Ray Charles' Rare Gems Rare No More

I am writing this from Nashville ( I am there until Sunday when I return to DC), and visiting the Ryman Auditorium this afternoon. Among the exhibits there is one one June Carter and Johnny Cash. Included was some photos and video clips from the television show that Johnny Cash did for two years on ABC television that included performances from the Ryman. Ray Charles was among the guests that Cash had on his show and coincidentally, a duet between Cash and Charles is the centerpiece of a new Concord album that is scheduled for release on October 26, Rare Gems, Below is a review of this release.


“Rare Gems: The Undiscovered Masters” is the title of a new ray Charles release on Concord that contains, as its title suggests, previous issued recordings which come from the seventies through the nineties. From the publicity, some of these tracks were relatively stripped down to which some sweetening was added. The centerpiece of this is a duet with Johnny Cash, “Why Me, Lord?”, a Kris Kristofferson song, that was supposed to be part of a duet project that never was completed. Musically, there should be little in terms of surprises as the music here is centered in the blues/soul, country and pop fused with jazz that Charles mined throughout his legendary career.

The opening “Loves Gonna Bite You,” and the rousing big band “It Hurts To Be In Love,” are clear reminders of his blues soul roots, while “Wheel of Fortune,” which Dinah Washington (and Kay Starr) recorded in a 1952, is a more jazzy performance with strings sweetening the big band setting. “I’m Gonna Keep On Singin’,” with electric piano and guitar sounds sounds like an 80s or 90s recording with some spoken breaks in the number. “There'll Be Some Changes Made,” is usually taken at a brisk tempo, while Charles transforms it into a slow blues here, with plenty of greasy organ and solid blues guitar (could that be that Tony Matthews at the original session), with Charles apparently imitating guitar with his electric piano before the actual guitarist enters with a solid solo. The groove of “Isn’t It Wonderful,” sounds not far from what Billy Preston, who had an important association with Charles might have recorded, and again more bluesy guitar can be heard here. “I Don’t Want No One But You,” is one of several tracks with synthesized horns, in the backing, with Charles singing how much he needs his lady, and come back and Ray will make it right in a typical fashion. Charles’ rendition of Hank Cochran’s “A Little Bitty Tear,” is a country-flavored rendition of a number that may sound familiar when one hears it, and the country flavor continues on “She’s Gone,” that suggests some of Jerry Lee Lewis’ country recordings of the seventies. The duet with Cash, “Why Me, Lord,” is only a taste of what might have been if the duet album by Cash & Charles had ever been completed. Cash takes the lead on singing this gospel number with Charles joining in on the choruses and taking an electric piano solo.

There is nothing that might suggest they were scraping the bottom of the vaults simply to release unissued material. The music here will not harm Charles’ reputation. In contrary, the music on this is quite good. One expects that Charles’ many fans will be delighted by these previously unissued recordings.


For purposes of FTC regulations, this was provided by a publicity form for Concord Records.

Paul Barbarin's Bourbon Street Parade

Paul Barbarin is regarded as one of the greatest of the early new Orleans drummers. He had stints with Freddie Keppard, Jimmy Noone, King Oliver, Luis Russell, Henry ‘Red’ Allen, Sidney Bechet and Louis Armstrong, while often returning to New Orleans. After World II, he remained in New Orleans where he played traditional New Orleans Jazz as well as revived his father’s Onward Brass Band with Louis Cottrell, Jr. He was also a songwriter and composer, a member of ASCAP and some of his compositions including, “Bourbon Street Parade” and “(Paul Barbarin’s) Second Line,” have become core for the traditional New Orleans repertoire and staple of the contemporary Brass Bands. He passed away in 1969 while leading a street parade.

Barbarin recorded with many of the famous musicians he was associated with, as well as made a number of recordings as a leader for Atlantic Records and GHB as well as played on recordings by Bunk johnson, George Lewis and others. The latter is one of the labels that was created by or are now owned by George Buck as part of the George H. Buck, Jr., Jazz Foundation family of labels. In 2008, they released on GHB, BCD-2, Paul Barbarin and his New Orleans Jazz Band. Buck recalled in his JazzBeat magazine from March 2008, “This was the second production we released on our GHB label, and it features Ernie Cagnolatti on trumpet, Eddie Pierson, trombone, Albert Burbank, clarinet, Lester Santiago on piano, Richard McLean on bass, and Paul Barbarin on drums. This was recorded in New Orleans in June 1954, and the original LP has been out of stock for quite a number of years, so I’m happy to report that it is available once again, this time on CD.

It is an interesting group of musicians, although most are little known. This is the only recording by the Afro-Italian, Cagnolatti while pianist Santiago recorded with Herb Morand, as well as George Lewis & Red Allen in addition to Barbarin. Clarinetist Burbank, like Santiago can be heard on a number of GHB Foundation label recordings and a well regarded New Orleans clarinetist, while both bassist McLean and trombonist Pierson are less represented in the Buck Foundation catalog.

Whatever the case, the band that is heard on Paul Barbarin and his New Orleans Jazz Band, is an excellent one in the classic New Orleans tradition. The band has such a ebullient swing to it, of course in part to the leader’s wonderful drums. The selection of songs is marvelous with the three horns all being wonderful, whether doing their collective heads as well as during their solos. From the first moments of “Weary Blues,” with the three horns followed by rollicking piano by Santiago followed by a warm, woody solo from Burbank leading to the three horns in a collective improvisation. Cagnolatti’s obvious influence was Louis Armstrong, and his bright crisp playing enlivens every track as when he takes the lead over the other horns on Barbarin’s classic “Bourbon Street Parade.” Burbank takes the initial solo before Cagnolatti takes his crisp sounding lead followed by honky tonk piano and then the the trombone and clarinet weave in and around the trumpet lead as Cagnolatti leads the way as they ride the number out. Whether handling the nitty gritty of “Tin Roof Blues,” or other staples of the New Orleans repertoire as “Clarinet Marmalade,” “Panama” (heard on two recordings), “Muskrat Ramble,” “Milneberg Joys,” “Just a Closer Walk With Thee,” or “Sweet Georgia Brown,” the ensemble playing is first-rate throughout, and with infectious joy. The rhythm section swings and the solos catch the listener’s attention for a terrific recording of authentic New Orleans Jazz.

This CD is available from better vendors like amazon or the Louisiana Music Factory, but you might check out www.jazzology.com which lists all of the Buck Foundation labels and available releases that include a wide variety of traditional and swing jazz, blues and jazz-inflected vocalists. All there is the Record Collectors Discount Club that has a modest entry fee and allows discounted prices of the catalog of books, CDs and DVDs.

I purchased this CD. My biographical information from wikipedia, drummerworld.com and jazzology.com.

Lucky Peterson Roots ComeBack Should Have Been Funkier!

This writer was living in Buffalo and doing a blues show on the University of Buffalo’s station WBFO, at the time I first saw and heard Lucky Peterson. He was playing keyboards behind his father, James Peterson, at a club on Main Street near downtown Buffalo. He was a teenager then, not the pre-teen that had appeared on the Tonight Show and recorded singles and an album. His talent was evident every time I heard him as part of his father’s band, including a couple of performances that were fundraisers for the station. One could not help but be impressed by his musicianship. I remember his dad telling me Lucky had perfect pitch. In the years since I left Buffalo I would hear about James and Lucky. Lucky had a break as he played in the bands of Bobby Bland and Little Milton, touring with them overseas and playing on their recordings, before recording for KingSnake I believe, and then he had an album on Alligator that was produced by KingSnake I believe. He continued to perform and over the years he was one of the artists that signed to Verve-Gitanes where he produced three of the finest blues recordings of recent years mixing in funk and classic soul with straight blues. Also on Verve, he accompanied the great Mavis Staples on a great album devoted to the music of Mahalia Jackson. Then he had a disc on Dreyfus that continued in the same vein as his Verve albums. Since then, he has also recorded for small independent labels like JSP, and also had publicized personal issues including substance abuse. Reportedly (and thankfully), he has placed these demons behind him.

Dreyfus Records has just issued Lucky’s latest album, “You Can Always Turn Around,” and the title and some of the songs have a reflective side as they deal with struggle and change. This recording was produced in the Catskills with some of the Woodstock musicians including Larry Campbell, Scott Petito and Gary Burke and the flavor is quite different from Lucky’s prior recordings. “Dust My Broom,” opens and if Lucky, who is playing a dobro here, sings forcefully (although a little over the top at times) it is hardly an original performance and the version of Blind Willie McTell’s “Statesboro Blues,” which seems like an unplugged adaptation of the Allman Brothers recording which itself was derived from Taj Mahal’s recording on his eponymously titled disc over forty years ago. Its hard to get excited with these covers. The cover of Reverend Gary Davis’ “Death Don’t Have No Mercy,” strikes this listener as a much stronger performance.

Bill Callahan’s “I’m New Here” has a lyric about being new around town but musically its far from the blues and a bit more gentle vocal, spoken at times on a folky-sounding tune. “Trouble,” penned by Ray LaMontagne, has some really nice piano by Peterson as he sings about trouble been bothering his soul since the day he was born, worry not leave his mind alone until he was saved by a woman. The sparse backing helps his vocal stand out here. “Trampled Rose,” was co-written by Tom Waits and Kathleen Brennan, opens with Lucky sounding like someone calling believers to prayers and while the lyrics touch on themes of hurt and hurting others, it comes off off-kilter to these ears. Lucky picks up the electric guitar and with heavy fuzztone and a bit over-the-top singing for Lucinda Williams’ “Atonement,” that strikes this listener as pretentious. While he switches to steel guitar (dobro), the rendition of the late Bobby Charles’ “Why Are People Like That,” also sounds too forced. “Four Little Boys,” is a bit more low-key and this song he wrote his his father James, with the “Forty Four Blues” riff incorporated in its melody is a more appealing performance. The outstanding track here is the wonderful rendition of “I Wish I Knew How It Would Feel To Be Free,” where there is a wonderful duet with Lucky’s wife, Tamara. His piano shines on this track as well and they do justice to this number that is identified with the great Nina Simone. Curtis Mayfield’s “Think” closes this album with steel guitar and acoustic slide giving this instrumental a country flavor.

“You Can Always Turn Around” certainly represents a change from Lucky Peterson from prior recordings, and not necessarily for the better here. Not that the performances are terrible, but few of the performances are distinctive and stand out in the fashion of Peterson’s earlier recordings that were more grounded in soul and funk. And while some have suggested this album showcases Lucky’s singing, one might suggest these really haven’t listened to Lucky’s earlier recordings because he always has shown himself to be an excellent vocalist. Still, it is nice to have a new Lucky Peterson recording available, even if it is not among his best work.


The advance review copy was sent by the firm handling publicity for this release.

The Gentleman Johnnie Bassett Is Back

2010-0724 Pocono Blues Day 2-2626, originally uploaded by NoVARon.

It has been so nice to see Detroit’s Johnnie Bassett bring his sophisticated and urbane sound back and while this release was issued in 2009, and this review originally appeared in the August 2009 Jazz & Blues Report (Issue 319). I have a particular fondness for Johnnie and his earlier recordings as well as his live shows. For example, he put on a terrific show at the Pocono Blues Festival this past July (pictured above). Anyway here is the review.


Its been too many years since that Detroit bluesman Johnnie Bassett has had a new release and thankfully the Mack Avenue subsidiary Sly Dog has issued the aptly title “The Gentleman is Back.” Perhaps its the misfortune of his prior label going under after releasing several distinctive recordings characterized by Bassett’s soulful baritone and his jazzy guitar style with its mix of T-Bone Walker, mid-sixties B.B. King (think the “Blues is King” album) mixed with a dash of Grant Green’s bluesy jazzy styling. As Bob Porter says in the liner notes, Johnny does not waste a note, “no flash-all content.” On this new album he is joined by several old friends. Chris Codfish on keyboards anchors the backing trio, “The Brothers Groove,” while saxophonist Keith Kaminski fronts the Motor City Horns on a program of mostly originals composed by Codfish’s father Robert or Chris himself with a few choice covers.

The material on “The Gentleman Is Back,” is first-rate with Bassett delivering the lyrics with wry wit or with a world weary recognition that sometimes a woman is set in her ways and gets what she wants, so that in the title of one of Robert Codfish’s songs, “Nice Guts Finish Last.” At the same time, he can commiserate with Chris Codfish as they share the vocal on “Keep Your Hands Off My Baby,” which opens with Chris telling Johnnie about all the men making a pass on his woman. At the same time he sings about not wanting a fashion model with a lean and hungry look, wants a soul food mama who knows how to cook with the kind of loving he can’t leave alone, keep your skinny women, Johnny wants one with “Meat on Them Bones.” Few would dare to put “Georgia on My Mind” on record and expect to be taken serious, and while he can’t match Ray Charles on the Hoagy Carmichael standard, his mellow blues performance certainly is first rate. Perhaps the only miscue is the use of steel guitar on “I Can’t See What I Saw In You,” a country-tinged ballad perhaps but which didn’t need the pedal steel. “I’m Lost,” is a splendid Duncan McMillan song about being lost in love and misery over a woman. I was nor familiar with this tune and the performance here evoke Latimore’s “Let’s Straighten It Out,” as well as the B.B. King recording of Roy Hawkins’ “The Thrill is Gone.” In any event, his vocal is superb and guitar solo is at the top of his game. 

One of the finest gentlemen in the blues is indeed back and we should be quite thankful for Mack Avenue and Sly Dog for that fact and releasing this terrific recording. It should be relatively easy to find.


For purposes of FTC regulations, the review copy was received from the firm handling publicity for the recording label.

Trombonist Andy Martin Setting Standards

Trombonist Andy Martin has been a fixture on the West Coast scene for years. Growing up in a musical family (his father was a musical educator as well as a trumpeter and he plays with his brothers as part of the Martin Brothers Horns), his website notes that he counts among his influences the trombone greats Frank Rosolino and Carl Fontana, as well as saxophonist Michael Brecker and trumpeter Clifford Brown. Besides working and recording with the likes of the late Vic Lewis, Pete Christlieb and Carl Fontana, he has been an in demand player whether in the recording studio (Coldplay, Pussycat Dolls and Michael Buble), worked on most major televised award shows and on the soundtracks for over 75 major films. He has played and been featured in about every Los Angeles big band and his new album with The Christian Jacob Trio, “Setting the Standard” (Drewbone), is his eight album as a leader or co-leader.

Despite his accomplishments, this writer was not familiar with him prior to this recording with the afore-mentioned trio of pianist Christian Jacob, bassist Trey Henry and drummer Ray Brinker. The title has several meanings including the standard he sets with his highly accomplished playing as well his the wonderful interpretations of various standards heard her starting with the bouncy opener, “Pick Yourself Up,” (from Jerome Kern and Dorothy Fields)where his warm and precise bebop playing is complemented by Jacob’s trio. Jacob is a marvelous pianist with a swinging melodic touch. On the classic Ira Gershwin-Kurt Weil ballad, “My Ship,” Martin employs such a lovely tone with bassist Henry also stating the theme.

The rhythm adds a nice Latin touch to “That’s All,” while the use of the languid tempo for “Put on a Happy Face,” gives a wistful flavor to the composition. “Line For Lewis” opens with some marvelous a capella trombone as he states the theme before Jacob chimes in for a few bars and then the band kicks of on an uptempo romp. The remarkable performance of Jacob’s “M.B.E. Blues,” sounds inspired by “Kind of Blue,” particularly “All Blues.” Jacob’s piano evokes Bill Evans while Martin sounds at home in this modal context as his bopish rendition of “Old Man River,” and the crisp swing of “Stomping at the Savoy,” with the trio adding their own unique twist to the accompaniment.

The pleasures of Andy Martin and the Christian Jacob Trio have increased with repeated listening. “Setting the Standard,” is an apt title for what is an exceptional release. It can be ordered from Martin’s website, www.drewbone.com, and from cdbaby.

This review appeared originally in Jazz & Blues Report (September 2009) which can be downloaded at www.jazz-blues.com.

For purposes of FTC regulations, the review copy was provided by a publicity firm.

Chris Cain Spins His Urban Blues Vignettes With Jazzy Tint

Chris Cain has been playing his blues with a jazzy twist on the West Coast for quite some time. Having recorded for the the Ford Brothers’ Blue Rock’It label as well as Blind Pig, since 1987 he has built up quite a body of excellent recordings that is matched by his lively performances. An reference point for Chris’ sound might be B.B. King (who his dad first took him to see with he was three), particularly the King matched by the souful jazzy grooves provided by the Crusaders (think of B.B.’s rendition of “Never Make a Move Too Soon”). His latest album is on Blue Rock’It, “So Many Miles” and it is another strong recording by him. He is provided excellent support here by Robben Ford Band with Robben playing rhythm guitar on many tracks, and on one instrumental, “East Foothill Fingerprints,” Larry Carlton joins him for a a soulful jazzy-blues guitar jam.Outside of the instrumental, the disc is a showcase for Cain’s songwriting and shows how the way he has with words while displaying his heartfelt vocals and hot guitar as he tells his stories quite strongly.

The title track is a tale of driving from Syracuse, stopping in Lincoln, staying at a funky hotel room, flying down the highway, and “so many miles, so many places, so many wide open spaces … .” Opening “Tomorrow’s Gonna Be A Better Day,” Chris evokes Albert King in his’ opening guitar lines as Ford drives the groove with his rhythm playing as Cain sings that “we have both wasted, all the petty games we have choose to play, I know we had some good times ... but tomorrow is going to be a better day,” with a strong solo from Cain before he vocally returns and asks to bury the past and clear the way for the better day.  He brings us some intriguing urban vignettes such as “Late Night Jungle Dreams,” a powerful topical lyric about a Vietnam Veteran who is a demolition expert but never adjusted to returning home, and then takes us down to this joint and the folks hanging there in “Down at Dino’s,” that opens with Ford’s backing wah-wah guitar setting the atmosphere. On “Interplanetary Jam,” he introduces us to a character who is preparing for alien invasion in his basement while “The Decline of the Golden Boy,” deals with a former superstar college athlete and big man on campus who never adjusted to life after college. Throughout, Cain interlaces these stories with strong vocals and guitar with excellent backing from the Ford Band, with horns added on a few tracks. Throughout, Cain’s ability as a guitarist is displayed as his driving solos are concisely delivered, interesting driving solos, swinging with unexpected twists. Chris Cain’s sound is soulfully delivered blues with an urbane jazzy spicing and “So Many Miles” showcases this exceptionally.


For FTC purposes, the review copy of this was provided by Blind Pig Records.

Remembering Solomon Burke

2009-0430 NOJazzFest Day 4-1617, originally uploaded by NoVARon.

A number of media including bloggers have shown their appreciation of the great Solomon Burke. So to supplement my blog entry of a couple days past, here are some links and quotes for you. This is only a small sample of what is out there.



Ben Sisario drafted the obituary for New York Times: "In a genre known for outsize personalities and flamboyant showmanship, Mr. Burke stood out for his sheer boldness and eccentricity. A radio D.J. crowned him the King of Rock and Soul in 1964, and Mr. Burke took the coronation to heart. For the rest of his career, he often performed in full royal habit — crown, scepter and robe — and sat on a golden throne onstage. Wide-shaped in his youth, he grew into Henry VIII-like corpulence, and in his later years had to be wheeled to his throne."


Terence McArdle wrote the Washington Post Obituary:


"Anointed "King Solomon" by promoters and disc jockeys, Mr. Burke was known for his outsized personality, regal bearing - he often wore a crown and carried a scepter - and above all, his rich baritone voice.

With his contemporaries Sam Cooke and Ray Charles, Mr. Burke brought the enduring influences of gospel and country music to bear on rhythm-and-blues - a combination much copied by other soul singers throughout the 1960s.

My friend Bret Littlehales blogged on him.

"Mr. Guralnick [in his book "Sweet Soul Music"] provides insight into the tightrope walk between the sacred and the profane that Solomon Burke had mastered from his early days onward. Part man of the cloth, part hustler, all genius and possessed with one of the three or four greatest voices in the history of the idiom, Burke divided his time between the church and the stage, selling his blessings backstage at the Apollo during breaks from performing his great hits, like Cry to Me and Got to Get You Off My Mind."

Music historian Bill Dahl has an extended appreciation:

"Everything about Solomon Burke was bigger than life. Way bigger.

Burke’s profoundly regal bearing, underscored by his insistence on performing while seated on a red throne with a crown adorning his head, came to him entirely naturally. Baltimore deejay Rockin’ Robin christened him the King of Rock ‘n’ Soul in 1964 amidst great hoopla, and Solomon took that gala coronation literally. As one of the greatest of all ‘60s soul singers (Jerry Wexler, his former producer at Atlantic Records, deemed him the absolute best), Burke was one of the top R&B hitmakers of that decade. Burke managed to remain contemporary as the decades progressed; the Rock and Roll Hall of Famer won a 1992 Grammy for Best Contemporary Blues Album, and his 2010 disc Nothing’s Impossible, produced by recently departed Memphis icon Willie Mitchell, won widespread acclaim."


Here is Kit O'Toole of blogcritics.com with an appreciation..


"What makes a great soul singer? Thinking about legends like Wilson Pickett, Aretha Franklin, Otis Redding, and Mavis Staples, just to name a few, one quality immediately comes to mind: sincerity. Each of these singers possessed the ability to sing with utter conviction, making the listener feel every heartache, each moment of joy, or even anger. 1960's soul man Solomon Burke, who passed away October 10 at 70, had this unique skill; his bluesy, sometimes husky, voice acted out emotions expressed in lyrics, demanding that the audience hear—and consider—every word in a song. While he may never have cracked the Top 20, Burke's brand of R&B influenced the Rolling Stones and helped usher in a golden age of soul music."


Writer-musician Ted Drozdowski's blog from The Boston Phoenix's website:


"Soul music powerhouse Solomon Burke’s life was filled with great performances — from tent revival meetings to sweltering nights in southern roadhouses to concerts at the Apollo, the Montreux Jazz Festival, Bonnaroo, and even a Ku Klux Klan rally.


But one of the most memorable, at least for the few in attendance, was in 1994 at the Original House of Blues in Cambridge, where Burke — after two sold-out nights playing a catalog of hits reaching back to 1961 — donned the raiment he wore as bishop of the House of God for All People church and sang gospel to an audience of roughly 30 sitting rapt at his feet as he perched on the lip of the stage. Occasionally he moved the microphone away from his mouth to let his voice carry naturally, casting a spell with its absolute clarity, complex tones, and uncanny ability to move from gravel-dappled lows to falsetto without skipping a note."

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 Joe Duskin Rides Again

Looking back on my hard drive I came across this review of an album by pianist Big Joe Duskin. Never having the pleasure to see Duskin, I have only been able to enjoy his recordings. I am sharing this 2004 review with you. To my knowledge this recording is still in print.  


Born in Alabama in 1921, Big Joe Duskin has resided in Cincinnati for a number of years. A formidable pianist who was influenced by the great Memphis Slim and Roosevelt Sykes, Duskin actually abstained from performing blues in public to honor a promise to his father, a preacher that he would not play in public until his father passed away (and his dad lived to 105). It was not until the 1970s that this veteran started playing again in earnest leading to albums for Arhoolie and the Austrian Wolf labels. Now, one of the last of the original Cincinnati blues artists, he has a new album, Big Joe Jumps Again!, on the Yellow Dog label produced Willie Lee Ellis, a conservatory singer who met Duskin in the 80s and among those who has championed his music. Bassist Ed Conley and Philip Paul both did numerous sessions for King records (Paul was on Freddie King’s classic Hide Away). Guests also appear on several tracks including rocker Peter Frampton who is heard on two selections including Every Day I Have the Blues. Frampton now lives in Cincinnati and met Duskin at a benefit after 9/11. With the sympathetic trip backing, Duskin delivers his piano blues shouting out his lyrics in a fashion that evokes the great Sykes. Songs include Sykes’ Miss Ida B. (also a staple of Pinetop Perkins repertoire), Lowell Fulson’s You’re Gonna Miss Me, Memphis Slim’s Every Day and Beer Drinking Woman, and the boogie woogie standard Down the Road a Piece. There is even a rendition of North to Alaska before the album closes with a short rendition of Just a Closer Walk With Thee. We may never know just how good Duskin was in his prime as he kept his promise to his father, but he is still in his eighties a solid blues pianist and vocalist who is among the last of his generation of blues pianists and we should be thankful for this splendid release.

After I posted this review, Yellow Dog Records added the comment that it is print and provided a link for you to hear the music. 
 http://music.yellowdogrecords.com/bigjoeduskin. 
The link is in the comment they made, but I believe would be easier to have the link in the body of the review, so added it now.

For FTC purposes I likely received a review copy from Yellow Dog records or its publicity firm.

New York Contemporary Five's Musical Explorations

The reissue on CD by Delmark of “The New York Contemporary Five” under Archie Shepp’s name is welcome for fans of early examples of “free jazz.” The group was actually a cooperative, with cornet from Don Cherry, alto sax from the Danish born John Tchicai, Shepp on tenor, Don Moore on bass and J.C. Moses on drums. Recorded in November, 1963 at the legendary Denmark club, Jazzhus Montmartre, the six performances here present a document of the exploratory direction of much music of the time. The trumpeter and composer, Bill Dixon, who recently passed away, arranged three of the performances and introduced the ensemble. There are originals by Cherry, Shepp and Tchicai along with two Ornette Coleman compositions and a straight rendition of Thelonious Monk’s “Crepuscule With Nellie.”

Cherry’s “Cisum,” opens with his cornet evoking “Fanfare for the Common Man,” before stating the theme leading to his solo backed by the rhythm with his interesting mix of burst of notes and more melodic lines as he rides over Moses’ rhythm. Cherry is followed by Tchicai who builds on repeated phases while employing the higher register of his alto. Shepp enters into like a buzz saw with a machine gun like attack. Ornette Coleman’s “O.C.,” is built upon a swinging jump riff and groove with Shepp first up taking a raspy solo that mixes Ben Webster with Big Jay McNeeley, followed by Cherry who is the most consistently interesting solo on this date. This is followed by the another Coleman composition “When Will the Blues Leave,” that has one of Coleman’s most memorable themes with a jaunty groove that Cherry explores with some of his most melodic playing on this date. Cherry doleful tone opens Shepp’s dirge, “The Funeral,” with the saxophones contributing to the mood and a relatively quiet passage where Moore and Moses are to the fore before some organized chaos at the close. Tchicai’s “Mik,” opens with a riff that evokes Tadd Dameron, with a bluesy solo followed by some bright playing from Cherry over a seemingly meter-less rhythm.

There is some excellent playing with Cherry and Tchicai especially exceptional. Moore and Moses do not strike this listener as organic a rhythm combo compared to say Charlie Haden and Eddie Blackwell (or Billy Higgins) with Ornette, or Henry Grimes or Gary Peacock and Sunny Murray with Albert Ayler. Moses spent time with Roland Kirk, recorded with Eric Dolphy and was a house drummer at Jazzhus Montmartre playing with such as Dexter Gordon and Ben Webster in a vein that shows his strengths better. Still, that is a minor issue as listeners should be pleased to have this readily available again.


For FTC purposes the review copy was provided by Delmark Records.

Have Blues Will Travel With Kubek and King

Back in 1996, I wrote "Dallas, Texan Smokin’ Joe Kubek’s icy demeanor on stage masks the incendiary flavor of his guitar, while B’Nois King provides a contrasting affable stage presence, and his solid rhythm guitar and jazzier guitar leads are combined with some fine singing, somewhat suggestive of a cool Otis Rush.” I have seen them a number of times since and their music continues to display this contrast of styles that also is the foundation for the distinctiveness of their music. This mixing of different approaches may also explain their appeal. Kubek brings his sizzling, trebly, twangy guitar while King soulfully delivers the songs against a solid rhythm section that can rock steady and still swing. Additionally the pair always bring fine songs melodic and lyrical hooks to each recording with interesting lyrics that mix humor, irony and a perceptive view of life and human relationships.

Kubek and King have a recent Alligator CD “Have Blues Will Travel,” that continues in this vein. The title track opens this disc and illustrates their songwriting craft with King tells his story about having the time of his life with his girlfriend and then discovers his wife is at the club’s door, and then after losing his job the next day, he decides its time to travel. Similarly, while he “Get You Out Of My Blood” he still can’t get his women out his mind with a catchy accompaniment that uses a neat repeated guitar riff. A hyper-charged Lightnin’ Hopkins riff opens “RU4 Real?” before Kubek takes a short searing solo against a lazy, if emphatic, groove, before King tells about this woman with Botox in her jaw, collagen in her lips and silicon in her chest, which has him wondering if this woman is for real. Whining slide guitar sets the tone for “Payday in America,” as King, who hates his job, can’t wait to cut loose and get some drinking done. Kubek has plenty of space to showcase his slide playing here. Other hot grooves include “My Space Or Your?,” with amusing lyrics employing computer terminology as a double entendre. King asks his lady, “can I text you baby, I want to do something digital to you,” and wants to show her his hard drive so they can download all night long. King takes the jazzier 1st guitar solo here followed by Kubek with his heavier tone. Next up King offers a bit of advice that if one goes to bed after a fight, one better “Sleep With One Eye Open.” In addition to King’s soulful vocals here, they both offer some tough guitar.

The mix of terrific material and strong performances make “Have Blues Will Travel” another first-rate release by Kubek and King that is easily recommended.


Afterword: Smokin’ Joe Kubek and B’Nois King were scheduled to appear at a DC Blues Society event in November, and I was asked, to help promote the appearance, if I could review their most recent release, “Have Blues Will Travel,” which had been issued several months earlier this year. I contacted Alligator Records who were so kind to provide me with a review copy and I drafted this review and submitted it. Subsequently, Kubek and King canceled the scheduled appearance, and the review is not scheduled to be published in the Blues Society's newsletter. I would have run this review in any event. Unfortunately I have no event to link it to help promote, but that happens. In any event, I look forward to teh two appearing in the Washington, DC area in the not too distant future.

Solomon Burke RIP

2009-0430_NOJazzFest_Day_4-1593, originally uploaded by NoVARon.

Word was just received that the great Solomon Burke has passed, dying in Amsterdam at the age of 70. Burke, known as the King of Rock'n'Soul was scheduled to perform in the Dutch City. The Philadelphia born Burke was a major soul artist of the sixties and seventies after having made his debut recordings as a gospel artist while very young. When he signed to Atlantic in 1960 he began a series of pioneering recordings such as "Down in the Valley," "Everybody Need Somebody", "Tonight's the Night," and "Cry to Me." The legendary Atlantic producer Jerry Wexler once referred to Burke as "the best soul singer of all time." He may never have achieved the popularity of Marvin Gaye or James Brown but he truly was a great singer and many of his songs have become staples of modern music.

Here is a clip of him singing "Down in the Valley.

In an interview with this writer, he was proud that "Down in the Valley" was one of the earliest soul renditions of country music. At the interview as he regaled me of his days as a child gospel singer, selling box lunches and the great days sharing the stages with so many other folks who were his peers, and also musical giants. He had a presence (charisma) about him that one felt when talking with him.

He also was a positive person and when discussing others like the great Big Maybelle (whose song "Candy" he recorded for the early 1990s Black Top album "Soul of the Blues"), he didn't discuss her problems but recalled her as a great performer. He recalled for me a performance at Chicago's Regal Theatre, as she somehow made it down the steps to the stage with folks wondering if she would. But once she was on stage, it was like nothing was wrong as she belted out her songs. Then she somehow made it back upstairs to the dressing room.

Here he sings "Everybody Needs Somebody To Love"

In live performance, he did more than simply introduce songs and sing them. One of the recordings that this writer would recommend was "Soul Alive" on Rounder where his preaching background was most evident in his medley of his recordings for which he would weave a lesson in living for us. One the stands in my mind was when he preached about "The Woman of Today," and how men have to learn new ways to love and cherish them.

In the eighties and nineties,Rounder Records and Black Top Records issued superb recordings by Burke, that was followed by recordings produced by Joe Henry which presented Burke in different contexts and singing different material and all these introduced him to new audiences while reintroducing him to older audiences.

I only saw him perform once, at the 2009 New Orleans Jazz & Heritage Festival, and he still had the voice as he sat on his crown and mesmerized the Congo Square stage audience. It was one of that year's JazzFest highpoints.

Here are some suggested recordings by him:

Very Best of Solomon Burke

Home In Your Heart: The Best Of Solomon Burke (a double CD collection)

Soul Alive

Soul of the Blues

Don't Give Up On Me

Brooklyn Jazz Underground's Diverse Modern Jazz

I had been listening for several months to “Brooklyn Jazz Underground, Volume 4.” This is one of several compilations of performances by some of today’s modern jazz performers who call Brooklyn home. BJU is a collective of composers and musicians who operate in a similar manner to Chicago’s AACM, and other similar groups, enabling BJU to showcase their own music. In addition to producing recordings, they have produced festivals to showcase the BJU performers.

This sampler provides a sample of the musical range within the BJU. The collection opens up with “Cataldo One” by Danish bassist Anne Mette Iversen, a rousing hard bop number with some tenor sax from Jerome Sabbagh and piano from Danny Grissett. It is followed by Adam Kolker’s strutting “Flag Day,” from a new Sunnyside album, with a band that includes John Abercombrie and drummer Paul Motion. Kolker’s dry tenor sax is very appealing to these ears and complemented by Abercombrie’s chords and single note runs. Just these two numbers one provide the listener with a sense of the variety to be heard. I am not going to run down all eight selections, but simply mention three more. Sunny Jain Collective is led by drummer and composer, Sunny Jain, and the track “Avaaz,” from the album of the same name mixes the sounds of his native India including sitar guitar and the vocals of Samita Sinha, with Steve Welsh’s emphatic tenor saxophone creating a wonderful blend of sounds. Another drummer, Rob Garcia, contributed the fascinating “Little Trees,” opening with some free sounding piano from Dan Tepfer, before tenor saxophonist Noah Preminger engages in some call and response with Tepfer as drummer Garcia and bassist Chris Lightcap answer and provide a responsive foundation.“After,” by tenor saxophonist Dan Pratt, is composition that evokes some of Abdullah Ibrahim’s ballads. The group that includes trombonist Alan Ferber, organist Jared Gold and drummer Mark Ferber, and opens with the leader’s bluesy saxophone and there is strong interplay here between Pratt and trombonist Alan Ferber.

“Brooklyn Jazz Underground, Volume 4” is a marvelous introduction to these independent and inspired musicians. BJU also has a series of podcasts where the musicians discuss their music at length from influences to their present objectives. This can be downloaxded from their website, www.brooklynjazz.org, and this writer has them on his itunes. Also listening to this sampler, has led to the purchase of several albums by these performers. More information on the artists and the recordings can be found on the BJU website and many of these artists have recordings available on cdbaby.


The review copy (or downloads) was sent by the publicity firm for the Brooklyn Jazz Underground.

Otis Redding's Live Show Dazzled L.A.

Its been over forty years since Otis Redding perished in a tragic plane crash. One of the stars of the R&B circuit, Redding was starting to become a major cross-over artist at the time of his death. He had toured Europe and was a major sensation at the Monterey Pop Festival. The future was looking bright when tragedy struck with a plane crash after a Cleveland, ohio appearance. After his death, besides the release of his biggest recording, “Sitting on the Dock of the Bay,” Atlantic issued “In Person At the Whiskey Au Go Go,” which presented ten performances from a 1966 stint at the famed Hollywood Club (Taj Mahal and the Rising Sons were the opening act). Another dish of Otis from this engagement appeared on LP and then CD. Now Concord has issued a double CD of the last three sets from Otis’ Whiskey appearance, “Live on the Sunset Strip” (Stax). Liner notes by Ashley Kahn provide the context for Otis and his band (that included Katie Webster on keyboards).

With respect to Otis Redding, the music is terrific. What can I say. There are any number of staples of his repertoire from “These Arms of Mine,” I’ve Been Loving You Too Long,” the Stones’ “Satisfaction,” “I Can’t Turn You Loose,” “Respect,” and “Mr. Pitiful.” Some of these songs are heard in several renditions like “Satisfaction,” and “Chained & Bound,” and with his strong band, he tears things up. I presume that much of this was issued on the prior two live recordings, but there are some previously unissued tracks, and this reissue presents the compelling performances in the order in was heard by the audience. Over four decades later, Otis Redding’s music remains as gripping as when he performed on the Whiskey’s stage. Obviously those having the earlier reissues may not need this, but others who love “Sweet Soul Music,” will want this.


This was received from the publicity person handling this release.

Floyd McDaniel's Jazzy "West Side Baby"

The late guitarist and vocalist, Floyd McDaniel, was born in the south but grew up in Chicago where he attended high school with Nat Cole and Ray Nance. A performance at Chicago’s 1933 World Fair led to his career in music playing jazz, blues and pop for 15 years as part of the Four Blazers and later played with one of the versions of the Ink Spots. An appearance at the Chicago Blues Festival and some coaxing from Willie Dixon got Floyd to start playing his mix of jazz and blues leading to a well received album on Delmark in 1994 but before he could record a follow up, he passed away on August 22, 1995. Fortunately a recording was made of an 1994 German Festival appearance where he was backed by Dave Spector and the Bluebirds and Delmark issued it in 1997 and Delmark has just re-released it, “West Side Baby.”

The album certainly illustrates what Delmark labels his “whiskey-smooth vocals and Charlie Christian/T-Bone Walker influenced guitar work.” Spector’s own playing is a sympathetic second and complimentary guitar voice to McDaniel’s. This is an amiable collection of a number of well known tunes such as “St. Louis Blues,” where McDaniel provides a fresh take instrumentally during his solo with nice use of chords. Not many people can introduce a song associated with Nat King Cole by noting he went to school with Cole as he does introducing “Route 66.” One does not hear the Parish/White classic “Evenin’” performed that often these days, and this 15-odd year old performance is a fine one, followed by a nice treatment of “Red Top,” where his playing suggests the late Robert Lockwood. The performance segues into a vocal take of “Meet Me With Your Black Drawers On.” McDaniel’s rendition of “Backwater Blues,” gives an idea of how it would have sounded if T-Bone Walker had recorded the Bessie Smith classic. More T-Bone Walker styled blues can be heard on Jesse Mae Robinson’s “Every Time.” Even an unrehearsed, impromptu “Sweet Home Chicago” has it charms on this delightful CD that we can thank Delmark for making available again.



For purposes of FTC regulations, the review copy of this was provided by Delmark records.

Kenny Neal is "Hooked On Your Love"

With his health issues apparently (and thankfully) behind him, Kenny Neal has a new Blind Pig release, “Hooked On Your Love,” that is certain to please his existing fans and garner him some new ones. The twelve performances find him with his brothers and friends like Vasti Jackson and Lucky Peterson as Kenny’s immediate recognizable vocals and guitar brings warmth and good times to the listener. Easy swinging grooves are mixed with his own laconic approach that goes down like a smooth scotch.

Neal’s restrained approach that works with the opening title cut that celebrates of his love and the philosophical “Bitter With the Sweet,” when he sings about life not always champagne and rose, have to take the bitter with the sweet.” “Down in the Swamp,” reminds me of some of Tony joe White’s numbers as Kenny sings about being the bayou where the alligators play and plays some nice harmonica (oddly uncredited in the personnel listing. For some reason, Kenny is credited with composing the old OV Wright classic “Blind, Crippled & Crazy,” and obviously Kenny can’t match Wight’s gospel rooted soul shouting, but he does deliver a nicely paced performance with effective use here, as elsewhere on this, of backing vocals. Also the solo here is a fine example of how marvelous paced Kenny is as a player. Just like his vocals, he never rushes the notes. Its followed by another cover, this time of Little Milton’s hit “If Walls Could Talk,” an ironic lyric that Kenny ably handles.

“Things Gotta Change” is a soulful ballad with a message about a baby not having shoes on her feet, got to pray for a helping hand, and the need love one another but the backing may be a bit too smooth. The backing provided on William Bell’s “New Lease on Life,” is more emphatic which suits Kenny’s vocal here. Kenny’s rendition of “Ain’t Nothing You Can Do,” isn’t far removed from Bobby Bland’s original recording and Kenny’s can’t emulate Bland’s leaps and cries, but he conveys a suitable legacy. “Old Friends” is a nice swamp-pop number with lazy harp and a country-ish feel, while horns and a second-line groove provide “Voodoo Mama,” with a livelier flavor as Kenny plays some nice slide (I presume on lap steel guitar).

The CD closes on a nice shuffle “You Don’t Love Me,” where Kenny plays guitar and harmonica as he tells his baby to get on her merry way. Its a solid way to conclude this very solid collection of performances that touches a variety of musical bases but always showcasing Kenny Neal’s distinctive style of blues.



The review copy was provided by Blind Pig Records

Randy Weston's Blues Eruption

One of the dilemmas of writing about jazz and blues is that recordings go in and out of print, no matter how meritorious the recording is. One case in point is the Randy Weston album, Volcano Blues that was issued on Antilles and now found on Amazon as a rare collectible or as a used gem. It was a particularly appealing album for me in that in included two vocals by the late Texas blues man, Johnny Copeland. And of course it had the marvelous arrangements by Melba Liston, Weston’s longtime collaborator. Anyway here is a review I did of it back in the January-February 1994 issue of Jazz & Blues Report (Issue 188) of an album that certainly holds up today, and hopefully will get reissued soon.

Pianist-Composer, Randy Weston, and arranger, Melba Liston, have teamed for an exploration of the blues in its various forms as they lead a little big band which includes Wallace Roney on trumpet, Hamiet Bluett on baritone sax, Teddy Edwards on tenor sax, Ted Dunbar on guitar and Charlie Persip on drums. Comprised mostly of Weston’s compositions, the voicings of Liston’s arrangements add more than punch to these intriguing explorations in the blues. Texas bluesman Johnny Copeland performs accompanied solely by his acoustic guitar, Blue Mood, a Jessie Mae Robinson composition that T-Bone Walker first recorded. Eschewing his guitar, Copeland also reprises Jimmy Rushing’ vocal on Harvard Blues, which, like the Caribbean flavored Volcano, is taken from the Count Basie orchestra book. It should be noted that one expecting to hear wailing Kansas City jazz with plenty of blowing solos will be disappointed as Weston and Liston explore a variety of aspects of the blues but in a more deliberate approach. Links with Africa are explored on Chalabati Blues, anchored by Jamil Naser’s steady bass line and framed by Liston’s imaginative arrangements. Wallace Roney’s trumpet shines on Sad Beauty Blues, a Weston composition featuring another carefully worked out Weston solo. More African flavor underlies The Nafs, a feature for Hamiet Bluett’s gut bucket baritone sax. In addition to Copeland’s vocal, Harvard Blues sports a splendid tenor solo from Teddy Edwards who also solos on Blues for Strayhorn, which Weston originally wrote for (and performed at) the funeral of Duke Ellington’s right hand man. Both Weston’s piano and Liston’s scoring capture the Ellington flavor here. J.K Blues is a tight bop blues reminiscent of some of the hot blues instrumentals recorded forty years ago, although this performance is distinguished by the many fine concise solos. Weston is the primary soloist on piano and while economical playing, like that of Basie and Monk, shows that it is what one plays and says that matters, not how many notes are played. While the liner notes get pretentious at spots, there is little else to fault about this consistently thoughtful, earthy and rewarding recording.

There are copies available on ebay as well as amazon.

Jessie Mae Hemphill Got Her Blues Right

It had been some time since I listened to Jessie Mae Hemphill. When I went out for a few errands the other day, I saw her CD, “Get Right Blues” (Inside Memphis) and took it to play in my car CD player, and it brought back some good memories of her and her music.

Jessie Mae Hemphill grew up in a musical family of great renown in the Hill Country of Northern Mississippi. Her grandfather was a famed fiddle player as well as led a fife and drums band that Alan Lomax recorded during his pioneering field trips to Mississippi for the Library of Congress in the 1940s. Her auntie, Rosa Lee, was later recorded by Lomax in the 1950s. Most of the members of her family were multi-instrumentalists and the anchor for their music was anchored by the fife and drum bands that Jessie Mae played in as well as the blues. One can hear her music shaped around the percussive rhythms fostered by the the fife and drum bands that played (and still play) a significant role in the lives of the Hill Country folk. This was reflected in her guitar playing as well as the bells she wore on her ankles or a foot tambourine. She also played a bass and/or snare drum, using a foot pedal. This writer hears the influence of Mississippi Fred McDowell in her playing and her slide playing, although one would not claim she was McDowell’s equal. Her rough edged vocals was the source of why her music was so appealing as her simple, driving accompaniments.

She was first recorded by George Mitchell and later by David Evans who issued 45s by her on the High Water label and then an LP on High Water. She acquired the nickname She-Wolf that suggested her fiery and flamboyant personality and she recorded an album for the French Vogue label that was critically received but had little exposure in the United States. In 1991, High Water issued Feelin’ Good, that was the 1991 WC Handy Award For Best Acoustic Blues Album. She was one of a number of blues performers who participated in the Smithsonian Folklife Festival that year that had plenty of focus on the blues. Her performances displayed the personality that actually could be heard on her recordings. Her performances often were dynamic and compelling. Shortly thereafter, in 1993, she suffered a stroke that shortened her musical career and she died a few years back.

In the notes for Get Right Blues, David Evans states these are previously unissued performances. Some of them, like the driving Steamline Train, recalls similar performances on Feelin’ Good. With Evans on second guitar and Hemphill also playing bass and snare drums, she builds up an irresistible pulse here as she adds a simple guitar riff in her response to her vocal line. Shake Your Booty (Shake It Baby), has a simple one-chord accompaniment . Go Back To Your Used To Be is a slow solo blues and has her playing foot tambourine to support a haunting vocal. On Take It With You Baby, she plays a droning one-chord accompaniment on a Diddley Bow. She performed a nice straight rendition of Baby Please Don’t Go, while on Lord, Help the Poor & Needy, she heart-fully delivers the song’s message accompanied solely by her tambourine. Part of her appeal might be the often simple lyrics and the sincerity evident in her vocals, set against the sometimes simple, yet rhythmic backing. Compton Jones joins her on the gospel number, He’s a Mighty Good Leader with such simple rhythmic backing. Livelier is All Night Boogie (Jessie’s Boogie), with a quicker tempo reminiscent of the opening track. Loving in the Moonlight in contrast has more of a slow-drag backing. Another highlight is Honey Bee, an adaptation of a Memphis Minnie recording with a wonderful vocal even if her accompaniment is pretty basic.

Listening to this album brings back memories of those magical Folklife Festival performances and my time talking with her. I know at times, the festival staff felt she lived up to her “She-Wolf” nickname, but I found her fascinating as she talked about her background, her aunties, and music. If one can locate Feelin’ Good, I would recommend that first (and amazon shows it in print as I write this), but this is a very enjoyable recording in its own right and is available as both a CD and downloads. BTW, there is a terrific biography of her at http://www.jmhemphill.org/.


I likely received a review copy of this several years ago.

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.

Jimmy Dawkins' Lerical Blues Productions

Here is a review of an interesting compilation of blues that originally appeared in Jazz & Blues Report, July 2010 (issue 327) on page 7. You can download the complete issue at jazz-blues.com.

Leric Records was an independent blues label operated by bluesman Jimmy Dawkins in the 1980's. During it's relatively brief existence it issued a number of 45 rpm singles by lesser known members of the Chicago blues community, including some still active today. Dawkins produced or purchased for release the sides issued on Leric, playing on some of the sessions, but mostly making available some interesting music. Delmark has just issued “Jimmy Dawkins Presents: The Leric Story,” with 16 selections, including several previously unissued selections.

Little Johnny Christian opens this collection up with a driving “New LIfe,” with the band including Michael Coleman on guitar and Eddie ‘Jewtown’ Burks on harmonica with a terrific tagline “Why every man gotta have two women, and a good woman only needs one man.” Outside of the functional, unimaginative horn arrangements their is some nicer playing including fine vocal and guitar. Dawkins’ penned “Luv Somebody,” with a strong chugging groove that would be home on a Johnny Taylor Recording with Vance Kelly taking the lead guitar. The two other Christian performances give further evidence of what a fine singer he was and also were the first session for guitarist Chico Banks. “Ain’t Gonna Worry About Tomorrow,” which uses the “Cummins Prison Farm Blues,” melody is an impressive performance with strong singing and terrific playing from Banks. Dawkins’ recognizable guitar is present on the sides by the late bassist-vocalist Queen Sylvia Embry (including the excellent “I Know I Ain't Number One”) and the early siders by Nora Jean (Bruso) who sides show more promise that has been realized on her recent recordings, including an excellent disc on Severn. Dawkins’ also supports a fine performance from bassist Robert ‘Big Mojo’ Elem who once anchored the bands of Freddie King and Luther Allison. His side was previously unissued as were the three sides (one an instrumental) by singer-guitarist Vance Kelly who is still active. “Use What you Got,” is a mix of soulful singing and a down home blues groove. Tail Dragger is represented by two sides with a solid band but I find his Howlin’ Wolf styled performances over-bearing and suffer from his mumbling diction, but others will disagree. Sister Margo and Healing Center Choir close this compilation with two solid gospel performances.

In summary, a solid collection of 80’s Chicago blues which exhibit more than a little soul, but remain rooted in the more traditional blues. David Whiteis contributes a concise overview of the music here. It is not an essential release, but one that still is valuable, especially for making available music from Christian and Kelly.


For FTC purposes, the review copy was sent by the recording company.