LUTHER ALLISON - Live In Chicago

LUTHER ALLISON - Live In Chicago - ALLIGATOR 

The late Luther Allison certainly emerged as among the most exciting live blues performers in his too-brief American comeback of 1994 to his passing in 1997. While there are some excellent live albums of Luther in Paris and at the Montreux Jazz Festival on Ruf, Alligator has just issued Live in Chicago, a two-disc set of live performances, anchored by his June 1995 Chicago Blues Festival performance. Also included are November 1995 performances at Buddy Guy’s Legends and May 1997 performances from Lincoln Nebraska’s Zoo Bar, the latter being among what would be his last.

Backed by the James Solberg Band augmented by the Memphis Horns, Luther opens his Chicago Festival performance with an incendiary rendition of Soul Fixin’ Man, sung with as much passion as his guitar possessed fire. The Chicago Fest performance is laced with impassioned renditions of Cherry Red Wine and Bad Love (the latter featuring a dialog between Luther and his guitar. A rendition of Hound Dog Taylor’s Give Me Back My Wig is taken at supersonic tempo, a bit fast, although Luther cleanly sings the lyrics and rips out his slide guitar solo. This performance is not from the festival but from the Legends recordings. Perhaps some audio problems with the festival performance resulted in the substitution of this recording. It is followed by another slide feature, It Hurts Me Too with Allison pouring everything into his vocal. 

The first disc concludes with Luther and Eddie Campbell joining Otis Rush for a medley Gambler’s Blues, (first waxed by Dinah Washington), and Sweet Little Angel (which goes back to Lucille Bogan’s Sweet Black Angel). It is a memorable jam as Rush and Allison sing with fire and all three layout some strong licks. The second disc continues in the same spirit, with originals like All the King’s Men and Will It Ever Change heard along with covers of What Have I Done Wrong and Everything’s Gonna Be All Right. 

Some of the most memorable performances I ever attended were from Luther Allison, and this release probably best showcases the power and passion he brought to the stage.

I received a review copy from Alligator. This review originally appeared in the November-December 1999 Jazz & Blues Report, although I have made minor edits. Here is a video of Luther performing "Bad Love" from another show.

Henry Robinett Quartet - Jazz Standards Volume 2: Then Again

Henry Robinett Quartet - Jazz Standards Volume 2: Then Again - Nefertiti Records

Henry Robinett is a guitarist, composer, bandleader, and recording engineer whose recording career began in 1986. Born in Sacramento, California, he was inspired by Jimi Hendrix when 13. He first studied with a couple of classical guitar teachers. He had to learn to play Bach, Paganini, Mendelssohn, and Rimsky-Korsakov on an electric guitar using a pick. Later he would study with jazz guitarist Warren Nunes. Robinett played a variety of music back in Sacramento before moving to San Francisco. 

He spent a year in Germany, and upon returning, he started playing his music and leading his own group. He recorded three albums for the Artful Balance label. Wanting more control over his music, Robinett learned to be a recording engineer and recorded his music and others for his label. This album is the second album released from 2000 sessions with Joe Gilman on piano, Chris Symer on bass, and Michael Stephans on drums. Like "Volume 1: Then," this was not released at the time. In 2019, the quartet got together again and recorded another two CDs worth of material to be released in the future. 

About the earlier volume, I wrote, 'It was as much a real pleasure listening to this marvelous recording, and one looks forward to these future releases." The same can be said about the present recording. Robinett leads his swinging, straight-ahead quartet on a repertoire of songs from Lehar & Loehner, Van Heusen & Burke, Van Heusen & Mercer, Alan Jay Lerner, Miles Davis, Cole Porter, Thelonious Monk, Thelonious Monk, and others. 

On these recordings of standards, Robinett shows himself to be a melodic guitarist with a gorgeous tone. He mixes scintillating single-note runs and judiciously played chords against the tasty grooves of the rhythm section. In addition to his comping, Gilman is a sterling soloist, as heard on his lively solo during "On the Street Where You Live." Robinett himself exhibits his familiarity with the song's lyrics with his statement of the theme and solo. Then there is the charm of "Like Someone in Love," where Stephans deft touch on the cymbals accents the leader's solo. 

The quartet provides a relaxed treatment of Miles Davis' 1st version of "Milestones," with Robinett's imaginatively crafted solo. A beautiful performance of "Body and Soul" features a dexterously played, well-shaped solo that showcases his considerable technical mastery in addition to his creativity. There is also a reflective quality to the treatment of "Darn That Dream," and the scintillating playing on the briskly paced "It Could Happen To You."

Closing this recording are excellent versions of Thelonious Monk's "Monk's Mood" and "San Francisco Holiday." The performance of "Monks Mood" is particularly memorable for the delicacy and restraint exhibited by Robinett and rhythm. These two tracks conclude another excellent album that was a pleasure to listen to. The exquisite music on this and the earlier volume may lead listeners to have strong anticipation for the forthcoming volumes. These volumes will be devoted to the more recent sessions by this splendid group.

I received my review copy from a publicist. Here is a performance by Henry Robinett with saxophonist Jeff Alkire. 

Alligator Records--50 Years Of Genuine Houserockin' Music

Various - Alligator Records--50 Years Of Genuine Houserockin' Music- Alligator Records

Alligator Records is celebrating its 50th Anniversary this year and, as it has in past years, compiled, 40th Anniversary Collection, a three-CD compilation of 58 recordings from the label since it released Genuine Houserockin' Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label. However, he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition. There is also a double LP vinyl edition with twenty-four selections.

Given the diversity of contents and the purpose of this collection, it is not my intent to review the contents here. I suspect folks will find selections they don't like and others they think are timeless. Besides celebrating Alligator Records history, this compilation hopefully will introduce some of the artists and recordings that some may be unfamiliar with. There are vintage selections from Koko Taylor, Hound Dog Taylor, Son Seals, Fenton Robinson, and Albert Collins. Also, there are contemporary acts like Michael Burks, Tommy Castro, Shemekia Copeland, and Selwyn Birchwood. 

There is a selection from the Grammy Award-winning collaboration between Albert Collins, Johnny Copeland, and Robert Cray, a track from Professor Longhair, a live Luther Allison track, a selection from Saffire-The Uppity Blues Women, and a duet between Corey Harris and Henry Butler. Other performers represented here include Guitar Shorty, Billy Branch, Joe Louis Walker, Janiva Magness, JJ Grey & Mofro, Tinsley Ellis, and Coco Montoya. Also, many of the recent albums on Alligator are represented, including tracks from Chris Cain, The Cash Box Kings, Curtis Salgado, The Nick Moss Band featuring Dennis Gruenling, Toronto Cannon, Rick Estrin & The Nightcats, Elvin Bishop & Charlie Musselwhite, and Roomful of Blues.

In addition to his overview of Alligator's history, label head Bruce Iglauer provides short bios of the various acts. I believe his concluding comments to the liner notes states things very well, 

"Today, after 50 years, Alligator remains proudly independent and still 100% dedicated to Genuine Houserockin' Music. With a roster that includes beloved veterans like Marcia Ball, Lil' Ed & The Blues Imperials, Elvin Bishop and Roomful Of Blues, rising stars like Selwyn Birchwood and Toronzo Cannon, and the 22-year-old sensation Christone "Kingfish" Ingram, we are committed to the past, present and future of the tradition. Now that illegal downloading has been replaced by digital streaming services reaching around the globe, Alligator's music can be heard in China, India, and across Africa, and in other countries where it was never available in physical form. Hound Dog Taylor & The HouseRockers would be amazed to see what happened to the tiny record label, now with over 350 releases, that was created to bring their music to the world. They'd be thrilled to know that billions of people can now discover the joyous houserockin' blues that they played every Sunday at Florence's Lounge."

"Alligator Records-- 50 Years Of Genuine Houserockin' Music" is a vibrant celebration of the impressive (and still growing) body of music produced by Alligator Records and Bruce Iglauer.

Alligator Records provided a download to review.

Wynonie Harris- Rockin' The BLues

 

Wynonie Harris - Rockin' the Blues - Proper

Along with Big Joe Turner and Jimmy Rushing, Wynonie Harris is generally regarded as the greatest of the blues shouters. Harris was one of the most popular and influential artists in the first years after World War II, scoring a number of hits. First emerging on record with Lucky Millender's Big Band, Harris' vocal Who Threw The Whiskey In The Well was a success for the Millender band. For several years, he recorded for various labels, including Philo/Aladdin, Apollo, Hamptone, and Bullet, before signing with King in July 1947. With King, he enjoyed his greatest success. A singer with a booming voice and an extravagant stage presence, The British Proper label has put together a four-disc box, Rockin the Blues, which contains 81 recordings through 1950. 

It is handy to have all of Harris Philo/Aladdin and Apollo recordings, along with the rarities from Hamptone and Bullett and his first thirty-seven recordings for King. Included are classic recordings like Wynonie's Blues, Somebody Changed the Lock on My Door, In the Evenin' Blues, Mr. Blues Jumped the Rabbit, and the two-part Battle of the Blues with Big Joe Turner. Other recordings reissued in this set include: Good Morning Mr. Blues, Good Rockin' Tonight (his version eclipsed Roy Brown's original), Grandma Plays the Numbers, I Feel That Old Age Coming On, I Like My Baby's Pudding, Rock Mr. Blues, and Good Morning Judge (a version of a country hit). 

Harris was accompanied by bands that included some of the finest jazz players of the postwar era. Among the accompanists are Howard McGhee, Teddy Edwards, Illinois Jacquet, Charles Mingus, Jack McVea, Gene Phillips, Arnett Cobb, and Milt Buckner. Sun Ra is credited as pianist on the four sides recorded for Bullett in Nashville in March/April 1946. Other notable musicians who played on his recordings include Tab Smith, Bill Doggett, Hot Lips Page, Hal Cornbread Singer, Tom Archia, Buddy Tate, Sonny Thompson, and Cat Anderson. This is quite a roster of musicians, and they provide Harris with terrific support. 

It has been over thirty years since Harris died, and, thus, he never was able to enjoy the type of career revival that Big Joe Turner enjoyed in the seventies and eighties. The level of the music on these is consistently first-rate. Wynonie Harris may have been a bit of a bragger when he called himself Mr. Blues, but few shouted the blues with the power and skill that he did. 

I purchased this. I wrote this review in mid-2001, and it likely appeared in the DC Blues Society newsletter at the time. I do not know if it still is in print, but it should be available on Amazon, eBay, and other sources. Here is his classic rendition of "Good Rockin' Tonight."

Patti Parks - Whole Nother World

Patti Parks - Whole Nother World - Booga Music/ VizzTone

From Western New York, vocalist Patti Parks built quite a following apart from her career as a working nurse. She caught Kenny Neal's attention at the Blues Foundation's International Blues Challenge. Neal signed her to his Booga Music label and brought her to his Baton Rouge, Louisiana studio where he produced "Whole Nother World." Backing Patti's vocals are Kenny Neal on guitar, Carlton Ross on rhythm guitar, Arlando O'Connor on bass, Brandon Adams on keyboards, and Michael Harris on drums. Frederick Neal adds keyboards to one track, Guy Nirelli adds keyboards to two tracks, and Jason Parfait adds saxophone to one song.

There is a nice selection of mostly obscure material. The album opens with a cover of Yvonne Jackson's Ichiban recording "I'm Troubled." Taken at a nice shuffle groove, Parks quickly puts her stamp on this recording with her powerful, expressive singing. She shouts out the lyrics without sounding shrill with tight backing, although the synthesized horns add a cheesy feel. It is followed by a reworking of an old Erica Guerin recording, "More Than You'll Ever Know." Guerin wrote this song with Neal and the late Bob Greenlee. It is a slow bluesy number that Parks pours her soul into. The backing is first-rate, with Neal being terrific. Up next is a pretty straight, if strongly sung and played, rendition of James Brown's "It's A Man's Man's Man's World." 

Neal and Parks duet on Neal's "Baby Bee," on which Neal plays acoustic guitar and harmonica. It is an appealing, laid-back back-porch performance. Parks covers a couple more Erica Guerin recordings. "Stickin' to My Guns" is set against a relaxed shuffle groove, with Neal adding some down-home harmonica in the backing. Then there is the pop-soul anthem "Don't Play Me Cheap," with Adams' solid piano and keyboards while Jason Parfait plays some strong yakety-yak tenor sax. Kenny Neal provided the lyrics for the funky "I Can't Think" with another potent vocal, although again with cheesy synthesized horns.

There is also Parks' powerful performance of the anti-rape song, "No Means No." It is a superb close to a superbly sung recording. It should be noted that there are only eight songs and less than a half-hour of music. However, there is no fat or gristle to this first-rate recording.

I received my review copy from VizzTone. Here is a performance by Patti Parks.

Joyann Parker - Out of the Dark

Joyann Parker - Out of the Dark - Hopeless Romantics Records

Minneapolis singer-songwriter Joyann Parker has been tagged as a blues and rhythm-and-blues singer. Still, the broader Americana label is a better fit for her versatility and expansive range and influences. Her new album is a showcase for the range of her talents with her collaborator on songs, guitarist Mark Lamoine. Also involved in this album was Kevin Bowe, who produced, engineered, and mixed this album. Parker herself plays guitar and keyboards on several tracks. Others on this recording include Tim Wick on keyboards, Brad Schaeffer on bass, and Bill Golden on drums and percussion.

Parker is a striking vocalist who can robustly belt out a lyric without sounding shrill. Her intonation, phrasing, and sense of dynamics also capture the listener's attention, while the backing is terrific on a recording whose 11 songs range from southern rock to gospel-tinged soul and straight rock and roll. Things kick off with the southern swampy feel of "Gone So Long," with Lamoine's slide guitar evoking Duane Allman as the intensity of her singing builds until the song's dramatic climax. Even more impressive is "Carry On." It is a song of perseverance, borrowing some of its lyrics from the Book of Isaiah. Then the mood shifts on the reflective soul ballad, "Bad Version of Myself," with Rory Hoffman's harmonica adding to the mood. 

"Predator" was allegedly inspired by Amy Winehouse, which has a lyric about warning about those who are simply a devil with an angel's face. Set against a striking Latin groove and superbly sung, Dave Foley's muted trumpet adds to the tune's mood. Parker and the band (particularly Wick's piano and Dave Budimir's tailgating trombone) take us to New Orleans on "Dirty Rotten Guy." "Come on Baby (Take Me Dancing" comes off as a strong performance in the vein of early sixties Brill Building pop songs. Saxophonist Rick Manik takes a booting sax solo followed by Lamoine's hot fretwork. 

After the rollicking rock'n'roll, "Hit Me Like a Train," the inspirational title track closes this album. It is an excellent close to an outstanding recording.

I received my review copy from a publicist. Here is a 2019 performance of "Carry On."

Archie Edwards

The Toronto Sessions

NorthernBlues Music NBM 0006

I Had a Little Girl/ One Thin Dime Blues/ Sitting on Top of the World/ That Won’t Do/ Greyhound Bus Blues/ I Called My Baby Long Distance/ Take Me Back Baby/ Easy Rider/ How Long Blues/ Pittsburgh Blues/ Poor Me/ Meet Me in the Bottom. 49:10.

Edwards, g, vcl. Toronto, Ontario. June 1986.

The late Archie Edwards was a vibrant part of the D.C. Blues community that still includes Cephas and Wiggins and John Jackson. Edwards’ impact is still felt through the Archie Edwards Blues Heritage Foundation that was established after his debt. The Foundation to preserve his legacy in a variety of ways including running Saturday afternoon jams at the barber shop Archie owned and operated on Bunker Hill Road in Washington and by providing opportunity for new musicians to get guidance, just like he gave many during his life. Edwards was a Piedmont blues stylist whose playing centered on the genial fingerstyle approach associated with many blues performers of the Eastern United States including Blind Boy Fuller, Buddy Moss and Rev. Gary Davis. He did not have a very large body of recordings when he passed away. There were two albums under his name and he had songs on several anthologies as well. 

The release of The Toronto Sessions, which contains previously unissued recordings by Edwards, is a cause for celebration. The recordings were made in 1986 while Archie was performing in Toronto. One thing that is immediately evident was that Archie was in good spirits and voice. He sounds quite vigorous here while performing on a nice mixture of material. There are very nice renditions of blues standards including “Sittin’ on Top of The World,” “One Thin Dime Blues” and “How Long Blues,” with Archie providing his own lyrics on occasion. On “How Long Blues” and a couple other selections, one can hear a bit of Lightnin’ Hopkins in some of the phrasing he includes in his accompaniment. Another influence was Mississippi John Hurt, who Edwards spent much time with in the early sixties when Hurt resided in Washington. Archie even plays slide guitar on “I Called My Baby Long Distance,” where he employs the “Dust My Broom” riff. Archie’s own songs, there is a new version of “Pittsburgh Blues” which first appeared on his album as part of the Living Country Blues USA series and “Greyhound Bus Blues.” 

The packaging of this album is on a level to match the music. The booklet contains many photos, along with detailed notes on Archie, his music and the songs by Barry Lee Pearson. NorthernBlues Music has at least enough unissued material for a second album. Acoustic blues like this album generally is not a big seller, but hopefully this wonderful release will do well enough to get volume 2 issued.

I previously posted in 2008 a slightly different version of this review. I wrote the review here for Cadence magazine and with minor changes in punctuation have not changed it. The Archie Edwards Blues Heritage Foundation was offering this for sale, but it is out of print. It might be available used. Here is Archie Edwards performing.

Kenny Polson - Colors of Brazil

Kenny Polson - Colors of Brazil - Rosetta Records

West Coast saxophonist Kenny Polson shows his love for Brazilian music with this new release. Born in Kansas City, Missouri, he studied at Howard University. Polson spent several years living in Brazil, including five in the Ipanema neighborhood, and worked with some notable Brazilian musicians, including Marinho Boffa, trumpeter Paulinho Trompete, and the late composer/bassist Nico Assumpção. These musicians are on this recording, as are Rio-born percussionist Alejandro Lucini and bassist/arranger Leonardo Lucini, friends from his days at Howard University. These brothers contributed heavily to the popularity of Brazilian music in the Nation's capital. Also added to this project are Leni Stern, guitar and African nGnoni, L.A. harpist Mariea Antoinette adorns two tracks, and Dr. Osamu Kitajima and Mitsuki Dazai play Japanese koto on five cuts. These instruments create interesting textures.

Polson has recorded in an R&B flavored smooth jazz mode. On this CD, he brings that approach to his love of Brazilian music for a recording full of a tropical feel and his keen sax playing starting with the opening "Aquarela do Brazil (Colors of Brazil)," that many will know as "Brazil." Set against an emphatic beat, Leni Stern is also heard here soloing in addition to Polson's melodic embellishments and solo. Polson contributed a breezy funky samba, "Hipnotizado (Mesmerized)." It was recorded in Brazil with Mariea Antoinette's harp added in Los Angeles. This tune is his only original on a disc that focuses on Brazilian contributions. The performance reminds this listener of some of Spyro Gyra's recordings with his soaring alto sax at the front. 

Of note is the rendition of the Ellington-Tizol jazz standard, "Caravan" with an outstanding Brazilian band that included Marinho Boffa on piano, Nico Assumpção on Bass, and Christian Oyens on Drums. Trombonist Victor Santos, pianist Boffa, and bassist Assumpção add some fire with their solos. Dr. Osamu Kitajima and Mitsuki Dazai add texture with the Japanese koto to "Flor de Lis (Lily Flower)" with the American rhythm section. The late Nico Assumpção composed "Mariana" as a tribute to his daughter. In addition to Polson's alto sax, it has an exhilarating bass solo from Assumpção. 

Torinho Horta's light samba, "Passeio de Bicicleta (Bicycle Ride)," has some of Polson's loveliest soprano sax playing with an exquisite Brazilian rhythm section of guitarist Alessandre Carvalho, keyboardist Marinho Boffa, bassist Nico Assumpção, and drummer Christian Oyens. In contrast, "Incompatibilidade de Genios (Incompatibility of Geniuses)" is a livelier samba with a touch of funk. It has Leni Stern on nGnoni, a punchy horn section, and Azure McCall's horn-like scatting.

Polson is a most appealing saxophonist with his clean, lyrical playing and given sparkling backing on a wonderfully sounding salute to Brazilian music. 

I received my review copy from a publicist. Here is a video for "Caravan." 

Jerry McCain - Somebody's Been Talking

Jerry McCain - Somebody's Been Talking - Westside (UK)

One of the post-war masters of blues harmonica Jerry McCain has recorded steadily since the fifties when he first sent some demos to Trumpet Records. If he had only recorded Steady/ Shes Tough, his status would be assured because of his wonderful harp tone, swinging playing, and wry, soulful singing. 

Somebody's Been Talking, The Complete Jewel Singles on England's Westside label (and available on Fuel 2000 as Absolutely the Best in the United States) collects the six 45s that were issued on Stan Lewis' Jewel label between 1965 and 1972 along with previously unissued renditions of Bill Doggett's Honky Tonk. The material here is varied. There is the wry She's Crazy About Entertainers, a slow stop-time blues about his woman who would rather be with James Brown, Otis Redding, or some other big star of the time. Somebody's Been Talking focuses on a nosy next-door neighbor who is blabbing all over town. Toss in several New Orleans flavored numbers like I Don't Care Where I Get My Loving, and Love Ain't Nothing to Play With, some harp showcases like Midnight Beat and 728 Texas (Where the Action Is), named after Jewel Records street address in Shreveport) and one has an entertaining collection. 

McCain does not play harp on all the tracks, and if his playing tone is not as tight and fat-sounding as on Steady (perhaps he was not playing his harp through an amp), it shows his fertile musical imagination throughout. While not the best collection of his early recordings, it is welcome to have this available.

This is an older review that I am posting as an extra post for some days. I may have purchased this. I wrote this review in mid-2001 when Jerry was still alive and made some minor changes for clarity. It likely appeared in the DC Blues Society newsletter and appeared in the Jazz & Blues Report in 2002. This reissue (whether the Westside or Fuel) seems to be out-of-print but available as a collectible. Here is "She's Crazy About Entertainers."

Ojoyo - Plays SafroJazz

Ojoyo - Plays SafroJazz - Sunnyside

This is a re-release of a recording of South African jazz from 1996 featuring the Cape Town born Morris Goldberg, a saxophonist and penny whistle player. Goldberg plays the solo on Paul Simon's "You Can Call Me Al" and had a lengthy association with Hugh Masekela. Goldberg's recording career began in 1959 on one of the first jazz recordings in South Africa. He would travel to the United States, where he attended the Manhattan School of Music. Like Masekela and Abdullah Ibrahim, the group would often feature folk-like melodies that harken to his South African roots. Goldberg has played with several icons, including Simon, Harry Belafonte, and Herbie Mann. He was also featured on the Rosie O'Donnell Show. 

In addition to Goldberg, members of Ojoyo included Anton Fig (of David Letterman Show band fame) on drums, Cyro Baptista on percussion, Bakithi Kumalo on bass, Chris Botti on trumpet, and Tony Cedras on keyboards. There are also appearances by Dan Carillo on guitar and Kofo on talking drum. Two selections were recorded live with different personnel. In addition to Goldberg, Fig, and Baptista, Diego Uncola is on trumpet, Cecilia Tenconi is on tenor saxophone, John Guth is on guitar, Richard Cummings is on keyboards, and Chulo Gatewood is on bass. 

Goldberg's time with Masekela is evident throughout this recording, starting with the opening "Station Road Strut" which has some of the energetic vibrations of "Grazing in the Grass." Goldberg plays lively penny whistle solo while Tony Cedras piano and Carillo's guitar help evoke a New Years' celebration in Cape Town. The music may not be particularly deep, but this track is a lively, high-stepping opener that sets the mood for the entire recording. Another selection with some of the same feel is "Dolphin Jive," with Cedras piano and organ adding to the atmosphere.

Chris Botti is prominent on "Forward Motion," along with Goldberg's brawny tenor sax. "Harare" refers to a Zimbabwe city where Goldberg performed with Hugh Masekela as part of a UNICEF Festival. His penny whistle rides over the Zimbabwe rhythms played by Kumalo, Baptista, and Kofo's talking drums, after which Botti adds some fiery brass. "Madagascar" is a lovely melody and showcases Botti's warm melodic attack. 

The last two numbers were at a live performance. "Rockwela" is based on an Anton Fig riff based on a kwela rhythm. Goldberg's pennywhistle helps state the melody over the groove and Guth's guitar riffing before the full band with Uncolas trumpet and Tenconi's tenor sax join in. Cummings keyboards provide a marimba sounding solo during this lively performance. The final number is "Sophiatown Society," which was co-written with Pops Mohamed and initially recorded in Johannesburg with him in 1992. It is another ebullient performance with horns soaring over against high-spirited backing. It caps a thoroughly captivating album that will lift a listener's spirit.

I received my review copy from a publicist. Here is a performance by Morris Goldberg with Ojoyo.

Tia Carroll - You Gotta Have It

 Tia Carroll - You Gotta Have It - Little Village Foundation

From the opening of "You Got To Have It," this listener became absorbed in this new album by veteran Bay Area vocalist Tia Carroll. Carroll has been singing for years with her own groups and the likes of Jimmy McCracklin and Sugar Pie DeSanto. While she has recorded albums before, this is her first USA release. Noel Hayes has been listening to her for over twenty years and made this recording happen and brought Carroll to Greaseland Studios for Kid Andersen and Jim Pugh to put together their magic. 

Besides Andersen's guitar and Pugh's keyboards, the studio band consists of Steve Ehrmann on bass, Vicky Randle on percussion, and Paul Revelli on drums. There is a horn section of Mike Rinta on trombone, Rob Sudduth on tenor sax, Aaron Lington on baritone sax, and Jeff Lewis on trumpet. Backing vocals are provided by The Sons of Soul Revivers, Lisa Leuschner Andersen, and Willy Jordan. Charlie Hunter guests on bass & guitar on one track, Igor Prado plays lead guitar on one track, Derrick D'Mar Martin plays drums on one selection, and Gordon Beadle adds sax to two songs.

The album opens with her cover of Anthony Hamilton's "Ain't Nobody Worrying." It's a stunning rendition of this stark depiction of urban street life with the shots fly high, kids die young, and the homeless have no place to turn. Hunter plays both bass and guitar, and The Sons of the Soul Revivers add backing vocals as the intensity of Carroll's stunning vocal slowly builds before she explodes. The rest of this album is of a similar level. For example, Jim Pugh co-wrote "The Last Time" while with Robert Cray. Kid Andersen adds a searing Magic Sam feel with his guitar. 

Rick Estrin wrote "Don't Put Your Hand on Me," and Carroll belts out her warning against a backing that evokes Albert King's "The Hunter." Andersen's guitar suggests Albert King's style with a dash of Albert Collins mixed in. The rendition of a Johnny Ace ballad, " Never Let Me Go," follows. It might bring back memories of some of Etta James' early Chess recordings. Gordon Beadle takes a booting solo here. Carroll's own "Leaving Again" with Andersen's swampy wah-wah guitar has a seventies soul feel. Then there is a stellar rendition of Johnny Copeland's "Mama Told Me," along with a soulful version of Z.Z. Hill's "I Need Someone." Kid and Lisa Andersen wrote "Ready To Love Again." This song comes across as a lost Hi Records recording. Igor Prado adds stinging guitar to Carroll's original, "Move On."

An impassioned interpretation of The Staples "Why Am I Treated So Bad" closes this recording. One wonders why it took so long for Tia Carroll to get an album issued in the States. Her soulfulness, phrasing, timing, and clarity of her diction result in some of the most compelling blues and soul vocals this listener has heard in some time. With a strong musical program and support from an exceptional studio band, Tia Carroll's "You Gotta Have It" is a simply sensational recording.

I received my review copy from a publicist. Here is Tia Carroll with Igor Prado from 2012.

Eddie Burns - Snake Eyes

Eddie Burns - Snake Eyes - Delmark

Delmark has also issued Snake Eyes, the latest album by another under-recorded blues veteran, Eddie Burns. Burns is a veteran of the Detroit blues scene, including playing with John Lee Hooker on a number of Hooker's finest band recordings. He shares some influences with Hooker including Tommy McLennan but in addition to being a fine rhythmic guitarist, he is a capable harmonica player indebted to John Lee 'Sonny Boy' Williamson.

Delmark, who has issued a couple of albums by his younger brother Jimmy, has just issued Eddie's Snake Eyes. On it, Burns is joined by brother Jimmy on guitar along with pianist Roosevelt Purifoy, bassist Nick Charles (brother of Magic Slim), and drummer Larry Taylor (one of the legendary Eddie Taylor's sons), in an album of postwar ensemble blues. 

Playing both acoustic as well as electric guitar and harmonica, Burns' simple, effective playing and his straightforward plaintive singing result in some delightful traditionally oriented blues. There are echoes of classic Muddy Waters' stop-time grooves on Night Shift, while the rollicking Papa Likes to Boogie evidences the influence of Williamson. A spirited remake of the Drifters' Your Cash Ain't Nothin' But Trash is joined by a tasteful cover of Memphis Slim's Lend Me Your Love, while Going to New Orleans, is similar to recordings by Otis Spann and Lonnie Johnson. The two Burns play acoustic guitars on the shuffle Treat Me Like I Treat You. 

The backing band is wonderful and with Burns' honest and heartfelt performances, Snake Eyes is a gem.

I received my review copy from Delmark. This review originally appeared in the June 2002 DC Blues Calendar although I have made some minor edits to the original review. Here is "Your Cash Ain't Nothin' But Trash" from this recording.

Henry Robinett Quartet - Jazz Standards Volume 1

Henry Robinett Quartet - Jazz Standards Volume 1 - Nefertiti Records

Henry Robinett is a guitarist, composer, bandleader, and recording engineer whose recording career began in 1986. Born in Sacramento, California, he was inspired by Jimi Hendrix when 13. He first studied with a couple of classical guitar teachers. He had to learn to play Bach, Paganini, Mendelssohn, and Rimsky-Korsakov on an electric guitar using a pick. Later he would study with jazz guitarist Warren Nunes. At home, he explored the record collection of his father, Charles Mingus' first cousin. He, in fact, spent three months living with Mingus. Robinett played a variety of music back in Sacramento before moving to San Francisco, where he would play at the Keystone Korner. 

After a year in Germany, he returned to start playing his own music and leading his own group. They recorded three albums for the Artful Balance label. At this time, he wanted more control over his music and learned to be a recording engineer. Robinett then recorded his subsequent albums and albums for others, as well. He also started his own label, Nefertiti Records. This present album was recorded in 2000 with Joe Gilman on piano, Chris Symer on bass, and Michael Stephans on drums. For whatever reason, it was not issued at that time but finally is available.

It is a most welcome CD with Robinett leading a swinging, straight-ahead quartet on a repertoire of songs from Mancini, Fields and Kerr, Arlen and Koehler, Mal Waldron, Bronislaw and Webster, Hammerstein and Kern, and Wayne Shorter. I understand that Robinett often is a more electric player than here, where he is in a traditional bebop-rooted approach. He has a gorgeous tone, plays scintillating single-note runs, and judiciously played chords against the tasty grooves of the rhythm section. There is a focus on the melody as his playing sings on such songs as "I Hear a Rhapsody," 'The Days of Wine and Roses," "The Way You Look Tonight," "East of The Sun" "Invitation," and "Soul Eyes." Pianist Gilman is splendid as well with his comping and well-conceived solos. Bassist Symer provides the musical axis while drummer Stephans adds his rhythmic embellishments to these tuneful and lively performances.

There is another volume of recordings from 2000 forthcoming, and then a further two volumes from 2019 when this quartet got together again. Robinett says in his CD notes." It's been a real pleasure playing this music with these remarkable musicians." It was as much a real pleasure listening to this marvelous recording, and one looks forward to these future releases.

I received my review copy from a publicist. This review appeared in the May-June 2020 Jazz & Blues Report (Issue 390) although erroneously not credited to me. Here is a recording from Henry Robinett's first album.

Nelson Riveros - The Latin Side of Wes Montgomery

Nelson Riveros - The Latin Side of Wes Montgomery - Zoho Music

New York guitarist Nelson Riveros provides a Latin accent on seven of Wes Montgomery's compositions and two originals. Riveros is joined by Hector Martignon (piano), Mark Walker (drums), Andy McKee (bass), and Jonathan Gomez (percussion) for this different twist on Montgomery's music. This project took place after he played a gig that involved performing some of Montgomery's songs. The gig inspired Riveros to reimage Montgomery's music in a Latin American style. Riveros said, "I started to hear all kind of rhythms, bass lines, and melodic variations to some of his tunes. The next day, I started writing arrangements, and this very project began to take shape." 

Riveros is an impressive player and does provide an imaginative gloss to the Montgomery compositions. He and pianist Martignon stand out throughout with fresh inventions. The rhythm section on this recording is top-flight. "West Coast Blues" may be the only arrangement that the Latin coating on Montgomery's loping blues doesn't completely jell to these ears, yet his fleet, sophisticated playing still sparkles. "Jingles" is a terrific, briskly paced performance with sterling piano along with Riveros' mix of single notes runs, octaves, and chords. Riveros' original, "Nelson's Groove," is inspired by "Wes' Tune," and he mostly employs octaves during the bridge. His interpretation of "Wes' Tune" has one of his most inspired improvisations, including his use of octaves. Bassist McKee takes a robust solo on this number.

There are standout renditions of Montgomery's "Road Song" and "Four On Six." The album closes with a lovely, relaxed unaccompanied performance of "Leila," played on a nylon-string guitar. It caps an auspicious and outstanding Zoho Music debut for Riveros that also is an excellent tribute to Wes Montgomery.

I received my review copy from a publicist. Here is "Road Song."

Larry Davis - Jeffrey Scott reviews

Larry Davis - Funny Stuff - Rooster Blues

Best known for the original recording of "Texas Flood," which was popularized by Stevie Ray Vaughan, Larry Davis had a relatively short but distinguished career, which included at one time being signed to B.B. King's Virgo label. Originally a bass player, he started playing guitar while touring with Albert King. 

In 1982 Rooster Blues issued his album, Funny Stuff, which won the 1982 Handy Award for Best New Album and contained the two tracks that won for Best Single. Davis sang with plenty of gospel-based soul while playing his Flying V Gibson in a hard-edged style that clearly reflected Albert King's influence. He produced one of the strongest recordings of the Eighties. This is a welcome reissue of that album.

From the title track, a terrific song about a lady who has hoodoo'ed him to the closing rendition of Albert King's "Got to Be Some Changes Made," Davis pours his heart into the vocals while turning out some high-energy solos. Other high points include his funky renditions of "That Will Never Do" and George Jackson's "Find' Em, Fool 'Em & Forget 'Em." There are also the searing, slow blues "Teardrops" and "Worried Dream." 

Legendary saxophonist and producer Oliver Sain produced this as well as played sax and keyboards. Billy Gayles, of Kings of Rhythm fame, played drums on half of this while Johnny Johnson played piano on five of the ten tracks. The album holds up wonderfully and one would be hard-pressed to find any better modern blues recordings since this came out. There may be some as good, but not better.

Jeffrey Scott - Rattlesnake Daddy

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 fingerstyle 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.

These reviews originally appeared in the 2001 November DC Blues Calendar, then the DC Blues Society's newsletter. I have made minor edits for readability. I likely received the Larry Davis from a publicist. I do not remember whether I bought the Jeffrey Scott or not. The Jeffrey Scott is currently available at Amazon. The Larry Davis may be hard to find. Here Jeffrey Scott performs "Red River Blues."

Will Porter - Tick Tock Tick

Will Porter - Tick Tock Tick - Gramofono Sound

Singer-songwriter Will Porter has been based in the San Francisco area building a following on the club and concert scene and serving as Mary Wells musical director for many years. This album is a rerelease of a 2015 album that saw very limited release in the United States. Produced and arranged by the legendary Wardell Quezergue in New Orleans, the recording has collaborations with Dr. John and Bettye Lavette. The studio band includes Thaddeus Richard on keyboards, Todd Duke on guitar, Brian Quezergue on bass, and Bernard 'Bunchy' Johnson in drums, with the Womack Brothers handling backup vocals. There are appearances by Doug Belt on drums, Leo Nocentelli on guitar, Jimmy Haslip on bass and baritone guitar, Don Pender on oboe, Mic Gillette on brass, and Johnnie Bamont on saxophones. 

While some of the press materials describe Porter as a cross of a young Bobby Bland and mature Lou Rawls, I might suggest that he is a cross between Junior Parker and Arthur Prysock with a touch of Mel Torme. Listening to him, he comes off as more of a crooner than a shouter. There is plenty to enjoy listening to him with the warmth of his vocals that are marked by his exquisite pitch, timing, and clarity of phrasing. The wonderful duet with Bettye Lavette of Bob Dylan's "Make You Feel My Love" impresses not simply with their interplay but also the contrast in styles between the two. Note must be made for Quezergue's terrific arrangement with strings and Pender's oboe.

The duets with Dr. John are gems, including the title track where the good doctor raps in response to Porter's vocal. Nocentelli adds his guitar to "When the Battle Is Over," which sounds like something Johnny Adams might have recorded in the early sixties. Quezergue's use of strings enhances several selections, such as Porter's blue ballad, "The California Sun," where Porter wishes his love was here to enjoy this California Sun. Nocentelli adds some sizzling guitar on Porter's blues "I Can Do Bad By Myself," with horns blasting in the background. A surprising selection is Porter's nuanced interpretation of "Don't Go To Strangers," a song associated with the late jazz singer Etta Jones. There are also interpretations of songs from Ike Turner and the Johnny Burnette Trio. "Tear It Up" is Quezergue's imaginative and funky reworking of the Burnette Trio's hot rave-up with a booty sax solo and greasy organ solo. 

The limited initial release of this music received considerable acclaim, which one expects this rerelease also to receive. Handsomely produced and performed, it is a first-rate album of soul, blues, and ballads.

I received my review copy from a publicist. Here is a selection from an earlier album Will Porter did with Wardell Quezergue.

Reggie Quinerly - New York Nowhere

Reggie Quinerly - New York Nowhere - Redefinition Records

Drummer-composer-leader Reggie Quinerly celebrates the Big Apple, which was his home for 21 years, in his fourth album, "New York Nowhere." The album title, "New York Nowhere," seems contradictory as New York would appear to be far from being in the middle of nowhere. Quinerly reflects that "You're surrounded by eight million people. But everybody has their own story and everybody's living their own life with a very singular focus. So even in the midst of all these people, you're kind of completely alone. It's everywhere and nowhere at the same time." 

Quinerly is from Houston, where he attended the "High School for the Performing and Visual Arts. His schoolmates there included Robert Glasper, Kendrick Scott, and Mike Moreno. He then attended New York City's New School for Jazz and Contemporary Music, where he studied under Jimmy Cobb, Lewis Nash, and Kenny Washington. He spent several years performing in the New York Scene before enrolling at Julliard to earn a Master's in Jazz Studies. In the Fall of 2020, he moved away to Los Angelos with his family. In this session, he is joined by trumpeter Antoine Drye, tenor saxophonist John Ellis, pianist John Chin, and bassist Sean Conly. Quinerly has an association with each. Furthermore, Drye and Ellis have been associated with each for several deuces, as has Chin and Conly. One result is that this band is tight-sounding as if they have played together for years. 

The light swing of "Reflections of the Hudson" opens a strongly performed set of modern jazz with echoes of the classic sixties Blue Note recordings along with such other masters as Woody Shaw. All five members showcase themselves, and in addition to showcasing his compositional skills here, Quinerly propels the band with a relaxed propulsive swing. Ellis' plaintive tenor sax and Conley's bass begin the plaintive ballad, "Dreaming in Place," with Drye melancholic trumpet and Chin's piano adding some harmony before the leader joins in with restrained brushwork. There are fitting moody solos from Chin and Conley. 

While Quinerly is from Houston, he often played gigs in the vicinity of New York's Houston Street. Houston Street is pronounced differently than his hometown. It is the inspiration for "Somewhere on Houston," a bright, brisk finger-snapping number that captures some of the flavor of some Lou Donaldson and Lee Morgan recordings. Ellis takes a vibrant solo against the leader's shifting tempo, while Drye's solo is full of slurs and cries along with some fiery bursts. 

There are two versions of the title track that is centered on an eight-bar theme. The first version is a traditional swinger with Ellis' tempestuous solo starting as a bass-drums trio before Chin sparingly add chords before Chin talks a mercurial solo on his own. The other version closes the album. It is a Latin-tinged rendition, which again places the spotlight on Ellis, who plays with an invention that Drye matches with his well-crafted trumpet solo. "Celso" is a groover with a bossa nova feel that is a tribute to Brazilian singer Celso Fonseca on which Drye's poignant trumpet sets the mood. Chin impresses again on this number. The remaining track, "Wine Cooler Heads Prevail," is a toe-tapping bluesy bop with superb Drye before Quinerly lays down a crisp solo. 

The playing time for the seven tracks is a little over a half-hour. That reflects the conciseness and focus of the performances, and one would be hard-pressed to find a wasted note in the exquisite music on the recording. "New York Nowhere" is a simply superb album.

I received my review copy from a publicist. Here is the EPK for this album.

Albare - Plays Jobim Vol. 2

Albare -  Plays Jobim Vol. 2 - Alfi Records

This CD is the second volume by the guitarist Albare devoted to the legendary father of bossa nova, Antonio Carlos Jobim. Like the first volume, there are ten renditions of Jobim's signature songs along with the classic "Summer Samba." Albare co-produced this with Phil Turcio, who did the mixing and mastering. Like the first volume, Joe Chindamo is on piano. Chindamo also made all the arrangements and conducted the orchestra. Ricardo 'Ricky' Rodriguez is on bass again, while Pablo Bencid is on drums on most of this recording, and Luisito Quintero is on percussion. Antonio Sanchez plays drums on two songs, Nestor Torres plays the flute for two, and Randy Brecker plays trumpet on two selections.

Reviewing Albare's earlier volume of Jobim's music, I wrote, "Albare is a romanticist as a guitarist, with his guitar (whether electric or acoustic) in a melodic and lyrical mode. His single-note playing sings the lyrics while adding with genial embellishments to the melody while provided with a light, subtle backing." Like the earlier recording, strings provide a lush, breezy feel for "Dindi," "Summer Samba," "Girl From Ipanema," and "So Dança Samba." Nestor Torres' flute adds a nice touch to "Summer Samba," while Randy Brecker's bright trumpet adds some heat to "So Dança Samba," which also sports an appealing guitar solo. Torres' also adds color to Albare's treatment of "How Insensitive," as does Brecker' again enlivens's muted trumpet on "Favela." Albare's picking lends a poignant case to "A Felicidad" and a reflective interpretation of "Trieste." The album closes with the calming, relaxed "Meditation."

Like the prior Jobim tribute, these are relaxed performances where Albare plays with a deft touch. The resulting music is another easy to listen to recording full of charm that captures Jobim's music's beauty.

I received my review copy from a publicist. Here is "How Insensitive" from this album.

Sleepy John Estes - Newport Blues

Sleepy John Estes - Newport Blues - Delmark

The late Sleepy John Estes was among those blues artists who recorded prior to World War Il whose career was resurrected after being rediscovered as part of the folk boom in the sixties, and received some recognition until his death in 1977. Estes was among the finest folk-blues poets whose songs were often derived from his own experiences. He penned some classic blues themes like Someday Baby which was the basis of Big Maceo's Worried Life Blues. 

Delmark recorded Estes after his rediscovery resulting in several superb and classic albums. They have just issued Newport Blues, which is the first new Estes album on Delmark since 1969, and was recorded after a Newport Folk Festival appearance in 1964. On it, he is joined by Hammie Nixon, a remarkable harmonica accompanist, and jug blower, and Yank Rachell who provided mandolin, guitar, and piano support. Both Nixon and Rachell do get a chance to sing but it is Estes who is at the front. 

Listening to Estes, one is struck by the crying vocals as Estes is heard recreating his pre-War recordings, Secret Agent along with Airport Blues. The latter tune's melody would be appropriated by John Lee 'Sonny Boy' Williamson (who knew Estes and Nixon from growing up in Tennessee) for the well-known Good Morning Little School Girl. Estes also provided new songs including Newport Blues. Estes was a rudimentary guitarist but Rachell provided a firmer rhythm and some fills on guitar or mandolin, while Hammie Nixon's harmonica playing is greatly underappreciated and was an influence on John Lee Williamson. His vocals on NYC Breakdown and Worried Mind Blues are highly moving. 

The music has a rawness reflecting its lack of artifice, but the level of the performances is far above some of the celebrated modern grunge blues. This is a terrific new release.

I received my review copy from Delmark. This review originally appeared in the June 2002 DC Blues Calendar although I have made some minor edits to the original review. Here Sleepy John Estes and Yank Rachell perform in 1966.