Ursula Ricks My Street

A presence on the Baltimore and Washington blues scenes for a couple decades, Ursula Ricks certainly sounds poised to break out on the National music scene with her new recording My Street (Severn Records) with blues, soul and more. Ricks brings her powerful, nuanced singing and her strong original songs here backed by Severn’s house rhythm section of Johnny Moeller (from The Fabulous Thunderbirds) on guitar; Kevin Anker on keyboards; Steve Gomes on bass and Robb Stupka on drums. A number of selections feature horns and/or strings arranged and conducted by the legendary Willie Henderson with DC jazz stalwarts Kenny Rittenhouse, Reginald Cyntje and Leigh Pilzer among those heard. There are also guest appearances from Kim Wilson and Mike Welch. Someone commented to me, with the Severn house band even he or I would sound good. Well I don't think anything would make me sound good, but his point about the quality of the backing is well spoken.

As for Ursula Ricks, her smoky and husky vocals are outstanding. Her controlled, unforced delivery stands out in a manner akin to Nina Simone. She never bellows, screams or sounds constipated. Rather she evokes classic sixties soul recordings by the like of Carol Fran or Betty Everett. Not only does she she deliver the goods vocally, but she wrote some wonderful new blues and soul songs starting with Tobacco Road. This is not the John D. Loudermilk song, but an original about traveling from West Virginia to New Orleans with the chitlin' circuit working her heart. It is set against a swampy, smoldering backing and also Kim Wilson takes a tough harmonica solo. This same, tough yet understated backing also provides a foundation for her funky rendition of a lesser known Bobby Rush number Mary Jane, with its anti-drug message. Sweet Tenderness, with its strings in the backing evokes Barry White's recordings while another number with strings, her Due, is an excellent soul-blues in the manner of classic Hi Records. 

The title track, My Street provides a gritty description of contemporary urban life as Ms. Ricks moans that all she knows is she has to move away. The level of the rest of My Street is of a similar level. The songs and her vocals ring with conviction and the backing is excellent on a superb recording that will hopefully enable Ms. Ricks to receive the recognition and rewards her talent and music deserves. 

I received my review copy from a publicist. Here is Ursula in performance. 

James Booker's Classified: Remixed And Expanded

James Carroll Booker, that genius of New Orleans piano tradition, passed some 30 years ago on November 8, 1983, several months after Rounder issued his final studio recording Classified. Rounder has just issued an expanded version Classified: Remixed And Expanded to celebrate the Thirtieth Anniversary of the original release of along with a documentary about Booker, Bayou Maharajah: The Tragic Genius of James Booker. This new expanded Classified adds alternate takes and previously unissued recordings from the October 1982 sessions that produced the original LP.

Booker is a revered figure in the history of New Orleans music who incorporated the inventions of Professor Longhair into his repertoire that ranged from boogie blues, New Orleans R&B, jazz and classical. His legacy as a pianist, vocalist and songwriter shines even brighter three decades later. His influence is heard in such performers as Dr. John, Harry Connick Jr., Tom McDermott, John Boutté and Henry Butler. Booker played on a number of studio recordings in addition to ones he made under his own name (he is on keyboards on Freddie King’s Cotillion Recordings for example). In the booklet accompanying this reissue we get Scott Billington’s essay in addition to Bunny Matthews original 1983 notes. Billington’s essay provides this overview and cites a number of those who might be called Booker’s musical children.

To use a term associated with Duke Ellington, Booker was “Beyond Category.” The depth of his repertoire is suggested by the performances here including the opening signature title tune that opens this compilation which opens with some nice solo playing before joined by a small backing trio that included legendary tenor saxophonist, Alvin ‘Red’ Tyler. The contents of this include a Professor Longhair medley, two takes on Lloyd Price’s Lawdy Miss Clawdy (one of which is solo), Warsaw Concerto (which explains why he was sometimes called the Bronze Liberace and along with Madame X displays how accomplished he was a s pianist of classical music), a medley of Tico Tico / Papa Was a Rascal / So Swell When You're Well, (and this last number was one Aretha recorded), his solo piano reworking of Little Willie John’s Hit All Around the World, a manic vocal on King of the Road, the classic Art Neville ballad, All the Things You Are, and “Yes Sir, That's My Baby,” the one selection on which he plays the organ (with the sounding like he is playing a calliope for a carousel). This last track is one of the several with Red Tyler’s saxophone. Among these selections, a highlight is the Fats Domino flavored, One For the Highway, again with Red Tyler taking a choice tenor solo.

Thirty years after being originally released, Classified remains as a cornerstone of James Booker’s recorded legacy. His genius is well served by this well thought out and expanded reissue.

I received my review copy from Rounder Records. Here is a trailer for the film documentary, Bayou Maharajah: The Tragic Genius of James Booker.

Dave Riley and Bob Corritore - Hush Your Fuss!

Mississippi born guitarist Dave Riley and harmonica wizard Bob Corritore have just issued their third CD, the traditionally rooted Hush Your Fuss! (SWMAF Records/ VizzTone). Some duo sides, such as the opening title track based on some old traditional gospel themes, are mixed with some Delta to Chicago styled juke joint blues with Dave ‘Yahni’ Riley, Jr., on bass and Brian Fahey.

There is nothing fancy here such as the easy rocking shuffle Baby Please Come Home, with Riley pleading for her to return where she belongs with some nice harmonica. No Cussin’ has an usual lyric where out Dave singing about finding he was cussing folks too much and he made up that no more cussing for him set against a low-key chugging rhythm with some fine harmonica. 

John Weston’s Snuff Dippin’ Woman, with Corritore on chromatic harmonica, is a moody slow blues about a woman with snuff juice running down her chin. In addition to the strong harp, Riley’s guitar is spot on here. It is the CD’s longest performance and only one of two songs not composed by Riley or Corritore. Gloria Bailey adds organ on Harvey Watkins’ Mississippi Po Boy, where Riley sings about not having much money but he is still so glad the Lord has been good to him. 

Home in Chicago is a shuffle with a theme that one can take Dave out of the Country but can’t take the country out of Dave. It is followed by Dave’s tale of a Hard Headed Woman who acts like she don’t care about him. This gentle rocker is set against a backing that sounds like it was derived from Junior Parker’s Mystery Train It is perhaps not the most striking lyric, but an amiable performance that is typical of most of this recording.

“Hush Your Fuss!” is a solid, amiable recording of blues without any frills with no blues-rock trappings. The songs may be standard blues fare, but they are sung and played with heart and humor. 

I received my review copy from VizzTone. I previously reviewed back in September, 2009 Riley & Corritore's Lucky to Be Living.  Here is a clip of the two performing together

Johnny Rawls Remembers O.V. Wright

It has been a number of years since the legendary O.V. Wright passed on. Johnny Rawls was Wright’s music director and guitarist in the 1970s and kept the band together after his mentor passed in 1980 for over a decade. Since establishing his own career as a performer and a producer, Rawls has emerged as one of the few acts able to bridge the southern soul blues and traditional blues worlds with his mix of soulful originals and has on occasion recorded some of Wight’s classic deep soul classics. 

It was the urging of Bill Wax, then the blues program director at XM-Sirius Satellite Radio, that has led to a tribute album, Remembering O.V. on Catfood Records with his interpretations of some of the core of Wright’s recorded legacy. On this, Rawls is backed by The Rays, the Texas horn-filled R&B band led by Bob Trenchard that has been part of Rawls most recent recordings. As a bonus, three of these selections also have the presence of another Wright colleague and one of the great deep soul singers of the past couple decades, Otis Clay.

While heavily influenced by Wright, Rawls’ performances of these songs avoid being copies. Rawls and Clay both have similar church roots to Wright, but each has developed their own personal and identifiable approach. This is manifested in the passionate interpretations of Wright classics as Into Something (I Can't Shake Loose), Precious Precious, Blind, Crippled, Crazy, Nickel and A Nail, Eight Men, Four Women, and Ace of Spades. Rawls sings strongly and authority on these Wright classics. He exhibits perhaps a bit more heat in his vocals than he usually exhibits and the backing provided by The Rays is strong throughout. A backing vocal trio, The Iveys also is effectively employed. Clay makes his presence felt on the three songs he is heard on.

The album closes with a Rawls’ original Blaze of Glory in which Rawls and Clay both sing about Wright’s continuing influence and while he is gone they are going to continue in his path until they too are gone. Remembering O.V. is a first-rate salute to one of the great soul music icons that stands on its own. Incidentally, Poor Boy is the fourth track while Nickel and A Nail is the fifth track. The album cover transposes their order.

I received my review copy from the record company or a publicist. Here is a video of Johnny singing O.V. Wright's "You're Gonna Make Me Cry," which is not performed on this CD.

Toronzo Cannon's John the Conquer Root

On his Facebook page Toronzo Cannon describes himself as the “Keeper of the Flame at Electric Ladyland” and that he “Studied Jim Hendrix studies at Electric Ladyland.” His admiration of the genre transcending genius can also be found in interviews with him including the liner notes to his new Delmark album, John the Conquer Root. Hendrix’s influence is more to be felt than heard in Cannon’s music, especially to the title track which opens this recording and the short revisiting of the theme to close it. But unlike the countless Hendrix wannabes, Cannon doesn’t emulate Hendrix’s guitar style in his own ferocious playing. It is more the attitude he projects and the hard rock feel of this number.

However, Hendrix is only one of the influences or inspirations that can be heard here as the next track, I’ve Been Doing Fine, a hard Chicago shuffle with searing guitar as he shouts to his woman to reconsider baby. Its a type of performance that Son Seals used to deliver and Cannon sings and plays with a similar authority, although Cannon has more of a soul-laced vocal attack. This soulfulness also is heard on the next track, Cold World, a funky soul-blues with a bit of Tyrone Davis and Otis Clay. It sports a terrific tenor sax solo from Dudley Owens. 

In Gentle Reminder, Cannon reminds us he is a bluesman through and through, but don’t expect him to play the blues as the blues has to move on, this ain’t 1952 as he sings and plays fervently. If Your Woman Enough To Leave Me has a funky groove that also suggests some of the late Son Seals recordings. It is followed by Shame, with a nice Latin groove and a terrific lyric about ministers stealing from the poor, an employer who hires a nephew over more qualified, and dirty politicians who get caught in their lies. There are solos from Omar Coleman on harmonica, Roosevelt Purifoy on piano and Cannon himself that standout on this as well.

Cannon does a wonderful folk duet with Joanna Connor on Let It Shine Always, that further illustrates the range of the material on John the Conquer Root. Few other blues performers today can handle such a variety of material and play it so authoritatively. Of course one needs to acknowledge his band that includes the afore-mentioned Purifoy, rhythm guitarist Larry Gladney, Larry Williams on bass and Brian ‘BJ’ Jones on drums with appearances from Omar Coleman, Joanna Connor and a horn section led by Kenny Anderson. 

A few selections find Cannon rocking out perhaps a bit too much for ‘my taste,’ including the title track and Sweet, Sweet, Sweet, a slide-guitar feature that is played at a frenzied warp-speed tempo. That does not change my appreciation of Toronzo Cannon and John The Conquer Root. Toronzo Cannon still drives a bus in Chicago and gets to observe many things. From this and his own life experiences, he writes wonderful, thoughtful songs; and plays and sings from the heart which result in performances are full of personality. A listener cannot expect more from a musician than one hears on this striking recording.

I received my review copy from Delmark. Here is a clip of Toronzo Cannon in performance at the famous Chicago club, Rosa's.

RIP Butch Warren

2012-0719 Freddie Redd & Butch Warren-6323, a photo by NoVARon on Flickr.

Just heard that Edward 'Butch' Warren passed away. A legendary bassist he was brought by Kenny Dorham from DC to NY and for several years was part of the house rhythm section with Sonny Clark and Billy Higgins. He played on so many classic Blue Note albums by Joe Henderson, Herbie Hancock, Dexter Gordon, Herbie Hancock and was Monk's bassist in the Mid-1960s. He will most certainly be missed.

The Washington Post had a wonderful appreciation on him a few weeks ago, http://articles.washingtonpost.com/2013-09-13/entertainment/42036719_1_jazz-night-stanley-turrentine-nursing-home.

And here is the Washington Post obituary.

http://www.washingtonpost.com/entertainment/music/edward-butch-warren-washington-born-bassist-dies-at-74/2013/10/06/89a11a2e-2eb0-11e3-bbed-a8a60c601153_story.html

He is pictured above with Freddie Redd.  Here is a clip of him with Monk in 1963.

Howard Alden/Andy Brown Quartet Bring Heavy Artillery

Fans of swing guitar (including for my blues loving friends some of Duke Robillard’s recent swing guitar efforts) will be delighted with Heavy Artillery, by the Howard Alden/Andy Brown Quartet (Delmark). I am more familiar with Alden, a member of George Wein’s Newport All Stars, than the Chicago-based Brown, but both are terrific swing-rooted guitarists who display nimble, fleet fretwork matched to a keen musical intelligence. Additionally, they exhibit considerable empathy in supporting each other whether chording behind the other’s solos, trading fours or jointly stating the theme of a song, 

They take us from the opening “Louisiana” to the boppish Chuckles (from Clark Terry’s pen), down to Brazil on Vocé E Eu, and Brigas Nunca Mais, and to Paris for Django Reinhardt’s number that provides the recording with its title. Alden returns to a song associated with Louis Armstrong, Don Redman’s No One Else But You, that he used to perform with Rudy Braff. In addition to the two marvelous Bossa Nova performances, Thad Jones’ “Three and One,” showcase their ability to interpret amore modern jazz compositions with the same swinging approach (bassist Joe Policastro and drummer Bob Rummage take brief solos here).

With supple backing from Policastro and Rummage, Alden and Brown enchant throughout Heavy Artillery with fleet and lyrical playing. This is a marvelous recording.

I received my review copy from Delmark. Here are the two in performance.

George Mitchell's 1967 Trip to the Mississippi Hill Country

George Mitchell

Mississippi Hill Country Blues 1967

University Press of Mississippi

In the Summer of 1967, George Mitchell made a trip to Mississippi looking for unrecorded blues singers. The trip was a historic one that indicated that there were a number of down home blues artists of considerable talent still performing older styles of blues at a very high level. These were not the first recordings Mitchell had made, but in providing the initial recordings of R.L. Burnside as well as rediscovering Joe Calicott, who had recorded over 45 years earlier, Mitchell’s recordings were revelatory. Arhoolie issued two albums from Mitchell's recordings under the title Mississippi Delta Blues, although the recordings today are thought of as Mississippi Hill Country Blues, the rubric applied today to the music of Burnside, Junior Kimbrough, Jesse Mae Hemphill and others. The trip also was the source for Mitchell’s classic book Blow My Blues Away.

In addition to documenting the music, through his camera Mitchell photographed these performers at home and with members of their families and community. The University Press of Mississippi has just published a terrific new book by Mitchell, Mississippi Hill Country Blues 1967 that reproduces many wonderful photographs that Mitchell took along with his recollections from that trip and interviews with a number of the performers he met including Burnside, Mississippi Fred McDowell, Rosa Lee Hill and Otha Turner. 

The pictures and words help us enter a world of house parties and picnics as we witness Johnny Woods on harmonica joining with Mississippi Fred McDowell. Mitchell was amazed by the fact they had not seen each other in 8 years when this happened. Then Mitchell recounts recording Calicott, who had made a few 78s with Garfield Acres and one under his own name, and a trip to one of the Hill Country picnics in a chapter titled Ain’t No Picnic If You Ain’t Got No Drums. R.L. Burnside is pictured playing guitar with a son or sons standing behind him. There are images of Joe Calicott playing his guitar on a porch and Fred McDowell reaching over Otha Turner to play the guitar Otha is holding and several pictures of Rosa Lee Hill that show the joy she exhibited despite the poverty she lived under.

An interview with Otha Turner provides backdrop for the Fife and Drum band traditions, but Turner turns out to be a fair guitarist himself. Turner is not the only representative of this tradition as several images feature Napoleon Strickland, who was fairly renown as a fife player. There are interviews with Jesse Mae Hemphill (Brooks), Rosa Lee Hill and Ada Mae Anderson, all of whom were related to the legendary Sid Hemphill who Alan Lomax recorded for the Library of Congress in the early 1940s. In addition to providing insight to their lives and the conditions they lived under, they also provided information on this great Hill Country legend  Jesse Mae Hemphill is the best known of the the three with her marvelous recordings, but like Mitchell himself, one is particularly taken with Rosa Lee Hill who as Mitchell says could stand as an inspiration for all. She was poor as anyone could be and lived in the middle of no where but was one of Mitchell's favorite persons, “That someone that poor could be that spirited and that full of life. …” Mississippi Hill  Country Blues 1967 is dedicated to her. 

Brief biographies presented at the end of this book all provide brief comments of what happened to the subjects after 1967 and a consideration of the legacy of these artists. Even if viewed solely as a coffee table book of blues photography (and the holidays are coming up) this book is easy to recommend. Inclusion of Mitchell’s recollections and interviews which help us understand the world of these performers, make this essential for blues lovers. 

I purchased this book. Some of MItchell's recordings from this trip have been reissued on Arhoolie CDs, while others are available in the Fat Possum box set, The George Mitchell Collection. Here is a link to the University Press of Mississippi blog that was posted before this book was published. It contains some sample photos.

Winard Harper coming to the Kennedy Center

2012 Midatantic Jazz Festival Day 1-2174109, a photo by NoVARon on Flickr.

The wonderful drummer Winard Harper (seen here leading his group Jeli Posse at the 2012 Mid-Atlantic Jazz Festival) will be at the Kennedy Center's K.C. Jazz Club on October 18 with Jeli Posse. Winard recently took to Facebook to share with folks this upcoming appearance.

This is what he had to say:

"Hoping the DC and Baltimore folks will help spread the word about the Kennedy Center appearance October 18. Looking forward to performing there and working with some of the neighborhood schools while we're in town."

As a subscriber to the the Kennedy Center Jazz Program, I purchased tickets to this show when they were announced early this past summer. I enjoyed seeing Winard back in February 2012 and look forward to this upcoming show. If you are in the DMV area and love straight-ahead hard bop, you will not want to miss Winard and Jeli Posse.

Here is a clip of Winard Harper & Jeli Posse in performance.

Mr. B is Cary Ginell's Important Biography of Billy Eckstine

Mr. B.: The Music and Life of Billy Eckstine

by Cary Ginell

2013: Hal Leonard Books 

Cary Ginell, author of a recent biography of Cannonball Adderly, has a new book as part of the Hal Leonard Jazz Biography Series, Mr. B.: The Music and Life of Billy Eckstine. Like his biography of Adderly, this is intended to be a concise and accessible biography. I found this, like the Adderly book, a brisk and well done read. In researching Eckstine's life, Ginell mined print source sews reports, interviews and like from like the Pittsburgh Courier, DownBeat, Metronome and other sources along with interviews with those that knew him well. Ginell provides a chronicle of Mr. B's life from growing up in Pittsburgh, going to school, his early days as a performer, changing the spelling of his last name from Eckstein to Eckstine, joining the Earl Hines Orchestra and later after that band disbanded his formation of the legendary bebop big band, his days as one of America's most popular singers and more.

His lengthy recording career is recounted as well from the big band days to his substantial legacy as a singer of classic pop songs. Ginell recounts his successes and triumphs as well as frustrations and the obstacles of racism that limited and frustrated some of his ambitions. It was ironic that with Earl Hines he had two major hits, Jelly, Jelly and Stormy Monday Blues (a very different song than the T-Bone Walker song), as he generally resisted singing blues, in great part because record companies at the time generally limited most Black recording and artists to blues. 

Ginell details his recording career and goes in detail about his time with Savoy, with whom his big band made so many legendary recordings, ad then his signing with MGM. He had signed with MGM as a single with the hope of also having a career in films, but a factor that the Studios provided a lack of suitable (that is non-stereotypical) roles for Blacks led to his hopes and ambitions being dashed. Racism was also a factor in the decline of his status as one of America's leading popular vocalists who at a time had a status on the level of Frank Sinatra. 

Ginell recounts the unintended consequence of the 1950 publication in Life Magazine of a pictorial on Eckstine that included an innocent looking picture (included in the pictures and illustrations incorporated in this biography) of Mr. B with admiring white teenage girls after a show. The reaction to this included a letter from a Georgian saying he was disgusted with Life for printing these pictures, and that was a printable response. As Ginell observes, this photo with an indication of racial tolerance was much "too early to do anything but alienate the still regressive and prejudiced American society." It did not open doors and in fact shut doors for Eckstine with Ginell quoting Tony Bennett and Dr. Billy Taylor.

Mr. B continued to be a significant recording artist and performing through the fifties and sixties and Ginell traces his sessions for MGM, and then Mercury and Roulette with whom he made some of his greatest recordings. And he went from headlining the Paramount in New York in the forties to becoming a major attraction on the night club circuit such as New York's Copacabana and Las Vegas as well as the Catskills and Pocono Mountains. He active involvement with the Civil Rights Movement is also recounted. 

Ginell also details Eckstine's various aspects of his domestic life, including his divorces. His children's recollections of growing up with his as their dad also provide perspective on his life. He had some financial issues including apparently some tax debts although Ginell does not explain the reason underlying these debts. The IRS did seize and sell property to pay off a quarter million dollar debt in 1986.

Billy Eckstine was a trailblazer as well as a great artist. Ginell observes that he was "popular music's first romantic African American icon," his legacy was obscured because while he had many hits, he lacked an iconic recording like Sinatra's My Way or Bing Crosby's White Christmas. He made his mark in live performances, of which few were documented on a recording and a substantial body of his recording carer remains un-reissued. Be he deserves better. He struggled to be treated as the equal of white entertainers, which "showed a resiliency,sense of purpose and defiance that is as essential to the American experience as the efforts of Jackie Robinson, Martin Luther King and Malcolm X. The possessor of one of the most glorious voices in history does not deserve his anonymity." 2014 will be the centennial of his birth and it is time to reassess his talent and career "as one of the most important and essential bodies of work of the twentieth century." Gary Ginell's Mr. B.: The Music and Life of Billy Eckstine, makes a strong case for this re-assessment and is an important addition to the jazz literature.  

I received my review copy from a publicist for the publisher. Here is some vintage Billy Eckstine.

2013-0919 Nasar Abadey at Museum of American Art-9190316

2013-0919 Nasar Abadey at Museum of American Art-9190316, a photo by NoVARon on Flickr.

Nasar Abadey and Supernova® were the featured performers at the Museum of American Art's monthly Take 5 series of Jazz Concerts on Thursday evening, September 19, 2013. The them of this concert was Jazz and the Civil Rights movement as the master drummer-composer Abadey led his quintet through jazz compositions inspired by the Civil Rights Movement, including works by Max Roach, Charles Mingus, John Coltrane, Cal Massey and Allyn Johnson.

With Abadey were pianist Allyn Johnson, bassist James King, saxophonist Joe Ford, and trumpeter DonVonte Mccoy for some excellent music. I only was there for the first of two sets when they opened with Charles Mingus' "Work Song," continued with a Cal Massey composition whose title I forgot, continued with Coltrane's "Alabama" and the set concluded with an Allyn Johnson composition "Four Voices Silenced." I am not sure about if the name of this latter composition is correct and will correct when I have fuller information. On this last number, they were joined by vocalist Navasha Daya for an extraordinary performance that concluded a remarkable set.

While this was recorded and filmed from the audience, this group and their performance of this material certainly needs to be memorialized and I know I would welcome a CD of this group performing this material.

Simply outstanding. Here are a few addition photos from this performance.

Navasha Daya singing with Allyn Johnson on piano, Joe Ford on alto sax, DonVonte McCoy on trumpet, Nasar Abadey on drums. Not visible is bassist James King

James King

Navasha Daya

Allyn Johnson

Bryan Lee Play One For Me

I remember discovering Bryan Lee in the late 1980s at the Old Absinthe Bar during my first visit to New Orleans. With the sideshow that marked (and still marks) Bourbon Street, discovering Lee's straight, no chaser blues was a real joy. I picked up his self-produced vinyl lp at the time and it was a solid souvenir of the music I heard that evening.Since discovering Lee, I have been pleased to see him again on several later visits to New Orleans and at some music festivals as well as his body of recordings, mostly for a Canadian label. 

David Earl's Severn label has just issued a new CD by the Blind Giant of the Blues, Play One For Me. On it Lee is supported by, amongst others, Fabulous Thunderbirds guitarist Johnny Moeller on rhythm guitar; Kevin Anker on keyboards; Steve Gomes on bass; Robb Stupka on drums with Kim Wilson adding harmonica to a few tracks. Also the great Willie Henderson has arranged and conducted strings and horns on several tracks with some of the Washington, DC area's finest players including trumpeter Kenny Rittenhouse, baritone saxophonist Leigh Pilzer and trombonist Reginald Cyntje. 

As expected with Severn, the production and recording are first-rate, and the result is a fresh take on Bryan lee and his music. There is plenty of his guitar to be heard here, but it is with his vocals that he really shines as he sings so soulfully. The album opens with his take on Aretha (Sing One For Me), a hit for George Jackson and includes wonderful renditions of Freddie King's It's Too Bad (Things Are Going So Tough), Little Sonny's When Love Begins (Friendship Ends), that was a hot for Bobby Womack, and Lee's soulful original Let Me Love You Tonight.

Lee's take on the Womack recording undoubtedly will be a surprise for some of Lee's family with his fine soulful singing and Albert King-laced guitar backed by Henderon's uptown strings and horns that musically is on par with some of today's best soul-blues recordings. Lee's "Let Me Love You Tonight is a terrific soul-blues performance that has an infectious groove that should get dancers up and on the floor. For a bit of more of a down-home feel there is a nice rendition of Howling Wolf's recording, Evil Is Going On, and the down home flavored original Poison. Kim Wilson adds his harmonica to both selections.

In its mix of straight blues with southern soul-blues, this recording provides a change from Lee's prior recordings that perhaps focused more him as a solid singer and guitar slinger. While there is plenty of fine guitar here, this particular recording displays just how exceptional a singer Bryan Lee is. He is that good here and Play One For Me is that good a recording.

I received my review copy from Severn Records. Here is a clip of Bryan Lee performing.

Tom McDermott's Bamboula

While thought of a ragtime and traditional new Orleans jazz pianist, Tom McDermott is a pianist who resists such easily categorization. Certainly his performances of a Scott Joplin rag or a Jelly Roll Morton stomp as well as his playing in various classic New Orleans ensembles might foster that view  However, we are talking about a person also conversant with the classical-blues-funk fusion of one James Carroll Booker and very adept at the Brazilian cousin of ragtime, Choro. To the previous items,  add that McDermott is as intriguing a composer as a marvelous pianist. Some of you may be aware of him from his appearances on the HBO drama Tremé.

This leads us to a marvelous retrospective of recordings by McDermott over a span from 1994 to 2011, Bamboula (Minky Records). This was curated by Van Dykes Parks, a person of certain fame himself. In his brief appreciation of McDermott, Parks compares McDermott to the pioneering New Orleans composer Louis Moreau Gottschalk. In the manner the rhythms of Congo Square marked that composer's work, the rhythms of Cuba and Latin America similarly infuse the work of McDermott. This recording contains 16 selections from albums by McDermott. They include solo selections, duets and marvelous ensemble recordings with his close musical associate Evan Christopher, trombonist Rick Trolsen and several Brazilian musicians.

I can't think of a better McDermott recording to make casual listeners better take note than the title track, his marvelous arrangement of Gottschalk's most famous composition. It is performed at a brisk tempo with with an irresistible hot rhythm with McDermott's fluid and clean ragtime-laced playing along with marvelous trombone and clarinet. Opulence contrasts with its stately classical flavor with some lovely soprano sax. This track is followed by a playful ragtime-flavored duet with Christopher, Irresitîvel. On Scott Joplin's Heliotrope Bouquet, McDermott steps away from the piano as Christopher and Trolsen are supported by the Brazilian string players (Caio Marcio is outstanding on seven-string guitar). Patrick Harison's accordion supplies a gypsy jazz flavor to Musette in A Minor.

For Brenda is a lovely original rag on which McDermott, with his lovely playing, evokes the graceful charm of Joplin.  The interplay with Christopher on another duet, La Manege Rouge, displays their empathy for each other. Its back to Brazil for a rendition of Joplin's The Chrysanthemum with fresh rhythmic accents, while another duet with Christopher, Tango Ambiguo, (translated as ambiguous tango) with its subdued tempo is especially lovely. Lost Rio is a wistful solo piano performance, while the closing Santa Teresa is another spirited original choro with wonderful playing by his Brazilian and New Orleans associates (Henry Lentino is scintillating on bandolin). 

Van Dyke Parks has curated a terrific introduction to Tom McDermott's recordings on Bamboula. The sixteen selections provide listeners a chance to experience the depth and range of McDermott's piano playing and compositions. I would not be surprised if this leads many to delve further into his recordings and music. Highly recommended.

I received my review copy from a publicist. Here is a video of Tom McDermott & Evan Christopher performing duets at the New Orleans Record Store, Louisiana Music Factory.

 

Smokin' Joe Kubek and Bnois King Live a Road Dog's Life

After taking a slight detour towards an unplugged recording on their Delta Groove debut, Smokin' Joe Kubek and Bnois King have a new release for Delta Groove, Road Dog's Life. Returning to their fiery electric blues, they are supported by Willie J. Campbell on bass and Jimi Bott on drums with appearances by Kid Andersen on guitar and Randy Chortkoff and Kim Wilson on harmonica (and vocals). The mix of Kubek's husky guitar with King's jazzier playing and soulful singing (evocative of Otis Rush) continues to have considerable appeal. Kubek can rock the blues with the best of them, yet he always remains anchored in the blues with his well structured solos. King's singing can bring out a laugh as well as get down to the heartbreak one will experience.

On this, they mix in originals such as the opening Big Money Sonny, K9 Blues, the title track and Nobody But You (with Wilson and Chortkoff adding vocals on this title), with a couple of surprising covers. Big Money Sonny is an amusing tale about a gambler who (loves the dice and cards) has a nice marriage by convenience and handles everything in cash with some outstanding guitar. In contrast Come On In, Bnois welcomes back a lover that he tells her he won't be upset when she leaves because that is her style. The two have some nice unison playing during the short guitar breaks. With Wilson and Chortkoff adding harp and trading vocals with King, King leads them singing how much they want their lady in Nobody But You. Its a terrific shuffle with Campbell and Bott being terrific.

The title track, penned by Kubek's wife Phyllis, is a nice blues-rocker about the ins and outs of being a road dog that is a blues performer's life. Things start poor for King on K-9 Blues, as King's fiancé complains about his eyes wandering, calls him a dog, and sets him free since he doesn't deserve a good woman like her. Wilson adds harmonica on this with more strong blues guitar. That Look On Your Face is enlivened by a Tex-Mex accent (again Campbell and Bott are stellar). A change of pace is provided by covers of George Harrison's Don't Bother Me, and The Stones Play With Fire, as King providing his own take on these renditions along with Kubek's crisp playing featured. Chortkoff adds harmonica to the latter number.

Throw in the rock and roll of I Ain't Greasin' (with Kim Wilson) and the Muddy Waters' inspired Talkin' 'Bout Bad Luck (on which Kubek plays lap steel) and one has another first-rate addition to Kubek and King's recordings.

I received a review copy from Delta Groove. Here is a clip of Smokin' Joe Kubek and Bnois King in performance.

Tom Dempsey's Saucy Guitar-Organ Jazz

It was not long after guitarist Tom Dempsey's first exposure to jazz guitar (Wes Montgomery's Smokin' at the Half Note) that led him to Smith's recordings and Wes Montgomery and later the classic Jimmy Smith recordings with Kenny Burrell. This is music that has been a crucial part of his music especially since moving to New York City in 1991. It informs Dempsey's organ trio recording, Saucy (Planet Arts), with Ron Oswanski on organ and Alvin Atkinson on drums.

Dempsey cites Wes Montgomery, Kenny Burrell, George Benson, Jim Hall and Grant Green as key influences and inspiration who "remain at the root of my soul as a musician." He does a fine job job of displaying that on his peppy original One Hundred Ways that opens up this recording which ranges from originals to interpretations of well known (Bridge Over Troubled Water) to somewhat obscure (Buddy Montgomery's Bock to Bock). 

Bock to Bock is an particularly appealing selection with a jaunty groove and Dempsey exhibiting a clean, skilled and imaginative sense with Oswanski adding the right amount of grease. The title track is a lively blues with some nice playing that would make Burrell and Green happy. It is the type of instrumental that the late of Albert Collins might have easily adapted and Atkinson trades fours with Dempsey and Oswanski. 

Dedicated to Ted Dunbar, one of his teachers and mentors, Ted's Groove, has a loping rhythm and an intriguing melody. Atkinson's sets forth a medium march tempo to start, Bridge Over Troubled Water, with fascinating interplay between Dempsey, Oswanski and Atkinson who is quite imaginative with his stick work. Dempsey plays an acoustic Martin guitar that the widow of Joseph Grana entrusted to him after he passed, and his very clean and restrained playing marks the lovely ballad Always Around. Another lovely performance is the trio's rendition of Lee Morgan's Ceora, with a Brazilian touch. 

The CD closes with Dempsey's driving Pat-a-Tat-Tat, a nod to the great Pat Martino. It is the coda for a wonderfully played and delightful recording. 

I received my review copy from a publicist. Here is a clip of Tom in performance (not an organ trio though).

Five early blues guitar gems

There is a 'blues revue" called "Ghosts of the Blues" whose notion of blues is pretty unimaginative and seems tailored for blues that weenie rock fans might have heard of and like. Well here are five examples of early blues featuring guitar that certainly need exposure. I mean do we need another mediocre rendition of Crossroads or Red House.

First up is Blind Blake with Police Dog Blues. One of the premier guitarists of early blues recordings, this song was also a favorite of the late John Jackson. Blake's recordings should be pretty easy to find.

Next up is Big Bill Broonzy, who we know was influenced by Blake and whose early recordings displayed his marvelous approach to the guitar. Mississippi River Blues (from 1934) is a melodic precursor of Key To The Highway, and one is surprised that folks don't delve into this and cover it as opposed to the more familiar blues standard.

Lonnie Johnson was a significant influence on Robert Johnson (who used to claim he was one of the Johnson boys). He was a brilliant guitarist who was not only a popular recording artist but also recorded with Louis Armstrong and Duke Ellington. Here is a gem of his early recordings.

It is easy to forget just how accomplished and great Blind Lemon Jefferson was. His Matchbox Blues was be adapted by a number of blues and rock artists with its line about wondering if a matchbox would hold his clothes. His self-accompaniment is stunning.

We close this blog entry with Robert Wilkins' marvelous song about a night at a down home juke joint Old Jim Canaan's. Wilkins would give up the blues for the church. He would take one of his most famous recordings That's No Way To Get Along, and make it a gospel number, The Prodigal Son, that the Rolling Stones would cover. My friend, Memphis Gold, grew up in the Memphis Church of God in Christ Church that Wilkins was associated with and was one of those who mentored my friend's musical development.

Southern Casey Jones and other great Blues piano

Today I present five great examples of blues piano. Here is five classic recordings.

First up is Jesse James who recorded four sides in 1936. Not much is known about him, but Southern Casey Jones is a terrific piano stomp.  Great vocal too. It is available on a compilation of folk and blues train songs, Black Diamond Express to Hell

Here is Charlie Spand with Blind Blake celebrating Detroit's Hasting Street. Spand was on my list of 10 great blues pianists and I recommend the Yazoo reissue "Dreaming The Blues: The Best of Charlie Spand.

Hersal Thomas, brother of Sippie Wallace, was a blues piano pioneer. Here is his classic instrumental Suitcase Blues from 1925. This is a song that Sippie would perform later.

Despite having participated in the recording of about 200 songs in the 1930s, Black Bob is biographical enigma. While his identity may not be known, his piano playing remains memorable as this selection displays. Here he is heard with Memphis Minnie and Casey Bill Weldon on New Orleans Stop Time.

Finally, the wonderful Cripple Clarence Lofton. Here on Brown Skin Girls, Big Bill Broonzy is on guitar as Lofton lays down some tough boogie woogie, whistles and shouts the blues before instructing Broonzy to "Beat it out Bill."

There, five examples of great blues piano.

Kenny Burrell Plays Special Requests

Recorded live at Catalina's in Hollywood, Special Requests (And Other Favorites) on HighNote Records is the latest album by NEA JazzMaster Kenny Burrell. Its an auspicious career that started in 1951 with Dizzy Gillespie and has resulted in 108 records and CDs as stated by Bubba Jackson in the liner notes. On this release, he certainly shows no signs of slowing down in the least. It combines favorites and some audience requests (hence the title) and on this, Burrell is supported by a group that includes Justo Almario on tenor saxophone and flute; Tom Rainier on piano, Tony Dumas on bass and Clayton Cameron on drums. It is a wonderful group that swings effortlessly. Almario specifically will certainly grab one's attention with his very robust saxophone and lyrical flute, and Rainier has a clean and fluid style.

Burrell throughout is terrific. His clean, deft and precise playing is laced with melodic invention and wonderful tone that matches well with his band from his opening notes on Benny Golson's Killer Joe (and Almario's tenor makes its first impression here" to his fresh reworking of his classic Chitlins Con Carne. There are his interpretations of Duke Ellington from the familiar In a Sentimental Mood, to the lesser known Sunset and the Mockingbird (from The Queen's Suite) along with an amiable vocal from Burrell on The Feeling of Jazz. There is the lovely rendition of Freddie Hubbard's Little Sunflower, with lovely flute from Almario, and Burrell plays his acoustic guitar on The Summer Knows. 

Other songs are standards like Make Someone Happy and Bye Bye Blackbird, as well as J.J. Johnson's Lament. Listening to Burrell's spoken comments at the end of this CD, where he talks about the late show, one might hope more from this night at Catalina’s by may be forthcoming.

I received my review copy from HighNote. Here is a video of Kenny in performance with Stevie Wonder as a surprise guest at Catalina's in 2011, a year before Special Requests was recorded.

Sugaray Rayford Is Dangerous

I was familiar with Caron 'Sugaray' Rayford prior to his joining The Manish Boys. About his self-produced debut album Blind Alley, I observed, "Not many singers can take us from the delta to the modern chitlin’ circuit as easily as he does. A big man with a big voice and plenty of personality that makes Blind Alley a recording to savor." He can be heard on "Double Dynamite," the most recent recording by The Manish Boys where he shared vocal duties with Finis Tasby. With Tasby's recent health problems, Sugaray Rayford has become the primary vocalist for the rotating talent that play in that group. 

Delta Groove has just released the label's first release by Sugaray Rayford, Dangerous. Producer Randy Chortkoff has brought together an impressive group of supporting players including harmonica players Sugar Ray Norcia, Kim Wilson, Big Pete and Chortkoff himself; guitarists Kid Andersen, Franck Goldwasser; Gino Matteo and Monster Mike Welch; keyboardists Anthony Geraci and Fred Kaplan; bassists Willie C. Campbell and Bill Stuve; and drummer Jimi Bott. Several tracks have the horns of saxophonist Ron Dziubla and trumpeter Mark Pender. This is a first-rate studio band to back Sugaray's vocals.

There is a nice mix of material from the Chicago blues shuffle that Sugar Ray Norcia penned, Country Boy, a song reminiscent of Dave Bartholomew's similarly titled track.which sports Norcia's harp as well. The Sugaray and Norcia trade vocals on Norcia's amusing Two Times Sugar with Monster Mike superb here. Sugaray's "Stuck For a Buck" is an amusing uptown number as his woman has maxed out his credit cards with punchy horns. Chortkoff contributed I'm Dangerous, a fine lyric that evokes Muddy Waters (especially Muddy's recording Evil) as Rayford shouts that he is a natural born lover. Going Back To Texas is another fine Muddy Waters styled number with a melody that goes at least back to Otis Spann's Hungry Country Girl, that the great pianist recorded with Fleetwood Mac. 

Goldwasser channels T-Bone Walker on the excellent rendition of Pee Wee Crayton's When it Rains It Pours as Sugaray gives a wonderfully nuanced vocal while he shouts out Gatemouth Brown's Depression Blues, with some terrifically slashing guitar in the  manner of fifties Johnny 'Guitar' Watson from Kid Andersen. Andersen and Chortkoff also shine backing Sugaray on the cover of Junior Parker's In The Dark. 

Closing out Dangerous is a rendition of Son House's Preaching Blues with some nice slide guitar from Goldwasser. It is an interesting and enjoyable performance, if not completely successful to these ears. It does not diminish the overall excellence of the blues heard here. Sugaray Rayford is such an impressive singer and with excellent material and the superb backing band, Dangerous is another terrific album from a gentleman who is quickly solidifying a place in the upper ranks of blues singers today.

I received my review copy from Delta Groove.  This will be issued on September 17. This review has also appeared in the September-October issue of Jazz & Blues Report (Issue 350) which may be downloaded as a pdf file at www.jazz-blues.com.  Here is a video of Sugaray with The Manish Boys.