With a background that includes stints in a Newgrass band and later leading various blues combos, Mark T. Small has produced a fascinating solo recording that is centered on blues Smokin’ Blues (Lead Foot Music). On the CD cover he states that it “contains a collection of my favorite guitar grooves using both fingerpicking and flat picking guitar techniques). And the grooves includes songs associated with Blind Boy Fuller, Tampa Red, John Lee Hooker, Rev. Gary Davis, Charlie Patton and others.
The variety in this album can be heard in the first three tracks. His rendition of Fuller’s Step It Up and Go has a rockabilly flavor in his vocal along with his spirited flat picking. On Tampa Red’s Sell My Money he states his accompaniment is based on the piano accompaniment and not Red’s guitar. The resulting imaginative performance evokes Robert Nighthawks’ reworking of Dr. Clayton’s I’m Gonna Murder My Baby. He gets a chugging groove on John Lee Hooker’s Jockey Blues. Buck Rag is a lovely fingerpicking showcase on the Gary Davis number followed by Small’s country blues reworking of Rufus Thomas’ Walking the Dog.
Small doesn’t have the voice to pull off the solo rendition of Wolf’s Moanin’ at Midnight on which he also plays harmonica. He is more successful on Gary Davis’ Lamp Trimmed & Burning with some nice slide guitar. His newgrass roots are displayed on Sam McGhee’s Railroad Blues where he is heard on some terrific flat-picking. The album closes with the “America Medley,” a Chet Atkins/ Merle Travis styled fingerpicking showcase on a medley of America, Take Me Out To The Ball Game and Yankee Doodle.
While Small's vocals are not at the same level as his guitar playing, the fresh arrangements he brings to these songs and the lively playing makes this quite an engaging recording that should appeal to acoustic blues and folk listeners. His website is http://www.marktsmall.com/home.html from which this can be ordered.
I received my review copy from a publicist. Here is Mark T. Small in performance.
Steve Dawson had a formidable career as a performer and producer in his native Canada (including 7 Juno Awards as an artist and producer), before relocating to Nashville, Tennessee. He has a new recording Rattlesnake Cage (Black Hen Music) that consists of solo recordings that are informed by the deep traditions of blues, ragtime, jazz and even Hawaiian music, but taking those influences in unexpected directions. In a sense his lovely melodies and marvelous finer picking as well as use of a slide hearken back to the “American Primitive” sound that John Fahey and other artists such as Peter Lang and Leo Kottke recorded playing acoustic guitars on Fahey’s iconic Takoma record label in the sixties.
The eleven tunes presented here display his, fluidity, facility and invention as he salutes Fahey on the opening Blind Thomas at the Crime Scene; provides an indirect tribute to Mississippi John Hurt on the genial The Medicine Show Comes to Avalon; and does a delightful evocation of Rev. Gary Davis on The Altar at Center Raven, the strutting instrumental that closes this recording. The title track is a bluesy lovely mix of slide and deft finger picking on which he almost has time stand still followed by the dreamy Lighthouse Avenue, and the lively Butterfly Stunt which I hear him distilling some Furry Lewis amongst other sounds.
Dawson’s Rattlesnake Cage is a release sure to delight fans of Fahey, Land, Kottke, and similar artists, but certainly the music here will readily appeal to fans of blues, old-time country and other folk-related performances. I received my review copy from a publicist. Here is a video of Steve Dawson performing a selection from Rattlesnake Cage.
It was in September 1971 when inmates rebelled at New York State’s Attica Prison to protest the inhumane conditions. A few days later when Governor Nelson Rockefeller ordered the prison to be retaken by force. Thirty-nine people were left dead: twenty-nine prisoners and ten hostages were all killed by the troopers’ bullets. A month later there was another tragedy at San Quentin resulting in more deaths including that of Black Panther George Jackson. These events inspired Archie Shepp to record Attica Blues a few months later in January 1972 to pay tribute to those whose lives were taken during these events.
In 1979 there were original and repeat performances of Shepp’s Attica Blues Orchestra at the Palais des Glaces. In 2012 Archie Shepp revived the ensemble, together with a brilliant, dynamic collective of performers. It is an orchestra that transcends styles and epochs. The band is international in scope, combining great American artists such as: Amina Claudine Myers, Jimmy Owens, Famoudou Don Moye, Ambrose Akinmusire, Reggie Washington, Tom McClung with an some of Europe’s brightest stars on the European horizon: Stéphane Belmondo, François Théberge, Christophe Leloil, Izidor Leitinger, Raphaël Imbert, Cécile McLorin-Salvant, a Franco-American vocalist, the remarkable and talented soprano, Marion Rampal of Marseille and The String Quartet from Dijon.
Performances of this ensemble was recorded on Sept 9 2012 at the Jazz à La Villette Festival, June 14 2013 at CNCDC de Châteauvallon and on June17 2013 at Les Nuits de Fourvière Festival and Shepp has released this on his own Archieball label as I Hear The Sound. The production of this release was helped by a Kickstarter crowd funding campaign that I was among the contributors to. The actual CD has 11 tracks with two additional tracks available as downloads. It includes a booklet with background information.
The music is captivating and often compelling ranging from the revival of Attica Blues and Mama Too Tight, the moving renditions of Duke Ellington’ Come Sunday and Cal Massey’s The Cry of My People, to the lovely Ballad For a Child and The Stars Are In Your Eyes. Shepp, in addition to being featured throughout on tenor and soprano saxophones, adds his vocals to those of Myers, McLorin-Salvant, and Rampal. Shepp’s vocals have a certain amateurish charm and contrast with Myers and McLorin-Salvant.
Reggie Washington’s bass helps gets things going on the funky Attica Blues before Myers comes in on piano joined by guitarist Pierre Durand and drummer Famoudou Don Moye as Shepp digs in on tenor as a trombone growls. The women provide vocal coloring singing “I Gotta Feeling” while Shepp sings about things going wrong, folks not knowing what is right or wrong and there is a story that is gotta be told as the vocalists and the horns add emphasis to Shepp’s wail. The shifting textures and moods of this performance is indicative of the multi-faceted nature of the music on the recording. This is followed by Amina Claudia Myers doing her original Arms with Shepp on soprano sax and the strings caressing her vocal (which Shepp joins in).
Muted trumpets and a bass ostinato introduce Blues For Brother G Jackson with its cry of there being no justice throughout the land prior to Shepp wailing the strong blues groove on tenor. Shepp’s admiration of Duke Ellington is displayed on Come Sunday as his tenor caresses the theme before Cecile McLorin-Salvant delivers the prayer at the center. Three of the compositions on I Hear The Sound are by Cal Massey whom Shepp and John Coltrane both championed. Particularly moving is The Cry of My People, with moving vocal choruses and soaring trumpet from Ambrose Akinmusire in addition to strong playing from Shepp and a stunning blues-drenched piano solo (likely from Myers) .
The rest of the album is equally stirring and full of passion. Orchestrations and vocals help provide fresh takes on a couple of Shepp staples, Steam (with Shepp on soprano and McLorin-Savant taking the latter vocal), and Mama Too Tight. The latter number certain is quite a bit of fun, although the performance of this funky James Brown influenced classic does not quite have the taut groove of the original from some 45 years ago..
The physical CD has eleven tracks along with instructions to download two further selections; the ballad The Stars Are In Your Eyes and the driving Ujaama. They complete the moving and exhilarating music by Archie Shepp's Attica Blues Orchestra. I have listened to I Hear the Sound a number of times over the past few months and each time I am moved by the heart and power of the music captured.
As I have noted, I supported the production of this release on Kickstarter. I also received a review copy from a publicist. Here is a performance of Archie Shepp's Attica Blues Orchestra performing Cal Massey's The Cry of My People.
Here is a lengthy interview (80 minutes), from the youtube.com video series "The Hang," of Archie Shepp with Bret Primack and Willard Jenkins discussing thsi recording, kickstarter, John Coltrane, the state of jazz today and so much more.
I remember seeing a 13-year old Arthur Migliazza at the (Washington) DC Blues Society jam when it was held at Takoma Station Tavern and Judy Luis-Watson was conducting the jam. Like others, I was impressed by this prodigy playing straight boogie woogie piano. It was not long after that when his family moved to Tucson. Judy Luis-Watson was an instructor at the Augusta (WV) Heritage BluesWeek which Arthur would start attending and became introduced the the late Ann Rabson who became his mentor. Over the intervening decades, Arthur himself became a regular instructor at BluesWeek as well as the Port Townsend Blues Workshops and become known for the level of his blues and boogie woogie playing.
The level of his piano playing can be enjoyed on his Hobemian Records debut Laying It Down. If he opens with an overture that mixes a variety of piano styles and followed some New Orleans oriented playing in renditions of songs associated with Fats Domino and Huey Piano Smith (a Professor Longhair influence is present on the rendition of Rocking Pneumonia & The Boogie Woogie Flu), followed by his fine playing on Albert Ammons Boogie Woogie Stomp. Its a performance, along with a performance of Meade Lux Lewis’ Honky Tonk Train Blues, that displays how well he has absorbed the styles of the two Chicago boogie woogie masters.
Love You Mama is a Chicago-styled blues based on Junior Wells recording Little By Little, with Grant Dermody contributing harmonica and Laura Martin guitar. A medley of Sing Sing Sing/Bumble Bee Boogie is a good display of how deft and skilled a pianist he is if it is a bit kitschy to these ears. Suzy Thompson’s fiddle adds a bit of skittle quality on an enjoyable Paul Barbarin’s Bourbon Street Parade. Migliazza channels Otis Spann on Thank You Blues (with harmonica from Sean Devine) and does a nice reworking of Hersal Thomas’ Suitcase Blues, one of a several songs on which his direct, heartfelt vocals can be heard on.
Migliazza’s boogie woogie variations on St. Louis Blues is a fine rendition to join versions by Earl Hines, Albert Ammons and Bob Seeley and perhaps the highlight of a very solid collection of boogie woogie and piano blues performances. Arthur Migliazza has established himself as a significant voice in the boogie woogie world and listening to him Laying It Down, one expects his audience will expand beyond that.
I received my review copy from a publicist. Here ia a video of Arthur Migliazza playing Handy's St. Louis Blues.
This is my blues column from the November 1976 Buffalo Jazz Report which had Dexter Gordon on the cover to promote his appearance at the Tralfamadore Cafe in November. As I noted the first 58 issues of Buffalo Jazz Report (now Jazz & Blues Report) have been digitized and can be downloaded from the University of Buffalo Library system. The website for these archived issues is: http://digital.lib.buffalo.edu/cdm/landingpage/collection/BuffJazz.
Albert King is one of the best known contemporary guitarist-singers in the blues and his new Utopia album Albert (BULI-
1731) is an attempt to present a commercially successful
album. Albert King's recordings have always manifested a
funkiness and when he was with Stax he had Booker T., and the
Stax crew providing sometimes sympathetic and sometimes
ridiculous music (Albert King sings Elvis). Despite disco
touches on some tracks, and a girl chorus on others this is
pretty direct music, and blues with a funky touch. Albert sings and plays straight forwardly, but is burdened
by overkill in the back up as he is drowned in a large band
setting. The music isn't bad or slick, just too busy. Also a
couple of Willie Dixon tunes I'm Ready and My Babe suffer
from the arrangements and the fact that Albert can't convey
the aggressiveness of Muddy Waters on I'm Ready, nor the
Iittle boy charm of LittIe Walter on My Babe. Stoll its not a
bad album as Albert does play with fire, but better material
and a more laid back playing would lead to a more satisfying
session of blues. But would a more satisfying set sell better?
I don't know. The Finest of Folk Bluesmen is a mistitled anthology as only
the John Lee Hooker tracks on this Bethlehem (BCP-6017)
anthology are country blues, the rest being mostly urban and
jazz oriented performances. Among those included are Eddie 'Cieanhead' Vinson, Jimmy Rushing, Lonnie Johnson and Memphis Slim and this is a very enJoyable set of mostly uptown
music from the late 1940s and the early 1950s.
Great Bluesmen/Newport (Vanguard VSD 17/78) is a collection of country blues recorded lve at various Newport Folk Festivals and is recommended especially for those who don't
have many blues records as it provides idroduction to a number of fine artists including Robert Pete Williams, Son House,
Mississippi John Hurt, and Skip James. John Lee Hooker and
Lightnin' Hopkins are not heard at their best though Robert
Pete WiIIiams' Levee Camp Blues, Skip James' Hard Time
Killing Floor Blues and Son Souse's Son's Blues areespecially
compelling.
Guitarist Phill Fest, son of bossa nova pioneer Manfredo Fest, has issued Projeto B.F.C., which explores jazz and bossa from high energy samba and baiao rhythms, to subtle bossa gentleness. B.F.C. refers to the Brazilian-Florida connection (as Phill has been in South Florida for over a decade). He is backed by pianist Robert Prester, Brazilian drummer Ronie Martinez and bassist Russ Howard with Hendrik Meurkens adding his harmonica virtuosity to several selections. The material includes originals by Phill, pianist Robert Prester, drummer Martinez and genre defining compositions by Manfredo Fest.
A couple of short percussion features by Martinez open and close this lively album. Fest’s own Florianoplis was previously recorded by his father and is a brisk and lively number that displays his fleet guitar playing backed by the lively accented group. Kenny Drew Jr paid tribute to Manfredo with Samba De Cayo Hueso, and Meurkens adds his chromatic harp virtuosity to the scintillating solos by Prester and Fest. One also has to acknowledge the crisp and lively support of Howard and Martinez here (and he takes a short solo break on this selection) and throughout. On Baiao Da Amizade, there is much charm in the interplay between Fest and Prester (who overdubs on acoustic guitars and vocalizes) before Howard solos.
Meurkens is also present on Manfredo’s lovely Clearwater Sunset, with Phill adding lovely guitar against the light swaying rhythm. Prester’s Commonwealth Ave opens with Gershwin-esque piano prior to Fest taking it into another gear on another spirited performance. Manfredo’s “Dig This Samba” is another lively performance that has Meurkens once again joining the group for another marvelous performance on a recording of Brazilian jazz that consistently delights listeners.
I received my review copy from a publicist. Here Phill Fest and group perform Manfredo's Dig This Samba.
More than a few years ago, Walter Wolfman Washington and the Roadmasters had a limited edition live recording. Also several sets from the New Orleans Jazz & Heritage Festival have been released through JazzFest Live. Now Frenchman Street Records has issued a new live recording (and also the first official Wolfman and the Roadmasters release in a number of years), Howlin' Live At DBA New Orleans (Frenchmen Street Records), capturing them at their regular Frenchmen Street club gig..
The Frenchmen Street club, d.b.a. is one of Wolfman’s musical homes and it is nice to capture what is likely a typical night of soulful blues and funk. In addition to his guitar and vocals, he is backed by his long-time bassist Jack Cruz; drummer, Wayne Maureau; saxophonist Jimmy Carpenter; and Antonio Gambrell on trumpet with rapper Blac Roi joining on one track.
Listening to Wolfman and the Roadmasters run through songs from over two decades of recording and longer performing, one is impressed by the tight, if occasionally ragged sound. The two horns of Carpenter and Gambrell provide punch with their riffs and solos while Wolfman, with his gravelly blues shouting and jazz-inflected blues guitar is a true original, as he sings I’m Tip Toeing Through; Girl I Want to Dance; Blue Moon Risin’; and Stop and Think. He also is able to mix his graveling growl with a gospel shout on the rendition of Bobby Bland’s Ain’t That Lovin’ You.
Nicely recorded, Howlin' Live At DBA New Orleans” is not simply a nice souvenir for those who see (or have seen) him live, but also solid representation of Wolfman's music. Recommended.
I purchased this from the Louisiana Music Factory, louisianamusicfactory.com. Here is a video of Wolfman live.
Saturday, March 29, 2014
The British Ace Records label has been reissuing numbers reissues from the catalogues and archives of Modern Records and its affiliates. Among its recent reissues is Beating the Petrillo Ban: The Late December 1947 Modern Sessions, a two-CD compilation with 49 selections that were recorded in late December 1947 as part of the label’s efforts to stock up on recordings in anticipation of the Recording Ban that the American Federation of Musicians were going to start at the start of the 1948 New Year. Like other labels, the Bihari Brothers' Modern Records engaged in a flurry of recording sessions. Between November and December, Modern recorded almost 130 masters by 16 different artists.
The two discs of Beating The Petrillo Ban contain 49 performances from between December 17 and New Year’s Eve of 1947, and while some of the recordings were issued, many were not at the time, nor have they been reissued in prior Ace releases. Tony Rounce, in his liner notes in the accompanying booklet, notes that 80% of the selections have previously never been issued previously (some are alternate takes of recordings that were issued on 78 or on various LP or CD reissues.
The opening performances are by an early vocal group, The Ebonaires. One of Modern’s biggest stars in its early days was Hadda Brookes and there are three sessions (12 selections) by her including instrumentals and vocals (There is a nice The Best Things In Life Are Free) in a Nat King Cole Trio vein with sophisticated piano and deft guitar accompaniment along with her vocals. This serves as a nice introduction to Brookes for whom Ace has several reissues of.
Drummer Al ‘Cake’ Wichard is heard on two sessions (12 selections) of jump blues that showcase shouters Duke Henderson and Jimmy Witherspoon who are both in fine form. Henderson’s “Gravels in My Pillow” and Witherspoon’s T.B. Blues are terrific examples of their music here along with a hot instrumental Cake Jumps. Spoon is also heard on a nice interpretation of That’s Your Little Red Wagon Ace also has a reissue of titles recorded under Wichard’s name with more Henderson and Witherspoon. There may be duplication of songs, but as noted, most of the selections here are unissued or alternate takes.
Another jump blues artist was Guitarist Gene Phillips heard with his Rhythm Aces as he tells his “Snuff Dipping Mama” to stop snuffing and button up her bottom lip. Its a nice band and Phillips clean single note picking is featured on “Gene’s Guitar Blues,” a reworking of “Floyd’s Guitar Blues.” Another session in this vein was with saxophonist Little Willie Jackson. Jackson was part of Joe Liggins Band and Modern signed Jackson who recorded with The Honeydrippers minus Liggins. The four numbers range from a jumping “Little Willie’s Boogie”, the sweet instrumental “Shasta” (similar in tone to Liggins’ “Tanya”) and the swinging sweet ballad “Baby.”
The Art Shackelford Sextette is led by a guitarist about which Tony Rounce advises little is known. His guitar leads the pleasant swing-based instrumentals that includes a rendition of the early New Orleans standard Jazz Me Blues and an untitled blues instrumental that Ace titled Beatin’ The Ban for its release here. Butch Stone was vocalist with Les Browns’ Band of Renown and heard on songs in the vein of Louis Jordan, Fats Waller and others including Baby Face and Waller’s Your Feets Too Big retitled as My Feets Too Big). As Rounce observes, Stone wisecracks and ad-libs his way on these performances in the zany manner of Harry ‘The Hipster’ Gibson.
The final performances on this compilation are the gospel songs from Ida Mae Littlejohn. Rounce observes her music was informed by Sister Rosetta Tharpe and Arizona Dranes, "Who both employed the same animated vocal style." Her fervent renditions of Lonesome Road Blues (which you have to walk all alone’), He’ll Make The Way (I know the Lord will make a way”); and the rollicking Go Devil Go (with a vocal chorus) have piano and guitar as accompaniment.
Beating the Petrillo Ban: The Late December 1947 Modern Sessions is another outstanding Ace compilation from the Modern Archives. It is a varied collection of a diverse group of performers and music. Presentation is up to Ace’s usual high standards with Tony Rounce’s liner notes in the accompanying booklet providing background on the second Petrillo band and the recordings contained here which are presented here in the order of recording.
I purchased this. Here is a video of Hadda Brookes (or Brooks).
30 years is a pretty long time for any band to hang together, and while some members may come and go, Cleveland’s Blue Lunch has kept doing it with a mix of jump blues in the vein of early Roomful of Blues and Chicago blues. Rip Cat Records has just issued their Special - 30th Anniversary Deluxe Edition, compiled from their six CDs. The core personnel appear to be Bob Frank on guitar and vocals; Pete London on harmonica and vocals; Raymond DeForrest on bass and one lead vocal; Scott Flowers or Mike Janowitz on drums; Mike Rubin on trumpet; Mike Sands on piano, Bob Michael on trombone and Norman Tischler or Keith McKelley on tenor sax. The 16 tracks include live recordings are included along with studio ones with 8 originals and 8 covers.
An instrumental by Frank, Sideswiped, kicks this CD off with a funky groove, tight horns and solid guitar and solid sax from McKelley. Next up is Frank’s Cold Day Down Below, with a second line groove and more tough sax (this time from Tischler). Skin Bones and Hair, is a terrific T-Bone Walker styled shuffle from Frank with some nice T-Bone inspired playing from him. London handles the vocal on his hot rocker, Cuttin’ Up, where Tischler rips a terrific tenor sax solo as Frank chords under him and the rhythm section swings hard with some more T-Bone inspired playing from Frank on a live rendition that got the dancers jitter-bugging hard. London’s The Fidget showcases his strong harmonica playing set against the rocking rhythm and riffing horns. Best I Can is a tough-sounding slow blues.
The choice of covers is interesting from a lesser known Jackie Brenston number Leo the Louse; a straight cover of 60 Minute Man; and The Five Royales amusing Monkey Hips & Rice. Frank does a fairly nice rendition of Robert Lockwood’s Little Boy Blue, backed just by the rhythm section. The most surprising cover is a three tenor sax feature on Sonny Rollins’ Tenor Madness that allows McKelley to display his jazz chops with guest tenor players Christopher Burge and Tony Koussa. This is followed by the rainy night feel of The Lonely One.
London handles the vocal on the amusing cover of Ernie K-Doe’s Mother-In-Law that closes this varied and quite engaging recording by this tight and swinging, jump blues band. Special - 30th Anniversary Deluxe Edition will likely enlarge Blue Lunch’s fan base beyond the band’s Cleveland roots.
A publicist provided the review copy. Here is the late Robert Lockwood, Jr., playing with Blue Lunch.
Robert Prester showcases his fluency and lively latin and bop styling on Commonwealth Ave. Productions, Dogtown. The Southern Florida pianist is joined by bassist Nicky Orta, drummer Ettienne Francis, with percussionist Dave Schanzer, vocalist Terezinha Valois and trumpeter Jonathan Sigel all playing on several selections. Jack Ciano replaces Francis on one track.
Prester’s Vincenzo’s Blues is a spirited original that displays his ability to craft catchy themes that the trio bring to life in a lively performance. More of the same is heard on Beneath Wind’s Shadow with Sigel’s bright trumpet complemented by Prester’s fluid piano as Schanzer adds percussive accents. The title track changes the mood and is a tight trio performance is built around an intriguing descending line that Prester and Orta improvise over. Valois’ vocals adds an additional horn voice to Toy Soldiers as well the flamenco inspired Noches de Sevilla, ( percussionist Schanzer is excellent here) that will evoke Sketches of Spain for some,
Prester composed everything but the brief rendition of Coltrane’s Giant Steps (titled Bite Size Steps) that closes this recording. Noches de Sevilla may be the standout performance here, but Dogtown thoughout is a marvelously engaging recording.
I received my review copy from a publicist. Here is a video of Rob Prester with Phill Fest.
My 3rd installment of my blues column from the Buffalo Jazz Report, October, 1976. I mentioned the B.B. King and Muddy waters gigs the previous month, but here I have a quick review along with mentioning Buddy and Junior with Jeff Beck in the audience. I believe he opened for Fleetwood Mac at the Old War Memorial Auditorium the next night. I believe Buddy and Junior's Band was pretty much the same as on the album they did backing Memphis Slim including brother Phil Guy on guitar, A.C. Reed on sax and Buffalo native Roosevelt 'Snake' Shaw on drums. The images of the two album covers are from reissues of the Peg Leg Sam and Louisiana Red albums.
The last month has been quite good for live 'blues' in the Buffalo area. B.B. King appeared at Melody Fair, Muddy Waters at the Outside Inn in Angola, Buddy Guy and Junior
Wells returned to the Belle Starr and as I write this Bobby
'Blue' Bland will appear at Kleinhans. I had a chance to see
B.B. and he is the 'King of the Blues' without question. A true
pro who is totally into his music and who worked·through songs
associated with him like "How Blue Can You Get" and his
current hit (with Bobby Bland) of "Let the Good Times Roll"
as well as Leon Russell's "Hummingbird" and a fine version
of "Please Send Me Someone To Love". Buddy Guy and Junior
Wells were dynamite as usual. The night I saw them Jeff Beck
was in the audience to see his favorite guitarist, Buddy Guy,
and later sat in with the band.
Peg Leg Sam is a veteran of the medicine show scene. A
fine country blues harmonica player and singer his new album
Going Train Blues (Blue Labor BL 105). accompanied by Louisiana Red, 1s a fine album demonstrating Sam's skills as a
singer and entertainer. He has an earlier album on Trix which
I have unfortunately, not heard. Other fine blues Ips on Blue Labor Include Louisiana Red's Sweet BloodCall (BL 104) which
features marvelous country blues and original lyrics such as
the fine "Death of Ealase, written about his wife who died of
cancer. Sonny Terry's Robbin' the Grave (BL 101) finds Sonny without Brownie McGhee, but with friends in a fine set of
spirited blues, far removed from the folkie circuit that some
have associated Sonny with. Sonny plays and sings with great
enthusiasm. Sonny and Brownie back Alec Seward on Late One
Saturday .Evening (BL 103) which was recorded at a house party
along wilh other fnends with everyone in good spirits.
Bobo Jenkins is one of many artists playing blues in Detroit.
For various reasons Bobo has recorded himself and created
Big Star Records out of his own work. A worker for Chrysler
for over 20 years (he recently quit). he built his own basement
studio and Here I am a Fool in Love Again (BS 11-33) reflects
this as it won't win audio awards. The music is great gutty city
blues- not very different from Chicago blues of the 50s, played
without any BS. The outstanding track of the album is "Sharecropper Blues" where working for Chrysler is compared to
being a sharecropper. You will want to get this from Bobo at
Big Star Recording Studio, 4228 Joy Road, Detroit, Michigan,
Having established himself over the past decade among blues enthusiasts in the Mid-Atlantic, Mikey Junior has a new recording (his 8th CD) Traveling South Swingnation/VizzTone), that displays a maturation in his artistry. A triple threat as a singer, songwriter and harmonica player, “Traveling South” has 12 fresh performances that is marvelously produced by Dave Gross (who plays guitar); the backing back also includes Dean Shot on guitar; Jeremy Baum on keyboards; Matt Raymond on bass; and Michael Bram on drums.
From the opening title track, Mikey Junior’s vocals and harmonica display a presence and authority that Gross’ production enhances. Listening to several of the selections, one hears echoes of a Billy Boy Arnold Vee-Jay recording with the grooves and tremolo in the backing of Morning On My Way, while elsewhere some of the guitar riffs and solos echo Ike Turner’s work on Federal. Gross did the recording and handled the mix on the twelve performances here and like Mikey Junior on harmonica, has a concern for detail and tone that is striking throughout.
Harp fans certainly will dig Mikey Junior’s fat tone (including some strong chromatic playing). Then there is his strong delivery of the lyrics of excellent originals, mostly about cheating lovers and heart-break. All is captured in the marvelous engineering of these nuanced performances. While well-grounded in the blues tradition, Mikey Junior brings his own voice for a terrific Traveling South.
I received my review copy from VizzTone. It is scheduled to be released tomorrow. Here is a Fall 2013 video of Mikey Junior performing Traveling South.
The Tenth DC Jazz Festival will bring a wide range
of jazz to Washington DC June 24-29. First known as the
Duke Ellington Jazz Festival, the festival changed its name
a few years ago. This year the Festival also moves to later
in June.
Helen Sung will be part of a salute of Women In Jazz
The Festival takes place in a number of venues in the Nation’s Capital over this period. Once again The Hamilton Live,
a few blocks from the White House, will feature a wide range
of artists over the Festival span. Located at 1600 14th Street,
NW, Performers at the Hamilton Live will include Paquito
D’Rivera, The Dizzy Gillespie Afro-Cuban Experience, Snarky
Puppy, Brass-A-Holics, Etienne Charles and Rudresh Mahanthappa, and a salute to Women in Jazz with rising stars
Tia Fuller and Helen Sung. Also, the Roy Hargrove Quintet
will be there for a Prelude Kickoff Concert, June 21.
There will be three days of performances at Yards Park
at the Capital Riverfront. This is a follow-up to last year’s
highly successful show at Kastles Stadium with The Roots.
Fans will enjoy jazz at the Capitol Riverfront overlooking the
Anacostia River where there will be wine and beer tastings,
chef demonstrations and a marketplace. Performers for Jazz
at the Riverfront include Trombone Shorty, Gregory Porter,
Rebirth Brass Band, Yasiin Bey (aka Mos Def) and very
special guests, vocalist Akua Allrich and harmonica virtuoso
Frédéric Yonnet.
The Festival Also promotes Jazz in the ‘Hoods that takes
place in over 40 venues with more than 80 performances in
21 neighborhoods around the city. Featured partners include The Howard Theatre, Bohemian Caverns, CapitalBop D.C.’s
Jazz Loft Series, East River Jazz, the National Gallery of
Arts Sculpture Garden, and Late Night at Loews Madison,
among other venues. Artists include Marc Cary, Corcoran
Holt, Lafayette Gilchrest, Allyn Johnson, Orrin Evans, Sharón
Clark, Sin Miedo, Matana Roberts, and many more.
Also taking place will be a program, Dave Brubeck Reimagined, at the Sixth and I Historic Synagogue. Renowned
pianist Cyrus Chestnut and his quartet will bring unique interpretations of the music of Dave Brubeck. There will also be
the annual Jazz ‘n Families Fun Days at the Phillips Collection
that celebrates the synergy between jazz and the visual arts,
with performances in the Phillips Collection’s music room and
auditorium by more than a dozen regional artists and youth
ensembles. Performers will include Rochelle Rice, Noble
Jolley, Herman Burney and the Jazzin’ at Sitar Ensemble,
Trio Caliente, Kayla Waters, and Tony Martucci
Orrin Evans will be one of many performers as part of Jazz in the ‘Hoods
As can be seen, this is quite a line-up of performers.
There will also be a variety of educational programs taking
place at this time as well. For more information (including the
festival schedule when it is released), visit www.dcjazzfest.
org.
The 4th Pennsylvania Blues Festival celebrates 23 years of blues in the Pocono Mountains, July 25-27 at Blue Mountain Ski Area & Resort's Valley - at the base of Blue Mountain with 1 wide spectrum of real blues acts two covered stages. Headlining this year’s festival are Ronnie Earl & The Broadcasters; The James Cotton Blues Band and C.J. Chenier & the Red Hot Lousiana Band.
The Festival starts on Friday night with PA Blues Fest Showcase with The BC COMBO featuring Bev Conklin, Slam Allen, Mikey Junior, Joe Mac & Lonnie Shields. Bev Conklin and her band anchored last year’s showcase and it will be a treat to hear this year’s group that features the Mississippi born Lonnie Shields bringing his distinctive touch along with harmonica wizard Mikey Jr., and Slam Allen who was part of James Cotton’s Band for many years.
Saturday, July 26, the Festival will open with Tad Robinson performing on the Main Tent Stage while Rip Lee Pryor (son of the legendary Snooky Pryor who recently had his first recording issued on Electro-Fi) will open the Adventure Center for the first of two stages. Also appearing at the Adventure Center Stage will be Ursula Ricks for two sets. After Tad Robinson, there will be sets on the Main Tent Stage by Shawn Holt and the Teardrops (Shawn is son of Morris ‘Magic Slim’’ Holt); the great soul-blues vocalist Barbara Carr; the magical guitar of Ronnie Earl & The Broadcasters; and the legendary James Cotton Blues Band will close that night. After the main performances there will be Saturday Night Jam in the Adventure Center featuring Dave Weld & The Imperial Flames.
Warner Williams of Little Bit of Blues.
Sunday, July 27 will open with VIP Sunday Brunch with The Murali Coryell Band with Special Guest - Dave Keyes. The Main Stage opens with the marvelous gospel harmonies of The Como Mamas; Following the Como Mamas will be The Jarekus Singleton Band featuring the young Mississippi bluesman who recently signed with Alligator and will soon have his debut album for the label. Little Bit of Blues, a Washington DC trio that features the amazing guitar and vocals of Warner Williams will be at the Adventure Center for the first of two sets and followed there by Super Chickan, also playing two sets there. Other main stage acts include the Chris Cain Band, featuring the wonderful, if highly underrated West Coast singer and guitarist; the Heritage Blues Quintet; with C.J. Chenier & the Red Hot Lousiana Band closing the main stage with some les bon temps roulet zydeco. The Jarekus Singleton Band will close out the Adventure Center stage.
CJ Chenier at 2010 Pocono Blues Festival
Once again Michael Cloeren has put together a line-up that captures a wide range of blues styles and includes some artists making rare East Coast appearances. Blue Mountain Ski Area is in Palmerton PA. For more information on the Festival, including information on tickets, and other matters visit http://www.skibluemt.com/seasonal-activities/pa-blues-festival.
I have added links to reviews I have posted of a number of the performers. Just click on their names (which will be in blue) and it should take you to my review of that artist. This links will be updated as I add additional reviews.
Here is another of my reviews from the 1970s from the Buffalo Jazz Report. The following review appeared in the December 1976 issue and I likely received a review copy from Delmark. It is currently available on CD. Above is the LP cover.
Jimmy Dawkins is one of the most original and important
blues artists to emerge in the past few years. His first album
Fast Fingers (Delmark DS-623) won the Grand Prix du Disque
de Jazz awarded by the Hot Club of France, sort of like winning
a Grammy, and his second album All For Business (DS-634)
with Otis Rush, among the musicians, has to be one of the best
blues albums of the 1970s. Jimmy's third Delmark alhum is
good, of not up to the level of the first two, and a much better
modem blues album than the Albert King album reviewed
elsewhere.
CD Cover For Blisterstring
This is Jimmy's first album with his working band and where he can control over production along with Delmari's Steve Thomashefsky. One main problem is that a few sides drag a little long, and Jimmy's playing, hard and driving as ever gets repetitious at points. I found it difficult sitting through this whole album, a problem I didn't have with the earlier two. Still there is some great music here, my favorite track being the closer Welfare Line with great lyrics and Jimmy making good use of both rhythmical and tonal effects in his playing. Also outstanding is a cooking version of Kenny Burrell's Chitlins Con Carne, and Blue Monday, an old New Orleans R'n'B tune associated with Fats Domino and Smiley Lewis which is
partially a tribute to them.
One other problem with the album is a somewhat distant
quality to the recording. I don't like how the drummer was
recorded. Still Jimmy Dawkins deserves your attention as a
serious artist who the Downbeat Critics voted in 1974
Talent Deserving Wider Recognition.
Cleveland’s Tri-C Jazz Festival celebrates its 35th anniversary with a big move to June 2014. The 35th Edition of
the Festival will present three jam-packed days of concerts
in the theaters of Playhouse Square plus free music outside
on Star Plaza. The Festival was founded in 1980 by Dr.
Thom Horning and Reginald Buckner with a mission to: (1)
Foster the history and nurture the future of Jazz; (2) Provide
educational opportunities for students of all ages and in all
walks of life; and (3) Bring world-class Jazz to Cleveland.
To accomplish these purposes Tri-C JazzFest features jazz
performances, clinics master classes, lectures, broadcasts,
and a breadth of other concert and community outreach
activities. Local and national artists teach, compose, arrange, and perform.
Ernie Krivda
The line-up for this year’s festival includes the Sean
Jones Quartet; Christian McBride; Gregory Porter; John
Scofield Überjam; Trombone Shorty; Eddie Palmieri Salsa
Orchestra; Jamey Haddad; Ernie Krivda; Eliane Elias; Terri
Lyne Carrington; Raul Midón; Marcus Miller/Dave Koz; and
Dave Holland Prism. As can be seen it is a pretty diverse
group of artists.
To highlight a few of the performers, Christian McBride
will be performing with the Cleveland Jazz Orchestra and with his
trio of pianist Christian Sands and drummer Ulysses Owens
Jr. McBride is one of the most in demand bassists on today’s
scene and is comfortable playing straight-ahead hard bop,
Weather Report inspired fusion and some James Brown
inspired funk. Whether leading his Big Band, his group Inside Straight, playing with Sonny Rollins, or his new trio with
the brilliant Sands on piano and Owens on drums, McBride
displays a facility and expressiveness on the double bass
that few of his contemporaries can approach. He is also a
marvelous composer.
Cleveland’s Ernie Krivda would be one of the best
known saxophonists in the Jazz Scene if he hadn’t remained
in Cleveland. His robust tenor saxophone swings hard and full of melodic invention. Krivda is scheduled to lead his Fat
Tuesday Band on a program devoted to the music of Oliver
Nelson and Jimmy Smith.
Gregory Porter
Drummer Terri Lynn Carrington’s most recent
recording Money Jungle: Provocative In Blue, was the winner of the 2014 Grammy Award for Best jazz instrumental
album. It is simply another example of her talent and musical
vision that is increasingly being recognized, whether for her
own projects as well as her collaborations with others.
Gregory Porter has become one of the most in-demand
vocalists on the jazz scene. Bringing a warm vocal style that incorporates a variety of influences bridging soul and
jazz troubadours including Donny Hathaway, the warmth
and joy he brings to his originals along with his terrific band
have delighted audiences throughout the world. And those
familiar with his recordings should not be surprised when
he reworks some these or such jazz standards as Work
Song, that are part of his repertoire.
More information on the Tri-C JazzFest including information on the schedule and tickets can be found at http://www.tri-cjazzfest.com.
Back in the Time Machine to my blues column from the September 1976 Buffalo Jazz Report. I was at the B.B. King show I mention which was theater in the round so the stage rotated during the show. My comment on B.B.'s guitar playing may raise some eyebrows but I recall that there was a shift on the Live and Well album that was the first to mark his playing being a bit less fluid. Note the plug to Living Blues which since moved from Chicago to the University of Mississippi, so that subscription infomation is outdated The issue I referred to had the first of two very lengthy interviews with Charles Brown that appeared in Living Blues.
By the time you read this B.B. King will have been at
Melody Fair, and James Cotton and Muddy Waters will have
been at the Outside Inn in Angola so that August was a pretty
good month for Buffalo as far as bringing in blues from out
of town. Bobby Bland will be at Kleinhans September 13 and
you should check him out even though I find his latest recording with B.B. King Together Again ... Live (ABC Impulse ASD-9317) somewhat of a disappointment. There are good moments,
but the music lacks focus and sometimes drags, especially on Feel So Bad One other complaint is B.S.'s guitar work which
I haven't really liked since the late 60s when his playing became choppy. These two are among the major blues art1sts
of today but I would suggest you seek out there earlier recordings if you don't have them. It is nice, though, that this is a
straight blues set, with no 'disco' touches.
Mr. Blues is a new smalllabel and its initial release by
Good Rockin' Charles Edwards (MB 7601) is a fine one.
Marred by somewhat sloppy backing, Charles is a fine relaxed
singer and harp player who turns in a set of convincing performances. The songs include a couple of originals as well as
songs from Little Walter, Jinmy Rogers and both Sonny Boy
Williamsons.
I will, from time to time, survey the releases of small
labels that have been out for awhile, but may not be familiar to you. Trix is one of those labels and have issued a number
of fine albums with a country blues orientation. Front and Center (3301) by Eddie Kirkland, one time sideman with John
Lee Hooker (and Otis Redding) displays his country blues
talents. Eddie's Boogie Chillen is a fine reworking of John Lee's classic and Jerdine features chilling bottleneck.
Frank Edwards is an eccentric guitarist whose Done Some
Travelin' (3303) includes a stunningly original, When the Saints
Go Marching In, taken at a very slow tempo with bottleneck
accompaniment . Robert Jr. Lockwood's Contrasts (3307) show him in a country blues setting as well as with his own jazz-oriented group with Maurice Reedus on tenor . The dominant influence on his
country sides are his stepfather Robert Johnson. The band sides range from the mellow Forever on My Mind to the
boppish instrumental Majors. Minors & Ninths.
Finally for those interested in reading about the blues I recommend Living Blues. It contains articles, news, interviews (the latest issue has a great one with Charles Brown)
and an extensive review section . Subscriptions. which cost
$4.00 for 6 issues, should be sent to Living Blues Publications,
2615 N. Wilton Ave., Chicago, Ill. 60614. Locally the Record
Runner will be carrying current issues.
Delmark 60 Years of Blues is one of two compilations in which Delmark Records celebrates its 60 years. Blues has been a strong part of Delmark’s catalog including recordings by Speckled Red and Big Joe Williams that were part of what the label originally called “Roots of Jazz.” In fact, when the historic Junior Wells Hoodoo Man Blues was issued it was part of this series (I still have my monaural vinyl LP of Hoodoo Man Blues). Such a compilation provides a glimpse of the label’s history as well as a sampler of some of its more current (and upcoming releases). Additionally, Delmark provides us with some unissued tracks from earlier albums and selections from forthcoming releases.
There are plenty of delights here ranging from Studebaker John’s opening lament When They Played the Real Blues, to Giles Corey psychedelic funk blues from a forthcoming new release. Recent releases by Linsey Alexander and Quintus McCormick are spotlighted along with selections from Eddie C. Campbell, Lurrie Bell (Channeling Otis Rush), Sharon Lewis and Tail Dragger. Among the delights is a previously unissued Rock Me Baby from Junior Wells from the sessions that produced Southside Blues Jam, an alternate take of the Little Walter Trio (with Muddy Waters and Baby Face Leroy Foster) doing I Just Keep Loving Her, Big Joe Williams on a 7-string guitar doing a strong 44 Blues, a previously unissued “Key to the Highway” by Detroit Jr., and Sleepy John Estes (with Hammie Nixon) performing Stop That Thing from the forthcoming Live in Japan CD. There is a fabulous track by Magic Sam from the recent Live at the Avant Garde album” and this compilation closes with Toronzo Cannon’s fervent Hendrix-inspired (but no Hendrix copy) John The Conquer Root. Over an hour of solid blues to be heard here.
I received from Delmark and last Monday I covered a similar compilation devoted to jazz. Here is Eddie C, Campbell performing.
Going back through the old issues of the Buffalo Jazz Report, I have discovered not only my old columns but also regular album reviews. The following was one of a number of Pablo Joe Turner recordings from the 1970s. I do not remember whether I purchased this CD or recived a review copy. The review appeared in December 1976 issue. There is a CD reissue of this that one should be able to obtain without that much difficulty.
JOE TURNER - IN THE EVENING - PABLO 2310-776 The latest Joe Turner album presents the great shouter in
another fine program of blues and standards. This session has
the feel of a good West Coast blowing session with some nice
T-Bone Walker styled guitar from Pee Wee Crayton and alto
by Bob Smith. Joe is in good voice here and the band is relaxed and provides just the right support. Highlights include the title track and a very slow treatment of Chains of Love. Herman Bennett turns in a fine guitar solo on Pennies From
Heaven - being more jazz flavored than Crayton, and elsewhere plays nice rhythm. A fine album however Benny Green's
notes are getting hard to take.
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