Live Magic From Etta Jones & Houston Person

The collaborations between the late vocalist Etta Jones and saxophonist Houston Person produced so much musical magic that ended with she passed in 2001. HighNote has just issued, Don’t Misunderstand, a 1980 live recording from a New York City club, Salt Peanuts, that will delight the pair’s many fans. Jones’ vocal career started in Buddy Johnson’s Big Band before joining Earl ‘Fatha’ Hines. Later she hooked up with Prestige Records and in 1968 first recorded with tenor saxophonist Person, a musical relationship that would last over thirty years with many albums for Muse and HighNote before she passed. On this live recording they are backed by Sonny Phillips on organ and Frankie Jones (no relation to Etta) on drums. The gritty soul-jazz setting was a second home for Person, who first was heard from in Johnny ‘Hammond’ Smith’s combo. The recording opens with with a fine rendition of Blue Monk by Person. Ms. Jones is first heard on the title track, a wonderful ballad the late Gordon Parks wrote, and she has a blue teardrop in her off-the-beat delivery. The groove picks up a bit as Jones delivers Exactly Like You at a medium walking tempo with a fine solo by Person, with more of the same on Ain’t Misbehavin’. Her contribution to this ends with a lesser known number I Saw Stars. The disc then has three instrumentals that showcase Person’s ballad and blues playing with his take on Milt Jackson’s Bluesology being particularly wonderful. Phillips shines on the B-3 on I’m Glad There is You, while on Bluesology he gets on down to church. Don’t Misunderstand is a disc that will be enjoyed by fans of soul-organ jazz, soulful jazz tenor sax and one of the great jazz vocalists of the past several decades.

Plenty of Life in Fathead's Horns

The High Note Recordings by David ‘Fathead’ Newman certainly add to his considerable body of work that has been recorded over six decades. There are the tenor solos he added to Zuzu Bollin’s Texas R&B guitar boogies, and his standout work with Ray Charles’ band in the late fifties as well as many albums under his name including some for Atlantic while with Charles’ Band. Life is his latest disc and produced by Newman & Houston Person, Newman is the only horn on this date, playing alto, tenor and flute. Others on this session are Steve Nelson on vibes, David Leonhardt on piano, Peter Bernstein on guitar, John Menegon on bass and Yoron Isreal on drums. Its a session of classic songs and standards from the lovely opening ballad, Girl Talk, with some rhapsodic tenor to the closing rendition of John Coltrane’s, Naima. John Hicks Life is a brisk waltz with Newman switching to flute is the only song that is not a ballad. Other numbers on which Newman displays his fluency on the flute are I Can’t Get Started, and What a Wonderful World, the latter number being a wonderful interpretation of a song best associated with Louis Armstrong as he improvises off the lyrics, an approach that characterizes his tenor playing on Alfie and his alto sax on Autumn in New York. Other highpoints include lovely renditions of Duke Ellington’s Come Sunday, and John Coltrane’s lovely Naima. Pianist Leonhardt provided the arrangements including the pleasing voicings he provides Newman’s horn along with the piano, guitar and vibes that enhance the performances. Newman comes off as a ballad master with a terrific band here. Certainly a wonderful disc to relax and listen too, although some might have wished a couple more numbers had been included with a brisker tempo.

Ernest Withers

Its been several weeks since a giant in the world of photography passed. Memphis photographer Ernest Withers was best known for his documentation of the civil rights movement, but this was simply part of documenting the daily live of his fellow African-Americans in Memphis, at work, play, social events and more. The Memphis Commercial-Appeal's obituary says it simply Photographer with a great heart had 'burning desire to shoot pictures'. In comments to the obituary, Photographer Jef Jaisun quotes Dick Waterman on Withers, "No amount of tribute could possibly reach the appreciation that is due to this modest man."

Fortunately several excellent books of his made his marvelous work available. The Memphis Blues Again: Six Decades of Memphis Music Photographs contains many remarkable images of people like Howling Wolf, Esther Phillips, and B.B. King. Negro League Baseball presents images of such greats as Satchel Paige, Hank Aaron and Willie Mays and numerous others. These are books the continue to give me great pleasure. Negro League Baseball is I believe the only book currently in print.

There was a brief mention of Withers' death October 30 on Mike Johnston's blog The Online Photographer along with some other photo news items. The comments about Mr. Withers center on the photo of him with several cameras. Oddly no one commented on Withers' photography. Given Mike Johnston's interest in music (especially jazz), he could have mentioned this aspect of Mr. Withers body of work, especially the marvelous The Memphis Blues Again.

For a sampling of his work check out the website of his exclusive agent PanOpticon Gallery.

Sleepy John's Electric Chicago Blues

Sleepy John Estes was one of the great blues poets and vocalists whose prewar recordings were highly influential on the likes of John Lee ‘Sonny Boy’ Williamson and others. A creative lyricist who often spun songs from his own experiences, his crying vocals (and rudimentary guitar playing) backed by the vocalised harmonica of Hammie Nixon and the mandolin of Yank Rachell produced numerous classic songs that became part of the blues repertoire, such Diving Duck Blues, Drop Down Mama, and Everybody Oughta Make a Change. Rediscovered in the sixties, Estes had a revived career recording and performing world wide, producing several excellent albums for Delmark. Delmark’s reissue, On the Chicago Blues Scene, makes available for the first time on CD an album originally released as Electric Sleep, a play on the psychedelic recordings of Muddy and Howling Wolf, although this was simply presenting Estes in a Chicago blues setting with a backing band that included Sunnyland Slim on piano, Jimmy Dawkins on guitar, Carey Bell on harp, Odie Payne on drums and various bassist including Earl Hooker. Koester recalls seeing Estes participate in a jam in Europe with Hubert Sumlin, Rice ‘Sonny Boy Williamson’ Miller, Sunnyland Slim and others and able to sing with such modernists and a few years later cut an album in that vein and with the sympathetic backing by a band that does a fine job in backing Estes who could sometimes not be easy to follow. The vocals are marvelous as can be expected and its a joy to hear familiar Estes songs take on a fresh sound and here the music played with such joy and soulfulness. Recommended.

Son Seals' Blues Journey

Frank ‘Son’ Seals was arguably the most important discovery of Alligator Records and its chief honcho, Bruce Iglauer. Such albums as The Son Seals Blues Band, Midnight Son and Live and Burning are among the finest blues of the past four decades. Son Seals passed away in 2004 and his friend Peter Carlson has produced a documentary just issued on DVD, A Journey Through the Blues: The Son Seals Story (VizzTone), which will appeal to his many fans and will hopefully introduce others to this marvelous artist and person. The centerpiece of the documentary is interview footage of Son along with Bruce Iglauer, members of Son’s family, Koko Taylor, Dr. John and others set against footage of Son in performance, although the soundtrack for the documentary is taken from his recordings. Son’s early days in Arkansas, growing up in a home that served as a juke, learning drums and then guitar and the move to Chicago which led to his being discovered by Alligator are discussed here as well as an overview of his music and performances. There is footage (without sound) of his terrific nineties band that included saxophonist Red Groetzinger among others. Its a nicely done, although short bio-doc of him that is well put together. Also included are three live concert performances of Son from three different events that display how powerful a performer he was, although these are taken from after 2000 and it would have been nice to have included footage of his earlier bands (assuming such exists with sound). Also the three performances are a little under 1/2 hour. Maybe a European tv show of Son with his great band with Lacey Gibson and A.C. Reed will show up. Son was one of this writer’s favorite performers and I miss him as does anyone who got to meet and talk to him. I simply wish there was more than provided here on a well done video.

Satan and Adam's NYC Street Smart Blues

Satan and Adam were a fascinating duo, bringing together veteran guitarist Sterling Magee and young harmonica player Adam Gussow. From working the streets of Harlem, New York City to touring festivals worldwide, the two first appeared on disc on the Flying Fish recording, Harlem Blues. I refer you to Adam Gussow's most recent book, Journeyman’s Road (University of Tennessee Press) for the recent developments in their lives since the duo split although with other fascinating discussions in this recommended volume of articles. Here is my review from the June, 1992 Jazz & Blues Report of Harlem Blues.

"Harlem Blues is the debut of Satan and Adam, the combination of veteran guitarist Sterling McGhee (a veteran of King Curtis’ and other groups), and harp player Adam Gussow. The two can be found playing the streets near the Apollo, and the combination of Satan with his flamboyant (and oft-times unpredictable) guitar playing (while playing hit-hat cymbals, tambourines and a wooden kickboard with Adam’s fluent, jazzy harp. This isn’t polished music, but there is a lot of exuberance in Satan’s hoarse shouted singing, and they take several blues standards like Down Home Blues, C.C. Rider and Sweet Home Chicago and totally rearrange them, while also tackling a bit of Ellingtonia Don’t Get Around Much Anymore, with Adam taking a strong solo. Adam in the liner notes describes Satan as “Robert Johnson reborn as Parliament Funkadelic,” and it gives a sense of the excitement they generate. This music may not get very pretty, but it is quite gritty. Recommended."

Ruf's Corrects Its Promotion of Luther Allison's Underground

Post: Updated November 7. Ruf has updated its website discussing Underground, supplementing its original release notes and suggesting a recording date of 1967-1968. When I drafted the original blog entry, the release notes were what is labeled the original release notes after Rien Wisse's updated release notes. The fact that Ruf acknowledged and corrected the error it is quite commendable. below is my original post as of November 2

Ruf Records has issued a CD of Luther Allison, Underground. In the release notes on the website it is stated:

"The discovery and release of Luther Allison's 1958 debut recording represents a blues find that surfaces with all the excitement of some long forgotten historical document. After sitting for 50 years in the home of Luther's wife, Fannie Allison, Luther's son Bernard unearthed these monumental recordings to show the music world the portrait of this artist as a young man."

Later, Art Tipaldi closes these notes,"One researcher note. The first tune here is titled "Hide Away." Research shows that Freddie King took portions of "Hide Away" from Hound Dog Taylor instrumental and that King didn't record that song until 1960. Could this then be the first recorded version of "Hideaway"? Gentlemen, start your search engines."

A sticker on the CD that I saw in a store states that these are 1958 recordings and never previously issued. This not true. First of all these recordings were previously issued and sold. I know because I bought a vinyl lp from Luther in 1971 called Underground with the 8 tracks that have been reissued. It was sold by Luther as if it was bootleg (I suspect he was still under contract to Delmark). The simple album label stated it was produced by Bobby Rush. Unissued. I suggest not.

The suggested 1958 recording date (the date taken from a Bobby Rush recollection) does not stand up to simple scrutiny. Nice fantasy to suggest that it might be the first recording of Hideaway, but one of the songs on this disc, the cover of the Ricky Allen classic, Cut You Loose, was not recorded until around 1963 (Allen did not even arrive in Chicago until 1960) so that if you want to suggest this is the earliest recording of Hideaway, then you also have to make the incredible claim that Luther made the first recording of Cut You Loose as well.

I suggest this was recorded between 1968 and 1970, after Luther's Delmark album was issued. It might have been intended primarily as a demo to be shopped to a bigger label which Luther also sold at gigs. Three of the eight songs on this were redone on Luther's 1972 Motown debut, Bad News is Coming, and Freddy King's The Stumble is on the Motown instead of Hideaway. I point out that no one should not be surprised that Allison performed and recorded King's instrumentals as he took over King's Chicago bar gig when the Texas Cannonball started touring because of the success of his classic Federal Recordings.

On the Post-War Blues List on Yahoo, Klaus Kilian first observed that "Cut You Loose" was recorded after 1958. He stated "Apparently Bobby Rush remembered the date wrong and [Ruf] took his word. However, anybody listening to the music who knows anything about the development of postwar blues should be able to realise that these tracks couldn't be from 1958. I mean, "Don't Start Me Talkin'" with a funk beat? "Cut You Loose" recorded years before Ricky Allen's 45? And with the exact same arrangement Luther did for Motown a little later?"

It will be interesting to see how many reviewers parrot the release notes. I would not be surprised to see a number reviewers out there get this wrong.

Added on November 7:

Lurrie Bell Talks About Love

Son of the legendary Carey Bell, its somewhat astonishing to realize that Lurrie Bell has been playing the blues for thirty odd years since being a founding member of the Sons of the Blues with Billy Branch and Freddie Dixon. The years have seen him work with the likes of his father, Eddie Clearwater, Koko Taylor and others while starting with the aptly titled Mercurial Son for Delmark which developed a following by astute blues enthusiasts and jazz-blues critics. Fighting personal demons, his partner Susan Greenberg, an artist, photographer and mother of their daughter, helped him find his way, but this year has been a hard one with her death followed shortly by his father’s passing, ironically around the time of the Delmark CD/DVD Getting Up Live, by Carey & Lurrie. Other recent work by him, including on the Delmark CD/DVDs by Tail Dragger and Mississippi Heat displayed his strong, distinctive playing, able to mix some of Hubert Sumlin’s quirky unpredictable style with some classic West Side guitar evoking Otis Rush, he has a wonderful disc on Aria B.G. Records, Let’s Talk About Love.

Produced by Matthew Skoller, Lurrie is backed by a band that includes Anthony Palmer on rhythm guitar, Felton Crews on bass, and Kenny smith on drums, joined on tracks by Sidney James Wingfield or Johnny Iguana on piano or organ; and Billy Branch of Matt Skoller on harp. Its a solid band that provides a solid foundation for Lurrie to deliver a varied and highly entertaining set. Mostly comprised of covers, I would be hard pressed to name a single song that will be familiar to many. The disc opens with a title track a West Coast swinger by singer-composer Al King, followed by Willie Dixon’s Earthquake and Hurricanes (on which Billy Branch adds his harp. The former is a solid modern urban blues, while the latter comes off as a solid Chicago blues performance. Andrew Brown’s pleading West Side Chicago Blues You Ought to Be Ashamed is winningly delivered with typically strong guitar before Lurrie takes on Pops Staples Why (Am I Treated So Bad), contributing some atmospheric guitar. He acoustically tackles J.B. Lenoir’s Feeling Good, with Jimmy Johnson adds a backing vocal. Little Richard’s slow blues Directly From My Heart to You, is most evocative of Otis Rush with strong guitar and soulful singing. Producer Skoller adds strong harp to the rendition of Willie Dixon’s Chicago is Loaded With the Blues. Adding in songs from Hip Linkchain, Smokey Smothers, and Willie Williams, Bell shows just how soulful a singer he has become as well as an strong guitarist with a lean, distinctive sound that lets the music breathe as opposed to attacking a solo with a sledgehammer style. The band is marvelously unobtrusive in backing him, providing wonderful grooves that never sound hurried or rushed. I would be hard-pressed to name an album by Lurrie Bell not worth hearing, but the strength of his playing and natural, heartfelt singing here makes Let’s Talk About Love, highly recommended.

An interesting take on Ike Turner

I've know Gaye Adegbalola for about two decades now, when I saw Saffire - the Uppity Blues Women performing at venues in the Washington DC area. With them and on her own she has produced some wonderful music and recordings as well as mentors and teaches singing and songwriting to up and coming performers.

I came across a article on Ike Turner that I think more folk need to now about. Ike was no angel and was a drug-addict and wife-beater, but he has served his time. he was a monster yet still was a musical innovator and appears to have turned his life around. Gaye's article on Ike certainly is thought provoking.

What's Love Got To Do With It 

Big Brown's Blues

There have been so many examples of blues artists who produced a small number of recordings whose recordings were highly prized by those who heard them but never reach the more general acclaim that their music deserves. Its been over twenty years since singer-guitarist Andrew Brown passed away after recording some excellent 45s, several tracks for Alligator’s Living Chicago Blues series and two superb albums for Dutch Labels that I do not believe have been issued on CD. The Dutch Black Magic label has made almost all of Brown’s recordings available (the issued Alligator tracks excluded) on a wonderful limited edition reissue, Big Brown Blues. Packed in a book sized package, the contents of the two discs include his issued 4s for the U.S.A, 4 Brothers and Brave label and a pair of unissued titled from Brave; two unissued songs from the sessions used for the Living Chicago Blues series; the contents of his Black Magic and Double Trouble CDs and three demos recorded at Andrew’s basement. The booklet contains a bio from Bill Dahl and producer Dick Shurman’s recollections of Andrew and his music. As Shurman observes, “Musically, Andrew was accomplished, powerful, soulful and versatile.”
Influences on Brown include B.B. King, Lowell Fulson and T-Bone Walker, but in listening to these, his music struck me as very similar to that of the late Little Milton, which is evident in the wonderful treatment of Milton’s Losing Hand that is the first track on the second disc. It is more a matter of similarities in the voices and common influences. Like Milton, Brown was not only a fleet guitarist, but also a wonderful songwriter. Magic Sam covered Brown’s USA 45, You Better Stop, but there are any number of strong modern urban blues with sophisticated lyrics, sung with heart, while his guitar playing embellished, not overwhelmed, his vocals. He moves from a rocking shuffle like No More Talking to the blues ballad Your Love is Important to Me, then taking up a funk groove on Mary Jane. Dick Shurman had him cover some songs on the two albums with Tin Pan Alley, perhaps the best known song that he makes his own, but other songs covered include his terrific take on James ‘Thunderbird’ Davis’ Blue Monday, Joe Tex’s I Want to Do (Everything For You), and a Bobby Bland classic, Lead Me On. A few numbers are a bit more directed towards the straight soul market, but are also delivered so convincingly.
Having Brown’s two albums and even a 4 Brothers 45, I am delighted to have this wonderful reissue available by a person who should be much better known among a broader range of blues fans. His ‘mellow’ blues styling is akin to such other neglected past blues masters Mighty Joe Young and Fenton Robinson and is better than a lot of what is purported to be blues today. This is a limited edition and I recommend checking the better mail order specialists like BlueBeat Music to get this gem while you can. It is also available directly from Black Magic Records.

Roscoe Shelton's Soulful Legacy

Fred James has played a substantial role in documenting and getting recognition for Nashville's R&B scene. One of the artists whose careers Fred James helped to revive was Roscoe Shelton who passed away in 2002. Originally Shelton was on the Excello label for whom he made many fine blues and soul recordings, many of which were his own songs. Later he recorded for Sound Stage 7 where he had two national hits, appeared on the legendary The !!!!Beat TV show and then found himself burned out. He did record some for local labels and performed in local clubs and then semi-retired from music, working at a medical hospital. James recorded fellow Excello artist Clifford Curry in 1992 for an Italian label, and Curry told him many of his label mates were still around, leading to Shelton's career being revived which led to albums on Blue Moon, Appaloosa, Black Top and Cannonball (with Earl Gaines). "Save Me", the present set, is comprised of recordings from a variety of dates. One is a duet with Mary Ann Brandon is from her album "R.O.A.D.", while a track with Earl Gaines is an alternate of what appeared on Cannonball. A terrific singer that grew up in the Church (he was once a member of the Fairfield Four), he was very at home with the blues. Highlights include the terrific title track, the cover of Ivory Joe Hunter's "Blues at Midnight," the shuffle, "Why Didn't You Yell Me (For So Long)," and the belly-bumping blues, "Think It Over." Not a bad track here as Shelton never received the recognition his talents and music deserved. Highly recommended.

This is slightly edited version of review that appeared in Jazz & Blues Report

Frank Morgan keeps Bop Flame Burning Brightly

One of several saxophonists that was labeled the next Bird, Frank Morgan notes that was the worst thing to happen to him as it was something no one could live up to and then having three decades of adversity including addiction and prison. Since he has returned to the scene the mid-eighties with a string of excellent recordings for Contemporary, he has certainly re-established himself as a superior player in the tradition of Parker. HighNote has issued A Night in the Light: Live at the Jazz Standard Vol. 3 with a marvelous band including pianist George Cables, bassist Carmen Lundy and drummer Billy Hart. I have not heard the earlier two volumes but based on the performances. No surprises in the repertoire, with four of the songs staples of Charlie Parker’s repertoire, Confirmation, Half Nelson, Hot House and Billie’s Bounce, along with On Green Dolphin Street and It’s Only a Paper Moon. These are songs Morgan has been playing for decades but familiarity does not make these performances sound routine. There is plenty of full-bodied playing here with a marvelous rhythm section and while Morgan may take these in a more relaxed fashion than Bird would have 55 years ago, Morgan’s playing is quite satisfying. Certainly nice that he has aged so gracefully and continues to enliven us with this disc.

Nappy Brown returns

Its been a decade since Napoleon Brown Goodson Culp, better known as Nappy Brown, last had a new recording out. Thanks to producer Scott Cable, Brown has a terrific new recording available on Blind Pig, Long Time Coming. Helping on this new recording is a terrific band that includes guitarists Bob Margolin, Junior Watson and Sean Costello, keyboardist Jim Pugh, bassist Mookie Brill, saxophonist and harpist John Nemeth, and drummer Big Joe Maher. There is a mix of new versions of some of the songs most associated with Nappy Brown (Don’t Be Angry and The Right Time (which Ray Charles made famous as Night Time is the Right Time) along with a nice selection of material that range from hot jump blues like the opening Keep On Pleasin’ You to the more downhome feel of Walter 'Lightning Bug' Rhodes Aw Shucks Baby, You Were a Long Time Coming and the Little Walter classic Who. Aw Shucks Baby is the one track not from this session as it was from a performance at the Phoenix, Arizona club, The Rhythm Room. Brown's voice sounds like he has lost little over the years, comparing his renditions of Aw Shucks Baby and The Right Time with renditions on a 1991 Ichiban album by him. The new versions benefit from a much crisper band that adds more punch to the proceedings. I know Margolin has performed with Nappy over the years, but special mention must be made of Big Joe Maher’s drumming. Maher anchored the band that backed Nappy Brown in 1991 DC Blues Festival, and besides his own swing based jump blues, has been a sought after drummer for touring acts as diverse as Earl King, Johnny Adams, James ‘Thunderbird’ Davis, and Jimmy ‘T-99’ Nelson. Maher’s playing playing is consistently in the pocket. The foundation of Maher's drums and the electric bass of Mookie Brill is one reason the music here sounds so crisp and vigorous. There is plenty of terrific guitar throughout and Nappy is in real good voice, whether employing a stuttering shouting vocal on Don’t Be Angry, handling a ballad, Give Me Your Love, or singing with faith on the closing, Take Care of Me. One would be hard pressed to find any recording by Nappy as good as this one since his classic Savoy recordings. Highly recommended. For those in the Washington DC area, Nappy Brown appears at the State Theatre in Falls Church, November 2.

At last a recording from Eleanor Ellis

Born near New Orleans, Eleanor Ellis heard the blues blasting out of the radio, but it was when working at the Tulane University Jazz Archive that she began to take seriously playing music. She played a variety of music there including bluegrass, old-time and country. A few years later she settled in the Washington DC area where she continues to reside today and her focus was directed on the blues as she became acquainted with some of the area’s musical elders who became her role model and friends. She first chauffeured Flora Molton, the DC area street singer and later started playing with her. Then in 1987 she toured Europe with Flora and local Piedmont legend Archie Edwards. Later she got into video production and produced the marvelous video Blues Houseparty, filmed at John Jackson’s home and featuring Jackson, his wife Cora, Archie Edwards, John Cephas, Phil Wiggins, Flora Molton, Larry Wise, and John Dee Holeman. During this time she was amongst those who founded the DC Blues Society, and after Archie Edwards passed away, helped found the Archie Edwards Blues Heritage Society.

Throughout this time she has performed, often with others such as when she accompanied Flora or participated in performances given by members of the Archie Edwards Barbershop folk. Recently a CD of her with William Lee Ellis and Andy Cohen was issued that is available on cdbaby.com. She recorded a CD that she only sold at performances and finally has a new CD by herself on Patuxent Records, Comin’ a Time that hopefully will let folk outside of DC know about this musical treasure. The 18 songs are pretty varied in their source and contain few songs that should be overly familiar. Thankfully there are no Robert Johnson covers although there are several renditions of Memphis Minnie songs along with a couple each from Skip James and John Estes and songs associated with Tommy Johnson, Henry Thomas, Bull City Red and Lottie Kimbrough. She is joined by a number of musical friends including guitarists Neil Harpe and Mike Baytop, pianist Judy Luis-Watson and harmonica players Jay Summerour, Phil Wiggins and Pearl Bailes.

The disc opens with a John Hurt song that was filtered through Hurt’s disciple, Archie Edwards, Take Me Back Baby, which Eleanor adds her own touch to the pensive lyric along with her gently rolling guitar. Sleepy John Estes' Diving Duck was recorded at Archie Edwards’ Barbershop with Mike Baytop on harp and the late Richard Thomas on bones with a driving accompaniment behind Eleanor’s emphatic vocal. Ellis makes no effort to emulate Skip James’ ethereal style for Cypress Grove or Special Rider, as she delivers these songs in a sober fashion. Judy Luis-Watson adds a touch of barrelhouse flavor for 61 Highway, a song that suggests the toughness of Memhis Minnie that is evident also on Ellis’ strong interpretations of Minnie’s In My Girlish Days, Me and My Chauffeur, and What’s The Matter With the Mill, where Neil Harpe joins her for a delightful vocal duet. Harpe also does a duet with her on The Panic Is On, with its still timely and critical observations on things going. Sun’s Gonna Shine One Day, one of Flora Molton’s truth songs is updated from its Vietnam war era origins to a timeless message of things getting better some day with Phil Wiggins adding his sympathetic harmonica accompaniment. Another favorite track is her rendition of Jim Jackson’s Kansas City Blues, one of the true blues hits of the late twenties and early thirties. Eleanor is a marvelous singer and guitarist who delivers the performances in a natural manner that contrsts with the sometimes studied approach of some celebrated acoustic blues performers. This release was many years in the making and well worth the wait, and can be obtained from Patuxent Records at www.pxrec.com.

Arthur Alexander's Final Chapter

Arthur Alexander was a sixties soul singer whose recordings of Anna and You Better Move On were covered by the Rolling Stones and the Beatles. However despite his influence he had left the music scene by 1980 and driving a bus and working with disadvantaged kids in Cleveland. In the early 1990s he recorded Lonely Just Like Me for Electra/Nonesuch as part of the short-lived American Explorer series. Sessions with some who had accompanied him in the sixties such as Dan Penn, Donnie Fritts and Reggie Young were joined by (among others) Gary Nicholson and Jim Spake for the original album which led to critical acclaim, an appearance on NPR’s Fresh Air and the a concert appearance in Nashville, which sadly did him in as he was checked into a hospital and a few days later passed on.

HackTone has just issued an augmented reissue of the album, Lonely Just Like Me: The Final Chapter that reissues the original LP with his performance from Fresh Air, hotel demos of several songs and a live performance of Anna at New York’s Bottom Line. Even today the subtle country-soul of Alexander appeals with his sober, melancholy performances. The studio album had him redo his Sally Sue Brown, along with twelve other performances. One thing about the studio performances is how akin to country music his songs and performances were starting with the opening If It’s Really Go to Be This Way, as well as Lonely Just This Way and Every Day I Have to Cry. If he had not died so prematurely, one can imagine him on CMT doing duets with the likes of a Marty Stuart. The Fresh Air performance includes some interviews and a bit more stripped down backing for Go Home Girl, You Better Move On, and Every Day I Have to Cry. Demos include an intriguing rendition of Neil Diamond’s Solitary Man, before his reprising of Anna. I would not call him one of the great soul singers in the manner of a Sam Cooke, Otis Redding, Wilson Pickett or James Carr, but his understated delivery does soulfully deliver these performances. Recommended.

Thi review originally appeared in the September 2007 Jazz & Blues Report (www.jazz-blues.c0m)

A magical evening at the Duke Ellington Festival

Last Thursday, September 13, I saw a wonderful intimate performance by vocalist Roberta Gambarini and pianist Hank Jones as part of the 3rd Duke Ellington Jazz Festival in Washington DC. This performance which included wonderful interpretations from the American songbook (including Duke Ellington's Come Sunday, Billy Strayhorn's Lush Life and others). One highpoint was her performance of Sunny Side of the Street based on Dizzy Gillespie's recording with Sonny Stitt and Sonny Rollins. She scats like Ella, does some vocalese and has such a pure voice that is an instrument like the voice was for Ella. The most sterling moment was Irving Berlin's Supper Time written for a thirties review. Written for Ethel Waters, it is a song about a woman waiting for her husband who won't be home for supper because he's been lynched. A very simple, straight-forward delivery that was quite moving. As one might expect, Hank Jones was marvelous as an accompanist. They have a duet album coming out, so keep an eye for it.

BTW, they answered some Q's and A's from the audience and one member of the audience came with her mother who had suang with Hank at the Anchor Bar in Buffalo in the fifties. hank spent a lot of time in Cleveland and Buffalo in those years. And after his night was done he would catch Art Tatum at some other Buffalo venue. Chicken wings were invented later at the Anchor Bar.

Hank also accompanied Marilyn Monroe when she sang Happy Birthday to President Kennedy. He is the older brother of the late drummer Elvin and late trumpeter-composer Thad. Quite a family and he was quite funny in addition to being a marvelous pianist.

Recommended listening-
Roberta Gambarini - Easy to Love
Hank Jones as part of The Great Jazz Trio (with his late brother Elvin)

Ron

Congrats to 15 years of The Rhythm Room

Phoenix’s The Rhythm Room as developed a reputation as a blues room in part due to the efforts of Bob Corritore. Blue Witch Records has issued a lively celebration of its 15 years, House Rockin’ and Blues Shoutin’!, with 14 strong live performances for the Rhythm Room’s stage. This is scheduled to be released in September, 2007. Its a nice range of performances that give an indication of the breadth and eclecticism of real deal blues that play there including performances by the Fabulous Thunderbirds, The Manish Boys, Long John Hunter, Floyd Dixon, Big Pete Pearson, Henry Gray, Sonny Rhodes, Paul Oscher, Chief Shabuttie Gilliame w Johnny Dyer and Henry Gray, Robert Lockwood, Jr, Louisiana Red and Billy Boy Arnold. There are any number of highlights here and no poor tracks. The three Thunderbirds tracks are each with different personnel supporting Kim Wilson including Troy Gonyea’s guitar backing him on Jimmy Rogers’ Goin’ Away Baby, and the Little Walter styled harp romp, Horsin’ Around, while Kid Ramos, Kirk Fletcher and horns provide support for the New Orleans groove of Rich Woman. Finis Tasby gravelly vocals graces The Manish Boys fine Lonesome Bedroom, while Long John Hunter is heard solo on Long John’s Country Blues. Piano blues will enjoy Floyd Dixon’s jumping Please Don’t Go while Henry Gray’s Henry’s Houserocker is a solid shuffle with Kid Ramos’ guitar helping propel the boogie woogie feature. Sonny Rhodes playing lap steel guitar interprets one of the lesser known Elmore James numbers, My Bleeding Heart, while Paul Oscher is marvelous on guitar, harp and vocals on That’s It. The delightful performances come to a close with Billy Boy Arnold’s take on an old Sonny Boy Williamson recording (which actually dates back to pianist Charlie Spand) which is retitled and credited to Arnold, Two Drinks of Wine. It is the same song junior Wells did as Early in the Morning. One can’t think of a better salute to this blues room than the compilation of fine recordings here and Blue Witch is to be thanked for this collection. May the Rhythm Room celebrate another 15 years.

Kermit Ruffins Lively Night at Vaughan's

From the days when he was probably the most visible member of Rebirth Brass Band, Kermit Ruffins has been playing his trumpet and singing with the idea that jazz can entertain as well as be art. Having reestablished, after Katrina, his long-standing gig at Vaughan’s in New Orleans, his newest recording was recorded in performance there, Live at Vaughan’s (Basin Street). What can one say except this an exuberant collection of performances that should bring a smile to most as he and his quartet handle standards like World on a String and Do You Know What It Means to Miss New Orleans?, along with second line gems like Palm Court Strut and Kermit’s Tremé Second Line, and his jazzifying R&B classics like Sly Stone’s If You Want Me to Stay. Ruffins’ band of Richard Knox on keyboards (he has an excellent organ solo on World on a String); Derrick Freeman on drums and vocals and Kevin Morris on electric bass is augmented on several tracks by Roderick Paulin on saxophone and Corey Henry on trombone (both heard on Kermit’s Drop Me Off in New Orleans), Neshia Ruffins (Do You Know What It Means to Miss New Orleans), and others. The most obvious influence on Ruffins is Louis Armstrong which is reflected throughout his playing and vocals. While there is a traditional jazz base to the performances, they are enlivened by a dose of second-line R&B flavoring making for lively, swinging and danceable performances like the Palm Court Strut or Ruffins’ Hide the Reefer (‘because he comes the creeper’), that frankly will bring a smile to the listener, but after listening it will hit you that Kermit Ruffins can really play, like his very fiery solo on the Sly Stone classic.

Max Roach 1924-2007

The headline in the New York Times website the afternoon of August 16 said it all. As Peter Keepnews' wrote," Max Roach, a founder of modern jazz who rewrote the rules of drumming in the 1940’s and spent the rest of his career breaking musical barriers and defying listeners’ expectations, died early today in Manhattan. He was 83."
Anyone playing drums stands in his musical shadow. An innovator who never stood musically still. As I write this Columbia University's WKCR is doing a Max Roach marathon in his memory thorugh next Wednesday August 22 where you can experience a musical legacy that few in American musical history can equal. You can listen on the internet by visiting WKCR's website is www.wkcr.org. The link for Peter Keepnews obituary is Max Roach.

Fathead Newman's Straightahead "Cityscape"

David ‘Fathead’ Newman has certainly come a long way from his initial appearance on wax, a session by Texas Blues Man, Zuzu Bollin (and Newman played on Bullin’s rediscovery album decades later). Best known for his fat sound while a member of Ray Charles legendary band in the late fifties and early sixties, Newman has had a distinguished career since leaving Charles and continues to perform and record showing little diminution in his music. A relatively recent HighNote release, Cityscape, has him on tenor, alto and flute,leading a septet which includes his rhythm section of David Leonhardt on piano, John Menegon on bass and Yoron Isreal on drums. They are joined by Howard Johnson on baritone, Benny Powell on trombone and Winston Byrd on trumpet and flugelhorn. The notes observe that the septet format recalls the classic Ray Charles band of the fifties that Newman was part of, although a comparison that perhaps raises false expectations as this band is more of a straight Hard Bop aggregation that does not have the tight sound of Charles’ legendary band. There is a nice mix of material including originals as well as standards such as the opening rendition of the theme from the James Bond movie, Goldfinger, Billy Strayhorn’s lovely A Flower is a Lonesome Thing and It Was a Very Good Year, that most associate with Frank Sinatra. Goldfinger is an attractive but hardly startling feature for Newman who sounds stronger on flute with a bit of Mid-Eastern flavor for the lively Pharoah’s Gold, with Howard Johnson providing an arrangement of the 5/4 Claude Johnson theme, while Newman’s tenor caresses the Strayhorn classic with the muted horn riffs of the others adding atmosphere. Bassist Menegon contributed the walking blues, Bu Bop Bass, with Johnson opening with some strong choruses before Fathead takes over on tenor with some insinuating playing. Howard Johnson’s original, Here Comes Sonny Man, has Newman on alto on a number that sounds like it could have been written as a theme for a seventies TV show. Newman returns to tenor on a romantic It Was a Very Good Year, which suggests that in his golden years, Newman still remains an authoritative player. Another flute feature is Newman’s original, Flankin’, dedicated to his wife’s late mom where he is backed just by his rhythm trio. While the septet here perhaps lacks the tightness and authority that Ray Charles Band had, this is a strong set of straight-ahead straight-ahead jazz that should please many.