Saffire - The Uppity Blues Women Old, New Borrowed & Blue
Alligator

This is the 4th Alligator album by Saffire - the Uppity Blues Women, and the first in which Andra Faye McIntosh fully participates as a vocalist as well as a musician. Her presence has added to Saffire’s music by providing new instrumental voices (particularly her mandolin, and fiddle) as well as her wonderful singing. 

The program of 16 songs includes a number of songs that reflect influences and particular favorites of the trio’s members. It opens up with a rousing version of Phil Wiggins’ Fools Night Out with each taking a turn at lead and Ann Rabson pumping the piano with a New Orleans flavor. Then, Ann launches into T’aint Nobody’s Business and Andra Faye sings Sippie Wallace’s You Got to Know How, adding a nice fiddle solo. Gaye Adegbalola provides a wonderful version of Do Your Duty, a song long part of their repertoire. Listening to Gaye’s vocal, one appreciates how confident and expressive she has become after being on the road for all these years, and she sings it here with as much enthusiasm as back in the group’s early days. 

While some tunes hark back to the twenties, some are of more recent vintage. Ann does Amos Milburn’s Roll Mr. Jelly, although her piano sounds too polite for this boogie woogie blues. Highlights from Gaye include a nice reading of Johnny Ace’s The Clock, and her own Bitch With a Bad Attitude, where she tells off her no-good man, from telling the IRS he has no dependents to threatening to Bobbittize him. Andra Faye conveys similar sentiments in The Richest Guy in the Graveyard. Andra Faye closes the album with Ma Rainey’s Yonder Comes the Blues, with her mandolin accompaniment joined by Ann and Gaye on guitars with a fitting nod to the “Mother of the Blues,” ardently sang and played. 

This is the Uppity Blues Women’s finest album. Their newest member plays no small part with her strong playing that augments Ann Rabson’s own solid instrumental contributions, and strong singing is heard from all three. 

This review appeared in the December 1994-January 1995 Jazz & Blues Report (Issue 197). I likely received a review copy from Alligator Records. Here is a video from Saffire's farewell tour.

 

Syl Johnson Back In The Game

Syl Johnson
Back In The Game
Delmark

The Memphis Hi Records label is best known for Al Green’s recordings along with deep soul recordings by O.V. Wright and Syl Johnson. Syl, brother of Chicago bluesmen Mac Thompson and Jimmy Johnson, grew up next to bluesman Magic Sam. He had hits on Twinight and Hi Records, and surfaced on various small labels in the intervening years.
 
Delmark has reunited Johnson with the famed Hi Rhythm Section (brothers Teenie, Leroy and Charles Hodges and drummer Howard Grimes), and a crack horn section for Back in the Game, a mix of soul and blues with a gospel track added (a fervent duet with daughter, Syleena Thompson, Dipped in the Water).

In the opening title track, Johnson makes it clear that he is “back in the game,” with a revived music career. The material includes reprising his Hi recording of Take Me to the River (with Johnson on harp) while his blues roots are displayed with a fine Driving Wheel and the impassioned version of Magic Sam’s All Your Love (dedicated to Sam and his brother Mac). Most of the other songs are deep soul, such as Anyway the Wind Blows and the pleading I Can’t Stop.

Johnson’s singing has lost none of its conviction and this is the best album in this vein since Otis Clay’s live Japanese recording.

I likely received a review copy from Delmark Records. This review originally appeared in the February 1995 Jazz & Blues Report (Issue 198). This is still in print. Here is Syl Johnson in performance.

 

Thornetta Davis Honest Woman

Thornetta Davis
Honest Woman
Sweet Mama Music

The opening track to Thornetta Davis' "Honest Woman" is a recitation from her sister on how her sister makes her feel "When My Sister Sings the Blues." Listening to "I Gotta Sing the Blues," one easily appreciates why this powerhouse vocalist is Detroit's Queen of the Blues. It certainly does not hurt that she has a fine band that includes on many tracks guitarist Brett Lucas, bassist James Simonson, keyboardist Philip J. Hale and drummer Todd Glass or that Kim Wilson adds harmonica who also shares the vocal.

Then she rocks things a bit as she tells her man that the things he does to make up for his cheating ways, as she tells him "That Don't Appease Me," as she sings that his sorry does not work and get on out of here. The music on this incorporates a riff from "You Don't Love Me," that complements her sassy, take no nonsense vocal.

Guitarist Larry McCray, brother Steve on drums and Kerry Clark along with the keyboards of Chris Codfish back her soulful singing on the gospel blues "Set Me Free," which is followed by a strong soulful ballad "Am I Just A Shadow." After the rollicking New Orleans groove of "I Need A Whole Lotta Lovin' (To Satisfy Me)," she takes her down in the alley with a superb slow blues "I'd Rather Be Alone," with a vocal that builds in intensity until it explodes.

Other tracks include uptempo rocker about recovering after her lying ex, "I Believe (Everything Gonna Be Alright)," while on "Get Up And Dance Away Your Blues" she shouts with joy for the listener to get up on this jump blues swinger. Then there is another terrific slow blues "Can We Do It Again," with the backing (including the marvelous horn arrangement) evokes some of the classic blues-funk of Johnny 'Guitar' Watson from the seventies. Like "I'd Rather Be Alone," this track stands out among a very impressive recording with a choice Lucas guitar solo in addition to Davis' compelling vocal.

The title track is a wonderful soul number followed by another rocking gospel blues "Feels Like Religion," that closes this recording. It is an impressive recording with Thornetta Davis' impressive singing and  fine backing and production.

I received my review copy from a publicist. This review appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is Thornetta in performance.

Curtis Stigers With The Danish Radio Big Band
One More For the Road
Concord Jazz

Singer-Songwriter-Saxophonist Curtis Stigers newest album is inspired by the Frank Sinatra's legendary performances at the Sands Hotel in Las Vegas backed by the Count Basie Orchestra. 

Backed by The Danish Radio Big Band, he is heard performing at the band’s headquarters, the acoustic marvel that is the DR Koncerthuset in Copenhagen. The liner notes state that band plays "vibrant takes based on the original Nelson Riddle and Billy May arrangements…" which may refer to the arrangements of Sinatra's original recordings of songs heard here since Quincy Jones arranged and conducted the Sinatra-Basie collaborations.

This is not an effort to replicate the original performance (Only 8 of the 10 numbers are from the recording from the Sands) and Stigers suggests Old Blue Eyes as opposed to imitating him with his vocals. This is an enjoyable recording starting with "Come Fly With Me," through "You Make Me Feel So Young," "My Kind of Town," "Fly Me To The Moon," and the "The Lady Is a Tramp" before closing with "One For My Baby (and One More For the Road)," which like the Sinatra recording with Basie, is with essentially piano accompaniment. The Danish Radio Big Band is terrific throughout and Stigers engaging vocals make this somewhat short (34 minutes) a listening delight.

I received my review copy from Concord Records. This review originally appeared in the January-February 2017 Jazz & Blues Report (Issue 370) jazz-blues.com. Here is a trailer for this recording.

 

Peter Karp The Arson's Match

Peter Karp
The Arson's Match

I know of Peter Karp through recordings he made with Sue Foley for Blind Pig. The singer, songwriter and instrumentalist has a new recording that was recorded live at New York City's The Bottom Line by Sirius XM. Most notable about this recording is the presence of Mick Taylor, best known for his tenure with the Rolling Stones (and before that with John Mayall). Also present is harmonica wizard Dennis Gruenling and Dave Keyes plays piano one one selection. Others on the session are Ken Ehinger on keyboards, Daniel Pagdon on bass, and Paul "Hernandez" Unsworth on drums.

These performances range from the title track, a fast tempoed blues about someone burning his home down set to the "Dust My Broom," with a searing blues-rock solo from Taylor. "Chee Chee Chee Chee Wawa," is a catchy number with a bouncy and breezy feel, as he sings about this woman he meets in the Sonoran desert. This performance has more choice Taylor playing that showcases his ability to play softly and employ silence between the notes. It is a captivating performance. "Y'all Be Lookin'," is a nice rock and roll shuffle with a lyric that folks may be looking for something, but they should be looking for love. A highlight here is a solid slide guitar solo.. "The Turning Point" is more in a folk vein with the keyboards adding proper seasoning backing the vocal.

"The Nietzsche Lounge" has another interesting lyric with word-play,  rollicking piano and solid harp in addition to Taylor's fiery fretwork. After this performance Karp introduces the band. "Your Prettyness" is built on a nice groove (hint of Howlin' Wolf's "Who's Been Talking") with a fine Dave Keyes piano solo and a terrific harp solo. The remainder of this recording shares the virtues of Karp's songs, his earnest, appealing, gritty vocals and a terrific band with  terrific playing from (especially) Gruenling and Taylor. Not strictly a blues recording, but the spirit of the blues infuses pretty much this entire recording. It must have been quite a night at the Bottom Line and the music was hotter than the Arson's match.

I received my review copy from a publicist. Here is the performance of the title track from The Bottom Line.

 

Donald Ray Johnson and GAS Blues Band Bluesin' Around

Donald Ray Johnson and GAS Blues Band
Bluesin' Around

Born in Texas and now living in Calgary, Alberta, singer and drummer Donald Ray Johnson has had a fascinating career ranging from playing drums with A Taste of Honey in the disc era but in recent years establishing himself as a blues and soul vocalist. In France he met and toured with guitarist Gaspard Ossikian who leads the GAS Blues Band with whom he recorded a bunch of favorite songs he performed with them over the years. Others in the band include Pierre "Little Peter" Cayla also on guitars, Phillippe "Pompon" Scemama on bass and Yannick "Papayan" Urbani on drums. Others on this recording include Daniel Antoine on organ, Samuel Dumont on saxophone and Nicolas Gardel on trumpet.

9 of the 12 numbers are covers and with one exception are not songs that have been overly recorded. The GAS Blues Band contributed one original and Johnson two. This is a well played, straight-forward release opening with a solid rendition of B.B. King's "Bad Luck" and then followed by a cover of Joe Louis Walker's Bluesifyin'," with a credible vocal if not as strong a singer as Walker was on the original. The cover of "Ain't Superstitious" perhaps owes more to Jeff Beck than Howlin' Wolf. One pleasant surprise are three covers of songs associated with the late Phillip Walker, the slow brooding "Ninety Proof," the loping shuffle "Big Rear Window," and Nat Dove's rocker "Dressing Trashy."

The GAS Blues Band's "She's French," sounds like a fragment of an break song while "Distant," is a funky, bluesy rendition of A Taste of Honey recording (I believe the flip side of ""Boogie Oogie Oogie"). Johnson's "Watching You," is another similar number followed by a fairly strong original "Should've Been Gone," with his regrets about overstaying. Lucky Peterson's shuffle "You're the One For Me" closes this album with a solid vocal as he sings about his darling's love and the feeling she gives him, which (like the entire recording) is supported by the GAS Blues Band's steady, and idiomatic backing. This all results is this solid, entertaining blues recording.

I received my review  copy from a publicist. This review originally appeared in the January-February 2017 Jazz & Blues Report (Issue 370).  Here is Donald Ray Johnson and GAS Blues Band in performance.

Mitch Woods And His Rocket 88’s Shakin’ The Shack
Blind Pig

San Francisco pianist Mitch Woods and his bay area jump band, the Rocket 88’s, serve up another helping of jump blues mixed in with some Professor Longhair inspired rockers. A two-handed pianist rooted in boogie woogie and post war jump blues piano, he is also a capable, if unexceptional vocalist. Woods’ Rocket 88’s are a solid band with two fine saxophonists, and Derek Irving’ s guitar. This is at least his fourth album and is comprised of a set of originals mostly patterned after the jump blues of the past. There are echoes here of Ray Charles, Professor Longhair, Louis Jordan, Larry Williams, and Amos Milburn, and if Woods doesn’t reach the level of these past masters, his performances are still quite good. The best track is the superb Cryin’ For My Baby, a slow blues reminiscent of Charles Brown’s Black Night. Not everything is based on classic jump blues. Zydeco the Boogie is a rocking zydeco number although but the lyrics about mixing zydeco and boogie ignores the fact Zydeco long ago incorporated elements of boogie woogie. The closing track, Bonin’, is a feature for guitarist Irving who turns in a T-Bone Walker styled performance. This is Mitch Woods’ most consistent album as he continues to help keep jump blues alive.

This review originally appeared in the January-February 1994 Jazz & Blues Report (Issue 188). I likely received a review copy from Blind Pig. Here is Mitch over 25 years later with a band including the late Herb Hardesty at the 2011 New Orleans and Jazz Heritage Festival.

Clare Fischer Latin Jazz Big Band ¡Intenso!

Clare Fischer Latin Jazz Big Band
¡Intenso!
lavo Records

Four years after the passing of Clare Fischer we have another posthumous recording prepared and produced by his son Brent. Brent states that working his father they planned and prepared to release his music and he captured his father with a small group at home in his last years so that other musicians could be added one day. The latest project is this Latin jazz big band album with a number of special guests and featuring Roberta Gambarini, Sheila E, Luis Conte, Scott Whitfield, Don Shelton, and others, with Brent sometimes cresting new arrangements based on his father's original ones.

The album opens with a terrific "Algo Bueno (Something Good)," which is a spirited salsa reworking of Dizzy Gillespie's "Woody 'N' You," with a standout solo from Don Shelton. Fisher's own "Gaviota (Seagull)" is one of two selections with Ms. Gambarini adding her lovely vocal with a dreamy Fischer keyboard solo and a serpentine soprano sax weaving in around Gambarini towards the end of this. The Ellington classic "Rockin' in Rhythm," is reimagined with an Afro-Cuban 6/8 groove with a Rob Hardt tenor sax solo set against the imaginative orchestration here. Sheila E. adds her percussion to "Solar Patrol," with its funky feel and Adam Budman's sax solo while Gambarini returns for the lively, breezy "The Butterfly Samba," singing and scatting at the brisk tempo, with trombonist Whitfield joining her as they scat through the changes with the horns trading fours with them.

The breath of Fischer's compositions and arrangements is displayed with "Renacimiento." The title means Renaissance in Spanish and opens with medieval melodies before shifting to quasi-Latin rhythms with Brian Clancy's robust tenor the first of several fine solos. The "Le Mucura" has Clare Fischer's big band arrangement of this traditional Columbia cumbia with noteworthy soprano sax, trumpet solos and keyboard solos. Another adaptation is Osvaldo Farrés' "Tres Palabras," which Clare Fischer had written and refined arrangements for over time and which Brent and Matt Wong have orchestrated for the lovely performance with a alto flute solo.

The closing "Play Time" is, according to Brent, the last song Clare recorded and appears here on a recording here for the first time with a blistering trombone solo from Francesco Torres that fades out as it keeps percolating with its irresistible rhythms. It is a lively close to another fascinating, imaginative and passionate recording that Brent Fischer has brought us as he helps perpetuate his father's amazing legacy.

I received my review copy from a publicist. This review originally appeared in the January-February Jazz & Blues Report (Issue 370). Here is the Clare Fischer Latin Jazz Big Band in performance.

 

Snooky Pryor In This Mess Up To My Chest

Snooky Pryor
In This Mess Up To My Chest 
Antone’s 

Snooky Pryor was one of the earliest Chicago blues artists to record after World War II, first as part of Snooky and Moody, and later on his own for several labels including J.O.B. and Vee-Jay. Influenced in his harp playing by John Lee ‘Sonny Boy’ Williamson, he never had great commercial success with his initial recordings, although many are classic Chicago blues performances marked by a crying vocal style complemented by his crying harp playing. Antone’s has done a great job in recording him, and has presented several remakes She Tried to Ruin Me, and Judgment Day (from a live recording), along with nice versions of Sonny Boy’s Bluebird Blues, and new songs like Bury You in a Paper Sack, and Take It Easy Greasy. The late Luther Tucker adds his cutting accompaniment to several tracks and guitarist Derek O’Brien does a yeoman’s job elsewhere. Pinetop Perkins adds his typically solid piano on several tracks, and Ted Harvey, one of the last great blues drummers, adds to the music’s spirit. Another fine album of classic Chicago blues.

This review appeared in the July-August 1994  Jazz & Blues Report (Issue 193) and I likely received a review copy from Antone's Records. This may be harder to fine on CD or LP but is available as a download. 

Snooky passed away October 18, 2006 in Cape Girardeau, Missouri. Here is Snooky performing his classic Judgment Day, from a New York City appearance in 1991.

ook

Remembering Larry Johnson

DC Blues Society Black History Month program. David Jackson second from left, M. Lavert in white shirt in the back, Larry Johnson sitting down, David Harris on harmonica, not sure of bass or guitarist all the way to left and Miss Tina? on red dress. Not sure of the exact date but this is likely from February 1998. — with Ed Scott, David Jackson, Melvin LaVert and David Harris at Baird Auditorium, Smithsonian Museum of Natural History.

It wasn't until about half year after his passing in a Harlem, NY nursing home, that word got out that the great acoustic bluesman, Larry Johnson had passed away in the Summer of 2016. A few days ago word was that the date of passing was August 6 when he was 78. Johnson, was born May 15, 1938 in Wrightsville, Johnson County, Georgia. 

The son of a traveling preacher, Johnson was inspired by the recordings of Blind Boy Fuller and learned to play a rudimentary guitar. After serving in the Navy between 1955 and 1959, he relocated to New York City. Upon arriving in New York he started performing in the blues scene recording for legendary Harlem record man Bobby Robinson, and then with Big Joe Williams and Alex Seward, primarily playing harmonica for Prestige-Bluesville. Through Seward he met Rev. Gary Davis who mentored Johnson and became the dominant influence on his guitar playing and music. 

Davis recorded an album with Hank Atkins for Bluesville and also played with Davis as well as appeared on some recordings of Davis. After recording on harmonica with New York City electric bluesman Charles Walker, Johnson recorded in 1970 for the Yazoo subsidiary label, "Fast and Funky," which displayed his warmth as a vocalist and his superb fingerstyle guitar in the manner of Reverend Davis. His renditions of blues like "Pick Poor Robin Clean" and "Keep It Clean" and originals like "Charley Stone" and "The Beat From Rampart Street," made this one of the finest acoustic blues recordings of the past 50 years. The Baltimore Bljues Society issued this on CD in 1997 in a limited edition.  

A couple years later, he recorded "Country Blues," with John Hammond adding harmonica and steel guitar, for Biograph that was reissued in 1995 as "Midnight Hour Blues." In the February 1996 Jazz & Blues Report (Issue 208) I wrote "Still active in New York today, Larry Johnson’s musical star shined brightly in the sixties and early seventies. As these magnificent 1971 recordings display, it is criminal that such a talent should have languished in obscurity while far less talented artists are acclaimed as acoustic blues legends. A student of the Reverend Gary Davis, Johnson displays plenty of the facile Piedmont style on this release while John Hammond’s accompaniments on slide guitar or harmonica compliment the spirit of Johnson’s vocals, whether on the spirited opening Blood Red River, or Johnson’s morose rendition of Mercy Dee’s One Room Country Shack. And to listen to Johnson sing is as much a pleasure as the simply scrumptious instrumental work over a range of blues standards, including Midnight Hour Blues, Nobody’s Biz-Ness and When Things Go Wrong. Hammond joins Johnson on a vocal on the closing Tell Me Mama. While Hammond is basically known as an interpreter of Mississippi blues, his stunning accompaniments here are noteworthy, as is Johnson’s own sterling playing and wonderful vocals. Simply a terrific reissue that is welcome back on the scene."
 

Larry Johnson at 1998 Baltimore Blues Society show

For the next couple decades he recorded a bit, including for Spivey Records on his own and as an accompanist, a couple albums with harmonica player Nat Riddles as well as performances in Europe with the American Folk Blues Festival as well as the National Downhome Blues Festival in Atlanta. In 1990 he recorded an album "Railroad Man" for JSP Records and the previously mentioned "Midnight Hour Blues" was reissued in 1995. 

It was during a blizzard in winter of 1996 (I believe) that Marcia Selko, President of the Baltimore Blues Society and her husband Brad came across Larry playing at Terra Blues. There excitement of seeing him perform led to them handling some booking for Larry including performances for the Baltimore and DC Blues Society, and appearances at Festivals including the New Orleans Jazz and Heritage Festival and the Pocono Blues Festival as well as the reissue of "Fast and Funky." It also led to Larry appearing again in Europe where he recorded for Armadillo and Stella Records. He also appeared at various Blues Week workshops in England and the United States as well as performing in Europe and New York City, until health issues curtailed his music.

I only got to meet Larry a few times but found him a wonderful gentleman and marvelous blues artist. He was arguably the finest of Rev. Davis' students and the recorded legacy he leaves us is a significant one. Here is Larry doing Midnight Hour Blues. (photos on this page are mine).

For a full discography of Larry Johnson's recordings, visit https://www.wirz.de/music/johnsfrm.htm.

Michelle Wilson Evil Gal Blues

Michelle Wilson
Evil Gal Blues
Bullseye Blues

Michele Wilson and Evil Gal were the winners of The Memphis based Blues Foundation’s 1993 National Amateur Blues Talent Competition. Based on Evil Gal Blues, there can be little question that this woman can sing. A voice that generally is reminiscent of the Ruth Brown of the fifties, she also captures a bit of Dinah Washington on Cry Me a River, although without the nasal quality of Washington’s vocals. Listing to her handle Brown’s As Long As I’m Movin’, one might feel captured in a time warp. Her rendition of Dinah Washington’s Evil Gal Blues is refreshing, helped by superb, swinging arrangement that doesn’t clone Washington’s original with the Lionel Hampton Orchestra. The three saxophones of Evil Gal may lack the brass of Roomful of Blues, but they hit a groove just like their more celebrated New England jump blues revivalists. Evil Gal has a swinging rhythm section and adds its own personality to these performances. Whether updating Ella Johnson’s I’m Just Your Fool or Lavern Baker’s Voodoo Voodoo, Michelle Wilson’s voice is never strident or pretentious sounding, and her phrasing is relaxed and assured. The overall result is some first rate music. And, she is not afraid to sing ballads, as in her rendition of Cry Me a River. I approached this with a bit of skepticism, but there is not a duff note on a terrific debut recording.

Another vintage review This review originally appeared in the September 1994 Jazz & Blues Report (Issue 194). I probably received a review copy from Bullseye Blues. Here is a recent performance of singing As Long As I’m Movin’.

 

A few thoughts on the Blues Hall of Fame

One of my friends, who may be on the Blues Foundation's Hall of Fame Committee, inquired about my suggestions of folks to be considered for the Hall. I provided him with a number of names. The names I submitted included Roy and Grady Gaines (who are both still with us), the Boogie Woogie Trio of Albert Ammons, Pete Johnson, and Meade Lux Lewis and their mentor Jimmy Yancey, the great Esther Phillips and Duke Robillard. I also suggested as Classics of Blues Recordings the compilations that accompanied Sam Charters "The Country Blues," Paul Oliver's "Blues Fell This Morning and the Origin Jazz Library "Really the Country Blues," and a number of the early Yazoo vinyl albums.

 Albert Ammons & Pete Johnson

The artists selected for induction were announced Sunday by the Foundation and include: Mavis Staples, Magic Slim, Johnny Copeland, Henry Gray, Latimore and Willie Johnson. For Classics of Blues Recordings albums they choose John Lee Hooker, The Real Folk Blues (Chess). I do find these artists deserving although I do not believe any of these artists are more deserving than the ones I had suggested. 

I am pleased for the Texas Twister, Johnny Copeland, a singular performer that was always adding new elements to his music.  Magic Slim was one of the biggest and most reliable acts on the blues circuit of the past forty odd years. I was surprised of the selection of Latimore, although pleased that someone in the soul-blues world was honored. Henry Gray has been a solid pianist and vocalist in the over forty years since he moved back to Louisiana, not to mention his tenure with Howling Wolf. Willie Johnson was a major player on Wolf's early recordings (but how can you pick him and also not pick Roy Gaines, who did session work for Duke (with Bobby Bland I believe); Chuck Willis (he was also Willis' band leader); Jimmy Rushing and many more, as well as numerous outstanding recordings on his own, several of which were award-winning ones). 

Johnny Copeland doing "Devil's Hand" in 1984

To my mind, the only questionable selection of a performer is that of Mavis Staples, whose iconic status as a performer is well acknowledged, but one whose performances and recordings are outside the blues. The press-release announcing the selections acknowledges this, stating that she "one of America’s premier singers of gospel and soul music, has expanded her musical mastery with her performances in more blues-based settings in recent years." Performances being in a blues-based setting is not, to me, a strong rationale to induct a non-blues artist, as wonderful as she is, to a Blues Hall of Fame. I understand the rationale, I do not agree with it. 

A few other observations about this year's selections. Once again, with the exception of Son House's "Preaching the Blues" as a classic single, pre-war blues artists and recordings were generally ignored. Also the one album selected, John Lee Hooker, The Real Folk Blues, is not, in my estimation, one of the more important albums of Hooker's music. 

Of course this represents my opinion, but one resulting from following and listening to blues for a half century.

Tami Neilson Don't Be Afraid

Tami Neilson
Don't Be Afraid
Outside Music

New resident in New Zealand, Tami Neilson was born in Canada and grew up in her family's country group. Following the passing of her father Ron, she moved to New Zealand where she established herself as a major country performer while still writing songs with her brother Jay along with her Kiwi collaborator Delaney Davidson, who also is on guitar. Others in her group include guitarist Dave Khan, Ben Woolley on bass and Joe McCallum on drums.

She has been described as a bit of Patsy Cline with Wanda Jackson's sass with a dash of Sharon Jones. When I listen to the title track, the last song her father wrote I am reminded of some of Mavis Staples' recent recordings with the atmosphere of the baking, while "Holy Moses" has a bit more rock and roll flair. Listening to "Lonely," a duet with Marlon Williams, one certainly can hear similarities to Cline, a similarity also present on Davidson's original "So Far Away," where a crisp rocking tempo adds an additional edge. "If Love Was Enough," is another slow, lovely country waltz with austere backing.

"Bury My Body," the last song her father heard before he passed, is another performance evocative of Mavis Staples with its austere, mesmerizing backing complementing the fervent, almost shouted, vocal. It is followed by the rockabilly-latin frenzy of "Loco Mama." "Heavy Heart" with astute use of reverb and vibrato in the backing, is another marvelous country lament, followed by the more traditional country flavored, "Only Tears." The album closes with a moving song for her father, "The First Man," where she sings he was the first man who she ever loved and who held her in his hands.

Not being familiar with Tami Neilson before, I was impressed, to say the least, by this remarkable and moving recording that anyone interested in roots and real country music with some gospel-soul seasoning should look into.

A publicist provided my review copy. This review appeared in the January-February 2017  Jazz & Blues Report (Issue 370). Here is a video for "Lonely."

David Wise Till They Lay Me Down

David Wise
Till They Lay Me Down
Self-Produced

"Till They Lay Me Down" is a debut of multi-instrumentalist and composer David Wise. Originally from Richmond, Virginia, Wise went to Oberlin College as well as the Oberlin Conservatory of Music where he studied under Gary Bartz. Now Resident in Los Angeles, he regularly plays with the quartet featured on this: Bruce Forman, guitar: Alex Frank, bass; and Jake Reed, drums, while he is on baritone and tenor sax here. Also on this session are special guests Jason Joseph, Laura Mace, Josh Smith, Mitchell Cooper, Glenn Morrissette, R.W. Enoch, Amy K. Bormet, and Mikala Schmitz.

In his liner notes, Wise quotes Gary Bartz "If I'm locked into a category, I'm in a room with walls around me.But music is the universe.' This explains the variety of the performances here that open with a jazzy piece of soul "What More Could One Man Want?" sung by Jason Joseph, with Amy K.Bormet adding electric piano and horns fill the backing with an strong sax break and a fiery blues-rock styled guitar solo from Josh Smith. His quartet is augmented by a cellist for his lovely ballad written for his grandmother "Sylvia," which is where he emerges as a marvelous ballad player with a feathery tone while Forman's chording adding nice accents. It is followed by a lengthier performance, a lovely interpretation of the standard, "Here's That Rainy Day," dedicated to his grandfather with most of his playing being the middle register of the tenor and with Forman adding a fleet, lyrical solo.

"Home" is another ballad that Forman introduces before a ruminative Wise solo with lovely chording by Forman with soft backing from the rhythm. A most unusual selection is the traditional Jewish Yom Kippur prayer "Kol Nidre" that is played on the baritone, and then followed by the title track, a low-key, moody blues performance. "Lullaby" is an aptly titled short performance. It is followed by the closing tracks , "Life is But a Song," starts as a dreamy song which he sings over his saxophone with cello added to the quartet, transitioning into an upbeat celebration well he tells us how happy life is. It is a buoyant end to a recording full of warm saxophone and fresh, simple melodies. David Wise impresses on his debut.

I received my review copy from a publicist. His website is http://www.davidgwise.com. This review appeared in the Jnauary-February Jazz & Blues Report (Issue 370). Here is a video of David Wise performing.

 

Ted Hawkins The Next Hundred Years

Ted Hawkins
The Next Hundred Years
Geffen  

The release of a new Ted Hawkins album on David Geffen’s label is a surprising one for a major label, and has gotten Hawkins coverage on CNN. The LA street singer’s Rounder albums have just been issued on compact disc. He might be described as acoustic folk-soul or Sam Cooke unplugged. The Next Hundred Years has a country feel from the backing on most songs which are mostly originals dealing with the vagaries of human relationships. The opening Strange Conversation relates to a phone conversation where his baby tells him that his next lover is going to be the blues. His lyrics have a force because of their simplicity and slight naivete. In addition to the originals, there is a stirring cover of John Fogerty’s Long As I Can See the Light. This is a captivating release at the intersection of southern soul and country.

This review originally appeared in the September 1994 Jazz & Blues Report (Issue 194). I likely received a review copy from either the publication or the record company. This appears to be either  available new and/or used, or as a download. Here is Long As I Can See The Light.

 

Jazz Loves Disney

Various
Jazz Loves Disney
Verve

A new album offers jazz interpretations of songs associated with Disney Movies. **Jay Newland produced this album of mostly big band orchestral settings (including strings) for jazz vocals that was arranged and directed by Rob Mounsey. Such vocalists as Gregory Porter, Jamie Cullum, Melody Gardot, and Stacey Kent, lend their talents to this project that brings forth songs from such films as "Cinderella," "Lady and the Tramp," "The Jungle Book," "101 Dalmatians" and others.

Jamie Cullum gets things of with the playful "Everybody Wants To Be a Cat," with Mounsey's arrangements handsomely providing the setting for the first part before the band and Cullum erupts into a quasi Dixieland frenzy. Melody Gardot lends a smoky and sultry flavor to "He's a Tramp," with strings adding a lush, but not syrupy feel, with a marvelous saxophone solo. Stacey Kent is delightful singing in French, "Bibbidi Bobbidi Boo," followed by Gregory Porter delivering a dreamy "When You Wish Upon A Star."

I am not familiar with China Moses whose rendition of the Lil Green classic "Why Don't You Do Right," is patterned on Peggy Lee's famous rendition, with the bass very prominent in the backing. I am also not familiar with Raphael Gualazzi but he delights on the latin rhumba groove of "I Wanna Be Like You." He and Melody Gardot duet on the peppy "The Bare Necessities." The Rob Mounsey Orchestra is featured on " A Dream Is A Wish Your Heart Makes," opening with some atmospheric muted trumpet to play the lyrics.

Hugh Colman's vocal on "You've Got A Friend In Me" is suggestive of Harry Connick without being imitative. I found Anne Sila sort of out of place with her pop-flavored styling on "Let It Go," while Laika's romanticism sounds matched well with "Once Upon A Dream." Nikki Yanofsky delightfully transforms "Someday My Prince Will Come" into French on "Un Jour Mon Prince Viendra," while The Hot Sardines, only the only track without the Mounsey Orchestra, closes this thoroughly delightful recording with a spirited "I Wanna Be Like You."

I received a download from a publicist. This review appeared in the January-February 2017 Jazz & Blues Report (Issue 370).  Here is a sample of the album.

Scott Ramminger Do What Your Heart Says To

Scott Ramminger
Do What Your Heart Says To
Arbor Lane Music

What a pleasure it is to have a new CD from Mid-Atlantic saxophonist-singer-songwriter Scott Ramminger that is full of the bluesy, roots-rock gumbo with a heavy dash of New Orleans flavor. Backing Ramminger is a Crescent City studio band of David Torkanowsky on keyboards; Shane Theriot on guitar; George Porter on bass; and Doug Belote on drums, with Roland Guerin replacing Porter and Johnny Vidacovich replacing Belote on two tracks. Trombones and trumpet with Ramminger provide a full horn section and there are guest vocalists supporting Scott that include Tommy Malone, Bekka Bramlett, Francine Reed, The McCrary Sisters, Janiva Magness and Roddie Romero (who plays accordion on one track).

Scott writes good songs, full of humor and a perspective on the affairs of the heart and sings in an appealing, natural, rustic style. He also adds fluent, idiomatic big-toned sax to these selections backed by the stellar rhythm section. The album gets off with a New Orleans funk groove of "Living Too Fast" as he tells his tale about this woman with brains, looks and the like who poured his bottle into the ocean, cigarettes in the trash, coming to the conclusion Scott was living too fast (with Malone adding harmony), and while on May 1 he thought she was the one, by Labor Day she had extinguished all his fun with a booting sax solo and some New Orleans piano from Torkanowsky. With Bekka Bramlett adding support, "Someone New To Disappoint," is a nice hard rock number with Scott as someone who won't be changed so he is looking for someone else to disappoint. On the title track Scott deals with being battered by a lover, and sometimes instead of using one's brain, one should "Do What Your Heart Says To," with him taking another booting sax solo followed by Torkanowsky with some idiomatic Crescent City piano and Francine Reed on backing vocal.

Scott's has taken a beating and has not slept since she left and he's "Hoping That The Sun Won't Shine," with Bekka Bramlett supporting his vocal and Scott playing baritone as well as tenor sax on this blue ballad. "Winter Is Always Worse" is a strong slow performance that opens with some sizzling guitar from Theriot while "Get Back Up," with Guerin and Vidacovich, gets into a funk groove as he sings about getting back up when dealing with life throws at you while The McCrary Sisters add vocal backing and a short trombone break is followed by some deep in the gut baritone sax, guitar and chicken fried organ. Janiva Magness guests backing Scott on the easy rocking shuffle "It's Hard To Be Me," as Scott sings about his trouble and coming up with these lies and make up stories to hold on to a love.

"Off My Mind" is another solid slow blues while "My Girl For Life," is a swamp pop styled ballad. Roddie Romero's accordion lends a Tex-Mex accent to the rock and roll groove of "Stubborn Man," with honking sax, brief blistering guitar, and hot piano to take this  and the album to a rollicking close. Like he has done on his excellent prior recordings, Scott has produced some seriously entertaining music with plenty of substance. He writes real good songs, is a most engaging singer and a strong saxophonist who backs himself with some stellar players. The result is another helping of real fine musical gumbo.

A publicist provided me with the review copy. Here is a video of Scott performing at a CD release party.

Music in the Air: The Selected Writings of Ralph J. Gleason

Music in the Air: The Selected Writings of Ralph J. Gleason
Edited by Toby Gleason
New Haven: Yale University Press
2016: 328 pp

This is a companion to the recently published "Conversations In Jazz; The Ralph Gleason Interviews," which was transcripts of interviews with jazz musicians by the late journalist and television host. The present volume is a compilation of newspaper articles and reviews, liner notes, essays for scholarly publications and the like including some of his writings for Rolling Stone that Ralph Gleason co-founded. Rolling Stone's Jann Wenner provides the foreword here and Paul Scanlon provides an introduction. The book is organized into four parts. The lengthiest is devoted to jazz and blues followed by one on folk, pop and rock. After a part on comedy the book concludes with a part on politics and culture.

Gleason may be the only person to interview Duke Ellington, Louis Armstrong, John Coltrane, B.B. King, and Hank Williams. Yes Hank Williams, several months before his early passing. I have no doubt that the portion of the book devoted to music will be of the greatest interest to many. The very first piece is on jazz and blues entitled "Jazz: Black Art/ American Art," with a condensed distillation of the music's history along with blues folk like Bessie Smith, Ma Rainey, Leadbelly, Big Bill Broonzy, Lightnin' Hopkins, Muddy waters, B.B. King and others along with brief mentions of Charlie Parker, Thelonious Monk, Lester Young, John Coltrane and others.This 1969 essay won the ASCAP/Deems Taylor Award for Excellence in Music Journalism. Other essays on jazz and blues include his liner notes to Jimmy Witherspoon "At the Monterey Jazz Festival," John Coltrane "Ole Coltrane," Billie Holiday "The Golden Years Volume 2," B.B. King "Completely Well" and Miles Davis "Bitches Brew." There is an article on the San Francisco Jazz Scene of the Time, a review of Louis Armstrong playing the Claremont Hotel, appreciations of Johnny Hodges after he passed, and Ben Webster from Rolling Stone , and lengthy appreciations of Louis Armstrong and Duke Ellington after they had died.

The part on folk, pop and rock opens with liner notes on The Limeliters, a review of Joan Baez in concert, an article previewing a Pete Seeger appearance, a review of the incomparable Odetta in concert, several pieces on Bob Dylan (who Gleason was an early advocate of) including a 1964 concert review, early article on The Beatles, liner notes to the first Jefferson Airplane album, his appreciation of Hank Williams that includes quotes from the Oakland, California interview he did six months before Williams passed away, liner notes to Simon and Garfunkel's "Parsley, Sage, Rosemary and Thyme." and consideration of San Francisco as the American Liverpool. I wish I had Gleason's ability to so concisely (and so clearly) describe his musical subject and what is on the recording or the significance of the performance. And whether talking about jazz or folk and rock, he provides  insights about the subject one may not have had.

For the part on comedy there are brief pieces on Dick Gregory, Jonathan Winter, and Bill Cosby before a lengthy biographical essay on Lenny Bruce that served as liner notes for a Fantasy album of Bruce's comedy and social commentary. The Politics and Culture part has pieces on the Free Speech Movement, Hippie Culture, Music and social change of the time, and related matter of the times including his opposition to President Nixon. Gleason was what we call a progressive voice today and while some of his observations may be time bound, one can imagine how he would write about today's world.

Ralph Gleason was only 57 when he passed in 1975 and his centenary is in 2017. This and the companion volume of jazz interviews seems like the proper way to celebrate what he left us. Highly recommended.

I purchased this.

Michael Blanco Spirit Forward

Michael Blanco
Spirit Forward
Brooklyn Jazz Underground Records

"Spirit Forward" the title of bassist-composer Michael Blanco's new album, is a bartending term for a type of cocktail made with strong spirits (like the Manhattan or Martini) that seeks to highlight and enhance the flavor of the base spirit, not to mask its flavor. Blanco states, "When choosing Spirit Forward for the album title, I had this definition in mind and how it relates to my music. It's a good metaphor for how strong musical personalities can come together and create a dynamic unit, while still maintaining their individuality." This refers to the Michael Blanco Quartet featuring John Ellis (tenor saxophone), Kevin Hays (piano) and Clarence Penn (drums). He also observed "I like the idea that the act of releasing an album of original music is akin to putting your 'spirit forward' out into the world, as well as the way the word spirit can be used to mean motion (like 'spirit away'), so Spirit Forward also means forward motion and continuing progress."

Saxophonist Ellis has been a long-time friend and musical collaborator with Blanco, whereas the pianist Hays and drummer Penn (who I am most familiar with) are more recent additions to his group. And the band did a number of dates in 2015 working out on these compositions before actually going into the stdio resulting in this imaginative and intriguing recording. This is suggested by the first composition, "The Mystic Chord" which Blanco observes "The Mystic Chord is a six-note chord used by Russian composer Alexander Scriabin, and believed by Scriabin to have mystical properties. While practicing at home one day, I discovered that I could create a bass line with an interesting 6/4 groove by spelling out this chord one note at a time." The resulting melody has a "funky, lopsided quality," and the quartet explores the possibilities of this chord with Ellis' tenor providing a fluid, light sound.

"Notes From the Underground" was inspired by the Cornelia Street Cafe, and employs a low-register piano/bass counter-melody hat offsets Ellis' tenor at several points as well as impresses with his own solo. Blanco notes that so many of his favorite jazz clubs are basement rooms, hence the double entendre of the title. "Song Without Words" is a pretty number where the quartet displays its lyricism with Hays displaying his nice touch here, while the swinging title track evokes some classic 70s hard bop compositions with Hayes, Ellis and the leader stretching out. Then there is a quirky blues "Last Stable Orbit," (title is astronomical term that denotes" last orbit possible before an object (planet, spaceship, etc) gets sucked into a black hole.") with Ellis on soprano sax with a bit of squeal in his tone. A Neal LaBute play is the source of the tile for "Reasons To Be Pretty," a slow number opening with Ellis, again on soprano sax setting the mood before Hays takes a beautiful solo. Penn's cymbals play, whether with brushes or sticks, merits mention here, but is expectedly superb throughout.


Blanco's prior two albums have both garnered considerable praise. Listening to "Spirit Forward," one can understand why. There is so much to enjoy on this sparkling recording. Here is Michael Blanco and John Ellis with a different rhythm section.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). 

Hard Swimmin' Fish True Believer

Hard Swimmin' Fish
True Believer

Acme Blues Company, a former Northern Virginia group that included harmonica player and vocalist Waverly Milor, once described themselves as 'Industrial Strength Blues." Such a description might be applied to Milor's present group, Hard Swimmin' Fish, also based in Northern and Central Virginia. Its other members are Demian Lewis on guitar, banjo and vocals, Randy Ball on bass, and Jason Walker on drums and percussion. On their latest self-produced album, they are supported by the organ of John Sharrar on one selection.

On their website, they describe themselves, "Hard Swimmin’ Fish is an ensemble deeply rooted in the traditions of American music. Our down home roots sound pilfers from the best that early American music has to offer including blues, jazz, funk and swing, and churn it all up into a spicy brew that is familiar yet uniquely our own." Listening to this latest release, one is struct by the blues center of the performances and the impressive ensemble playing that overshadows the instrumental solos which are quick and to the point.

The tenor of their sound is set with the insistent, machine-like groove of the opening title song as Milor gruffly delivers the lyrics of being a true believer tied to the stake with his overdubbed harmonica adding feel of the performance. Plenty of grit follows on "Five Years Hard Labor," with its chugging rhythm and his being let go from his job for his five years of hard labor and having his woman walk out the door. "Come Together" is not the Beatles number, but a Lewis original with him laying down some hot acoustic slide guitar set against a tight groove. Covers include a straight, rocking treatment of Howlin' Wolf's "Howlin' For My Darling"; an atmospheric reworking of Little Willie John's classic "Need Your Love So Bad," with one of the nicest vocals on this and organ from Sharrar; and a warp speed rendition of the classic Ray Charles stomp "Mess Around."

A traditional gospel number, "Don't Let the Devil Ride" which segues into "Wish I Was In Heaven Sitting Down,"closes out this latest release that perhaps exhibits why Hard Swimmin' Fish has been developing a following around Northern and Central Virginia and parts of Maryland.

Received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here Hard Swimmin' Fish perform "True Believer."