Lurrie Bell Can't Shake This Feeling

Lurrie Bell
Can't Shake This Feeling
Delmark

The Mercurial Son, Lurrie Bell has a new recording on Delmark "Cant Shake This Feeling" finding this singular guitarist and singer backed by a first-rate band of Roosevelt Purifoy on keyboards, Matthew Skoller on harmonica, Melvin Smith on bass and Willie Hayes on drums. Produced by Dick Shurman, Lurrie wrote or co-wrote 4 of the 13 songs, and the other songs here are not ones that have been over-recorded with perhaps "Sinner's Prayer" being the best known.

Lurrie's unpredictability makes him such a fascinating guitarist to listen to and this is evident starting with the opening "Blues Is Trying to Keep up with Me," which he penned as well as his solo on Eddie Boyd's shuffle "Drifting," with Skoller and Purifoy also soloing. Lurrie's natural, slightly gritty vocals add to the appeal. There is some nice string popping on a lesser know T-Bone Walker number "I Get So Weary," while he unplugs for "One-Eyed Woman" backed only by Skoller. Another strong original, the slow, moody "This Worrisome Feeling in My Heart," is followed by a cover of one of Willie Dixon's lesser songs, "Sit Down Baby." Lurrie can not do much on this cover of Otis Rush's Cobra recording of this song.

A brisk Little Milton cover "Hold Me Tight," is followed by a nice interpretation of "Sinner's Prayer," that sounds adapted from Ray Charles. There is a nice walking groove of Lurrie's "I Can't Shake This Feeling," a gem that sounds like it came from Willie Dixon's pen with Skoller's backing harp sounding strong along with a typically distinctive Bell solo. Lurrie sings and plays his heart out on Buster Benton's "Born With The Blues," followed by Carey Bell's shuffle "Do You Hear." Bell also does a rendition of Willie Dixon's "Hidden Charms." If Lurrie is among the few guitarists who can conjure up Hubert Sumlin, he lacks Howlin' Wolf's vocal authority, which exposes this song as a lesser Willie Dixon lyric.

"Can't Shake This Feeling" closes with the reflective original (co-penned with Shurman) "Faith and Music" with just Lurrie on electric guitar. The music here is generally exceptional although there are a couple of lesser performances. Still, Lurrie Bell is one of most singular talents today in the blues.

I received my review copy from Delmark. I have revised for this blog the review that originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) (downloadable at jazz-blues.com). Here is Lurrie in performance.

John Scofield Country For Old Men

John Scofield
Country For Old Men
Impulse

This new release by John Scofield has him reinvestigating his country/folk roots alongside accomplished colleagues Steve Swallow, Larry Goldings and Bill Stewart. It is a homage to such greats as George Jones, Dolly Parton, Merle Haggard, James Taylor and Hank Williams among others, with some songs evoking a classic honky tonk feel like the opening rendition of a George Jones classic "Mr. Fool," with Scofield's twang and use of sustain set against Goldings' country-flavored piano and a simple rhythm groove while a few others taking a different tack as the transformation of Hank Williams' lament. "I'm So Lonesome I Could Cry," into a rollicking roadhouse stomp and almost a mash up with Jay McShann's "Jumpin' the Blues," on a stunning performance with some fiery playing in his improvisation.

There is the restrained rendition of James Taylor's "Bartender's Blues," the percolating groove over a spirited "Wildwood Flower," and a sober "Wayfaring Stranger." The sparkling flavor of the interpretation of Merle Haggard's "Mama Tried," contrasts the bluesy flavor of the rendition of Dolly Parton's "Jolene." Other treats include the Bob Wills' classic ballad "Faded Love," and the classic "Red River Valley," transformed into a rocking organ-guitar feature with some of Scofield's most inventive improvisation. A brief, acoustic statement of the theme of "I'm an Old Cowhand," serves to end a most appealing album of jazz renditions of classic country tunes.

I received a download to review from publicist. Here is John Scofield performing the country classic that was redone by Ray Charles, "You Don't Know Me."

Shirley Horn Live at the Four Queens

Shirley Horn
Live at the Four Queens
Resonance Records

Following up recent recordings by Larry Young, Thad Jones-Mel Lewis Orchestra and Stan Getz-Joao Gilberto, the non-profit Resonance Records has just issued Shirley Horn "Live at the Four Queens," recorded by KNPR on the night of May 2, 1988 at a lounge in that Las Vegas casino and hotel. She was accompanied that night by her regular trio of bassist Charles Ables and drummer Steve Williams.

Over a decade after she passed away, these recordings are wonderfully restored and capture the elegance and the spirited musicianship of this great lady. There are a couple of terrific instrumentals, Randy Weston's "Hi-Fly," that opens this program, and the Rodgers and Hart classic "Isn't It Romantic," that make it clear that she would have been remembered even if she never sang a note, but when she interprets "You'd Be So Nice To Come To," one feels the magic her singing has that led to such great artists as Miles Davis and Wynton Marsalis adoring her.

There are so many treasures including a couple of Jobim penned gems, "Meditation," taken as slow a tempo as possible followed by her playful "The Boy From Ipanema." There is a stunning "Lover Man (Oh Where Can You Be?). The nuances of her singing might lead to comparisons with Billie Holiday. However she does not imitate Lady Day. Instead, like Holiday,she has a rare ability to move a listener while employing a narrow vocal range.

Along with Ms. Horn's wondrous performances, the CD comes with a 56 page booklet with reminiscences of her along with background on her career and these performances, recollections of Richard Seidel, who produced her for Verve and Steve Williams discussing his time playing with her, vocalist Sheila Jordan's memories about her friend as well as the recollections of Shirley Horn's Washington by her friend and neighbor, Washington DC radio personality Rusty Hassan. This booklet is also available as a pdf file for those purchasing this as a download on iTunes. This booklet is part of the packaging that adds to the many pleasures of Shirley Horn's music on this excellent release.

I purchased this. Here is Shirley Horn performing.

Sharon Lewis & Texas Fire - Grown Ass Woman

Sharon Lewis & Texas Fire
Grown Ass Woman
Delmark Records

When some artists seem to be releasing new recordings at least annually, it has been 5 years since Sharon Lewis last recorded her impressive "The Real Deal." She returns here with her band Texas Fire for her latest release "Grown Ass Woman," with her fine band of guitarist Stephen Bramer, keyboardist Roosevelt Purifoy, bassist Andre Howard and drummer Tony Dale. Guests on various tracks include guitarist Joanna Connor, harmonica wizards Sugar Blue and Steve Bell, and the horns of Kenny Anderson, Hank Ford and Jerry DiMuzio. Both Lewis and Bramer each contribute 6 originals and there are two covers on the performances here.

The late Washington, D.C. street singer Flora Molton referred to her gospel-rooted music as "Truth Music." Similarly, Sharon Lewis is quoted in David Whiteis' liner notes, "The blues tells stories about life. This was part of our oral history. The blues is about struggle - about surviving and overcoming." It is also celebrating good times as well as well. In any case, Lewis' powerful, nuanced vocals, the strong backing and excellent material make for  solid listening starting with the opening "Can't Do It Like We Do," a celebration of blues as Black expression where she notes of the imitators she sees touring the world "can't shuffle like Billy Branch, slow blues like Magic Sam," and if you think she's being a snob well she proudly says she is and notes you can't fully learn it because it is more than learning books. Sugar Blue adds magic with his backing and soaring harmonica solo. It is notable that one of the covers here is a fervent rendition of the B.B. King- Dave Clark classic "Why I Sing The Blues."

Lewis certainly knows how to party with the blues ("we ain't gonna play no rock and roll") on the horn driven "Hell Yeah," while she then tells a story about a woman born and raised on mean streets and a big city girl, "Chicago Woman" who won't be denied as she is an independent bitch. This is set against a somewhat heavy backing with blues-rock flavored slide. While this listener was not enamored with the backing here, Lewis still sings powerfully. "They're Lying" is a marvelous original with a southern soul styled vocal. Bramer's "Don't Try To Judge Me" is melodically reminiscent of Johnny Winter's "Don't Take Advantage of Me," as Lewis sings that she don't intend to play the game of those who want to judge her. There is a terrific organ solo from Purifoy here.

Steve Bell's harmonica enlivens the Earl Hooker styled 'galloping horses" groove on a marvelous take on a vintage blues theme "Old Man's Baby." She rather be wined and dined than be a young man's fool. The title track is a celebration of Black Women, delivered with plenty of sass as well as panache. "Walk With Me" (if you're going my way) again shows her soulful manner and followed by Bramer's topical number "Freedom" with its references to violence directed against Blacks with a refrain freedom can't be freedom unless its freedom for everyone" Joanna Connor's slide guitar adds to the atmosphere here.

The album closes with a moving interpretation of Warren Hayne's modern classic number, "Soul Shine" which she opens saying she wants to reach out and touch the listener's hearts. That she does here and throughout. Lewis is a powerful, expressive singer, and her vocals are full of conviction, warmth and humor. She certainly is a "Grown Ass Woman," and with the mostly excellent backing has produced another fabulous recording.
 
I received my review copy from Delmark Records. Here is Sharon Lewis performing.

 

John Lee "Sonny Boy" Williamson: The Blues Harmonica of Chicago's Bronzeville

John Lee "Sonny Boy" Williamson: The Blues Harmonica of Chicago's Bronzeville
Mitsutoshi Inaba
London: Rowman & Littlefield
2016: 234pp + 12 pp illustrations

It is hard to overestimate the importance of John Lee Williamson. better known as Sonny Boy Williamson I. The "I" refers to the fact another outstanding harmonica player, Rice Miller, also called himself Sonny Boy Williamson. the first Sonny Boy not only helped establish the harmonica as a main lead instrument in the blues, but also was a fine singer and whose music helped shape what we know as the classic Chicago Blues. Mitsutoshi Inaba, a Professor of African-American studies at Austin Peay State University previously wrote a biography of Willie Dixon. This is the first English language book on this important Blues Hall of Fame artist. Wolfgang Lorenz wrote "Bluebird Blues" that was published in Germany in 1986.

After acknowledgements and an introduction about the scope of the work, and he provides the details of Sonny Boy 1's life and music in 144 pages of text with chapters on "Learning the Blues: Jackson , Tennessee: 1914-1937"; "Reaching New Heights: St. Louis and Aurora, Illinois: 1937-1938"; "Windy City Blues: Chicago: 1939-1941"; "The Sound of Bronzeville: 1942-1948"; "The Final Days; 1948"; and Epilogue: Sonny Boy's Legacy: 1948-Present." Additionally there is a discography of 20 pages that includes Sonny Boy's recorded accompaniments as well as his own recordings and twelve pages of photographs and illustrations.

While most of Sonny Boy's contemporaries are gone, the author did interview Billy Boy Arnold and made use of recent interviews with Sonny Boy's relatives. He also interviewed harmonica player Joe Filisko on Williamson's harmonica playing.Additionally he made use of published interviews and articles (mostly from Living Blues and Blues Unlimited), as well as Yank Rachell's autobiography, census and other public records in bringing forth the narrative here.

He takes from his ancestry, playing the music in Jackson, Tennessee and St. Louis while traveling to Illinois to make his recordings before finally settling in there. There is considerable detail and analysis of the recording sessions including a few examples of musical notation as well as a written description of Sonny Boy's harp technique (with Joe Filisko being extremely helpful in his insights) along with consideration of some of the lyrics and how they related to Sonny Boy's own experiences. His music is traced from the more country blues oriented style of his earliest sides (many characterized as having a medium-slow blues formula) to the post-war Chicago band sound he helped pioneer including some that had a jump band tempo.

Included in the discussion is Sonny Boy going south to confront Rice Miller, his presence in the Chicago clubs in the forties, the circumstances of his murder and a consideration of his legacy in the blues. The discography includes delineating some of the styles of Sonny Boy's originals as well as a discussion of songs he adapted and their antecedent. It is interesting that in this chart, Sonny Boy's "Stop Breaking Down" is described as loosely related to Robert Johnson's recording and in a footnote, he notes that the refrain is similar but otherwise the lyrics are different.

Inaba has produced a welcome addition to the Literature on Blues Performers which merits addition to one's blues library.

I purchased this. Here is Sonny Boy 1 doing his take on "Stop Breaking Down."

 

Cyrus Chestnut - Natural Essence

Cyrus Chestnut
Natural Essence
HighNote Records

"Natural Essence" is the latest recording from pianist Cyrus Chestnut, and with bassist Buster Williams and drummer Lenny White, is another reason to regard Chestnut not simply as one of the most formidable pianists in a technical sense, but one of the most imaginative and compelling jazz musicians of today. As Steve Futterman observes in the liner notes, "Chestnut has consistently shown himself as an improvisor of rare ingenuity and grace … [yet distinguished from other gifted pianists by] … the sheer pleasure that radiates from all he plays."

The ebullience that emanates from his playing is immediately evident on the opening interpretation of Joe Henderson's "Mamacita," which also displays the energy and drive offered by Williams and White and followed by a swinging reworking of "It Could Happen To You." Four of the nine performances are originals including two from the leader, and one each by Williams and White. Chestnut's "Faith Amongst The Unknown" has a spiritual underpinning anchored by Williams' ostinato, while his other original "I Remember" has a definite charm about it. White contributed a lovely ballad "Dedication," where Chestnut's impeccable touch and sense of dynamics is mesmerizing with White's use of brushes adding to the performance, while Williams' Toku-Do is a spirited, perky performance.

Chestnut, Williams and White brings a fresh approach with the lively rendition of "I Cover The Waterfront" while the extended treatment of "My Romance" that reflects attention to touch and tonal qualities and his orchestral approach to the piano on a hauntingly beautiful performance. This recording closes with the trio taking off on the Gigi Gyrce classic "Minority, a hard bop performance of irresistible drive and swing. ""Natural Essence" is a superb recording that provides more evidence of Cyrus Chestnut's stature of one of today's premier jazz pianists.

I received a review copy from the record company. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367).  Here is this master doing "Swing Low, Sweet Chariot."

 

DOC CHEATHAM AND SAMMY PRICE - DOC & SAMMY

DOC CHEATHAM AND SAMMY PRICE  
DOC & SAMMY
SACKVILLE 3013 

Sackville has followed their wonderful Jay McShann and 'Buddy Tate duet album with another duet recording of two older jazz stylists. Sammy Price is one of the few true surviving boogie woogie pianists left, though his playing also incorporates some stride and swing elements. Doc Cheatham is representative of the blues-drenched trumpet stylings of the twenties. Together they do some wonderful earthy interpretations of traditional jazz staples like "Tishomingo Blues" and "Sheik of Araby." Fats Walter's "Ain't Misbehavin" and "Honeysuckle Rose" receive lively takes. The empathy of Price and Cheatham is quite high and they produce a most rewarding set for which we should be thankful to Sackville and Doc and Sammy for giving us. Here's hoping Sackville continues this series of traditional jazz stylists in duo settings. Incidentally the order of tunes on the record Iabel and jacket is erroneous though listening makes it clear which is "Summertime" and which is "The Sheik of Araby." 

I do not remember how I acquired this release back in 1978. Delmark has since acquired the Sackville catalog and I am not sure if the reissue program of Sackville has yet reached the two albums by the pair. The review appeared originally in the June 1978 Buffalo Jazz Report (Issue 52). Here is a video of a group led by Sammy Price that includes Doc Cheatham doing "One O'Clock Jump."

Ricardo Bacelar Concerto Para Moviola

Ricardo Bacelar
Concerto Para Moviola
Bacelar Produções

This new album by the Brazilian pianist, composer, and arranger Ricardo Bacelar, puts jazz fusion of the 1970s and 1980s in the spotlight as it documents a performance specially produced for the traditional Guaramiranga Jazz and Blues Festival, held annually in Guaramiranga, Brazil, during the renowned Carnival celebration. Recorded at the Via Sul Theatre, "Concerto para Moviola" showcases Bacelar’s deep fascination with ’70s and ’80s jazz fusion, as he is heard on a blend of analog synthesizers, Brazilian music, and acoustic piano with his band that included guitar, saxophones and flute, violin along with a rhythm section and percussion. Mixed in are classics from the jazz-fusion sphere from Joe Zawinul Pat Metheny and Bob Mintzer of the Yellowjackets, several jazz standards from Benny Golson and Horace Silver, along with several Brazilian gems from Jobim, Egberto Gismonti and Ivans Lins and several original compositions from the leader.

Its a pretty varied and lively program and Bacelar and his ensemble transverse his brief lively warm-up number "Cordillera," which leads into a driving rendition of the Weather Report classic "Birdland." Benny Golson's classic "Killer Joe," employs Quincy Jones' arrangement and receives a funky reworking with Marcio Resende ripping a hot tenor sax solo.There is a dreamy feel to the treatment of Metheny's "So May It Secretly Begin," which is followed by the strident Mintzer composed "March Majestic," with some bluesy tenor followed by the soft fusion take on Michel Legrand's "The Windmills of Your Mind" with Resende almost whispering on the sax while Marcus Vinicius Cardoso's violin is quite striking, and is followed by an intriguing "Senor Blues," with percolating percussion on an adaptation of David Sanborn's arrangement.

"Moviola" is a lovely original named after an cinema editing machine and has a lovely waltz-like feel. Several Brazilian classics include the somber rendition of the Buarque-Jobin "Sabiá"; the lovely Gismonti-Carneiro composition "Palhaço," with lovely violin as well as piano; the breezy "Setembro" from Ivan Lins/Vitor Martins/Gilson Peranzzetta; and "Água de Beber," one of the greatest of all of Jobim's songs (co-written with Vinicius de Moraes) with marvelous flute and violin along with the crisp, bouncy ensemble playing. Bacelar's "Apartheid Blues," is a nice blues interpretation with guitarist Ronaldo Pessoa takes off on a blues-rock solo that suggests John Scofeld before Bacelar adds his own jazzy take on the blues.

Chick Corea influenced Bacelar and an energetic take on Corea's "Blues Miles" closes this document of one night's performance with Bacelar on electric piano and solos from Resende and Pessoa. It concludes a live recording mixing a variety of material with a certain freshness in approach and performance.

I received my review copy from a publicist. This review originally appeared in the July-August jazz & Blues Report (Issue 367). Here is "Killer Joe" from this performance.

JJ Thames Raw Sugar

JJ Thames
Raw Sugar
DeChamp Records

JJ Thames impressed on her debut recording "Tell You What I Know," where the Jackson Mississippi based vocalist impressed "as a singer who certainly can belt out a vocal, but displays a nuanced vocal approach and admirable vocal dynamics." "Raw Sugar," produced by Guitarist Eddie Cotton who also co-wrote the songs here (with one exception), is another recording that hopefully will get her better known among blues audiences.

Thames may have formal vocal training but her delivery here as on the earlier recording shows how natural she sounds starting with the opening gospel lament "Oh Lord" (that she penned herself) with Ben Hunter's mandolin and Cotton's guitar while the rollicking rock and roll of "Hattie Pearl" which comes across as a Ike and Tina styled rave-up. and followed by a brisk blues shuffle "I'm Leavin'," first thing in the morning as she has had enough of her man's lying and cheating with some nice idiomatic guitar from Cotton.

"Leftovers" is a southern soul gem in the vein of Barbara Carr with a nice vocal and illustrative of Cotton's production touches with the backing and keyboardist Darryl Sanford contributed to the arrangements. Another excellent track in this vein is the soulful ballad "Only Fool Was Me," while "Bad Man," takes us back in the alley with Cotton playing aggressively. The rest of "Raw Sugar" is equally interesting, making this another impressive recording by Ms. Thames.

I reeeived my review copy from a publicist. Here is JJ Thames in performance.

Bob Mintzer All L.A. Band

Bob Mintzer
All L.A. Band
Fuzzy Music

While perhaps best known for his tenure with the Yellowjackets, saxophonist-composer-arranger Bob Mintzer has been writing and leading big bands for some 40 years. His new album "All L.A. Band" on Fuzzy Records revisits ten of his compositions that he had written over the years. Drummer Peter Erskine produced this recording as well as anchored the rhythm section for this studio big band. Few of the band members are familiar to this listener and with few exceptions, the soloists are not identified.

There is a mix in material and grooves with several numbers having a definite Afro-Cuban slant, others a Basie-ite flavor and others a funk/R&B flavor. The mood is set with the tropical flavor of the lively opener "El Caborojeno," followed by a Count Basie Band styled "Havin' Some Fun," and then "Home Basie" with a mix of R&B and Basie swing with terrific blues-rooted tenor sax playing (and while I might suspect Mintzer of being the player here he refers to the soloist in the third person in the liner notes). "Ellis Island" is another Afro-Cuban laced number with striking interplay between brass and reeds and a strong baritone sax solo.

"New Rochelle" was originally composed for The Yellowjackets and later recorded by Mintzer's big band and again is a lively swinging number set against a back beat. Mintzer describes "Runferyerlife" as "a rhythm changes tune taken at a pretty good clip," and his notes imply he takes the tenor solo with his use of shorter percussive phrases to blend with the rhythm section. There is nice scoring of the horns also backing a suitably blustery trombone solo. After the relaxed fun of "Latin Dance" with its funky bass line, Mintzer revisits the aptly titled, "Slo Funk," which was originally written for Buddy Rich's Big Band years ago.

The closing "Tribute" is another Basie styled number dedicated to "Thad Lewis and all of the great musicians who came out of the Basie band." Nice piano from Russ Ferrante to set the tune and the rhythm of Edwin Livingston on bass and Peter Erskine is first-rate here as on this entire recording. There is plenty of wonderful playing on this recording enhanced by the arrangements and the lively compositions. Not only does this make for fine listening, but all the music was originally recorded for the MINTZER Big Band Essentials play-along app, for all instruments which is available at the App Store.

I received my review copy from a publicist. Here is a selection for you to sample this recording.

Roberto Fonseca ABUC

Roberto Fonseca
ABUC
Impulse!

Grammy nominated pianist Roberto Fonseca has been exploring and celebrating the music of his native Cuba for some time as a composer, producer, solo artist and collaborator with other Latin American music luminaries, bringing forth richly melodic compositions and recordings that capture the irrepressible Cuban sound and its rich musical history. His latest effort "ABUC" continues, and as the title is Cuba spelled backwards, this present effort might be said to "look backward at the evolution of Cuban jazz," with Fonseca writing or co-writing nearly all 14 of the tracks. "I wanted to review the Cuban music history - not only the styles that have influenced me most, but in a broader sense, so people could have a better idea of how the orchestras used to sound in those times." Its a wonderful mix of material with also Fonseca attempting to capture sound of music when audio technology was not so advanced.

Things start on a very hot note with Ray Bryant's "Cubano Chant" with the heat of the performance including a fiery solo from guest Trombone Shorty. "Afro Mambo" is just as raucous, with spirited vocal performances by Daymé Arocena and Carlos Calunga amid the orchestration. "The challenge was to make it sound like the orchestras from the 1940s and 1950s. We invited to EGREM one of the studio's oldest technicians, who really taught us how they recorded back in the day. ...It was really sonic time traveling!" Listening to this one might be forgiven for thinking that Fonseca spliced an older recording onto this performance. "Tumbao de la Unidad," with Eliades Ochoa on guitar and vocal, is Fonseca's call for unity among all cultures set at a much more relaxed tempo, and followed by "Contradanza del Espiritu," which opens with some morose violin before horns set a more stately feeling here with this listener be reminded of Dr. John's performance of "Litanie Des Saints" that was inspired by 18th century composer Louis Moreau Gottschalk. Fonseca's piano playing, and use of delay, reverb and other enhancements engenders an unusual feel here.

"Tierra Santa" tells the story of a musician from Santiago de Cuba who's invited to play in New Orleans, where he discovers an amazing wind ensemble playing in the streets. "He's awestruck, and he rapidly imagines home these melodies would sound with the Santiago conga rhythm." With the insistent, distinctive congas beat, it comes off almost as a blend Afro-Cuban jazz with Fela Kuti's funk and horns, and a highlight on this exceptional recording. "Family," inspired by memories of listening to the radio at home with his mother when he was a boy in the 1970s and the performance displays a fusion of musical styles with hot trumpet in the accompaniment.

Other noteworthy performances include "Soul Guardians," a melodious performance with an incorporation of a variety of influences, including rap, hip-hop and reggae-ton. The spirited "Asere Monina Bonco" has brilliant flute work from Policarpo "Polo" Tamayo, who passed away shortly after the album was finished along with some very impressive bass playing. The lovely bolero, "Después," has Mercedes Cortés Alfaro, Fonseca's mother, on vocals along with the brilliant Manuel "Guajiro" Mirabal on trumpet. Fonseca's brief solo piano reprise of "Cubano Chant," is the coda for the superb "ABUC." which is highly recommended to lovers of Afro-Cuban music and Latin jazz.

I received a download from a publicist for review purposes. Enjoy this a video for "Afro Mambo."

Joe Willie Wilkins & His King Biscuit Boys

 

Going back over issues of the Buffalo Jazz Report, which I wrote for in the mid to late 1970s, I came across the following review of the only full album issued under the late Joe Willie Wilkins' name. This recording unfortunately had limited release and even reviewer's copies are prized collector's items. I received a review copy from the distributor. This review appeared in the June 1978 issue (#52).

When I first put on Joe Willie Wilkins & His King Biscuit Boys (Adamo ADS 9507) I received a jolt. The opening "Mr. Downchild" and "Muddy Walter's "Sad Letter" (a great version) had all the power of Muddy's great recordings from the early fifties . Wilkins was Robert Lockwood's .successor as Sonny Boy Williamson's accompanist on the famed King Biscuit Time radio program. This album is his first lengthy exposure on wax and if there are occasional bum notes from the assorted accompanists don't let that deter you. Also, much of this album is from a live performance and if the sound isn't perfect, the music is funky and down home. A truly great record of blues that anyone into Muddy, the Wolf or others will dig. My choice for album of the month.

Here is "Mr. Downchild" from another live recording.

Eric Bibb - The Happiest Man In The World

Eric Bibb and North Country Far With Danny Thompson
The Happiest Man In The World
Stony Plain

Eric Bibb has a new release with the band North Country Far on Stony Plain Records, "The Happiest Man In The World." Recorded in the English countryside, it has Bibb's vocals and guitar supported by North Far, musicians he met while living in Finland: Petri Hakala on mandolin and mandola and Olli Haavisto on dobro and weissenborn as well as other slide instruments and Janne Hakala on drums. They are also joined by legendary upright bassist Danny Thompson for this latest installment in the five-decades career of Bibb whose folk and blues roots continues to sprout exuberant as well as poignant new music.

Bibb's music has always been rooted in good songs, solid singing and guitar and an ear for fresh musical settings. North Country Far provides a definite string-band as well as country flavor to the music here and the songs themselves are usually far from the blues has got me down or mistreating women themes of many blues. The album opens with the title track has a lyric as he celebrates the woman who stands by him. His gruff vocals (reminds me of early Dylan but with the gentleness of a Mississippi John Hurt) are set against a jaunty backing with mandolin and dobro adding to the atmosphere. Bibb's lyrical gift is evident on "I'll Farm For You" in which Bibb incorporates a number of phrases, often used as double entredres, into what he would do for his woman, while on "Born To Be Your Man," where he sings Stevie Wonder was born to be the master blaster, Louis Jordan born to sing 'Caldonia,' Prince was born to sing Purple Rain,' Lazarus was born to rise again, and "You were Born to be my woman and I was born to be your man."

The folk side of Bibb can be heard on the lovely "Creole Café," as he sings about a place in the country, 40 miles west of Newport News where "she serves the gumbo and I serve the blues," with some nice mandolin fills during vocal, on the reflective ballad "Prison of Time," and charming "On the Porch." "Tell Ol' Bill" is a ballad that might not have been out of place in Leadbelly's repertoire (and Bibb recently issued an excellent Leadbelly tribute CD). There is also an atmospheric instrumental, "1912 Skiing Disaster" a love song "Wish I Could Hold You Now," before closing with a low-key cover of The Kinks "You Really Got Me" that after a pause segues into a short instrumental take of, "King-Sized Bed," as a bonus track.

There is so much to like about marvelous Eric Bibb's latest album. Perhaps not an album of deep acoustic blues, but with some wonderful songs (several worthy of covering) congenial quality and charm of these performances has considerable merit.

I received my review copy from a publicist. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here, Eric Bibb performs with Olli Haavisto and Petri Hakala.

Slim Harpo: Blues King Bee of Baton Rouge
Martin Hawkins
Baton Rouge: Louisiana State University Press
2016: 416pp

Its has been over 45 years since James Moore, aka Slim Harpo, passed away at the age of 45. It was a tragic early death for a blues performer who had just started crossing over to a broader National audience and about to go on his first European visit. Last year Bear Family issued a 5-CD box (near 7 hours of music), "Buzzin' The Blues," and Martin Hawkins, who wrote the book that accompanied that came with that set, has written a  biography of the short-lived, but influential, artist that takes us from his youth to the aftermath of his passing.

Hawkins traces not simply Slim Harpo's life, but provides the background both in terms of his ancestry and the history of the rural part of Baton Rouge that Harpo was born in. In addition to tracing his youth and development as a musician, he gives an overview of the blues and Black Music scene in the region along with the context of the segregated society. Emerging first as Harmonica Slim, his growth as a musician is set against the burgeoning swamp blues scene centered with Crowley, Louisiana producer Jay Miller as well as the more general context of small label Louisiana music.

Jay Miller had been recording folks like Lightnin' Slim before Harpo came to record with Slim. It was Miller who hanged his performing name to Slim Harpo and Hawkins traces the recording career of Moore, including his frustrations with Miller at times along with the commercial success that Harpo had on Excello. These frustrations led to a session for Imperial that was squelched by Miller and eventually to Harpo recording directly with Excello after a contract had expired, a factor that led Miller to discontinue his relationship with Excello.

In addition to fully tracing Harpo's recordings, he also describes the various clubs and performances Harpo made, including the ill-fated trip to Chicago made with Lightnin' Slim, Lazy Lester, Katie Webster and others that was the subject of a talking blues from Slim. Slim was popular on the southern fraternity circuit as well as playing Black and White clubs in Baton Rouge and playing armory shows with swamp pop acts like John Fred, or R&B shows with Bobby Bland and others. Included is a discussion of the live recording, that was originally issued on Ace in the UK and later in the Bear Family box, as Hawkins provides details on how the recording came to happen, how it was preserved and then considers the music from that live recording of him in his prime.

Towards the end of his career, he was just starting to break into the 'hippie circuit,' and Hawkins describes Harpo's time performing at Steve Paul's The Scene in New York City and similar performances, and he was about to tour Europe when he tragically died. Hawkins goes into some of the circumstances that likely contributed to the rupture of an artery that killed him, likely resulting from working on a car and something heavy falling on his chest.

Hawkins fills out a portrait of Harpo as a family man who was far from the stereotypical hard drinking blues artist some might have, He also worked at various employments to help sustain his family. In addition he interweaves Harpo with other members of Baton Rouge's blues scene (and the swamp blues scene in general) and artists such as Tabby Thomas, Lonesome Sundown and Lazy Lester have their music and careers discussed.

There is a full discography of Harpo's music along with a listing of recordings of other Baton Rouge artists, recommended listening and reading and a musical appreciation of Slim Harpo by Stephen Coleridge. Hawkins made use of existing interviews of Harpo as well as interviewed surviving members of his band, family members and others to provide this detailed, fully researched, yet highly readable account of a major blues artist whose career seems to been overlooked in recent years. Along with the Bear Family reissue, this superb biography certainly will help reestablish his reputation as a major blues original.

I purchased this. Here is Slim Harpo's recording of "Shake Your Hips," a song still popular with blues groups.

Corey Dennison Band

Corey Dennison Band
Delmark Records

Corey Dennison has been playing and singing soul and blues for sometime around Chicago. He played eight years behind Carl Weathersby, but also got to know folks like Howard Scott, Chico Banks and Walter Scott. Around 2007 he met multi-instrumentalist guitar and organ) Gary Hundt and they are the core of the Corey Dennison Band who also consist of Nik Skilnik on bass and Joel Baer on drums. The band has just issued an eponymously titled release on Delmark that certainly will wake up some listeners with the dynamic and riving soul-blues stew.

Dennison's singing has a pinched quality but come out so soulfully and matched by his biting guitar and the insistent, punchy backing by the band that superficially might be likened to the swamp rock of a Tony Joe White meeting Magic Slim & the Teardrops starting with the opening track about moonshine, "Getcha' Pull." with a swampy feel to the closing Jimmy Reed-styled shuffle "Good Enuff" played with the drive of Magic Slim and the Teardrops with penetrating guitar.

The mix of tempos and moods on the 13 originals make for entertaining listening. There is the funk groove of "The Deacon," with terrific, and unpredictable, guitar while "Room To Breathe" is a solid southern soul styled blues ballad and "She's No Good" is a easy rocker with the melody suggesting the Valentino's "It's All Over Now." Another strong number is "Don't Say You're Sorry," with its country soul feel followed by a terrific slow, early in the morning, slow blues, "A Fool's Goodbye" with echoes of Albert King in Dennison's guitar playing. It is followed by the instrumental, "Jasper's Hop."

The consistency of performances from Dennison's guitar and vocals to the fine support his band provides makes for a sterling Delmark Records debut by the Corey Dennison Band.

I received a review copy from Delmark. Here is a video of the Band.

Hector Martignon's Banda Grande The Big Band Theory

Hector Martignon's Banda Grande
The Big Band Theory
Zoho Music

As Hector Martingnon writes "Should you be insane enough to want to start a Big Band…. do it in New York! … It was at that veteran of all venerable old Manhattan venues, the Nuyorican Poets Cafe in the Lower East Side, where my flirts with the Big Band format became a love affair, with all its challenges and intricacies. Starting off as an experimental workshop, with personnel, compositions and arrangements varying every week, some suitable for the dance needs of the crowd and some suitable for a full concert, Hector Martignon's Banda Grande slowly but surely came of age."

The 20 or so instrumentalists provides a composer and arranger with a wide palette of musical colors and styles which are explored here, "from the Baroque sinfonía concertante, visiting the inquiring language of the sixties' and seventies’ Jazz, to the Brazilian eccentricities of a Hermeto Pascoal, adding, of course, my own honest attempts at composing and arranging." Budgetary and space issues forced him "to divide the recording into four sessions, each of which left (almost) untouched: 1. rhythm section plus some soloists, 2. horns, 3. strings and 4. some solo overdubs."

The breath of his musical ambitions is heard early on in the opening "Hell's Kitchen Sarabande" with its contrasting musical colors set against a latin-infused funky groove that celebrates Hell's Kitchen's strangely alluring decay before it became an extension of the touristy Times Square. There is marvelous alto sax (Alex Han?) heard here set against a surging background, followed by Andy Hunt's gruff but melodic trombone. The salsa flavored "99 Macdougal Street" was inspired by a year living on that Village street and was written while a member of Ray Barretto's New World Spirit. The leader's piano, Samuel Torres' percussion and Christos Rafalides' vibraphone, along with David De Jesus hard bop styled alto sax stand out on this multi-layered performance that shifts from salsa to straight hard bop.

Martignon's creation of interesting instrumental voicings is also displayed on the rendition of the bossa standard of Bruno Martino, "Estate," with the leader playing accordion along with Christos Rafalides' vibraphone underpinning Chris Washburne's trombone along with tenor sax by Chelsea Baratz, with the leader's arrangement providing a swirling setting for the strong solo statements and the fresh take on this classic. This lively rendition is followed by songs inspired by his stay in Germany and the Christmas markets there. Inspire by groups of trombones playing Christmas songs there inspired "Trombone Chorale" with its integration of a string quartet with the big band sonorities and all the four members of the trombone section all spotlighted. Similarly bridging the classical and jazz worlds is a standard of European Sacred Music, "Erbarme Dich," one of the most haunting Arias (No. 47) out of the "St. Matthew Passion" by J.S. Bach, with an alto vocal by Brenda Feliciano.

A playful rendition of Bill Evans' "Interplay" has muted trumpets while Enrique Fernández' baritone helps anchors the performance with solos from Chelsea Baratz on tenor sax, John Benitez on bass, Vince Cherico on drums and Samuel Torres on congas and maracas. Martignon observes "Nostalgias del Futuro is the first movement of a “Concerto for Harp and Orchestra” I wrote for my fellow Colombian and harp virtuoso Edmar Castañeda." This also showcases his deftness in arranging strings in a big band context and avoiding a syrupy tone. "Maestra" was the first composition of Martignon for a big band and this Cumbia has Martin Vejarano on the indigenous Gaita (a sort of flute with reeds).

The closing "The Fruit Vendor's Last Dream" was inspired by the fruit vendor who immolated himself on January 4, 2011, protesting against the corruption and abuse of power exercised by the authorities in Tunisia, giving rise to the Arab Spring. This performance has a stately quality with the centerpiece being a moving solo from bassist Benitez. It serves as a coda to a marvelous big band recording that will intrigue and fascinate listeners who will discover new delights with repeated listening.

I received my review copy from a publicist. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here is Hector Martignon's Banda Grande playing "Interplay."

Nick Schnebelen Band Live at Knuckleheads Vol. 1

Nick Schnebelen Band
Live at Knuckleheads Vol. 1
VizzTone

Part of the International Blues Challenge winning sibling band, Trampled Under Foot (and selected for the Albert King Guitar Award at the time), Nick Schnebelen now leads his own band and VizzTone has issued their debut album, "Live at Knuckleheads Vol. 1," recorded at the famed Kansas City club. The singer and guitarist is joined by Heather Newman on guitar and vocals, Cliff Moore on bass and Joe Voye on drums for a hard rocking collection of blues and blues-infused roots rock.

Schnebelen and Newman share vocals with Newman being the more engaging singer, while Schnebelen is uneven. He comes across well on the rockabilly tinged opening track "I'm Goin'" but his heavier approach on the blues-rock Muddy Waters' influenced "Break of Day" (akin to "Walking Blues") is not as natural sounding. There may be a touch of country in Newman's vocals and there are times I wish Newman would tone her singing down at spots, but this is a quibble as her phrasing and pitch is spot on her performances, and this is also a recording of a live performance.

Schnebelen's guitar is quite fiery and inventive. He might rock a bit for my taste, but when he picks up the slide and quotes Muddy's "I Be's Troubled" backing Heather on "Tailgate Swing," his considerable technical skills and musical sense is quite evident. he is quite a player and he ably takes the heat down on the low-key "Who Will Comfort Me." Perhaps he bellows his vocal a bit on his forceful, and fresh, rendition of "Spoonful," with Heather adding vocal backing. Then he picks up the steel guitar for a nice cover of the Santo and Johnny's hit "Sleep Walk."

A terrific cover of Dolly Parton's "Jolene" further illustrates the band's virtuosity followed by an high-energy rendition of the Gary US Bonds hit "New Orleans" with  Hound Dog Yaylor meets George Thorogood slide backing the husky vocal that ends this  animated and highly engaging live blues and roots set that will have many wanting more.

I received a review copy from VizzTone. Here is a video of them in performance.

Oleg Kireyev & Keith Javors The Meeting

Oleg Kireyev & Keith Javors
The Meeting
Inarhyme Records

The title of the new album by Russian saxophonist Oleg Kireyev and American pianist, Keith Javors, "The Meeting," might suggest a first-time pairing of the two. In fact it is their second recorded collaboration after 2010's " Rhyme & Reason." The two here are joined by trumpet icon Tom Harrell and a terrific rhythm duo of bassist Ben Williams and drummer E.J. Strickland (who was on the earlier release by the two). This new recording has four originals by the pair (with two alternate takes) and fresh renderings of three standards.

The album gets off the a breezy start with the easy swing of Kireyev's "April," and the easy, swinging tempo set up by Javors and rhythm is followed by the lyricism of both Harrell and Kireyev. Javors himself establishes his fluidity, deft touch and his melodicism. Javors' lovely ballad "Inwardly" contrasts with his bouncy title track. Bruno Martino's classic samba "Estate," is done just be the rhythm trio and while the opening hints at Herbie Hancock, the performance quickly transitions into a lovely, wistful number. The rendition of "Caravan" opens with a middle-Eastern flavor with Kireyev adding a snatch of Tuvan throat singing before the groove kicks in and their is wonderful interplay between sax and piano over the smoldering rhythm section. Kireyev offers a very appealing, tenor solo (evoking Ben Webster and Chu Berry) on "Body and Soul," made perhaps more striking set against a hip hop-tinged groove of Williams and Strickland. The closing "Fresh Blues" is a brisk hard bop flavored groover with Harrell, and both leaders soloing strongly with Strickland standing out.

The deluxe edition of this includes additional takes of "April" and "Fresh Blues," completing this delightful musical collaboration.

The record company provided my review copy. This review originally appeared in the November-December 2106 Jazz & Blues Report (Issue 369).Here is a promotional video for the recording.

Hendrik Meurkens Harmonicus Rex

Hendrik Meurkens
Harmonicus Rex
Height Advantage

The remarkable jazz harmonica wizard, Hendrik Meurkens, may be best known for his magic in the realm of Brazilian jazz, but on his latest release, "Harmonicus Rex," his focus is on straight ahead jazz. On this session he is joined by the legendary Jimmy Cobb on drums, along with bassist Marco Panascia and pianist Dado Moroni. Joe Magnarelli on trumpet and Anders Bostrom on alto flute are each heard on four of the eleven tracks (one on which they both are heard). The program on this release are five originals as well as six interpretations of standards.

Meurkens' "Mundell's Mood" is a bright, swinging number that opens this with the leader and Magnarelli stating the theme before the trumpeter takes the first solo before Meurkens takes the first of his solos on his chromatic harmonica with his melodic invention and horn like phrasing (if not tone) at the fore before a break from Moroni with Magnarelli and the leader trading fours prior to the coda. Its the beginning of a delightful, and wide-ranging, recording with the rhythm section exemplary throughout. The groove of Meurkens' "Slidin'" has Meurkens sounding a bit more wistful at first before he solos vigorously followed by Bostrom's lovely flute.

Moroni rumbles a bit to set the mood for a lovely quartet rendition of Dave Brubeck's "In Your Own Sweet Way." Then there is a lovely, bluesy original ballad performance, "Afternoon" with Magnarelli on flugelhorn contributing to the mood that Meurkens' engenders here. Both Magnarelli and Bostrom are present for the lively rendition of Milt Jackson's blues, "SKJ," while Meurkens' fluidity, melodic playing and invention is showcased on the Rodgers-Hart classic "Falling in Love With Love," with Moroni and Panascia also showcased. "A Summer in San Francisco" is a lovely, lazy original that features Bostrom while Magnarelli adds his bright tone to a relaxed, rendition of Freddie Hubbard's "Up Jumped Spring."

The album closes with marvelous quartet performances of the standards "Darn That Dream" and "What's New." And one cannot emphasize how exceptional the rhythm section is throughout nearly one hour of delightful, straight-ahead jazz on "Harmonicus Rex."
I received my review copy from a publicist. This review originally appeared in the May-June 2016 Jazz & Blues Report (Issue 366). Here Hendrik Meurkens performs "Darn That Dream."

Roger Davidson Solo Piano at Cafe Vivaldi

Roger Davidson
Live at Cafe Vivaldi Volume 3
Soundbrush Records

In 2012, Soundbrush Records started a regular Wednesday night performance series at the venerable Caffe Vivaldi in New York City’s Greenwich Village. The timeless cafe became their informal home. In 2013 Soundbrush Records began recording these performances. "Live at Cafe Vivaldi Volume 3," is the third release featuring pianist, composer and label founder Roger Davidson who is best known as a classical artist. The first two were duo and trio recordings, and this one is a solo recording.

14 of the 16 selections are Davidson's Brazilian inspired compositions with renditions of Cole Porter's "I Love You," and Joseph Kosma's "Autumn Leaves." Davidson impresses as a pianist and composer with the touch and fluidity of his playing as well as the liveliness of the performances starting with the opening "Alegria Brasiliera," while at other times his playing has a stately eloquence as on "Bossa Para Você." He can convey considerable beauty ("Amazing You" and "Saudade Do Brasil") and charm ("Amor Brasileiro"). At times his compositions recall jazz classics as "Dia Feliz," a musical cousin to "Back Home In Indiana," which also sports some of his most intriguing improvisations as does his first lyrical rendering and then imaginative deconstruction of "I Love You."

This is a wonderfully recorded by Luis Bacque with the audience audible at the conclusion of these most charming and delightful performances.

I received my review copy from a  publicist. This review originally appeared in the September-October Jazz & Blues Report (Issue 368). Here is a video of Roger Davidson performing (with a bassist).