Peter Parcek Solves The Mathematics of Love

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

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

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

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

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

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

Lauren Kinham's Delights With "Avalon"

Vocalist Lauren Kinhan is best known as a member of the vocal group, The NY Voices, as well as two other vocal ensembles, Moss, and JaLaLa. With JaLaLa, she was part of the memorable tribute to Johnny Mercer, "That Old Mercer Magic." She has just issued her second solo recording, "Avalon," (E1 Music), which displays her talents as a songwriter, and not simply a singer.

She has done this with some of her closest friends who happen to be some of New York’s finest musicians, including drummer and percussionist, who co-produced this with Lauren, and bassist Peter Nowinski who is on most of this. Peter Eldridge, fellow New York Voices band mate, plays piano and co-pens some songs. Jonatha Brooke joins her on “Here After” while Romero Lubambo guests on “Until You’re Mine” and “Here’s My Avalon” and Donny McAslin and Joel Frahm add their signature horn handiwork. Andy Ezrin is also featured on piano and B3 organ.

There is plenty of Brazilian accents heard throughout this as on the opening “Until You’re Mine,” with its light rhythms, and the marvelous song “Here’s My Avalon,” with a bit more fervent rhythm and some terrific horns (Joel Frahm’s alto sax is very impressive throughout as is Romero Lubambo’s guitar) on a love song she wrote for her daughter while away from home.while her scatting dances along with the band as the song rides out. “Here After,” is a dreamy pop number wonderfully sung with Jonatha Brook’s duet vocal, while “Move Over Sunshine,” has an uptown, bluesy flavor with brassy horns as she belts out the lyric in a most graceful manner.

An engrossing rhythm drives “Hide the Moon and Stars,” with lovely flute from Aaron Heick and a hint of flamenco in this romantic song. “Screaming Savoir Faire,” co-written with Andy Ezrin who plays piano as she sings, somewhat disconsolately, about her lover leaving and not keeping the promises he made. On a song like this one appreciates how she avoids coming off as maudlin, with her timing and phrasing of the lyric being enchanting. A bit of funk in the groove with some slide guitar accents on “Writing on the Wall,” as she effortlessly glides from whispering to trumpeting the lyric with vocal chorus support and Ezrin soloing on Fender Rhodes. “Savor the Wine,” is a rock styled number with Ben Butler setting the tone with his guitar against Eldridge’s piano, while the rhythm on “Dory and a Single Oar,” struts with Denny McCaslin adds some atmospheric tenor sax. The next two performances, “As If,” and “There Alone Go I,” have a bit more intimate backing and more lovely singing.

As she has showed over the past two decades, Lauren Kinham is a marvelous singer, able to handle pop and rock flavored material as effortlessly and heart fully as Brazilian sambas and Johnny Mercer standards. With the seamless backing and wonderful playing by the musicians behind her, she delights and enchants throughout with her songs and vocals on “Avalon.”

This review originally appeared in the June 2010 Jazz & Blues Report (issue 326) at pp.16-17 (www.jazz-blues.com). The review copy was supplied by a distributor for the recording label.

Arhoolie's 1963 Down Home Musical Journey

Arhoolie Records is celebrating its 50th Anniversary. It was a time when a California school teacher Chris Strachwitz went and met a British jazz and blues writer, Paul Oliver and toured part of the US and recorded and interviewed a number of primarily blues performers. A release in 1960 by Mance Lipscomb would launch the label which has produced albums of an incredible range of music. A book and 4 CD set “Hear Me Howling!” has been issued to celebrate this but their are other items to note as well.

In 1963, Strachwitz accompanied a German filmmaker, Dietrich Wawzyn, on a journey across the United States that resulted in three films for German television on blues, gospel and country music. The original negatives for those films have been lost, but with the surviving film and the assistance of the editing of Ingrid Tank, the Arhoolie Foundation presents “Down Home Music: A Journey Through the Heartland 1963.” As Strachwitz observes in his commentary track which one can listen to, the present DVD-film is more akin to his own memories of the 1963 journey than the three genre films produced. Also noted is that Wawzyn had a great interest in jazz and with the exception of the New Orleans jazz presented, apparently did not see get to film much jazz. This DVD has approximately 75 minutes of music from a variety of traditions that includes many amazing moments.

There is certainly some magic here to be seen. The film opens with the music of Jesse Fuller who then is seen entering a door (which Strachwitz advises us was Fuller’s home) and then getting behind the fotdella (a foot pedal bass), picking up a 12-string guitar and adding a rack with a harmonica and kazoo launching into a rousing “San Francisco Bay Blues,” with the camera work displaying his feet moving the pedals to play the bass as he adds harmonica and kazoo to the accompaniment of what has become a classic folk song. Its followed by a skittle band and the great folk singer Barbara Dane backed by a jug band and then a performance of Lowell Fulson in a Fillmore area club (with the night club audience scenes from another filming edited adroitly by Ms. Tank). Some powerful gospel music is presented with the fervent congregation of King Louis H. Narcisse, and the Arizona Pentecostal fervor of Louis Overstreet (on the streets and in church) as well as Brother Davis and a tent revival. There is an Indian conjunto trio presented as well as the traditional Navaho sounds of El Lee Natay.

Some of the most remarkable footage for blues fans follows next. Mance Lipscomb, Lightnin’ Sam Hopkins, and Black Ace are filmed on the porch, in their yard or living room. Their is a frustrating short live club clip of legendary steel guitarist Hop Wilson who Strachwitz in his commentary admits he did not think much of at the time but is regarded as a blues legend today. This little bit of video of Wilson may cause some jaws to drop (I remember the first time I saw a clip of Charlie Parker and Dizzy Gillespie on Joe Franklin’s New York City tv show. Then its followed by a terrific clip of pianist Whistlin’ Alex Moore pounding out some barrelhouse piano and whistling fiercely.

From then we travel to Louisiana for a terrific cajun two-step by Shorty LeBlanc, Jay Stutes and the Sugar Bees and gospel by Willie Thomas and family. The then recently opened Preservation Hall is the scene of the George Lewis Quartet with Sweet Emma playing and singing about not giving any of her jelly roll away while Lewis’ two selections include his marvelous “Burgundy Blues.” The filming is marvelous in capturing the personality of The Bell Girl as well as the warmth and soulful bluesy feel of the New Orleans clarinetist. Also filmed was the Eureka Brass Band coming to and from a video. This is priceless because this was the classic brass band. The American Music albums of the Eureka Brass Band are invaluable for those interested in this aspect of New Orleans music.

The remainder of the DVD is primarily devoted to traditional country music by the likes of The Hodges Brothers and J.E. Mainier’s Mountainers, but also includes some film from a Red Sovine Nashville recording session and the Western sound of The Willis Brothers with an amusing fiddle playing routine. Interspersed with this is some lively, archaic African-American string band blues and hokum from Blind James Campbell.

Those interested in American vernacular music will find “Down Home Music: A Journey Through the Heartland 1963,” a fascinating video glimpse at traditions that still move us today. I would suggest watching it and then way=tching it a second time with the optional audio track featuring off-the-cuff commentary by Chris Strachwitz. This is available at a variety of sources including www.bluebeatmusic.com, but you may want to check it out at Arhoolie Records own website, www.arhoolie.com.

I will be reviewing ”Hear Me Howling!” in a few days. That like this was a purchase.

James Peterson 1937-2010

James Peterson, whose career as a blues performer and a club owner spanned over 5 decades, passed away at the age of 73 on December 12, 2010. Born in Russell County, Alabama, I met James in Buffalo in 1976 where he was performing on Main Street at a club called the Sunset Inn. James had returned to the Buffalo area from Florida where he had moved for a couple years.  James had, before I first met him, owned  The Governor's Inn where he played regularly featuring his very young son Lucky on keyboards. The Governor's Inn also brought in some of the biggest names in the blues including Howlin' Wolf (and another time Wolf's band), Buddy Guy and Junior Wells, Muddy Waters, Johnny Lee Hooker and too many more. When Lucky was like 5 or 6, Willie Dixon recorded him doing "1-2-3-4" and the father and son appeared on The Tonight Show.  A couple years later, James and Lucky recorded an album, "The Father, The Son, and the Blues."

I remember walking into the Sunset Inn on Main Street, not far from downtown Buffalo in 1976, and was floored by James' blues. Lucky, then 13, was on keyboards as James sang and played guitar on a range of material from Muddy, B.B. and others, but lending his own stamp. Lucky only played that first set as he had to go to bed, but listening to James sing "Cummins Prison Farm," calling out to the patrons and they responding was something to see. It was similar to how B.B. King and his audience fed off each other at the Regal Theatre, if on a smaller scale.

I met him at the break and we became friends. I was doing a blues program on WBFO-FM and had James and Lucky come in to perform at the Station during a fundraiser as well as a live radio remote broadcast from the original Tralfamadore Cafe in Buffalo. Watching James perform was always a wonderful time. He was a steady, if unspectacular guitarist, but his vocals and his ability to interact with his audience is something rare among blues performers thirty years later. Peterson's vocals were similar to those of blues legend, Johnny Copeland. In Fall, 1977, he opened the New Governor's Inn in Buffalo which he operated for a few more years there, returned south to Florida near Tampa.

Lucky in the subsequent years became established as a band leader with Bobby Bland and then Little Milton, before commencing his own solo career. James continued to perform, and more importantly started recording for several labels including a couple of memorable albums for Malaco's Waldoxy subsidiary. Don't Let the Devil Ride and Preachin' the Blues. These releases led him to tour extensively and play a number of festivals. I remember the opening of his set at the Pocono Blues Festival as riding down on a ski lift, he was playing and singing through radio microphones.

His last recording may have been the 2004 JSP release, If You Can't Fix It, that was billed as by James & Lucky Peterson, but on which James handled all of the vocals, while his multi-talented son played a variety of instruments in support. This showed he remained a strong, powerful singer. I was fortunate to have known him and found him to be every bit as nice and gracious a person as he was an outstanding blues performer.

Condolences go to his son, Lucky and Lucky's family.

For more on James:
PW Fenton on his website, bluesland.net posted a memory of James along with a cool picture of him.

Kirk Fletcher Takes His Turn

At the relatively young age of 35, Kirk Fletcher certainly has established himself as a blues guitarist. He may be familiar to some from his recent stint with The Fabulous Thunderbirds, or perhaps some know him from his work with Janiva Magness, Charlie Musselwhite or Lynwood Slim, or as a member of The Manish Boys. Originally mentored by Al Blake of the Hollywood Fats Band he also was taken under the wing by veteran guitarist Junior Watson. He debuted on CD on a JSP album foillowed by a 2003 release, “Shades of Blue” that Delta Groove reissued in 2004. Now in 2010, he has a new recording “My Turn,” on Delta Groove’s “Electro Groove,” subsidiary that shows his growth as a guitarist who continues to display a crisp, dazzling attack but who has matured and incorporated more elements into his playing, but the foundation is a blues core.

From the opening rocking “El Medio Stomp,” he and his studio band kick things off and his twangy, twisting lines ride the groove. He sings some here, such as the very amiable take on Jimmy Reed’s “Found Love,” but also saxophonist Paulie Cerra takes the vocal on Jimmie Johnson’s rousing shuffle “Ain’t No Way,” sounding somewhat like Finis Tasby. Travis Carlton, son of guitarist Larry Carlton, plays bass on three tracks, including the funky title track that he penned with Cerra and keyboardist Luke Miller, with Cerra getting things going with some greasy sax before Fletcher takes flight with his guitar. Cerra takes the vocal on Sonny Landreth’s “Congo Square,” which is credited as traditional with Fletcher as arranger. Fletcher does take the tempo down slightly from other renditions, and this again gives him a chance to stretch out. Taylor Carlton joins again on bass for The Crusaders’ “Way Back Home” (Larry Carlton played on the original), that opens with a terrific bit of soul-jazz sax from Cerra, before Fletcher takes his thoughtful solo that fits in with the relaxed groove of the performance. “Blues For Antone,” starts acoustically before Kirk plugs in and is some hot blues guitar in the vein of Stevie Ray Vaughan and others. Kirk takes a turn at Sly Stone’s “Let Me Have It All,” singing as well as playing tough guitar with a smoldering backing that would have done the Family Stone proud. The Hendrix inspired, somewhat spacey “Continent’s End,” closes this album. Fletcher describes this as “my idea of Hendrix meets Sonic Youth.” Its an intriguing sonic exploration that concludes this latest, impressive sampling of Kirk Fletcher considerable talents.



This review originally appeared in the June 2010 Jazz & Blues Report (Issue 326) at page 10 (www.jazz-blues.com).

The review copy was supplied by a publicist for the label.

Watermelon Slim Takes No Paid Holidays

Watermelon Slim has emerged as a hot act in the blues and roots music realm. This is the second of three reviews of his music from the past few years. Sunday, December 5, I posted a review of the 2006 eponymously titled album on Northern Blues. This 2008 review of No Paid Holidays appeared in the October, 2008 Jazz & Blues Report (issue 309). The final review in this series will be posted Sunday, December 19.

Watermelon Slim has followed his acclaimed album,“The Wheel Man,” with a new disc, “No Paid Holidays” (Northern Blues Music), that sure is to please fans and critics alike. Backed by his tight band The Workers, he brings his multi-instrumental skills and raspy, gritty vocals to a collection of provocative originals mixed with some choice covers.

The album kicks off with some slide guitar the driving “Blues For Howard,” followed by the by the relentless vamp and groove of “Archetypical Blues No. 2” which cleverly incorporates some traditional blues stanzas.” He shifts to harp while the band kicks into a fast boogaloo groove for Detroit Junior’s “Call My Job,” with his crisp machine-gun delivery of the lyrics very effective.

“You’re the One I Need,” with its Latin-shuffle rhythm, is effective with its lower-key delivery. Perhaps a bit too hard-driving may be “Bubba’s Blues,” with a guest appearance from Leroy Parnell on slide guitar. An interesting performance is Laura Nyro’s “And When i Die,” which Slim accompanies only with his harmonica, a far cry from Blood Sweat & Tears hit of the song. “Gearzy’s Boogie,” is a frenzied harp feature that features some crisp playing but perhaps a bit too frantic a tempo, which contrasts with the sparse field holler opening of “This Traveling Life,” whose starkness is broken up by some crying harmonica.

Taking up the dobro, Slim has a playful tribute to “Max The Playful Clown,” which might not be a blues, but is a damn fine song and performance. Its playful mood contrasts with his stark eyewitness protest of the brutal oppression by the military rules in Myarmar, “The Burmese Blues.” Not sure who decided to follow this with his talking blues “I Got a Toothache,” with guitar and foot stomping, but no possible fault can be found with his moving rendition of Mississippi Fred McDowell’s “Everybody’s Down On Me.”

There are a few flaws but overall “No Paid Holiday” is a highly satisfying recording, full of some exceptional new songs and thoughtful, yet impassioned performances.

The review copy of this CD were provided by the record label, a publicist for the label or performer.

Robin McKelle Does Not Mess Around

Back in November I posted a review of a Robin McKelle CD from a couple of years ago, but she has a current recording available which I am pleased to highlight now. The following review originally appeared in the June 2006 Jazz & Blues Report (Issue 326) at page 20 (www.jazz-blues.com).

Robin McKelle’s new recording “Mess Around” (E1 Music) represents a change from the 2 Big Band CDs she previously recorded. Spanning soul, blues and jazz she says she was inspired by the 60s albums by Ray Charles and Nina Simone (she also references Etta James) and enables to her investigate somewhat different musical textures than in the larger big band settings of her earlier disc as many of these sides use what might be called a little big band setting, rhythm section and 3 to 5 horns on a strong group of material including four McKelle penned originals and seven imaginative covers of material from such notable sources as Bee Gees, Leonard Cohen, Doc Pomus and Willie Dixon. Fred Wesley contributed a pair of arrangements and Houston Person adds tenor sax solos to a couple of tracks. Interestingly, only a couple selections have guitar. The core of the band here is bassist Tim Lefevbre and drummer Mark McLean, with Adam Klipple, Xavier Davis and Alain Maillet sharing the keyboards.

She certainly belts out her vocals throughout from the title track, a striking original where she tells her lover she ain’t messing around with his hurt, cause she wants to hold him in her arms and squeeze him tight. Fred Wesley contributed the striking, original and funky, arrangement for her heartfelt rendition of The Bee Gees’ “I Can’t See Nobody,” followed by a rocking, shuffle rendition of the Hooper-Jennings “Never Make a Move Too Soon,” (a hit for B.B. King) which sports wonderful tenor saxophone by the great Houston Person and a terrific arrangement by Alain Maillet. Leonard Cohen’s “Everybody Knows,” was not a familiar to these ears but McKelle certainly delivers the lyrics in a convincing fashion as Alex Harding blasts away on baritone sax on a strong bluesy performance. “Angel,” another McKelle original, takes the tempo and volume down, shows a bit more reflective side here on this gloomy performance with a lovely horn arrangement. Marvin Sewell, Cassandra Wilson’s guitarist, is added to the hornless “Until the Day I Die,” and crafts a nice solo. Klipple’s organ and Fender Rhodes add to the atmosphere behind the yearning mood she expresses her.

On the standard, “Cry Me a River,” McKelle sounds like a grittier Julie London, nicely sung with more marvelous support from the horns, while Fred Wesley contributes the new arrangement of the old Ray Charles hit, Doc Pomus’ “Lonely Avenue,” which McKelle really pours her heart into. McKelle herself contributed the latin-funk arrangement for “Eleanor Rigby,” which comes off as if she was singing for Willie Bobo or the like. Mark Tucker enlivens the fresh interpretation with some fine tenor sax. Houston Person returns to solo on a sultry, swinging take by McKee on Willie Dixon’s “I Just Want to Make Love to You,” before she closes the disc with the hornless group again on her original, “Since I Looked In Your Eyes,” with Marvin Sewell adding some bluesy slide guitar.

An impressive album that is beautifully played and McKelle certainly places her stamp on the performances. She perhaps has a tad bit more vibrato than my own taste would prefer, but that is my own preference. She certainly has produced an outstanding album that should appeal across genre boundaries, and to fans of blues and traditional R&B as well her fans from her prior releases.

For purposes of FTC regulations I received the review copy from the record company.

Riffin' CD Set Shows Why Nat Cole Was a Jazz King

Nat Cole's musical contributions and career need little elaboration. It should be noted that Hip-O-Select has put together a three CD set, Nat King Cole & Friends "Riffin': The Decca, JATP and Mercury Recordings.” The performances contained here, with the exception of five from 1936, come from the forties when Cole was emerging as a National star. This set comes in a 5 X 7 book that includes an essay by noted author David Ritz about the music contained on this disc. The book also includes full discographical information and has hard sleeves for each of the three CDs. One CD contains 17 tracks by the classic King Cole Trio along with the 1936 selections from Eddie Cole's Solid Senders, and the 1946 sessions by The Keynoters. The middle CD contains Cole’s performances at the legendary Jazz at the Philharmonic concerts, while the final CD includes his sessions with Dexter Gordon and Lester Young and alternate takes of selections with the Keynoters.

Among the 17 selections from 1947 the King Cole Trio are such iconic performances as “Sweet Lorraine,” and “Hit That Jive, Jack,” with Cole’s deft, sophisticated piano, warm vocals, and Oscar Moore’s sparkling guitar runs. Then there are instrumentals like the bouncy “This Side Up,” with Cole and Moore playing off each other. “Honeysuckle Rose,” shows Cole’s ability to spin a horn-like solo on Fats Waller’s stride classic as Moore responds with a similar guitar solo, before Cole’s piano provides a setting for bassist Wesley Smith. “Gone With a Draft,” has a lyric dealing with the wartime military draft, while “Early Morning Blues,” is a low-key, jazzy blues instrumental. and “Scotchin’ With Soda,” is more hip jive, while “That Ain’t Right,” is a vocal blues that perhaps anticipates the similarly uptown piano blues of Cecil Gant (and Charles Brown although Cole’s vocals are much less morose than those of Brown) several years in the future.

The 17 tracks by the Cole Trio are followed by 1936 recordings by Eddie Cole’s Solid Senders, a small group led by Nat’s brother on bass and occasional vocal. As Ritz notes, Nat’s playing is in the manner of Earl Hines on a swinging combo while brother Eddie sings “Honey Hush,” a jive lyric about Sadie Green with punchy horns (trumpet and two saxophones) and a full rhythm section. The other four selections (including an alternate take) are peppy instrumentals including “Thunder” that has nice solos from trumpeter Kenneth Roane as well as Nat and the two saxophonists both of whom display a fair amount of vibrato in the tenor sax solos. Cole’s playing sounds quite modern against the horns. These tracks are followed by the four issued 1946 sides by The Keynoters that featured alto saxophonist Willie Smith along with Cole (as Lord Calvert), bassist Red Callendar and drummer Jackie Mills. Compared to the wobbly playing of the saxophonists with Eddie Cole, Smith is a more modern player and was along with Benny Carter and Johnny Hodges among the finest swing alto saxophonists with a nice tone that hints at the blues. After a wonderful performance of “The Way You Look Tonight,” a torrid instrumental, “Airiness a La Nat,” opens with some wonderful Cole playing before some splendid playing from Smith. This is swing at its finest.

The second disc contains all of Nat King Cole’s performances at the legendary 1944 initial Jazz at the Philharmonic Concerts, that in contrast to the cool trio Cole Trio, was wide open jam sessions. In July, 1944 Cole helps anchor a rhythm section of Les Paul on guitarist, either Johnny Miller or Red Callendar on bass and Lee Young on drums with saxophones by Jack McVea and Illinois Jacquet, and trombone by J.J. Johnson. McVea robustly kicks off “Lester Leaps In,” followed by hot buzzing from Johnson and Cole’s hot playing who is followed by Jacquet. Jacquet's incendiary solos starts off with a hint of Lester Young before he gets down with a hot solo that would set the template for all the bar walkers and honkers as he bellows on the tenor. Les Paul follows with strong single note runs mixed with chords before Cole takes a brief solo chorus as the horns take the song out. McVea sets the table for the swinging “Tea For Two,” with his Coleman Hawkins’ influenced playing followed by Cole with a solo that mixes his virtuosity and restraint. It is followed by Jacquet’s gutbucket tenor before another scintillating Paul solo.

After “Tea For Two” come perhaps the most celebrated performance from the initial concert, “Blues.” Jacquet’s solo on this track is legend as are the  percussively rooted solos of Cole and Paul as Lee Young and Miller anchor the rock solid in-the-pocket-groove before the solos of McVea, Johnson and Jacquet. The blues playing here is as good as it gets and Jacquet’s solo is one of the greatest blues solos played by anyone on any instrument. The ballad “Body and Soul,” takes the tempo down with more marvelous playing. Cole is heard singing “Sweet Lorraine,” with Les Paul taking the spot usually held down by Oscar Moore. The performances of “I Found a New Baby,” “Rosetta,” and the brief rendition of “One O’Clock Jump,” provide more opportunity for the aggregation to raise the roof with their exuberant playing, and Cole is marvelous whether comping and trumpeting out a piano solo. Most, or all, of this specific disc has been available on a Verve reissue although that may be long-out-of-print. In any case, the JATP performances here never sound stale to these ears.

The final disc finds Cole primarily in the role of accompanist as he backs Dexter Gordon on a session that includes Harry ‘Sweets’ Edison on trumpet and this 1943 or 1944 session opens with Long Tall Dexter showing a strong Lester Young influence on a group of swing-based tunes including “I Found a New Baby,” “Sweet Lorraine,” and “Rosetta.” The small combo instrumental rendition of “Sweet Lorraine” contrasts with the two vocal renditions presented in this set. Dexter’s session closes with a jumping blues, “I Blowed and Gone.”

The Gordon session is followed by another legendary session, The Lester Young Trio, with the great saxophonist and pianist Cole joined by drummer Buddy Rich. From the opening of “On the Waterfront,” these are, in essence, magical duets between Young and Cole as Rich generally displays a light touch, even on the swinging tempo found on “Somebody Loves Me.” The trio romps on “I Found a New Baby,” while Rich sits out “Peg ‘O My Heart,” a marvelous display of Cole and Young’s magic together. Alternate takes from The Keynoters session are the final performances issued in this compilation.

Fans of Nat King Cole who are interested in the jazz side of this American master certainly will love the music here, although they may already own a good portion of the music released here. The packaging is first-class and includes full discographical and session information and the mastering sounds fine to these weathered ears. This might make a marvelous gift for the holidays or special occasions and should be readily available from a variety of sources. This was a present for myself.

RIP James Moody 1925-2010

091607 We Love Dizzy -1651, originally uploaded by NoVARon.

Just heard that James Moody passed away on December 9, 2010 from pancreatic cancer. Moody, seen here as part of the Dizzy Gillespie All Star Band at the 2007 Duke Ellington Jazz Festival in Washington DC. In 1998, he was selected a a National Endowment of the Arts Jazz Master and was last nominated for a Grammy in 2009.

Veteran critic Howard Mandel has written on his blog, Jazz Beyond Jazz about Moody, "A brilliant improviser who emerged from Dizzy Gillespie's big band to join the young turks of bebop (Monk, Bags, Klook, Blakey) in the late 1940s, he became internationally admired for his tenor sax and flute mastery and on-stage good cheer …"

Here are some other links on James Moody:

Jazzwise Magazine obituary. "Moody had the cool demeanour of jazzmen of his generation who oozed effortless control on the bandstand of the best jazz clubs they found themselves performing in. Moody brought a strong personality to the saxophone and when he took the microphone to sing as well it all added to a direct connection with the listener that few could hope to achieve."

NY Times obituary  "James Moody, a jazz saxophonist and flutist celebrated for his virtuosity, his versatility and his onstage ebullience …"

San Diego Union-Tribune obituary by George Varga quotes Quincy Jones:


“He was the quintessential saxophone player, and his 'Moody’s Mood For Love' will forever be remembered in jazz history side by side with Coleman Hawkins’ classic 'Body and Soul.'
 …
James Moody was one of the people who allowed me to stand on his shoulders when I was coming up. And there can never be a value placed on that. So much of who I am today, is because of who James Moody was to me back then."

To this I want to add a quote from Mr. Moody himself from Mr. Varga's story. 


"My goal is that I want to play better tomorrow than I did today, because I’m not in competition with anyone else,” Mr. Moody noted in a 2005 Union-Tribune interview.”If you try to do that, to compete, you’d better give up, because there’s always somebody, somewhere, who has more going on. And that’s what makes jazz so beautiful, that’s what makes the world beautiful.” (italics added).

Marc Copeland quoted in JazzTimes obituary: "My personal homage to Moody is this: Every time I play, every time I travel, I hope to play with the same spirit that he does and hope to treat other musicians with the same kindness and respect that he does."

NPR's Blog Supreme. Patrick Jarenwattananon writes, "Jazz saxophonist and flutist James Moody has died. A virtuoso player known for his effusive warmth on and off stage, Moody's career in music stretched well over 60 years. He was 85."


NPR's Fresh Air Remembers James Moody. Moody quoted on remembering Dizzy Gillespie,

"For the longest time, I used to call my wife — I used to call Linda, my honey, and tell her, 'Honey, I called you and you weren't home.' You know?  She says, 'Honey, I've been home all day.' I said, 'Well, but I called' — and then I'd say the number.  And she'd say, 'Honey, that's Dizzy's number.' "

Riotsquad Publicity obituary found at The Jazz Breakfast. "“Playing with Moody is like playing with a continuation of myself,” Gillespie once said. Moody later responded, “I felt the same way with him. He was my mentor, my teacher, my best friend, and my brother."

"In lieu of flowers the family asks that donations be made to:

CFNJ/ James Moody Jazz Scholarship Fund for Newark Youth

Post Office Box 338

Morristown, New Jersey 07963-0338"

Andrea Canter at All About Jazz: "His personal charm was only exceeded by his artistry on saxophones and flute"

The Jazz Police has a fuller obituary by Andrea Canter.

Jazz photographer Juan Carlos Hernandez's photo tribute to Moody with some you tube links.


Elements of Jazz posted seven Moody videos on November 27 as part of her series of posts, Seven For Saturday.

WBGO on Moody notes they will be rebroadcasting the Kennedy Center's 80th Birthday Party for Moody on December 19 and December 22. 


Washington Post obituary by Matt Schudel from which we "Of all his musical partnerships, Mr. Moody was best known for his chemistry with Gillespie, who once said, 'Playing with Moody is like playing with a continuation of myself.'"


Prior to publishing a full obituary, the Washington Post had a brief obituary on its webpage with comments that are worth perusing. I like this one by Dave Statter, "Thank you Matt Schudel. James Moody was one of my favorite musicians of all time. Along with his immense musical talent was a sense of humor that seemed to be a part of everything he did. I think of one wonderful night at One Step Down where he took me by the arm in the middle of another musician's solo pretending to be the maitre d and escorted me to my booth near the bandstand."


Marc Myers remembered Moody on his JazzWax blog.  "What set Moody apart from the crowd of exceptional saxophonists in the late 1940s was his fluid swing, voluptuous tone and crafty lyricism. A solo by Moody typically was seamless, sophisticated and staggeringly melodic."  Myers blog entry also includes his ten favorite Moody tracks (Odd that all but one is from 1961 or earlier).

Bob Margolin, while touring Europe with Muddy Waters, encountered James Moody.


"I told him I was in Muddy's band and Mr. Moody, a gentle man and a gentleman, asked me who wrote our charts. I explained to him that neither Muddy nor the band read music or had set arrangements of songs. We just played Blues in the moment following Muddy's guitar and his cues for solos. Mr. Moody was astounded."


Here is a WGBH Boston jazz programmer, Steve Schwartz's playlist of music featuring James Moody.

Quotes from twitter on James Moody:

John Brook: "Jazz legend James Moody died today of pancreatic cancer. Over 50 years of music to explore, incredible work to explore. He was 85. r.i.p."

Terence Blanchard: " R.I.P. James Moody......You have blessed us all with your incredible musical talent and you will truly be missed.... http://fb.me/FVaQdS24"

Finally, the wonderful singer Roberta Gambarini dedicated her performances Friday December 3 at the Kennedy Center to her dear friend and mentor James Moody, with whom she was originally scheduled to perform.  Seen is Clark Terry, Roberta Gambarini and James Moody singing at the 2007 Duke Ellington Jazz Festival.

Wood & Fraher's Texas Zydeco Excellent Book On Creole Music

If you are looking for a holiday present for the blues and/or zydeco fan, then the superb, Texas Zydeco is a book that should be considered. It combines authoritative writing with some beautiful photography.

Texas Zydeco
by Roger Wood & James Fraher (photographer)
University of Texas 2006


Zydeco music is usually associated with Louisiana, but historically Texas, and especially the city of Houston has been central to the growth and development of the idiom from the more traditional la la music of the creole population that is concentrated in southwestern Louisiana and neighboring portions of Texas that include House. The place of Texas in the rise and evolution of zydeco is the subject of Texas Zydeco, the latest collaboration between writer Roger Woof and photographer James Fraher, who previously collaborated in Down in Houston: Blues in Bayou City, the superb book on Houston’s blues scene.


Like the previous volume on Houston Blues, Wood does more than simply provide sketches of the history of the music. He takes us into the world of the zydeco as his first chapter introduces us to the various venues for zydeco and the audience and musicians there ranging from the clubs and church dances to the all day festivals at a rodeo arena. The history of the music as it was transformed from la la to zydeco and some of the pioneering figures and recordings are presented and the fact that some of the recordings were made in Houston including a rare Lightnin’ Hopkins recording on organ, Zologo. Folklorist Mack McCormick was responsible for the spelling of zydeco, but it was not until a Clifton Chenier recording used that spelling, that this spelling received the credibility until it became the established way to spell the term


A chapter is devoted to Chenier and his influence. Chenier’s mix of traditional creole music with rhythm and blues as well as his use of the piano accordion led to the emergence of zydeco as a musical genre and through interviews with some of Clifton’s contemporaries as well as some of the musicians who played with him, including his son C.J, and guitarists Philip Walker and Sherman Washington who recall their experiences with Clifton and how he was a mentor to them which they recognize even today the value of his lessons for them. Clifton was a remarkable person. Chenier invented the frottoir (rubboard) which replaced the washboards that had been used previously, having the first frottoirs fabricated and Wood spends some pages with the individuals that crafted these instruments for use.


Another chapter discusses some of the post-Chenier performers in the world of Texas zydeco, noting that many, but not all, have adopted the button accordion as opposed to the chromatic piano accordion, and provides an overview of these new breed performers including Corey Ledet, Dora and the Zydeco Bad Boyz, J. Paul and Skip Riteau, and in showing their individual maturation as artists how Texas remains a fertile ground for zydeco to continue to evolve.


James Fraher, certainly one of the most outstanding blues photographers alive, contributes some stunning photography. It is unfortunate that Wood and Fraher did not include some actual photographs of Chenier and other masters that Fraher never was able to document, as a photograph of a old Zodico poster for Chenier is not quite the same thing. But this is only a quibble as this book brings the world of zydeco, not simply reciting the lives of major figures, and joins Down in Houston as an important and engrossing book on African-American vernacular music traditions.


This review originally appeared in the November/December 2006 Jazz & Blues Report (issue 288). I likely received a review copy from the publisher.

Dr. John's Strong Piano Blues

Back in 2006, I had a chance to review together several recordings by Mac Rebannack, aka Dr. John for Jazz & Blues Report. The review appeared in the April 2006, Issue 281 issue. Here is that review. These CDs are available at amazon (although some may be available from third parties.

Sippiana Hericane
New Orleans native, Mac Rebennack, better known as Dr. John, was greatly affected by the destruction Katrina inflicted on his hometown. Shortly after Katrina’s destruction and the breach of the levies, Dr. John and his band, guitarist John Fohl, bassist David Barard and drummer Herman Ernest III, who he refers to as the lower 911, went in the studio and recorded Sippiana Hericane (Blue Note), a benefit recording, the proceeds from which benefit the New Orleans Musicians Clinic, the Jazz Foundation of America and The Voice of the Wetlands. This is a somewhat short recording, approximately 26 minutes or so that opens with Bobby Charles’ Clean Water with the heartfully sung plea to “clean all the waters in the world.” It is followed by the four-part Wade:Hurricane Suite, the opening part is derived from the spiritual Wade in the Water. The third part is a slow, bluesy section which evokes St. James Infirmary a little. The Final part harks back to Wade in the Water, although with a message, “Wade in the water, Comin’ back like we oughta ... Wade in The Bayou, Comin’ back and ya know why-o,” delivered against a funk groove. Dr. John and Cat Yellen reworked his Sweet Home New Orleans which he hears callin yet after the levee “Where y’aaat my lil darlin,” as he recounts some of the devastation. A short reprisal of Clean Water closes this very moving disc.


The Legendary Sessions

In addition to this new disc, three discs add to the good Doctor’s musical legacy. Clean Cuts Music has reissued Dr. John Plays Mac Rebennack, 1981 solo piano recordings (with a few vocals that often sound off-mike) at a time when he was without a recording contract. A couple years ago they issued The Legendary Sessions Volume 1, which makes available the first of the two albums issued of this material. The present reissue includes not only three selections first issued on the first cd release of this material but also four previously unissued tracks. Among the songs here is a marvelous one for his mother, Dorothy, with its graceful ragtime flavor; Mac’s Boogie, a solid boogie woogie in the Albert Ammons vein; a atmospheric Memories of Professor Longhair, which is a reworking of Longhair’s classic Tipitina; Delicaco also sports a bit of the rumba groove that Longhair favored; while Danse a La Negres is derived from a famous creole composer of the 19th century, and anticipates the opening track of his Going to New Orleans disc; and Silent Night gets a bit of a New Orleans reworking (likely based on the Huey ‘Piano Smith & the Clowns recording); Saints, his individual interpretation of the traditional jazz anthem, and among the previous unissued selections is a wonderful rendition of Careless Love. This comes in a digipak and has a booklet with liner notes and some rare pictures of Mac and his family. The playing on this holds up twenty five years after its initial release.

The Legendary Sessions Volume 2, originally was issued as The Brightest Smile in Town, and that was of the twelve numbers on its original release which I do not have. Included is a blues, Saddle the Cow, that foreshadows Mac’s Trajick Magick, that he performed on Hank Crawford's marvelous Roadside Symphony album; Waiting For a Train, a nice bluesy reworking of the classic by Jimmy Rodgers, the Singing Brakeman; the title track; Touro Infirmary, reworking the classic St. James Infirmary; a medley of Just a Closer Walk With Thee/Midnight Ramble; and his original,Suite Home New Orleans. Newly issued selections include Key to the Highway, Sippiana Midnight and Rockin’ Pneumonia and the Boogie Woogie Flu before closing with the Jerome Classic Yesterdays. Both of these are delightful and recommended. I trust that the packaging for Volume 2 will approach if not quite match that of Volume 1.


Right Place, Right Time: Live at Tipitina’s Mardi Gras ‘89

Last but not least is the Second Volume of The Rebennack Chronicles, a series of live recordings from over 600 cassettes that Dr. John has accumulated over the years, and issued on the Skinji Brim imprint that is distributed by Hyena Records. Volume One was the excellent All By Himself: Live at the Lonestar, a performance where he was only accompanied by his piano. The Second Volume is Right Place, Right Time: Live at Tipitina’s Mardi Gras ‘89, and has him backed by his band of the time that included Mr. Ernest III, and Mr Barard who are still with the good doctor sixteen years later. Tommy Moran was the guitarist, Charlie Miller on trumpet and Amadee Castanell on saxophone with Trazi Williams on percussion. This is a lively performance as he opens with a funky Junco Partner, which is followed by the Rebennack-Goffin Renegade during the middle of which he raps about “I like to do what I wanna do anytime I feel like doing what I wanna do, I like to say what I am sayin’ anytime I feel like sayin’ how I want to say it.” There is the Night Tripper classic, Walk on Guilded Splinters, and Travellin’ Mood on which Castanell solos in a most fiery manner. Earl King’s classic Let the Good Times Roll certainly is an appropriate tune to celebrate Mardi Gras and is followed by Louis Jordan’s ballad, Don't Let the Sun Catch You Crying. Willie Dixon’s Wang Dang Doodle and Mac’s Such a Night close out this most entertaining addition to the Doctor’s discography.


For purposes of FTC Regulations, I received review copies the Clean Cut CDs from Jazz & Blues Report, I believe I purchased Sippiana Hericane, and not sure whether I purchased or got a review copy of Right Place, Right Time.

Derrick Gardner's Outstanding Hard Bop

A couple of CDs by trumpeter Derrick Gardner have given me much pleasure. Here are reviews from the October 2008 (Issue 309) and August 2009 (Issue 319) of Jazz & Blues Report, respectively.

A Ride to the Other Side…

Formed in 1991 when Derrick Gariner arrived in New York, the hard bop Jazz Prophets has hung together since then. This group is heard on the exciting new release “A Ride to the Other Side… “ (Owl Studios).

The core of the band is leader Derrick’s trumpet, his brother Vincent on trombone and Rob Dixon’s tenor saxophone, rounded out by the rhythm of pianist Anthony Wonsley, bassist Rodney Whitaker and drummer Donald Edwards. Percussionist Kevin Kaiser spices up several tracks with his Latin rhythmic accents. Musically, the Jazz Prophets are inspired by the funky hard bop of the likes of Cannonball Adderly, Horace Silver, Art Blakey and Louis Hayes-Woody Shaw. If Derrick Gardner is the leader,, this band sounds like there is quite a cooperative flavor as both brother Vincent and saxophonist Dixon contributing some of the originals. The only performance that is not an original is “Be One,” from bassist Bill Lee (Spike’s dad). 

Whatever the source, this album cooks from the opening “Funky Straight;” through the hot Afro-Cuban scorcher “Lazara;” the dreamy “Just a Touch,” with its stop-time effect; and Dixon’s spirited “Of Infinity,” that closes this disc. “Mac Daddy Grip” is a Blakey inspired number with a loping beat with brother Vincent opening with a strong trombone solo followed by a prancing tenor solo from Dixon before the leader takes the spotlight recalling the likes of Woody Shaw and Lee Morgan with his brash and bright tone. Bill Lee’s “Be One” gives Derrick a chance to showcase his marvelous ballad playing on a number some may be familiar with from the sound track of “School Daze.” Few, if any, hard bop enthusiasts will be disappointed by the spirited and thoughtful playing here by an excellent ensemble that bring some fresh voices to this jazz tradition.

Echoes of Ethnicity 

Trumpeter Derrick Gardner returns with an intriguing new album with an intriguing new recording, Echoes of Ethnicity (Owl Studios). The credit to the album is to Derrick Gardner & The Jazz Prophets + 2, reflecting the session expanding the sextet of the Jazz Prophets to that of an octet (being a nonet on tracks with percussion), in lines of a big little band such as could be heard on some recordings by the likes of a Jimmy Heath, Charles Mingus, Bennie Golson or Randy Weston.

Joining him are Jazz Prophets pianist Rick Row, trombonist Vincent Gardner, tenor saxophonist Rob Dixon, Bassist Gerald Cannon and drummer Donald Edwards. The additions are Brad Leali on alto sax and Jason Marshall on baritone sax with Kevin Kaiser on percussion.

“ 4Newk” is inspired by Sonny Rollins and a hot number in the vein of a Lee Morgan and with a blistering solo from the leader and Jason Marshall also outstanding. Kaiser’s congas are added on brother Vincent's “Afros and Cubans” with a 6/8 rhythm with pianist Rick Roe displaying a fine relaxed attack on a number with interesting contrasting horn parts and the band skillfully negotiating several tempo shifts.

The tenor of Dixon and alto of Leali get showcased on Dixon’s “We Jazz June” is taken at a brisk tempo and its melody had a hint of “Giant Steps,” but is much more than a reworking of that classic. Leali opens the solos with a solo that displays imagination and a marvelous tone before Derrick comes in with a very round sounding solo. “Natural Woman” is an imaginative rendition of the Aretha Franklin soul classic set up with a slow 4/4 marching band tempo giving it a dirge-type flavor with Derrick’s arrangement of horns behind his solo and Leali’s short alto break is quite nice. Kaiser adds a Latin flavor to Freddie Hubbard’s The Melting Pot,” on what is a funky bluesy performance with brother Vincent shining on his solo.

“Autumn in New York,” is reworked as a “tone poem,” and a concerto centered Derrick’s Gardner’s wonderful ballad playing with Cannon taking a short solo. Rob Dixon’s “The Crystal Stair,” adds a bit of African flavor in Kaiser’s percussion with Leali, Marshall and Derrick taking the solos. Derrick’s “The Miss’ippi Man,” which closes this album, is a Mingus inspired number with the opening baritone honking by Marshall evoking Hamiett Bluett’s playing with the World Saxophone Quartet with his funky riff that sets the composition’s tone, with Dixon taking charge on his solo and drummer Edwards taking a short, crisp solo before Marshall takes them to the rocking conclusion as the musicians chat in a spirited manner as this ends.

Derrick Gardner has put together another strong hard bop disc which harkens back to some of the strong recordings the late Woody Shaw produced a couple decades back.

For purposes of FTC regulations, review copies of these CDs was provided by a publicist for these released

Farewell Pocono Blues Festival

2010-0725 Pocono Blues Day 3-1688, originally uploaded by NoVARon.

Mavis Staples was the closing main stage performer at the 19th Pocono Blues Festival July 29, 2010. Like others who have been making to trip to Lake Harmony PA, I was looking forward to attending the 20th Festival in July 2011. It was an event I regularly looked forward to each year as it brought together the best blues acts as well as blues performers who were lesser known. The connection between them was that they were blues acts, not some blues-rock performer who headlined lots of glitzy festivals, but folks like Jody Williams, Jimmy McCracklin, Jimmy Johnson, the late Robert Lockwood Jr., the late Ruth Brown, Shemekia Copeland, Alabama Mike, Denise LaSalle, Floyd Taylor, Latimore, Long John Hunter, Lowell Fulson, Sugar Pie DeSanto, James Cotton, Eddie Clearwater, the late Johnny Jones and Charles Walker, Roy Roberts, Barbara Carr, Buddy Guy, Robert Cray, James Peterson, Theodis Ealey, Charlie Musselwhite, Pinetop Perkins, Bob Margolin, Eddie Shaw & the Wolf Gang, Koko Taylor, Johnny Copeland, Guitar Shorty, and Wanda Jackson. One thing you did not find were the popularizers, imitators or the latest Stevie Ray Vaughan wanna be.

Theodis Ealey at 19th Pocono Blues Festival

I have many memories of great performances at the Pocono Blues Festival. Johny Copeland sitting in the back of the stage with a big smile while Clarence Holiman and Carol Fran were performing, or James Peterson singing and playing while riding down on a ski lift to teh stage. Then there was the time when Eddie "The Chief' Clearwater, rode to the stage on a horse with full regalia or Shemekia Copeland taking a ride on a Harley before her performance.

Michael Cloeren on left with photographer Dusty Scott

And there were the people,the folk in the photo pit as well as simple fans, who came back year after year. One made friends with the staff and folks one saw every year. It was a festival but also felt like a very large family at times.

I thank Mike Cloeren and all the folk who worked with him to put on what was heaven for blues fans in the Pennsylvania Mountains for all these years. It is unfortunate that the festival is a victim of the economic times and couldn't at least make it to the 20th Festival so we could come together one last time. The memories from the festival will last us for our lifetimes.

Watermelon Slim Brings Grit to His Blues

Watermelon Slim has emerged as a hot act in the blues and roots music realm. This is the first of three  reviews of his music that I have written over the past few years. This 2006 review (appeared in March-April Jazz & Blues Report issue 280) is of the eponymously titled CD that marked his breakout as an act. It is worth bringing this to your attention which might get lost in connection with some of his recent releases. My 2008 review of No Paid Holidays appeared in the October, 2008 Jazz & Blues Report (issue 309) will appear in this blog on Sunday December 12. The final review is of Escape From the Chicken Coop which originally appeared in the September 209 Jazz & Blues Report (issue 320) and will appear on Sunday, December 19.

Since he wrote most of the songs on the eponymously titled Watermelon Slim & the Workers (Northern Blues), I assume William Homans is Slim’s real name. I had heard of Slim since Chris Wick contacted me to promote his nomination for a W.C. Handy Award (Now known as the Blues Music Awards). His band, The Workers, also include guitarist Ian lamb and Cliff Belcher on drums with Dennis Boryki guesting on piano.

First of all, there is an authority to his singing as well as his sharp harp and slide guitar playing. His singing suggests Sam Myers to my ears, not to suggest he attempts to imitate Myers, but rather I find his voice similar. He is more than capable to bring his own voice to blues standards like Baby Please Don’t Go or Mississippi Fred McDowell’s Frisco Line, while Devil’s Cadillac, a collaboration with drummer Michael Newberry has evocative lyrics about the crossroads to go with the trebly slide guitar heard here as the Workers provide a light, latin-groove.  

Check Writing Woman is a terrific rocker with some rollicking piano and some fleet Tornado Alley guitar from Lamb and driving harp from Slim, but the band never takes things over the top. Possum Hand is a nice instrumental that displays more of Slim’s fine harp playing. Listening to this disc, it is easy to understand why Northern Blues’ Fred Litwin was excited after hearing him perform and signed him to the label.

Watermelon Slim brings a lot of things to this disc as a songwriter and a performer and has put together some terrific tracks. This gets a high recommendation.

The review copy of this CD were provided by the record label, a publicist for the label or performer.