whose love is so good it drives him out of his mind. In addition to McCain’s soaring sax-like harp there is some terrific piano here, perhaps from the legendary Johnny Johnson, although Carl Sonny Leyland, heard on much of this is no slouch. (I am working from an advance copy without the personnel on each track). In singing about his own virility, McCain wryly notes he ain’t worrying about getting up or falling down as he is the Viagara Man. Producer Mike Vernon assembled a great band that includes Leyland, Leroy Hodges and John Primer with guest appearances from Johnnie Johnson, Jimmy Vaughan and the Double Trouble rhythm section. McCain is at top of his game here and the result is This Stuff Is Killing Me may be his most consistent and strongest album.


From Jazz & Blues Report September-October 2002 (Issue 259).

Absolutely The Best (Fuel 2000) [This reissue of his Jewel Recordings from the sixties will unfortunately be hard to find, but you may be able to find this used for a reasonable price. New copies on amazon from third party sellers go for about $40 or more. I do note that bluebeatmusic.com lists a CD by the late Jelly roll King, Frank Frost and McCain, Southern Harp Attack!! that is on the Japanese P-Vine label and contains 13 of the 15 recordings on Absolutely the Best along with 13 recordings for Frost for a price of $21.50, relatively reasonable for such material.]

One of the post war masters of blues harmonica, Jerry McCain has recorded steadily since the fifties when he first sent some demos to Trumpet Records. If he had only recorded Steady/ She’s Tough, his status would be assured because of the wonderful harp tone, his swinging playing and his wry, soulful singing. Somebody’s Been Talking, The Complete Jewel Singles on England’s Westside label, and available on Fuel 2000 in the Untied States as Absolutely the Best in the United States, brings together the six 45s that were issued on Stan Lewis’ Jewel label between 1965 and 1972 along with previously unissued renditions of Bill Doggett’s Honky Tonk. The material here is varied, including the wry She’s Crazy About Entertainers, a slow stop-time blues about his woman who would rather be with James Brown, Otis Redding or some other big star of the time, while Somebody’s Been Talking focuses on a nosy next door neighbor who is blabbing all over town. Toss in several New Orleans flavored numbers like I Don’t Care Where I Get My Loving, and Love Ain’t Nothing to Play With, some harp showcases like Midnight Beat and 728 Texas (Where the Action Is), named after the Jewel Records street address in Shreveport) and one has an entertaining collection. He does not play harp on all the tracks, and if his playing tone is not as tight and fat sounding as on Steady (perhaps he was not playing his harp through an amp), he shows his fertile musical imagination throughout. While not the best collection of his early recordings, it is welcome to have this available.


This reviews are so old but likely received review copies from record company or their publicity form.

Carolina Chocolate Drops & Joe Thompson

One of the real delightful surprises in the past few years has been the emergence of the Carolina Chocolate Drops, an African-American string band that embraced a dying tradition. African-Americans have been playing banjo and fiddle since slavery times well into the 20th Century. The Chocolate Drops were mentored by Joe Thompson, of North Carolina, the oldest and last known black traditional; fiddler, and have recorded several albums of old time string band music with many songs that would be at home with a revivalist, old-time string band. Their music led them to appear not only as blues events of the Music Heritage Foundation but on the Grand Ole Opry. The Music Maker Foundation has just issued their most recent recording, “Carolina Chocolate Drops & Joe Thompson” that was recorded in April 2008 at MerleFest. While its a short recording, its spirited fun as they open with a bit of a jug band flavor on “Memphis Shakedown,” before their rendition of “Cornbread And Butter Beans,” an old timey number and then they bring up Joe who leads off on the fiery“Dona Got A Ramblin' Mind” which was the title track on the Chocolate Drops first album. The addition of bones here gives it a nice feel, followed by a lively “John Henry,” with Thompson handling the vocal. A white banjo player who has been visiting Thompson for nearly four decades, Bob Carlin joins the group for the last five numbers, including “Old Joe Clark,” and “Georgie (sic?) Buck” and the hymn “I Shall Not Be Moved.” They close with a lively rendition of the traditional “Goin' Down The Road Feelin' Bad.” The value of this live recording is enhanced by making available a sample of Joe Thompson performing, with friends, doing tunes he has performed for decades before a highly appreciative audience. This is available from the Music Maker Foundation’s website, www.musicmaker.org.