A Living Blues review described the music of Texas acoustic singer and guitarist Steve Howell as “a gentle, Deep South-inspired acoustic troubadour daydream that is sure to appeal to a diverse set of country, blues and roots music fans.” It is an apt description of his new release Yes, I Believe I Will on Out of the Past Music. Howell brings his low-key and genial vocals to a variety of folk, blues and country material backed by the deft support of his band, The Mighty Men, comprised of Chris Michaels (electric and acoustic guitars, bass), Dave Hoffpauir (drums) and Jason Weinheimer (keyboards).
While inspired by the likes of Mississippi John Hurt, Howell’s music is perhaps even more in the vein of such sixties folk troubadours as Patrick Sky, Eric Anderson and Tom Rush. Listening to him sing about meeting his gal on Sugar Hill on the opening blues I Had the Notion, he will never be mistaken for John Lee Hooker. The restrained approach gives a certain appeal to his interpretation of Willie Brown’s Future Blues if lurking the urgency of the classic Paramount 78. His country roots are evident on a fine reading of Mel Tillis’ Walk on Boy (a reminder of what a great songwriter this country legend was) and Doc Boggs Country Blues (AKA Hustling Gambler), a wonderful moody rendition of an old time ballad. Also nice is Wasted Minds, a contemporary country ballad, and a folkie rendition of The Fleetwood’s Mr. Blue.
Listening to this brings memories when I was in graduate school at the University of Buffalo when the folk club brought in the likes of Steve Goodman, Utah Phillips, Rosalie Sorrels and John Prime and while Howell may not reach of the heights of Goodman singing City of New Orleans and Penny Evans, but Yes, I Believe I Will is a delightful, congenial mix of folk, country and blues that will appeal to a wide range of roots music listeners.
I received my review copy from a publicist. Here is Steve performing solo.
The release of a long out-of-print album by the late John & Sylvia Embry, Troubles on Delmark, is an occasion for blues fans to rejoice. The album by the two (who had divorced when they recorded it) was originally titled After Hours when issued on Razor Records and the present release also includes a 45 by Johnny I Love the Woman and Johnny’s Bounce (which are the last two tracks here) along with previously unissued tracks (tracks 8-12). Embry was working at Buddy Guy’s Checkerboard Lounge, Theresa’s and other clubs, sometimes with Sylvia, who was a regular member of Lefty Dizz’s Band (playing bass) at the time. Others on these recordings include Riler Robinson on guitar and vocals, and drummer Woody Williams on drums and second vocals.
The result is some raw Chicago blues mixing Sylvia’s gospel-rooted vocals and Embry’s direct, searing guitar. The songs are straight-ahead blues best exemplified by Sylvia’s crying shout on the title track as he forcefully delivers a line about being accused of murder “but God knows I don’t even have a gun.” This raw blues is simply played. Like the late Son Seals, there is no artifice or emoting. Sylvia Embry sings her heart out while John Embry’s guitar compliments the pain expressed by her vocals.
There is a nice mix of material including the opening medium tempoed shuffle I Wonder Why; a cover of Brook Benton’s Lie To Me, with Sylvia showing a bit more subdued attack; and I’m Hurtin’ with Embry’s nice Dust My Broom slide guitar backing. Woody Williams trades vocals and raps on a soulful medley of The Falcons’ I Found a Love with Jerry Butler’s Rainbow, as John Embry adds responsive fills. The Jimmy Reed classic, Going To New York, is taken at a brisker tempo than the original with a nice driving solo. It is followed by a solid rendition of Mustang Sally with Williams taking the vocal initially before Sylvia delivers the chorus before John Embry takes a sharp guitar break. This is far from the hackneyed renditions of this song one usually hears three decades later.
Among the previously unissued songs, Sylvia’s Gonna Find My Baby is a strong original blues while Early Time Blues is a raucous reworking of Junior Parker’s Mother-in-Law Blues and Razor Sharp is a hot instrumental shuffle feature. The spirited rendition of Roosevelt Sykes’ Keep Your Hands Off Her,” with Sylvia and Williams splitting the vocal, is evocative of Got My Mojo Working. After Work is a fine atmospheric instrumental followed by a strong vocal and playing by Riler Robinson of Worry Worry. These two performances were location recordings.
Why John Embry stands out throughout as a strong guitarist, and displays much fervor on his rendition of Freddie King’s I Love The Woman. Listening to this selection and the rest of this release, one can imagine a somewhat smoke-filled club where John and Sylvia Embry laid down the blues in the same forthright fashion as heard on this most welcome reissue.
I received my review copy from Delmark. Here is a taste of this recording.
Dyad is a partnership between alto saxophonist Lou Caimano and pianist Eric Olsen and the two have a new recording of duets Dyad Plays Puccini (Ringwood Records). Olsen's wife, Operatic singer Pamela mentioned to him that Caimano’s alto saxophone reminded her of an opera singer and this fact led to this duet recording which fuses the lovely melodies of the great opera composer Puccini with the jazz instincts and inventions of Dyad. Each contributed more than simply their play as Olsen contributed seven arrangements and Caimano three.
While I am not overly familiar with Puccini’s operas, there was instant recognition of Musetta’s Waltz from La Boheme, and one is struck by the lovely, almost clarinet tone of Caimano along with Olsen’s stately accompaniment and his own lyrical solo. Other of the songs the dup interpret may be less familiar to my ears but the performances are equally enchanting and one can hear echoes of his music in more contemporary music. Portions of the rendition from of Ch’ella mi credo (from La Fanciulla del West”) evoke Paul Simon’s Bridge Over Troubled Water, and lead me to wonder if Simon was a Puccini fan in his youth. Caimano’s arrangement and very vocalized playing here certainly leaves a strong impression on the listener. Their jaunty rendition of the Act I Overture for Madame Butterfly contrasts with the delicate, wistful Che gelida manna, although both are beautifully performed in their own manner with some exquisite interplay between the two.
Puccini left us a body f some of the most memorable and lovely melodies in all of music and the marvelous jazz duo interpretations from Lou Caimano and Eric Olsen make Dyad Plays Puccini one of the most intriguing and delightful surprises to come along.
I received my review copy from a publicist. Here is a selection from this recording.
Piedmont blues guitarist Rick Franklin and bluegrass mandolinist Tom Mindte have collaborated on a new Patuxent Music release Dancing With My Baby. This writer has known Franklin for close to three decades (including when we both were on the board of the D.C. Blues Society) and enjoyed his live performances with Neil Harpe and Rick Usilton and more recently with his Delta Blues Boys. His previous recordings included some with Harpe, a self-produced CD of Hokum Blues and the excellent Searching For Frank (on Patuxent) with Mike Baytop that was issued on Patuxent several years ago. Mindte, in addition to playing mandolin, is the chief force behind Patuxent Music.
This is an affable recording from the opening reworking of Cecil Gant’s I’m a Good Man But a Poor Man, to the closing gospel number The River of Jordan. If Franklin takes most of the vocals, Mindte’s own high tenor harmony and also his leads have definite natural appeal. Mindte’s mandolin bridges his bluegrass background with the mandolin of such blues masters as Charlie McCoy and Yank Rachell. It lends a nice flavor to the performances.
On nice relaxed rendition of Hank Williams Half As Much, Mindte’s supporting vocal lends a bluegrass flavor to it. An instrumental original Guitar & Mandolin Rag, is delightful while Crazy About Nancy Jane is a lively rendition of a song associated with Washboard Sam and a favorite of Western Swing bands. Two White Horses In a Line is a spirited rendition of an older spiritual number based on the recording by Joe Evans and Arthur McClain. while the interchange between black blues and early country music is displayed in He’s in the Jailhouse Now, first recorded by Blind Blake and later by Jimmie Rodgers.
The popular hymn “I’ll Fly Away” is heard along with Mississippi John Hurt’s Let the Mermaids Flirt With Me, with a backing that suggests some of Jimmie Rodgers blue yodels (without the yodels). This latter tune is followed by a rendition of Rodgers No Hard Times with Mindte taking the strutting vocal suggestive of the late Piedmont blues master John Jackson. Rocks in My Pillow, while credited to Son Tillis goes back at least to Roy Brown’s Hard Luck Blues with Mindte contributing another heartfelt vocal. It is a number associated with Washington DC area blues legend Warner Williams who has recorded it for Patuxent.
Engaging renditions of such folk and blues staples You Are My Sunshine and “Goodnight Irene, along with the hokum of You Can’t That Stuff Anymore round out this attractive and varied recording that will appeal to a wide range of acoustic roots listeners. For more information of this recording check out http://www.pxrec.com.
Rick Franklin gave me a copy of this release. Rick and his Delta Blues Boys are playing Saturday February 22 at Cassatt's (http://www.cassattscafe.com) in Arlington, Virginia starting at 7:00 PM. You can enjoy some kiwi tweets along with some wonderful acoustic blues. Here is Rick in performance.
Eddie Cotton produced two exceptional albums over a decade ago, Extra and Live at the Alamo Theater, that did not receive the attention the music on them deserved. It was a welcome surprise to discover Cotton has a new release, Here I Come on the new DeChamp label associated with singer-harmonica player, Grady Champion. Cotton and Sam Brady produced this with Champion being Executive Producer. Others on this include Myron Bennett (bass), Samuel Scott, Jr. (drums) and guest artists Grady Champion (harmonica), Carlos Russell (harmonica) and co-producer Brady (organ).
Cotton has a university degree in music and spent time serving his father’s church. He brings some of the church to his soulful vocals and clean, crisp guitar work. An overly simple description of his sound might be Little Milton crossed with some Bobby Rush or Bobby Patterson in his vocals. Other musical influences include Latimore, Al Green and Curtis Mayfield as can be heard in his lyrics which treat relationships in a sophisticated manner. The Little Milton influence is perhaps most obvious on the terrific slow blues A Woman’s Love that musically suggests Walking the Back Streets and Crying.
Other songs here include a wonderful soul-laced ballad Friend to the End where Cotton sings about needing a friend who will understand, that he’s man who may mistakes but will never leave her alone with a chorus “Don’t look for me on Facebook; I’ve got a message I want to send; You can’t fool me with no jive picture; but I’m looking for a friend (yes I am) one who will go with me to the end.” No guitar solo, just a tight, understated backing. Get Your Own is a message song with a funky groove followed by the slow Bobby Rush styled Mr. Boo in his lead as he sings about having a sweet thing while channeling Albert King a bit in his stinging playing. Grady Champion adds some down-home flavored harp to Leave Love Alone as Cotton sings when love gets a hold of one, there is nothing one can do. The soulful No Love Back (suggestive of Curtis Mayfield and Marvin Gaye) has the memorable line that “love don’t come with no love back guarantee.”
While the playing time is somewhat short (38 minutes), the performances are crisply delivered. There are no overlong blues-rock guitar jams and Cotton’s own solos are focused with plenty of bite to complement his excellent vocals. Hopefully we won’t have to wait another decade for more from Eddie Cotton. Here I Come is a terrific blues gem. I received this from a publicist. Here is Eddie in performance at the 2011 Chicago Blues Festival.
Ike Turner's life may have been a controversial one, but their can be little doubt of his significant contribution to the blues, rhythm & blues and rock musical worlds. A four CD box, "The Legendary Ike Turner: The Kat Sure Could Play! (Secret Records) presents 118 songs (and over 5 hours of music) from singles Turner played on between 1951 to 1957. Some of these recordings include famous recording like "Rocket 88" by Turner and his own band The Kings of Rhythm, and others are backings to recordings by the likes of Howlin' Wolf, B.B. King, Johnny Ace, Bobby Bland and Elmore James.
There are so many historic recordings here starting with Rocket 88, but also including King's 3 O'Clock Blues, Wolf's How Many More Years, Boyd Gilmore's raucous Rambling On My Mind, and Rosco Gordon's No More Doggin'. The is a terrific delta juke joint band session that produced Drifting Slim's Muddy Waters pastiche Good Morning Baby, and Sunny Blair's house rocket, Step Back Baby. Junior Brooks terrific Gonna Let You Go is a reworking of a Muddy Waters recording with Ike on piano as he is on Elmore's frantic broom dusting on Please Find My Baby. Ike is present on Little Milton's early If You Love Me Baby as well.
Ike also had his own coterie of musicians including Eugene Fox whose Sinner's Dream and the two-part The Dream, are interesting bits of story-telling with Ike's evocative use of tremolo in his guitar noticeable. As The Sly Fox, Eugene Fox had a couple of other gems with his extroverted vocals; Hoo-doo Say (with a solo from Ike) and I'm Tired of Beggin'. Lonnie the Cat's I Ain't Drunk is a choice cover of a Jimmy Liggins tune that Albert Collins made famous. Johnny Wright's The World Is Yours is one of several times Ike adapted lyrics to Guitar Slim's The Things I Used To Do with Wright shouting with considerable vigor as Ike makes effective use of his Fender's whammy bar during his solo.
Some of the latter recordings come from when Turner recorded for Federal and include such gems as Billy Gayles I'm Tore Up,Just One More Time, and Let's Call It A Day; Jackie Brenston's Gonna Wait For My Chance and Clayton Love's She Made My Blood Run Cold and Do You Mean It. Also heard are instrumentals including Cubano Bop and Trail Blazer.
Not every track is a classic, but throughout one can discern Ike Turner's ear and ability to craft the sound of the recordings with some nice piano on his earlier recordings and distinctive guitar in the later recordings. Included is a booklet with a lengthy overview of the recordings and Ike's contributions by Fred Rothwell as well as another booklet with discographical details on the selections included. The Kat Sure Could Play! is an impressive compilation of Ike Turner before Tina. Folks might check better mail order outfits like bluebeatmusic.com to purchase this. I purchased my copy. Here is Clayton Love singing She Made My Blood Run Cold.
Frank Bey shared gospel bills with the Soul Stirrers with Sam Cooke, the Blind Boys of Alabama and others when singing gospel with his mother. As a teen he opened shows for Otis Redding and after committing himself to the blues, his career progress was undercut by a failing kidney. After several years of dialysis, he had a successful kidney transplant. A couple of years later he started making appearances with the Anthony Paule Band at Biscuits & Blues in San Francisco. In February 2013 they issued a solid live recording and now a year later Frank Bey & Anthony Paule Band have a new recording, Soul For Your Blues on Blue Dot Records.
What is striking is just how strong the musical pairing of Philadelphia singer Frank Bey with San Francisco’s Anthony Paule Band is. Presented is a nice mix of lesser know blues and soul classics with choice originals and interpretations of lesser know numbers. The opening number is Willie Mitchell’s I Don’t Know Why with Bey’s strong singing suggesting the late Solomon Burke and Mighty Sam McClain. Tony Lufrano plays deep soul organ here and on most of this disc. Paule and guest Kid Anderson are featured on Paule’s driving blues I’m Leaving You, followed by the Muscle Shoals groove of Christine Vitale’s deep soul original I Just Can’t Go On. Paule evokes Steve Cropper with his fills and brief solo on this. Rick Estrin adds harp to a humorous Vitale-Paule blues, Don’t Mess With The Monkey.
There is a jump blues feel to Wyonnie Harris’ Buzzard Luck with riffing horns behind Bey’s strong vocal and a T-Bone Walker styled guitar solo. Vitale, Paule and Karen Falkner wrote You're Somebody Else's Baby Too, that has the feel of mid-sixties B.B. King flavor. There is a nifty arrangement of Percy Mayfield’s Nothing Stays the Same Forever, with Mike Rinta on tuba (he is on trombone most of the recording. In addition to Rinta, kudos go to Nancy Wright’s tenor sax and Steffen Kuehn’s trumpet for their playing throughout. Bey is superb here with a vocal that suggests what Solomon Burke might have done with this song. There is also a wonderful interpretation of John Prine’s Hello In There, which again displays how Bey brings some of the same interpretative magic to a lyric that Burke did and MacLean still does, while marvelous restrained backing by the Paule Band. The funky Smokehouse and an instrumental rendition of “I Left My Heart In San Francisco showcase the band. Rinta takes an outstanding trombone solo on the former as does organist Lufrano, while Paule displays a crisp delivery and imaginative playing on San Francisco which closes this disc out. It should be noted that I have attempted to select highlights, but the performances by Frank Bey & Anthony Paule Band on Soul For Your Blues are first-rate throughout. This is a terrific recording. I received my copy from a publicist. Here are the two in performance doing Ray Charles' Hard Times.
The emergence of Catherine Russell on the music stage in the past few years has provided lenity of magical listening. Daughter of legendary band leader Luis Russell and bassist-guitarist-singer Carline Ray, Catherine Russell delights with her revival of classic and less-known swing and blues tunes. Her latest album, Bring It Back on Jazz Village, continues in this vein with her superb singing backed by a little big band rooted in swing with some gypsy jazz accents.
The new album brings her back with the creative team from her last album Simply Romancin’, that earned the Grand Prix du Hot Club de France. Among those supporting Ms. Russell are guitarist Matt Munisteri, pianist Mark Shane, bassist Lee Hudson, drummer Mark MacLean, tenor saxophonist and arranger Andy Farber, trumpeter Jon-Erik Kellso, saxophonist Dan Block, trombonist John Allred and baritone saxophonist Mark Lopeman. And what a terrific team on a wonderful collection of songs ranging from the title track, a Peppermint Harris composition recorded by Wyonnie Harris, Duke Ellington’s I Let a Song Out Of My Heart, Johnny Otis and Preston Love’s Aged and Mellow, that Esther Phillips waxed, Public Melody One, which Louis Armstrong recorded for Decca with a big band led by Russell's late dad. There is also a previously unrecorded song by her father, Lucille, that was written for Louis Armstrong’s wife.
And the music is simply top-rate with Russell’s horn-like phrasing, her warmth, joy and intonation superb throughout whether strutting on The Darktown Strutters’ Ball, reflective on Aged and Mellow (which is how she wants her men, just like she wants her whisky). She can be sassy on the title track, moody on After The Lights Go Down Low, and getting the jitterbuggers out on the floor singing Ida Cox’s You Got to Swing and Sway. She sings with the exuberance of Helen Humes and the nuance of Lavern Baker. Then there are booting sax solos, growling trumpets, marvelous piano from boogie to deep swing, guitarist Munisteri jazzy electric blues playing on the title track as well as his deft acoustic chording elsewhere. One also notes the wonderful arrangements with touches of Ellington and other classic big bands.
The only reason I would be hesitant in describing this as her best recording because her other recordings have also been so marvelous, but Bring It Back is one of the finest vocal recordings I have heard in the past few months. Its an outstanding recording that retains its pleasures with repeated hearings. Catherine Russell not simply brings back, but reinvigorates, some familiar classics and lesser known gems from the blues and swing worlds. I received my copy from a publicist. Here is Public Melody One.
Fans of gospel music with a bluesy twist may find a new album by the Canadian gospel trio, The Sojourners, Sing And Never Get Tired (Little Pig Records) to their liking. Comprised of Marcus Mosely, Will Sanders and Khari McClelland, The Sojourners are backed by a small group that includes producer Paul Pigat on guitar and Steve b on harmonica for the Vancouver recording.
Sing and Never Get Tired explores the roots of the connection between gospel and social action by dipping into the deep well of American roots music to revisit classic songs associated with The Staples Singers, The Dixie Hummingbirds, Rosetta Tharpe and Nina Simone, along with songs from Stephen Stills and Bob Dylan. The songs speak of faith, struggle and the promise of redemption. Of this Mosely commented, "This album is grittier and has more of an edge than anything we've done before. These new songs have a groove to them. We're doing dance music, and if you come to see us, you should come ready to have a good time.”
Pigat’s trebly guitar evokes Pops Staples perhaps on the opening Don’t Knock the first of the truth and gospel songs that the trio deliver the message that one does not knock heaven’s door, simply walk right in. Its the first of an album full of wonderful singer and tight rootsy backing that enhances their fervent vocals. Marriner adds some strong harmonica for the driving parable, Christian’s Automobile where faith is one’s steering wheel. Like the Staples might adapt a Bob Dylan song, the three provide a fresh setting and take of Stephen Stills’ mid-sixties message song For What It's Worth. Ezekial is a jubilant telling of the Jewish Scriptures story while Milky White Way, with piano, recalls some of the classic gospel recordings of the fifties.
Other selections include a terrific rendition of The Staples Why Am I Treated So Bad, a rocking rendition of This Train, with some fine harmonica in a backing that has some rockabilly tinges and Dylan’s “ Shall Be Released, with Pigat being very effective in his guitar backing. The unaccompanied I Ain’t Got No Home, another number with a social message, ends this recording with more strong, committed vocals that make Sing And Never Get Tired such a fine recording. Fans of Mavis Staples most recent recordings along with those who loved The Staple Singers will have plenty to enjoy.
I believe I got this from Little Pig Records. Here is their rendition of For What It's Worth.
Sony Masterworks, in conjunction with Turner Classic Movies, has issued a double CD by the legendary Fred Astaire The Early Years At RKO. Astaire is the star of the month on Turner Classic Movies for December 2013 and is known for the classic movies he starred in along with Ginger Rogers for RKO including “Top Hat,” “Swing Time” and “Shall We Dance.”
Backed by orchestras led by the esteemed conductors Leo Reisman, Ray Noble, and Astaire’s friend Johnny Green, Astaire introduced the world to many of the cornerstones of what we call today “The American Songbook.” Among the songs heard here, written some of American’s greatest songwriters and composers including Irving Berlin, Jerome Kern and George and Ira Gershwin, are Night And Day, Cheek To Cheek, The Way You Look Tonight, They All Laughed, They Can't Take That Away From Me and Nice Work If You Can Get It.
In his liner notes, Michael Feinstein observes that Astaire is “considered by many to be the most sublime popular singer and dancer of any generation.” These were recorded around the time of the films these appeared in and Astaire’s vocals seem as effortless as his stunning dancing, coveting a fair amount of his sophisticated charm. The orchestrations are sublime with very skillful use of strings along with some muted trumpet obligatos, some doses of stride piano and some showcase his dancing (for example Let Yourself Go).
As Michael Feinstein notes, Fred Astaire was a favorite singer for songwriters such as Berlin and Gershwin, although he hated his voice. Yet listening to the controlled exuberance as he sings about going out on the town in Top Hat, White Tie and Tails, as well as the humor of sailors who looked to see the world, but instead sings that We Saw the Sea. Fred Astaire’s performances on The Early Years At RKO still enchant over 75 years when they first were recorded, and help us realize that even apart from his movies, he was a superb interpreter of songs.
I received this recording as a digital download from Sony. This review has been published in the January - February 2014 Jazz & Blues Report (Issue 352) which can be downloaded at www.jazz-blues.com. Here is Fred Astaire performing Top Hat, White Tie and Tails from the movieTop Hat.
Greg Lewis’ Organ Monk, an organ led group that has focused on the music of Thelonious Monk, has an unique focus in their third album, American Standard (self-produced). While previous recordings have interpreted Monk’s compositions, American Standard plays songs that Monk did not write but did perform. Those who have heard Monk’s renditions of songs from Duke Ellington as well as songs such as Liza, Between the Devil and the Deep Blue Sea, Dinah and Just a Gigolo know how distinctive Monk's renditions of these songs are. Lewis takes Monk’s renditions as inspiration and a starting point for his group’s performances on this recording.
For this recording, organist Lewis’ Organ Monk includes tenor saxophonist Reggie Woods, guitarist Ron Jackson, drummer Jeremy "Bean" Clemons and trumpeter Riley Mullins. This writer is familiar with some of Monk's recordings of these standards with his angular lines, his spare phrasing and what he omits in his stride-rooted piano. The Hammond B-3 does not lend itself to such an attack, but the group does provide distinctive renditions in the performances heard here.
I was very impressed by the playing throughout. Lewis is a strong organist with a punchy attack on Nice Work if You Can Get It, that also displays gritty tenor sax by Reggie Woods. Mullins displays fire on Lulu’s Back In Town, while he takes a bit softer and rounded approach on “Dinah” before Woods plays in a bit more gut-bucket manner. The ballad, “I Should Care,” is a showcase of Mullins as well as for the leader. “Tea For Two,” in contrast is a trio number that showcases the nimble, fleet guitar of Jackson. On “Everything Happens To Me,” Woods helps construct the mood with some bluesy-playing against the leaders organ backing.
Drummer Clemons sounds heavy handed at a few points, but it is not a serious issue on this strong, fascinating organ jazz recording.
I received my review copy from a publicist. Available from cdbaby.com, this has a street release date of January 7, 2014. Here Greg Lewis talks about this project.
Mandolin is not a common instrument in jazz ensembles and outside of the world of bluegrass or a Brazilian Choro Ensemble, it is not a common lead instrument. Chris Biesterfeldt is known as a guitarist, but on his self-produced new recording, Urban Mandolin, he handles a variety of jazz and pop tunes leading a trio of mandolin, bass and drums.
On this recording he is accompanied by Adam Armstrong on upright bass and Eric Halvorson on drums on a fairly broad range of material here including jazz classics from Eddie Harris (Freedom Jazz Dance), Jaco Pastorious (Teen Town), Chick Corea’s (Armando’s Rhumba), Thelonious Monk (Bye-ya), Wayne Shorter (Witch Hunt) and Jimmy Smith Back at the Chicken Shack); pop classics like I Can’t Make You Love Me, and God Only Knows); Pixinguinha’s choro classic Segura Ele; and Frank Zappa’s Rollo Interior, that closes this recording
A torrid take on Dizzy Gillespie’s Bebop, opens this recording and immediately establishes how deft and commanding a player Biesterfeldt is with a fast, cleaning picking complemented by Armstrong’s and Halvorson’s lightly played drums. The metallic (tinny) staccato sound of the mandolin lends these performances with a unique tone. There follows a relaxed rendition of Charlie Parker’s Quasimodo that displays exemplary interplay between the leader and Armstrong while Halvoson employs a light touch here.
The mandolin’s brittle, metallic tone may put off some listeners and the trio format perhaps does not work with every single number (Freedom Jazz Dance sounds a bit clunky), but his playing on Bye-Ya is exhilirating. Other high points include the exhilarating Segura Ele, a marvelous rendering of God Only Knows and the invention he brings in his improvisation to Shorter’s Witch Hunt. Biesterfeldt’s adventurous playing throughout Urban Mandolin merits careful and attentive listening.
I received my review copy from a publicist. Here he can be heard playing from the album, Teen Town.
Presidents Day Weekend is always a reason for celebration for jazz-lovers in the Washington DC, Maryland and Virginia area as the annual Mid-Atlantic Jazz Festival returns. Standing up for real jazz, this year’s edition “will celebrate the soulful side of Real Jazz, otherwise known as ‘Soul Jazz.” Among those featured will be the legendary Les McCann who will lead a group that includes saxophonist Javon Jackson. But there is much more to be heard Friday Evening February 14 through Sunday night February 16 at the Hilton Washington DC/Rockville Hotel & Executive Meeting Center, 1750 Rockville Pike, Rockville, Maryland 20852.
The Festival is organized under the leadership of saxophonist, composer and educator Paul Carr as a showcase and benefit for his Jazz Academy of Music. Performances along with workshops and educational programs characterize this event. Notable performers appearing this year include vocalists Giacoma Gates, Vanessa Rubin and Freddie Cole for Friday Night’s kickoff the Ronnie Wells Main Stage performance. Area vocalists Kristin Callahan and Heidi Martin will perform in the MAJF Club Room, while David Cole will play the blues in the Juke Joint.
Vocalist Sharon Clark
Saturday, February 15, there will be atrium performances by a variety of high school bands. At noon in the Main Stage, the Festival will present the first The Mid-Atlantic "Jazz Voice"--Vocal Competition. Next on the main stage will be three of the area’s preeminent vocalists, Sharon Clark, Dick Smith, and Lena Seikaly backed by the Chris Grasso Trio. The Ronnie Wells Main Stage that evening will present the Gary Bartz Quartet, a Trombone Summit with Delfeayo Marsalis, Frank Lacy and Steve Turre with the Christian McBride Trio closing the main stage. On Staurday, highlights of the Club Stage include Aaron Seeber Quartet (with saxophonist Tim Green); vocalists Janine Gilbert-Carter and Chad Carter; and Nadine Rae will be shouting her soulful blues in the Juke Joint.
Delfeayo Marsalis
Sunday, February 16 opens with saxophonist Bobby Watson and the Howard University Jazz Ensemble on the Main Stage. Vocalist Dee Daniels will be backed by the Eric Bryd Trio and then the legendary Benny Golson Quartet cones on. Starting the evening on the Main Stage will be trombonist Reginald Cyntje and his Group that includes steel pan player Victor Provost. Cyntje’s CD “Love” was one of the most impressive and moving new jazz releases by a Washington DC area artist in 2013. After Cyntje will be the pairing of Les McCann and Javon Jackson with the festival’s headline set. Paul Carr closes the Festival main stage with a tribute to the late pianist Mulgrew Miller with a group with Bruce Barth on piano and Steve Nelson on vibes.
Gary Bartz
Performances in the MAJF Club sunday include the Kenny Rittenhouse Septet, The Jazz Academy Orchestra featuring Delfeayo Marsalis, and Leslie Sumney. Linwood Taylor will be playing in the Juke Joint. This night, like the other evenings, will conclude with a midnight jam in the club room led by Wes ‘Sugar’ Biles. For more information (including ticket packages and accommodations) and to support real jazz, visit the festival’s website, http://www.midatlanticjazzfestival.org.
Cyril Neville's new recording Magic Honey (Ruf Records) under his own name is one that will certainly appeal to many with its mix of New Orleans grooves, funk and blues-rock. His first album for Ruf has him backed by Cranston Clements on guitar, "Mean" Willie Green on drums, Carl Dufrene on bass, Norman Caesar on keyboards with Cyril on percussion as well as singing. Making appearances here on selected tracks are Allen Toussaint and Dr. John on keyboards, and guitarists Mike Zito (a fellow member of the Royal Southern Brotherhood), David Z (who produced this) and Walter Trout, with backing vocals from his wife Gaynielle and son Onari.
For these ears, this release is a mixed bag. The title track certainly opens this music on a strong note with its tough, strutting groove and a terrific vocal about his queen bee who drips her honey on him with some fine, uncredited harmonica in the backing. Its followed by a terrific piece of New Orleans funk on Dr. John's Swamp Funk, (on which Dr, John is on organ and Allen Toussaint on piano) that could have been from three decades ago. However the following track, "Something's Got a Hold On Me, is a heavy handed blues-rock performance that perhaps is tightly played but the backing (including David Z's guitar solo) will sound to many as way over-the-top. The latin-flavored Another Man (co-penned with his wife) is an appealing song that will evoke Santana's bluesier recordings including Clements spicy guitar.
Still Going Down Today, that Mike Zito co-wrote with Neville, is one of several topical lyrics on this and followed by a cover of Paul Butterfield and Henry Glover's You Can Run But You Can't Hide. The blues-rock backing perhaps contributed to neither performance standing out to these ears. I found the rendition of Warren Haynes Invisible catching my attention with Neville singing about acting as if he was invisible to those around him because of race or class. Blues Is The Truth is an original blues about what the blues is and sometimes the down home blues can heal the pain. There is some intense singing although the backing would have benefited from more nuanced guitar.
Walter Trout co-wrote Running Water, with a relaxed, funky groove and a very clever lyric, with Trout providing the effective guitar pyrotechnics on a short guitar break as well as responding to Neville's vocals during the song's coda. Otis Rush's original recording of Working Man was originally done as a Stax oriented R&B performance on Rush's Cotillion album that Mike Bloomfield and Nick Gravenites produced. Neville's vocal fronts a heavy metal blues-rock jam. The closing Slow Motion, is an infectious with its steady rocking reggae groove and the more supple backing.
As the comments above suggest, this listener found "Magic Honey" to be a mixed bag of performances with first-rate tracks mixed in with others that did not stand out (and a couple tracks were forgettable). I recognize that there are fans of album rock and blues-rock who will differ with that opinion, and may you enjoy this.
I received this from a publicist. A few years ago, I was quite a bit more positive regarding Cyril's Brand New Blueson M.C. Records. I note that it is a Blues Music Award nominee for Contemporary Blues Album. From this recording, here is Cyril doing Working Man.
Listening to Can You Hear The Music (True North Records), the new recording by the venerable Canadian blues band Downchild, one is struck by the sound and the pace of the music. Given the four decades plus Downchild has been around this should be no surprise, but it is also refreshing in this age of guitar shredders whose idea of nuance is only occasionally turning the volume dial on their guitar or amps down. Don Walsh with his guitar, harmonica and songs may be the axis about which Downchild revolves, but Chuck Jackson's gritty singing, Michael Fonfara's keyboards and Pat Carey's saxophone also standout while the bass of Gary Kendall and the drums of Mike Fitzpatrick lay out a tight rhythmic foundation. On several tracks they are joined by Peter Jeffery's trumpet.
The title track, a hot jump blues that musically evokes Louis Jordan’s classic, Choo Choo Ch’Boogie, kicks this set off. The easy rocking I'm Always Here For You, like the opening track, benefits from crisply arranged horns in addition to the band's solid groove. I Need a Woman musically suggests Little Richard’s Directly From My Heart, with Walsh's fuzz-tone guitar break complements the urgency imparted by the Jackson's vocal. Blue Moon Blues takes the band down into the alley, while Fasten Your Seat Belt is another hot jump blues with strong harp and a tough tenor sax solo.
After Walsh's jaunty slide guitar on The Road, there is a nice swampy feel about My Mississippi Queen where Jackson (who wrote this choice lyric) sings about meeting a lady near New Orleans who later one night caught the eye of everybody in every club on both sides of Beale Street before she broke his heart. She took his money but more when she took his heart it was the worst thing any woman can do. Walsh adds a strong harp solo to go with the strong lyric and backing resulting in quite a jewel of a performance.
There’s a full moon out and Downchild are on a rambling mood on the rocking shuffle Don’t Wait Up For Me, with Fonfara's rollicking piano accompaniment and Walsh's crisp, slide guitar break. Scattered, a jumping harmonica feature concludes a superbly played, and consistently entertaining blues recording.
I received my review copy from True North Records or a publicist. Here is a video of Downchild in action.
The Wee Trio, a Brooklyn, NY based trio comprised of vibraphonist James Westfall, bassist Dan Loomis and drummer Jared Schonig, recently issued their fourth album Live at The Bistro (Bionic Records). The trio is known for transcending musical genres (one of their prior recordings was devoted to the music of David Bowie), but this live recording made in St. Louis in February, 2013 perhaps has a bit more straight focus in a mix of interpretations of classics and originals.
The opening to Ray Noble's Cherokee is a bit dreamy until Westfall states the melody and then leading the trio on a hot interpretation of this swing era standard. Westfall displays a crisp attack with a clear lyricism in his solos as Loomis and Schonig push things along. Schonig takes a drum solo to introduce his Sabotage, with a driving groove with bassist Loomis helping state its theme before Westfall's clean, rhythmically infused solo. Westfall's White Trash Blues is a bouncy original followed by the trio's rendition of David Bowie's Queen Bitch with seamless navigation of the composition's changing motifs and tempos. Loomis' bass solo introduces the rendition of Isham Jones' There Is No Greater Love, with Westfall and him soloing with Schonig accenting their solos. Westfall's Space Jugglers is a spirited original with a bit of hi-life feel while his New Earth opens more reflectively before Schonig sets forth a more dynamic feel. Loomis' Ranthem is a number with changing tempos and dynamics.
After a drum solo, the performance concludes with Schonig's exhilarating White Out, that is energetically and imaginatively played and further showcases the tight interplay that makes The Wee Trio's Live at The Bistro to be such serious and delightful fun.
I received my review copy from a publicist. Here is a video of The Wee Trio playing Cherokee.
The blues world was abuzz when word got out that a previously unknown live recording of the legendary Magic Sam was coming out on Delmark. Live at the Avant Garde makes available a June 22, 1968 performance at a Milwaukee coffee house” is a revelation among the live recordings of Magic Sam by the clarity of the location recording. Jim Charne, who made the recordings, describes how it all came about in the liner notes as well as background on the coffeehouse which would close several months after this performance. The sound of Sam’s vocals and guitar as well as that of his backing musicians, bassist Big Mojo Elem and drummer Bob Richey, sounds almost like they were in a recording studio.
In addition to the clean, crisp sound, the music is exceptional. I am not claiming that Sam is better than the prior live recordings, which I have not listened to recently. Just that Sam’s playing is terrific and his vocals are right on, from the first notes of his cover of Freddie King’s San-Ho-Zay to the closing B.B. King instrumental, Hully Gully Twist. There are strong renditions of I Don’t Want No Woman, I Need Your Love So Bad, Feeling Good, That’s All I Need and Looking Good, all from the West Side Soul album that had been issued a few months previously. There are also his rendition of Lowell Fulson’s Its All My Fault (a source of Sam’s All Your Love), his own Bad Luck Blues and “You Belong to Me, Muddy Waters’ Still a Fool, Junior Wells Come On In This House, Jimmy McCracklin’s Every Day, Every Night,” Jimmy Rogers’ That’s All Right, and Otis Rush’s All Your Love (I Miss Loving).
One thing that is worth noting is the range of artists and songs Magic Sam covered this June 1968 evening. Yet whether singing a Muddy Waters classic or Otis Rush, Sam brought his own voice and distinctive guitar while supported by the marvelous duo of Elem and Richey. The songs are performed at a nice tempo and lack the frenzy or overwrought vocals that mar a couple of performances on West Side Soul (Mama Talk To Your Daughter and My Love Will Never Die on that classic album). With this wonderful sound and superb music, Live at the Avant Garde is more than the best sounding live Magic Sam recording. It is another terrific Magic Sam album.
Chris Polk appearing with Daryl Davis at the 2013 Tinner Hill Blues Festival
Every community has its local musical figures who are quite loved, but for a variety of reasons remain local musical figures. I am among many who were shocked by the sudden passing of blues singer and guitarist, Chris Polk on Sunday evening, December 8. I remember seeing Chris perform on numerous occasions including a period of several years in the 1990s when he appeared monthly at the Vienna Tap Room in that Virginia community. He was someone who loved the music, playing for people and obviously touched a lot of people. One of the last times I saw him perform on is own was at a Virginia club where a number of persons who he had coached in Track at South Lakes High School had come out. He obviously touched many lives and his passing affects many.
Chris Polk at Nick's Corner Bar in May, 2010
Back in 2002 Chris finally had a recording out and I reviewed it at the time in the DC Blues Society's newsletter DC Blues Calendar (June 2002 issue), although I made a few clarifying changes. In part, as a memoriam to Chris, I reprint that review even though it is likely no longer available. It was a very entertaining and well-performed live recording.
One of the area's better singer-guitarists, Chris Polk, finally has a recording available, Live at Zigs, recorded at the Alexandria club and available from Polk at his performances. Polk has several urban blues influences with perhaps none so obvious as Buddy Guy. Guy's influence is, in part, suggested by Polk's use of a polka dot guitar.
Guy's influence is also evident in the songs included here which does not indicate the breadth of Polk's repertoire. However renditions of Got My Eyes On You, I Got a Problem, I Feel So Bad, Midnight Train, Nobody Understands Me But My Guitar and the cover of Stormy Monday suggest how much and influence Guy is. Listening to Polk's vocals on this disc, as well as guitar playing, I am struck by this influence more than I have been watching Chris live.
Chris' playing is characterized by serpentine playing that evokes Guy as does his expressive vocals. Polk does avoid some of the excesses that can mar some of Guy's performances. Polk sings and plays with a controlled intensity that serves the material well. The band includes some of his regular musical compatriots including guitarist John Sterling, bassist Willie Hicks and drummer Morgan Norris with special guest, Steve Johnsen, contributing the keyboards.
Irma Thomas' career was elevated from being a regional New Orleans treasure to an artist that received national and international recognition when she signed to Rounder Records. In 2000, Rounder celebrated its 30th Anniversary with the Rounder Heritage Series. One of the releases was devoted to her recordings for the label. This review originally appeared in the July/August 2001 Jazz & Blues Report (Issue 252), although i have made minor changes. There are more recent compilations of Irma's work, including one that spans her half century career. This release is available as a download.
The Soul Queen of New Orleans, Irma Thomas has had a substantial and rewarding career since she signed with Rounder in the mid-1980s. A recent addition to the Rounder Heritage series celebrating the label’s 30th anniversary is If You Want It Come and Get It, a collection of 16 performances collected from six of the eight albums she has recorded for Rounder, including the collaboration with Marcia Ball and Tracey Nelson, Sing It! No tracks are included from her live album and also there are no tracks from her gospel album.
What stands out is the consistency and high level of her vocals. She is a warm singer who can belt it, but raises the roof mostly to accent the lyrics. Producer Scott Billington has constantly sought out choice new material along with finding lesser known gems, and she can tear into a soul ballad like Love of My Man as well as a rocking The New Rules, dealing with the new male-female relationships.
A wonderful singer she adds her own voice to songs associated with others, even with her straight reading of the Bobby Bland classic, Yield Not to Temptation, from the Sing It! album. Love Don’t Change is a previously unissued track from the sessions for that album. The rendition of the title track is an extended performance of the track from her Handy-Award winning album My Heart’s in Memphis. The later tune was co-written by Dan Penn, one of several songwriters who have brought material to producer Scott Billington over the years. The late Doc Pomus and Mac Rebennack (Dr. John) contributed I Never Fool Nobody But Me, with a nice New Orleans R&B piano backing from David Torkanowsky.
Just heard that Robert 'Chick' Willis has passed on (It was posted on his Facebook page). He had been battling lung cancer for some time.
Above he is seen in 2005 playing show at Lamont's in PoMonkey Maryland (Charles County). He always put on a great show mixing straight blues with a few bawdy ones including "Stoop Down Baby" which was a hit for him in the late sixties. A cousin of Chuck Willis, I had the pleasure seeing him a number of times at Lamont's where he would play regularly. He wrote a variety of originals and did strong personal renditions of such blues classics as "Love Me With a Feeling" and "Let Me Play With Your Poodle."
In a 2006 review of the tribute record he did with DC area saxophonist Jacques Johnson, I wrote "Its been close to forty years since this writer acquired a 45 by one Chick Willis that included a solid rendition of Guitar Slim’s The Things I Used to Do. Shortly thereafter, Chick recorded another single that would generate his career defining song, Stoop Down Baby. Such a song can be a blessing and a curse because it does provide work but it is also an albatross that prevents folks from appreciating just how good and varied a blues performer he is as opposed to be limited to bawdy double entendre numbers."
Chick was a terrific, soulful singer and guitarist. He is part of a dying breed of blues artists today. It is becoming unfortunately rare to hear folks like Chick anymore at what are 'supposed' blues festivals.
Here is Chick from the last time I saw him performing (again at Lamont's in 2012). He certainly liked that outfit.
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