Anson Funderburgh & The Rocket's Best!

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the other two compilations will run in the next couple weeks. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue and you might want to check collector's choice music as well as other websites.

Shout Factory has been reissuing product from the catalog of the Black Top label, arguably the label that from the mid-eighties through its demise in the nineties, had the strongest catalog of blues releases in that period. Earlier releases included the discs of Solomon Burke, and a Hubert Sumlin one. Three new releases are “Best of” collections centered on three of the label’s artists that do include recordings these performers made for other labels.

It was ironic that I received, Blast Off -- The Best Of Anson Funderburgh & The Rockets, the day word that Sam Myers, the great Mississippi vocalist had passed away. It is odd that this reissue does not mention featuring Sam Myers who appeared on most of the Rockets discs after Myers joined Anson and his varying line-up over the years, especially since the band took off as one of the preeminent blues bands after Myers became featured. 

The above is not to say that the band was shabby with the original vocalist Darrell Nulisch who certainly turns in an amiable performance on Earl King’s Come On, but a younger Nulisch simply had not developed the authority that Myers brought with his singing and harp as evident on A Man Needs His Loving, Moose John Walker’s Ramblin’ Woman or Buddy Guy’s reworking of Barrett Strong’s Money, $100 Bill. Additionally Myers brought his considerable harp talent to the recordings and live dates. Anson himself displays his sizzling playing as well as his impeccable taste, and is featured on Down at JJ’s. While the backing personnel changed over the years, they remained a tight, swinging outfit. 

There are numerous pleasures to be heard on all 17 selections which is compiled from all nine Rockets recordings, including selections from the two Bullseye Blues albums and the two with Nulisch and one certainly hopes that at least a few of the Rockets CDs featuring Sam Myers including Sins, Rack ‘Em Up, and Tell Me What I Want to Hear, are issued in their entirety. 

Here is a video clip of Anson Funderburgh and the Rockets featuring the late legend, Sam Myers.

My Music MIx For Today

Today they are having a party at my office to celebrate my upcoming retirement. Knowing my interest in music they asked me to prepare some music to play. I prepared a CD and here is the playlist with song, artist, and composer.  I must say it is a pretty diverse set of music. And I included some youtube clips that are mostly the recordings but an occasional live performance mixed in.

1 My One And Only Love by John Coltrane & Johnny Hartman, written by Robert Mellin & Guy Wood

2 Love For Sale  by  Dexter Gordon written by Cole Porter

3 I Never Loved A Man (The Way I Love You) by Aretha Franklin,  written by Ronny Shannon

4. In Walked Bud  by Thelonious Monk, music by Thelonious Monk and lyrics by Jon Hendrick

5. You Used To Call Me by Clifton Chenier and written by Clifton Chenier

6. Flowers For Albert by the Skatalites and written by David Murray

7. Burgundy Street Blues by The George Lewis Band and written by George Lewis

8. Mercy, Mercy, Mercy by Cannonball Adderley and written by Josef Zawinul

9. When Something Is Wrong With My Baby by Charlie Rich and written by Isaac Hayes & David Porter

10. Petite Fleur  by Evan Christopher and written by Sidney Bechet

11. A Man And The Blues  by Buddy Guy and written by Buddy Guy

12. Jumpin' At The Woodside  by Count Basie Orchestra and written by William Basie 

13. Mr. Moonlight by Roy Lee Johnson and written by Roy Lee Johnson

Eisenhower Blues Has Some Excellent Post-War Blues

The following review appeared in the September/October 2006 Jazz & Blues Report (Issue 286) I have made minor corrections. I should note that my original review did not include the recording's subtitle, Post-War Urban Blues Classics From the Eisenhower Era (1952-1960).

While J.B. Lenoir waxed a blues protesting the hard times during the administration of President Eisenhower during the 1950s, most of the recordings compiled on Eisenhower Blues (Empire Musicwerks) lack such a topical center but simply are strong blues recordings with most having a down home flavor.  

Long-time collectors will have some or many of these performances, but these remastered sides sound really nice. Others will discover a number of little known artists that have much to say. There are a couple of gems from Lenoir, including the title track and the lively medium tempo boogie, Fine Girls. The CD opens with John Brim’s topical Tough Times, with Jimmy Reed on harmonica. 

Others heard here of note include Jody Williams (as Little Papa Joe)  doing a peppy Lookin’ For My Baby; Harp player and vocalist Dusty Brown (recently heard on Severn’s Chicago harp anthology) on his fine downhome Yes, She’s Gone, more down home harp and vocals from Little Sammy Davis (who is still active and occasionally on Imus’ radio show) doing 1958 Blues based on the Rollin’ & Tumblin’ riff; and Joe Hill Louis’ Jealous Man (as Johnnie Louis) which sports a wild guitar break. There is Sunnyland Slim’s Goin' Back to Memphis, another Rollin & Tumblin’ variant; Willie Egan’s wild Fat Domino-inspired rocker Wow Wow Wow; a couple from Baby Boy Warren with Calvin Frazier on guitar and Washboard Willie (I believe on washboard), including Mattie Mae, adapted from a John Lee ‘Sonny Boy’ Williamson recording; an early Albert King recording (showing a bit of Elmore James influence), (Be on Your) Merry Way; and Little Willie Foster’s tough Fallin’ Rain Blues.” 

There are other equally fine songs by others on this collection with annotation from Bill Dahl making for a treasure trove for the blues fan. 

As a sample of this here is Dusty Brown's Yes, She’s Gone.

Ted Gioia's Stimulating The Jazz Standards

The Jazz Standards: A Guide To The Repertoire
Ted Gioia
Oxford University Press
2012: 544 pages

Musician and author Ted Gioia has provided a fresh resource for jazz aficionados with his new book The Jazz Standards: A Guide To The Repertoire. What he has done is take 250 compositions that he finds to be at the core for jazz musicians and provides an overview of the compositions including some biographical information of the composers, the history of the song including what shows or movies it may have appeared in and then a discussion of the recording history of the recordings, noting how the song first came into the jazz repertoire and discussing some of the notable jazz recordings of the composition.

When I received my review copy I was impressed by the originality of this book which was an effort in part to cull the Fake Books of the most important compositions. Such an effort is likely to lead to questions of omissions both in the selected songs as well as the renditions he discusses. While there were a few songs I had minimal familiarity with, I would be hard pressed to name any I might disagree being part of the Jazz Repertoire. My disagreement might be in what was omitted, particularly thinking about blues compositions like Leroy Carr’s “How Long, How Long Blues” or Eddie Miler’s “I’d Rather Drink Muddy Water,” which still receive fresh attention today decades after their original waxing decades ago.

I was surprised by the omission of Dinah Washington’s rendition of “Love Come Back to Me,” or Dexter Gordon’s rendition of “Love For Sale,” in discussing those classic songs both of which have been extensively recorded. Also more surprising is the omission of Bobby Bland’s superb recording of “St. James Infirmary,” particularly in light of Gioia’s referring to Buddy Guy’s recording of “Watermelon Man” as a rare instance of blues artists tackling the jazz repertoire. Otis Rush recorded Kenny Burrell’s “Motoring Along,” Junior Wells handled “Chitlin Con Carne,” and Taj Mahal did a terrific treatment of Horace Silver’s “Senor Blues," to name a few examples. This perhaps indicates that Gioia does not have as deep a background in the blues as well as the fact that one will not find many of the compositions of Burrell, Buddy Johnson, and Jimmy Smith, which were favored by a wide variety of musicians, included among those included by Gioia.

I note that the recordings he cites and recommends cover a wide range of styles and even genres so if he omits Dr. John’s rendition of “St. James Infirmary,” he does include Dr. John doing a Johnny Mercer song and he cites a number of other recordings by Dexter Gordon and Dinah Washington with other of his Jazz Standards. Also even with only 250 standards discussed, the book is weighty and over 500 pages.

The Jazz Standards is a pioneering work that will inform and educate as well as generate much thought and discussion. It is a welcome addition for jazz bookshelves and will make a wonderful gift for the jazz lovers on your gift lists.

I was provided a review copy from the publisher or a publicist for the publisher. 

Take a Sentimental Journey With Fats Domino

The following is taken from the April 2007 Jazz & Blues Report (Issue 292) when I did a lengthy review of a number of releases on The German Blue Label (a subsidiary of SPV Gmbh). This is the first of a number of posts from that composite review. My review copies were supplied by the publication. This is still in print.

Of interest will be a double disc by the legendary Fats Domino titled Sentimental Journey. Recorded in 1987, Fats was accompanied by his working band for what is a solid live recording at the University of New Orleans as he revisits so many classics including I’m Gonna be a Big Wheel Someday, I’m Walking, Ain’t It a Shame, The Fat Man, Walking to New Orleans, Blueberry Hill, My Girl Josephine, Let the Four Winds Blow, I’m in Love Again and Professor Longhair’s Mardi Gras in New Orleans. 

 The band is in solid form and the Fat Man rocks and one gets to hear plenty of his piano in addition to his warm, ingratiating vocals. Unfortunately no band personnel are listed though there is plenty of fine sax, muted trumpet and guitar (featured with Fats on the closing instrumental rendition of Sentimental Journey). This is an enjoyable performance, although there is much live Domino available including a hot European concert with trumpeter Dave Bartholomew present and his Austin City Limits TV show (also available on DVD). 

Here is some Fats live.

Eleanor Ellis Is DC's Acoustic Blues Queen

I have known Eleanor Ellis since very shortly after I joined the DC Blues Society, which she was one of the founders of. I served on the Board of Directors with her for a couple years as well as always enjoyed her wonderful acoustic blues. Some female acoustic blues performers may be much better known, but I would be hard pressed to name one any finer whether she is performing a Memphis Minnie classic, or a number from Jim Jackson, Bo Carter or some other pioneering blues artist. Her friend Donna Fletcher made the observation that she makes what is really so difficult to play seems so easy.  Her vocals flow and come across as soulful in the same flowing manner. This picture was taken from her performance at the DC Holiday Market in front of the National Portrait Gallery in Washington DC on Monday December 3.

Perhaps if she had not been as concerned with helping others like the late Flora Molton or Archie Edwards (or helping launch the Archie Edwards Blues Heritage Foundation) and focused on her own career she would be as well known and as highly regarded as say Rory Block. Her music is that good and I refer you to a review I did of her CD Comin’ a Time which I once again highly recommend. Here is a video of Eleanor performing this past Monday.

Satchmo at Symphony Hall - 65th Anniversary: The Complete Recordings

It was 65 odd years ago that the great Louis Armstrong in May, 1947 did his first small group performance in many years at New York City’s Town Hall. The performance was such a success and combined with the fact that Armstrong’s Big Band was struggling, he disbanded his band band a month later. After performing with his new small group at Billy Berg’s in Hollywood, he came to Boston’s Symphony Hall in November, 1947 for a performance that would be recorded and be celebrated when it was initially issued on two LPs a few years later. Hip-O-Select has just released Satchmo at Symphony Hall - 65th Anniversary: The Complete Recordings, which includes several previously unissued performances and several performances unedited for the first time.

Armstrong and the All Stars included in addition to the leaders’ trumpet and singing, Jack Teagarden on trombone and vocals, Barney Bigard on clarinet, Dick Cary on piano, Arvell Shaw on bass and Big Sid Catlett on drums. Velma Middleton was also on vocals. The music here was in the format that Armstrong would employ leading groups for the rest of his life and while personnel would change (Catlett would pass away around the time of the original release of this material in 1951). 

Included are two sets of music totaling about two hours. Both sets open with abbreviated renditions of Armstrong’s theme, When It’s Sleepy Time Down South, and close with short treatments of I Got a Right to Sing the Blues, associated with Teagarden. Listening to the first CD, one is treated to a rousing Muskrat Ramble, followed by the poignant song about racism (What Did I Do To Be So) Black & Blues. After taking us to Chicago on Royal Garden Blues, Teagarden is showcased for Lover and Stars Fell on Alabama with a nice vocal from Mr. T. A couple vocals from Velma Middleton include a take on Buddy Johnson’s Since I Fell For You, followed by Bigard features on Tea For Two and Body and Soul. Armstrong then takes a traditional blues Back O’Town Blues, a staple still of New Orleans bands today that is followed by a showcase for Catlett’s spectacular stick work, Steak Face.

The second set displays a similar variety of material as Armstrong opens with old favorites of his including Mahogany Hall Stomp, On the Sunny Side of the Street and the parade classic High Society. Teagarden was always at home with the blues and does a nice version on St. James Infirmary, while Velma Middleton’s Velma Blues is a mix of traditional lyrics. Its followed by her taking the initial vocal on That’s My Desire before Armstrong joins in for some fun. Bigard is featured on C Jam Blues, while bassist Shaw is spotlighted on How High the Moon. Catlett again gets to display his showmanship and deft drumming on Mop Mop although one can hear him failing to catch one of his sticks as it crashes into the stage. The last number of the performance (before the closing theme) is the previously unissued Jack Armstrong Blues that the two had recorded originally on a V-Disc. In addition to the two swapping lyrics, there was some spectacular playing by both here.

While there is occasional noise from the source material, sound is generally quite good. This is packaged in a small hardback with the accompanying booklet including the original 1951 notes as well as the more recent observations (including how this reissue came about) from Ricky Riccardi who is the Archivist for the Louis Armstrong House Museum. This is one of the classic traditional jazz recordings and one of the most legendary performances of Armstrong’s career which thankfully is finally available in a complete issue.

The record company sent me the review copy. Here is video of a later edition of Louis Armstrong and the All Stars.

Clifford Brown With The Great jazz Singers.

Hip-O-Select, the reissue label associated with the Universal Music Group that includes the classic Mercury, Emarcy and Verve catalogs has issued a second volume in its Emarcy Master Takes reissues of Clifford Brown’s music, The Singer Sessions. This deluxe reissue comes packaged in a profusely illustrated hardback booklet with annotation from DownBeat associate editor Aaron Cohen, with three stick back pockets that the compact discs are housed in. The booklet contains wonderful photographs of the various performers on these sessions as well as the covers of the original releases of these recordings which included not only LPs but extended play EPs as well. This packaging is marvelous.

The first two of the three CDs reissue the sessions that produced (among other releases) Dinah Jams and  Jam Session. The material is presented as it was originally recorded with Cohen providing the details how this session came about. Max Roach and Clifford Brown had already recorded extensively in the days before this session. Junior Mance notes that while labelled a jam session, this was actually a party in the studio with such an impressive cast of musicians that included Brown, Roach, Harold Land, Richie Powell and George Morrow along with pianist Mance, trumpeters Clark Terry and Maynard Ferguson, bassist Keter Betts, guitarist Herb Geller, and drummer Buddy Rich.

I am more familiar with the selections on which Dinah sings (including my favorite recording of Lover Come Back to Me, and the superb I’ve Got You Under My Skin). Listening to the hot bop of Denzil Best’s Move and the rousing rendition What Is This Thing Called Love, is wonderful as it sounds what one might have heard if they were on a Jazz at the Philharmonic tour. Brownie’s mix of sweetness and hot fire always impresses and one must not lose sight of just how good a saxophonist Harold Land was as can be heard in his terrific solo on You Go To My Head. And one should not forget the shorter performances such as Dinah’s wonderful vocal on No More. 

The third CD combines two later sessions on which Brown played, one with Sarah Vaughan and the other with Helen Merrill. The first session featuring Vaughan was originally from an album titled after the singer and with a session that also included Paul Quinichette on tenor, Herbie Mann on flute, Jimmy Jones on piano, Joe Benjamin on bass and Roy Haynes on drums with Ernie Wilkins handling the arrangements. The playing is a bit tighter here with the focus on Sarah Vaughan’s vocals. There are still plenty of moments such as Brown exchanging fours with Vaughan’s scatting on Lullaby of Birdland. April in Paris, opens without the horns, before Quinichette has a lovely solo and Brown adds some muted trumpet accompanying Vaughan as she resumes singing. On He’s My Guy there are nice choruses for Quinichette and Brown before Jones takes the spotlight. The combination of Sarah Vaughan’s divine singing, Wilkins’ terrific arrangements and the superb playing by the studio band this date, not simply Brown, results in a classic recording. 

Helen Merrill’s eponymously titled debut recording had Brown, flutist Danny Banks (also on baritone) as featured horns accompanist on a Quincy Jones supervised date that included Milt Hinton or Oscar Pettiford on bass, Jimmy Jones on piano and Barry Galbraith on guitar in the studio. Brown’s bright open playing during his solo contrasts with Merrill’s soft vocals (almost like a whisper) on Don’t Explain as she sings “you’re my joy and pain.” You'd Be So Nice To Come Home To swings lightly and Brown takes some spirited choruses after Jones takes a solo. Listening to her on What’s New, I can understand why Dexter Gordon also took to this ballad, while on Yesterdays, the longing she expresses is complemented by Brown’s featured choruses. This was a recording full of charm and heart, It had an impact on Merrill such that she would revisit it four decades later with a homage to Brown employing a brass ensemble to evoke his spirit.

The Singers Sessions is a welcome companion to the previously issued 4 CD set, “The Emarcy Master Takes” which compiled the recordings Brown and Max Roach made together, this will be welcome to those who do not have the initial recordings. The music sounds good and the backing is attractive. This music is to quote Merrill singing a Gershwin classic, “it’s wonderful, it’s marvelous,” and recommended although those having prior reissues of some or all of this material might pass on this. Certainly this would make a welcome holiday present.

The recording company sent me a review copy. Here is what I believe is the only video of Clifford Brown performing that exists and originated from a fifties local late night show that Soupy Sales hosted.

Herb Wise Photographed Legendary Musicians

People You’d Like To Know: Legendary Musicians Photographed
By Herb Wise
Omnibus Press 2010

Herb Wise was an editor for Oak Publications who published Sing out as well as various books on folk and blues (Samuel Charters’ The Bluesman was originally published by Oak), when photographer David Gahr took him outside gave him a camera and had him start shooting pictures. While his initial efforts were not productive, it led to him becoming a fixture with his camera at festivals and concerts throughout North America documenting a wide spectrum of music, focusing on folk, bluegrass with some blues, country and jazz mixed in from Mariposa in Toronto, the Ann Arbor Blues Festival, the Philadelphia Folk Festival, the American Folk Life Festival, and the New Orleans Jazz & Heritage Festival.

This is a coffee table sized volume of his photos. There is an amiable quality to many of these which are often informal portraits although there are some very fine performance images included. Graham Vickers includes brief descriptions of the artists depicted and sometimes the circumstances the photos were made of. Striking images of Richard Havens, Sam Chatmon, Jaco Pastorious, Professor Longhair (one great picture with reflections showing in his sunglasses) , Chuck Berry, Charles Mingus, Saul Broudy, Jim & Jesse McReynolds, Frank Zappa, Jackson Browne (great portrait), Sonny Terry (reclining against a trailer), Joan Baez & Kris Kristofferson, Joe Zawinul, Arlo Guthrie, Ray Charles, Doc Watson, Leon Redbone, Stephane Grappelli, Bob Dylan with the Band, an early Taj Mahal and Koko Taylor sitting in front of her van at the Ann Arbor Blues Festival. Its a pretty diverse group of images, and some are devoted to showing dancers at the festival while a young Rosanna Arquette is seen at the 1971 Philadelphia Folk Festival. Blue Lu Barker and Danny Barker are seen in their living room, while Roosevelt Sykes is backstage at the 1981 New Orleans Jazz & Heritage Festival.The pictures mostly come from the sixties and seventies. 

The reproduction (with a slight sepia tint) seems quite satisfactory and there is a wealth of performers captured here, some famous, others less so. People You’d Like To Know is a book you might skim through when you first get it and return to look at the images again and again. It is reasonably priced with a list price of $34.95, should be reasonably easy to fine and makes a nice addition to one’s collection of music photography books.

This review originally appeared in the September 2010 Jazz & Blues Report (Issue 329).  I received a review copy from a publicist. Needless to say this would make a great holiday gift for music lovers.

Vintage West Side Lonnie Brooks

Below is an older review of Lonnie Brooks that originally appeared in the June 1996 Jazz & Blues Report (Issue 212). I likely received a review copy from the label at time.

While Lonnie Brooks is quite popular with his fusion of blues and swamp rock evidenced on his Alligator albums, a Black Top release, Live At Pepper’s 1968, showcases the Brooks who was holding forth for the predominantly black audience at Pepper’s Lounge on Chicago’s West Side at the time. Recorded by George Adins, the pioneering Belgium blues researcher on a relatively simple reel-to-reel deck, this may not be digital sound, but the music’s power and the audience response is clearly evident. 

Despite his previous regional success in Louisiana as Guitar Junior with The Crawl, the music here is mostly directed to the black audience with Brooks’ impassioned singing standing out on his intense covers of Sweet Little Angel on which he talks about his woman wrapping her legs (“oh I mean wings”) around him, along with Little Walter’s Can’t Hold Out Much Longer, where his guitar solo alludes at different times to Muddy, T-Bone and B.B. King. He occasionally ribs Earl Hooker, whose band he is using, as well as turns in some funky renditions of hits including Johnny Taylor’s monster hit, Who’s Making Love. An original, Shakin’ Little Mama is in a Chuck Berry Groove, and The Train and the Horse (with more ribbing of Earl Hooker) finds his guitar creating train and horse sounds before he launches the band into a heavy rocking groove. 

With retention of his audience raps, plenty of hot guitar including a nice Hideaway with Brooks providing his own twists to what was then a standard Chicago set opener, this has been a favorite of mine since I purchased it on vinyl as an import many years ago. Finally issued in the US, despite its less-than-ideal sound this serves as a document of how powerful Lonnie Brooks was before his evolution in the bayou blues rocker of today.

B.B. King and His Orchestra Live

Acrobat Music, a European label that I am familiar with from some of their public domain reissues of jazz and vintage rhythm’n’blues, has issued their initial batch of releases with their American affiliate of the same name. Among the releases is B.B. King and His Orchestra Live, a 1983 performance at the MIDEM trade fair in Cannes as part of a jazz concert with Dave Brubeck and Pat Metheny. Outside of identifying trumpeter Calvin Owens as leading the band, the rest of the personnel are unidentified. 

This opens with a barn-burning opening B.B.’s Theme, after which the tempo slows down and Owens brings B.B. to the stage. Perhaps because of the setting he launches into instrumental versions of “Why I Sing the Blues, and Darling You Know I Love You. On the former song B.B. opens up with a rocking solo with punching horns framing the funky bass guitar solo before King takes the tune down as he slows down the tempo, interjects some lines from Dueling Banjos, before getting into a call and response with the horns. It is rather unusual to hear these staples of his repertoire done without vocals, but perhaps he was responding to this being a jazz concert. 

A rendition of Sweet Little Angel, opens with a lengthy guitar introduction before he launches into his vocal. It is followed by Everyday I Have the Blues, with a lengthy piano solo to take it out. Labeled as “All Over Again is a powerful treatment of “I Got a Mind to Give Up Living (and Go Shopping Again), with King’s impassioned vocal smartly supported by the orchestra here. There is nothing surprising with The Thrill Is Gone, ands B.B. follows with a good rendition of Caledonia, before closing with a fervent Paying the Cost to Be the Boss. 

This is an enjoyable recording, as if B.B. and his first-rate band were capable of less, and the instrumental renditions of some classic numbers make this an unusual release. However, there is so much live B.B. King out there that is as good, if not better, than this.

I received a review copy from Jazz & Blues Report in which I believe this review first appeared.

Arthur Williams - Midnight Blue

Arthur Williams, a St. Louis resident today, has roots growing up under Sonny Boy Williamson down south and played with Frank Frost. In fact, Williams was the harmonica player on some of Frost’s recordings that Scotty Moore produced for Jewel in the sixties. On his album, Midnight Blue (Rooster Blues) he is joined by a terrific pianist, Bob Lohr, who also produced the album. Also on the session is bassist Charles “Nephew” Davis, guitarist Jesse Hoggard and the great Willie “Big Eyes” Smith on drums. 

Williams is heard performing some well known blues numbers (some retitled like Clarksdale Train, a retitled rendition of Elmore James’ Sunnyland Train). His energetic, raspy vocals are quite at home on Muddy Waters’ Trouble No More, Jimmy Reed’s Down in Virginia and Sonny Boy Williamson’s Don’t Start Me To Talking. 

The title track is a nice slow instrumental to showcase his direct appealing harp playing which is prominently featured throughout. The band plays a bit raw. If the music lacks subtlety, it makes up for it in spirit. The last number, ‘67 Cadillac is an interesting experiment as producer Lohr has sampled a bit of the late Doc Terry talking, and provided some programmed drums for an interesting experiment which can be skipped since it is the last track. A nicely put together collection of performances that certainly will get any blues party popping.

This review appeared originally in the the November 2001 DC Blues Calendar and the March/April Jazz & Blues Report (Issue 256). I have made minor stylistic changes. I believe I received a review copy from the record label. This may be hard to find but worth the effort.  Here is Arthur Williams and young bluesman, Marquise Knox.

The Classic Jazz Piano Of Art Hodes and Don Ewell

A new release on Audiophile, one of the George Buck Foundation family of labels is a CD split between the groups of pianists Art Hodes and Don Ewell Art Hodes Quintet/ Don Ewell Quartette. The Hodes session reissues Some Legendary Art and dates from a 1957 session with Eddie Burleton on Clarinet, Marty Grosz on guitar, Truck Parham on bass and Freddie Kohlman on drums. The Ewell 1959 session reissues Yellow Dog Blues which also had Grosz on guitar, along with Nappy Trottier on trumpet and Earl Murphy on bass. Both sessions were produced and supervised by Ewing D. Nunn.

Hodes was certainly a fine pianist well versed in the blues and the classic New Orleans and Chicago jazz traditions with the songs from the 20s and 30s starting with After You’ve Gone, and including Apex Blues, I Found a New Baby and Chimes Blues. Clarinetist Burleton is a new name to these ears but certainly plays well whether on Ain’t She Sweet, or B-Flat Blues with its three in the morning feel. Grosz acoustic 4-string guitar mostly provides chords to help propel the groove. On Apex Blues where Burleton and Kohlman sit out, takes a brief solo as he does on Ain’t She Sweet. The spare trio setting of Apex Blues” and also Chimes Blues, provides a setting in which Hodes displays his blues playing with a light touch. He conjures up more of a weary, late night feel as opposed to more of a stomping barrelhouse style. He does swing a bit harder on Angry. I have never heard a poor recording from Hodes, and this session with Grosz’s guitar is no exception.

I am not as familiar with Don Ewell, who grew up in Baltimore, before becoming another prominent pianist who was influenced by Jelly Roll Morton, Earl Hines and similar pianists. Ewell became part of the New Orleans revival working with Bunk Johnson and Baby Dodds, and later with Sidney Bechet, Muggsy Spanier, Miff Mole,Kid Ory, and Jack Teagarden. This drummer-less date opens with Michigan Water Blues which he opens with Grosz joining in with Trottier adding some nice trumpet. On Atlanta Blues there is a similar approach with the pianist's thoughtful bluesy playing followed by a brief guitar solo and then Trottier rides the song out. Trottier opens Tishomingo Blues with wistful playing before some nice bluesy piano. Like Hodes, Ewell plays with restraint yet a crisp attack that generates a bluesy feel. There is a nice mix of material including George Bo Bo (originally recorded by Louis Armstrong’s Hot Five under the name of Lil’s Hot Shots); and New Orleans Hop Scop Blues by George Washington Thomas (Sippie Wallace’s older brother). Trottier does not play on the earlier number, but opens New Orleans Hop Scop Blues, with a hot chorus before Ewell takes the lead, then takes a very nice solo with some nice muted playing that lend a bluesy flavor which Ewell adds some nice piano embellishments to. 

A nice rendition of the W.C. Handy composed Yellow Dog Blues concludes the reissue of the Ewell album. Both Hodes and Ewell are masters of the traditions explored here and approach the material in similar, but distinct styles. With the supporting players (especially Grosz whose four-string guitar enhances both sessions), this album presents some marvelous classic jazz. 

I purchased this. It is available from www.jazzology, louisianamusicfactory.com and other online retailers. Here is Art Hodes performing with Wild Bill Davidson.

Jeffrey Scott Is a Rattlesnake Daddy.

I was pleasantly surprised to see an article in the current Living Blues of John Jackson's nephew. Jeff Scott, having had the pleasure of seeing him perform several times. He is one of a number of artists who frequented the Archie Edwards Blues Foundation's jam sessions when they were held at the Bunker Hill Road address that housed Archie's Barber Shop. One thing I recall was how much like his uncle he was in performance, even telling similar style of jokes. At the time, Jeff had a wonderful self-produced CD, Rattlesnake Daddy, that I reviewed for the DC Blues Society's newsletter, the DC Blues Calendar in November 2001. I believe I purchased this CD but I do not believe it is currently available. Hopefully with the renewed attention to Jeffrey's music from the Living Blues article it will be reissued.

With John Jackson as his uncle, and friends with the likes of John Cephas and Doc Watson, one should not be surprised that the debut album of Jeffrey Scott, the self-produced Rattlesnake Daddy is firmly in the East Coast finglestyle guitar tradition. This disc contains a selection of songs from Blind Blake, Blind Boy Fuller, Arthur Crudup and Big Bill Broonzy among others, Scott displays a crisp, fluid guitar style while his tenor is a bit brighter sounding than John Jackson’s straightforward delivery of a lyric. Perhaps he is not yet as deft a guitarist as his uncle or John Cephas, but he does maintain a nice relaxed groove on Step It Up and Go as well as That’s All Right Mama. This is a very enjoyable disc, and indicates Scott is a talent with more than simply promise here. 

Here is a short video clip of Jeffrey Scott performing.

Red Lotus Revue Tells Fourteen Stories

Fourteen Stories is the self-released recording by the Red Lotus Revue, a band rooted in fifties’ Chicago blues. The band took its name from its debut gig at the Red Lotus Society in downtown San Diego. Red Lotus Revue is comprised of harmonica player and vocalist Karl Cabbage; guitarist Jimmy Zollo, guitarist Pete Fanzini, and drummer Kurt Kalker. The recording consists of 7 originals by Cabbage and Zollo along with 7 covers which is the basis for the the album’s title. Cabbage is the only one I am familiar with having heard a recording by an earlier group of his, West of Memphis.

The set opens with an original Suzanne, with the band establishing its crisp sound. Cabbage’s gravelly vocals are suggestive of Omar Dykes while his harp playing is fluid with a fat tone. The band provides empathic support with nice mix of slide and straight guitar on this, and on other tracks coming across Louis and Dave Myers. The tempo quickens for a nice cover of Jimmy Reed’s shuffle, Ain’t Got You, and Kalker’s drumming does a nice job of swinging this along. Its is followed by a nice adaptation of Smokey Smothers’ Drinkin’ Muddy Waters, followed by the Pass This Way, that has a swampy feel as Cabbage and the guitarists play acoustically and Kalker displays a light touch.

For the cover Sonny Boy Williamson’s Key To Your Door, Cabbage does nice take of Williamson’s harp style while the guitarists shows appreciation for King Biscuit Boy, Joe Willie Wilkins. A couple of originals follow, with Homebody, standing out being with an insistent bass riff and a short, strong harp solo. Barkin’ is a nice shuffle in the manner of Nine Below Zero, with the band again playing in the manner of Sonny Boy Williamson. Then follows Fish Tail, a cover of one of Johnny Shines' reworkings of Robert Johnson’s Terraplane Blues. The guitarists play acoustically on this nice interpretation which is followed by a relaxed cover of Jimmy Reed’s “Honest I Do. 

The spirited original River is anchored around the Rolling and Tumbling melody for which Cabbage tells his story about going to the river and washing his sins away. The closing Santee has Cabbage singing that if one is going to Santee, one best bring one's ID. This original is another clever adaptation of a classic blues recording, in this case Robert Johnson’s They’re Red Hot. It is heard in two takes, although the CD packaging does not indicate the second take. This caps a strong collection of Chicago styled blues. Certainly those who have enjoyed Omar and the Howlers will find this in a similar vein. I certainly look forward to more from the Red Lotus Revue.

I received my review copy from a publicist for this release.  Here is a video of them from their CD release party.

Little Arthur Duncan Live at Rosa’s Blues Lounge

Mississippi native Arthur Duncan has been up in Chicago since the 1950s when he came north with Earl Hooker. Mentored by the legendary Little Walter, he has been part of the blues scene for most of the intervening five decades as a performer and as a club owner while working as a construction worker. Delmark previously issued his disc, Singing With the Sun, and now has a live performance on CD as well as on DVD (with a couple of extra songs included), Live at Rosa’s Blues Lounge. 

This is an unpretentious set of somewhat raw, downhome flavored Chicago harp blues as Duncan mixes some originals with interesting covers. Duncan’s enthusiasm for performing is evident as he opens with an original Leaving Mississippi, before reworking Eugene Church’s Pretty Girl’s Everywhere, employing Slim Harpo’s Scratch My Back groove (and he also is seen/heard on that tune here). Jimmy Reed, Little Walter, Slim Harpo and Howling Wolf covers mix in with Duncan’s Bad Reputation and Blues I Got to Leave You. 

As entertaining as Duncan comes off, his harp playing is not on the level of a Little Walter or Carey Bell, and his earnest vocals perhaps lack the charisma of his influences, but still the performances are engaging aided by the solid backing of guitarists Rick Kreher and Illinois Slim, bassist Michael Azzi and drummer Twist Turner, who provide steady backing behind Duncan. Guest Little Al Thomas handles the vocal on Dr. Clayton’s I Got to Find My Baby. 

The video on the DVD is really well done, keeping its focus on Duncan and his band as he sits and belts out his vocals and lays down his harp as well as captures his forays into the audience, encouraging the dancers and leading everybody on what was clearly a good time. Delmark continues to build its impressive catalog of live DVDs with this entertaining disc.

This review appeared originally in the February 2008 Jazz & Blues Report (Issue 301). I received a review copy from Delmark Records. Here is a video trailer for this DVD.

Ernest Dawkins Straight-ahead Afro Straight.

A former President of the Chicago-based Association For the Advancement of Creative Musicians, who is a co-leader of Ethnic Heritage Ensemble and leader of the New Horizons Ensemble, saxophonist Ernest Dawkins leads a program of straight ahead jazz on his latest Delmark album, Afro Straight. Dawkins, a noted composer as well as a musician and band leader, has assembled a group that includes Corey Wilkes on trumpet, Willerm Delisfort on piano, Junius Paul on bass and Isaiah Spencer on drums with Ruben Alvarez or others playing congas and percussion. Ben Paterson on organ for one selection. The album is interprets eight standards and modern jazz classics, along with two Dawkins originals. With the percussionist on many selections, a definite Afro-Latin flavor is prevalent

The opening rendition of John Coltrane’s tribute to bassist Paul Chambers, Mr. P.C., establishes the authority that Dawkins, Wilkes and the rest play with. Even more satisfying is a rendition of a lesser known Wayne Shorter composition, United. After Dawkins’ original that gives this recording its title, a percussion feature for Dawkins, Alvarez and Greg Penn, Dawkins (with Wilkes sitting out) provides his take of another Coltrane composition, Central Park West, with pianist Delisfort standing out.

Dizzy Gillespie’s classic, Woody’N You, opens with muted trumpet from Wilkes before Dawkins’ vocalized saxophone. Softly As In A Morning Sunrise, opens with a brief flurry of free playing before the group evokes the hard bop of the late fifties and early sixties with some wonderful playing by all. Ben Paterson’s organ on God Bless The Child provides a soulful underpinning for Dawkins’ expressive playing. Spencer plays lightly here on an outstanding performance. Old Man Blues is a straight blues with wonderful playing along with Dawkins’ amiable vocal of traditional blues lyrics. A spirited interpretation of Wayne Shorter’s “Juju” closes out this CD. 

Dawkins considers Afro Straight to be a tribute to John Coltrane, Wayne Shorter, Von Freeman, Charlie Parker, Coleman Hawkins and other great jazz saxophonists. Throughout Dawkins and band lend their own voices to well-known songs for the imaginative and fresh recordings  on this. This is an excellent recording that easily refutes the stereotype that free jazz players can’t play straight-ahead. They can and do so convincingly here.

I received my review copy from Delmark. Here is Ernest Dawkins performing with an organist and drummer, You Don't Know What Love Is.

Joe Fiedler's Big Sackbut

Trombonist Joe Fiedler's newest recording, Big Sackbut (Yellow Sound Label) features Fiedler, Josh Roseman & Ryan Keberle - trombones, and Marcus Rojas - tuba, was really born in the late 1980s when Fiedler first saw The World Saxophone Quartet (WSQ) live. He explains this revelation: "The drive and energy that they put forth, all without a traditional rhythm section was quite compelling.  In addition, the tunes had a wonderful balance of 'loose-tightness' or 'tight-looseness' that totally sucked me right in.  And this is to say nothing of the four powerhouse solo voices.  I immediately thought of how I might incorporate my image of all of those elements into a trombone driven project of my own.”

The ideas for this had rattled in Fiedler’s mind for about twenty years until on a gig with Ryan Keberle two years ago he mentioned the idea to Keberle and the idea was finally brought to fruition. The intent in this album is to eschew a rhythm section and have a similar self-contained horn group such the WSQ. Included are seven original Fiedler compositions along with interpretations of compositions by Sun Ra; Willie Colon; and Captain Beefheart (Don Van Vliet).

It is fascinating hearing the interplay among the musicians from the opening Mixed Bag, to the closing Urban Groovy. Fielder's Don Pullen is a lovely piece with Keberle playing exquisitely. Fiedler plays particularly expressively and forcefully on his 11, which is followed by Willie Colon’s Calle Luna, Calle Sol, although without a rhythm section they can at best only imply the latin flavor. I am not sure if there are many jazz interpretations of Captain Beefheart. Roseman takes the lead on the Captain’s Blabber and Smoke, a mostly pensive interpretation on which one of the trombones briefly employs a mute adding to the range of sounds heard. The leader does effectively make use of one on his solo on Ging Gong, that also spotlights Rojas’ tuba.

The lack of a rhythm section and the restricting the instrumentation to trombones and tuba does have the effect of limiting the musical palette that can be employed (compared to the WSQ with baritone, alto, tenor and soprano saxophones). It might be best to listen to several selections at one sitting rather than the entire album. Still, there is much to reward listeners of Joe Fiedler’s Big Sackbut with captivating performances. 

I received a review copy from a publicist. Well not with this group, here is Joe Fiedler as part of a group performing Captain Beefheart. 

A Box Set Treasure of Boogie Woogie and Blues Piano

While it is not clear where the style of piano called Boogie Woogie originated, by 1928 it had clearly surfaced in Chicago where it was named by a recording Pinetop’s Boogie Woogie, by Clarence ‘Pinetop’ Smith. As Dan Morganstern writes in the booklet accompanying the new Mosaic Selects set, Boogie Woogie and Blues Piano, boogie woogie was a piano idiom rooted in the blues, “a rolling, romping an infectious approach to the keyboard … . Its chief characteristic is a forceful, repetitive (but by no mans unvaried) ‘walking’ bass line pitted against a blues melody line in the treble marked by cross rhythms, usually (but not always) at a fast tempo.” The Mosaic Selects 3-disc set collects 72 of the finest recordings in this idiom from the idiom’s peak period of popularity in the late thirties and early forties from recordings originally on such labels as Victor, OK, ARC, Columbia, Bluebird and Vocalion and includes such masters of the style as Albert Ammons, Meade Lux Lewis, Pete Johnson, Jimmy Yancey and Cripple Clarence Lofton along with recordings by others including Harry James, Joe Sullivan, Benny Carter, and Red Allen. 

A thunderous boogie played with ‘"A Left Hand From God” (to cite the title of Peter Silvester's history of boogie woogie), can be heard from the opening moments as we are introduced to Meade Lux Lewis’ revival of his Honky Tonk Train Blues, one of the classic piano and train instrumentals of all time. Its followed by a couple more efforts by Lewis as well as fellow Chicagoan, Albert Ammons with two takes of his dazzling tour de force, Shout For Joy. In turn this is followed by the great Kansas City pianist, Pete Johnson accompanying the great shouter Joe Turner on Roll ‘Em Pete. These recordings, along with the appearance of the trio at the legendary Carnegie Hall concert, From Spirituals to Swing, helped launch boogie woogie into a National craze. As part of this craze, the Boogie Woogie Trio (Ammons, Lohnson and Lewis) along with Turner were booked into Cafe Society, the legendary Greenwich Village Club. The trio recorded the spectacular Boogie Woogie Prayer together, and were joined by trumpeter Harry James for several recordings. The first of the three discs concludes with eight heart pounding duets between Johnson and Ammons. 

The second of the discs is a bit more varied with some focus shifted to vocalist Turner who fronts Pete Johnson and His Boogie Woogie Boys that included trumpeter Hot Lips Page and alto saxophonist Buster Smith on Cherry Red and Baby Look at You. Then Turner shouts in front of Ammons, Johnson and Lewis on Cafe Society Rag, before singing in front of combos led by pianist Joe Sullivan and Benny Carter. After this, we are presented with three distinct takes of Down The Road A-Piece by the Will Bradley Trio with pianist Freddie Slack. This became a staple of piano led combos in the post-World War II period. Selections by Teddy Wilson, Lionel Hampton and Red Allen illustrate the spread of boogie woogie as it became a national fad (this set limits itself to small combos and does not include examples of the big band variations).

The final disc opens with a piano solo by Mary Lou Williams before presenting us with 17 tracks by the great Jimmy Yancey, one of the greatest blues and boogie pianists of all time. A former baseball player in the Negro Leagues, he was a groundskeeper at Comiskey Park as well as a pianist of great emotional depth and rhythmic vitality. His music eschewed flash for a lyrical, almost poetic quality with what Morganstern notes idiosyncratic harmonies although all of his numbers ends in the key of E. His boogies are not played at quite a breakneck as Ammons, Johnson or Lewis were capable of but his treble lines are perhaps more interesting and while his bass work is varied and propulsive if not as powerful as the others as can be heard on Yancey’s Stomp. Slow blues like Five O'Clock Blues were his forte as his subtle touch and treble embellishments lend a melancholy flavor to his performances. His poetic piano perhaps is stronger than his unmannered vocals, but his earnest delivery compensates for any vocal limitations, and one will not find any better examples of blues piano than his work here. Five tracks by Clarence Lofton, with Big Bill Broonzy on guitar, close this collection with touches of ragtime mixed in with boogie as on Strut That Thing, which echoes Speckled Red’s classic Dirty Dozens, and lyrics that would be echoed by Little Johnny Jones a decade later, with Lofton raggy boogie bass and while beating of his right hand lines. Also included is the marvelous Brown Skin Gal, which more great piano and lyrics and a commanding singing. 

Long-time collectors have many of these recordings, but some of the reissues of this material on the have been out-of-print for a number of years. Mosaic Select has put together this strong collection of music that belongs in any credible collection of blues and boogie woogie piano. Dan Morganstern’s essay also provides the historical context mixed with insights on the recordings and performers. Available from www.mosaicrecords.com.

This review appeared originally in the February 2008 Jazz & Blues Report (Issue 301), although I have made some edits. I do not recall if I received a review copy or purchased this. If you are thinking of a gift for the blues piano lover in your Holiday Gift List, this is still available from Mosaic, http://www.mosaicrecords.com/prodinfo.asp?number=MS-030. Now here is a video of Albert Ammons and Pete Johnson.