Ledisi remembers waking up in New Orleans hearing her mother sing, "…and everybody knows about Mississippi Goddam!" Later she learned it was Nina Simone. While in Oakland in her 20s, she was depressed and hearing Simone sing "Trouble in Mind" over the radio. It woke me up. I was feeling discouraged for being different, for being the oddball that liked every style—blues and jazz and Broadway and hip-hop. I had sung every club in the Bay Area, done every gig. Nina's voice said to me I was not alone. Her voice saved my life and woke me up and taught me to be fearless. I had two pieces of luggage and moved to New York City after that."
In the past eight years, Ledisi has produced and toured popular tribute shows to Simone and performed concerts on television, in major concert halls, and at music festivals, featuring her interpreting Simone's songs and explaining her importance and history. This EP album is the culmination of these projects that reveal the depth of Ledisi's continuing sense of gratitude and debt to Simone. The world-renowned Metropole Orkest conducted by Jules Buckley with arrangements by Jochen Neufer and others provides the backing for the majority of the seven songs she brings her voice to. "I'm Going Back Home" features the all-star New Orleans Jazz Orchestra directed by Adonis Rose. "Four Women" is powered by Ledisi in the company of other vocalists of similar stature: Lisa Fisher, Lizz Wright, and Alice Smith. "Wild Is The Wind"—with Spanish guitar, piano, and drums—is the album's sole live recording taken from the 2020 PBS special broadcast Ledisi "Live: A Tribute to Nina Simone."
Listening to Ledisi here, one can perhaps detect Simone's influence as well as Ledesi's own voice with her rich vocal palette, impeccable pitch, diction, and phrasing, along with an impressive mastery of vocal dynamics. This is heard whether she is belting out "Feeling Good" with the full tonal colors provided by Metropole Orkest or the relaxed treatment of "My Baby Just Cares For Me." On the latter number she playfully updates cultural references to the likes of Lana Turner with references to Beyoncé and Halle Berry. There is some wooly, muted trombone of this track. Then there is a wonderful bilingual reading of Jacques' Brel's "Ne Me Quitte Pas (Don't Leave Me)," with the Orkest's horns adding to the longing mood of this rendition. A driving arrangement propels The Metropole Orkest's backing on her full-throated singing on "Work Song" along with a terrific tenor sax solo.
The other tracks are equally striking, including the closing "I'm Going Back Home," with punchy gospel-infused backing and a second-live groove by the New Orleans Jazz Orchestra. Like Simone, Ledisi is a singer who defies categories, as is demonstrated throughout this release. The only complaint is that one wishes there was more music here.
I received a download to review from a publicist. Here is Ledisi singing a tribute to Nina Simone at the Apollo Theater in New York City.
Just heard this sad news about Warner Williams. The first time I saw him was when the DC Blues Society and The House of Musical Traditions presented a show featuring Paul Geremia. Warner Wiliams, who I was not familiar with, opened the show and blew us all away. Pretty soon with harmonica player Jay Summerour, they were regulars at jams and shows as Little Bit of Blues.
Prince George Community College regularly presented a show in February called Juke Joint Saturday Night that opened with Warner and Jay and then The Hardway Connection. I remember Nick Spitzer booking Warner and Jay to open for Joe Louis Walker at the Barns of Wolf Trap. Introducing Warner and Jay, Nick mentioned calling Warner to get some info for his introduction and the grandson answered and said that Warner did not want to talk, he did not want to be famous. Well in the DC area among blues lovers Warner was famous. He was brilliant and yet so full of joy as he turned a country honky-tonk tune into a Piedmont blues romp, "Hey Bartender, there's a big bug in my bear."
Warner had a repertoire that spanned old Tin Pan Alley songs, children's songs, honky-tonk country, and Blind Boy Fuller. In the DMV in the 90s, we had Archie Edwards, John Cephas, John Jackson, and Warner Williams. We were so fortunate and with Warner's passing, an era has ended but there are young voices to keep the tradition alive and growing.
Lightnin' Hopkins -Shootin’ Fire - April 11, 1969 - Cicadelic Records
A release of the legendary, and iconic Lightnin’ Hopkins that includes previously unissued studio recordings should be of interest to anyone that calls themselves a blues lover. Cicadelic Records has is- sued “Shootin’ Fire - April 11, 1969” which contains 18 tracks from that date and two recorded in August 1961.
The original recordings were produced by Roy Ames and some selections have been issued with bass and drums mixed too high and the guitar lead too low with excessive reverb to make Lightnin’ sound con- temporary. This release has re-mixed the four track originals without the previous studio misjudgments. Accompanying Hopkins on these recordings are Cedric Hayward on piano, Lawrence Evans on bass and Ben Turner on drums.
The blues is on Lightnin’s mind, as he says before launching into the opening track, “Born In The Bottom,” a semi-autobiographical number as he was born in Warren’s Bottom, Texas, although there are times he wished he was born dead. It is a pretty powerful performance with his spoken interludes and familiar biting guitar. It sets the pace for 77 minutes of deep Texas blues. “Rainy Day in Houston” is a similarly paced performance as Lightning sings that if it keeps on raining, papa can’t make no time. And when he tells this woman who is not paying him no mind, but “A Man Like Me Is Hard To Find.” Lightning can be hard to back with his tempo shifts and occasionally stretching verses beyond 12 bars, but the trio is solid on this moving performance.
One issue for more casual listeners may be the predominance of similarly tempo-ed slow blues, but he does pick up the pace on “Movin’ On Out,” as he will move early, so people won’t see him make his way. The changes of this suggest “What’d I Say,” although the performance is a bit more measured. “Shinin’ Moon” is a theme Hopkins recorded before as he sings about the shining look pretty, shine down through the trees as he can see his baby when she don’t see him with some impressive guitar. “Feel Like Ballin’ The Jack” was originally recorded for Aladdin as “Feel So Bad,” and it is Lightnin’s thinly disguised rendition of BigBill’s classic “I Feel So Good.”
Lightnin’s sense of humor is manifest on ”Stinkin’ Foot,“ as he tells his lady to put her shoes on, while on ”December 7, 1941“ Lightning sings about the Japanese bombing Pearl Harbor over a quarter century after the fact. ”My Baby Ain’t Got No Shoes,” set to the ”This Train/My Babe“ melody, deals with the theme of poverty and deprivation as his baby also has no place to go, and is followed by a slow blues with a similar theme ”My Baby Was Crying For Bread,“ as he sings she has taken all his money and threw it all away so, it ain’t right the baby crying. ”My Little Darling“ is Lightnin’s reworking of the Cecil Gant ballad ”I Wonder,“ while a lively instrumental ”Go Ahead“ segues into ”Battle Hymn of the Republic.“ Similarly an alternate (Lightnin’ rehearsing with the bassist) of “Movin’ On Out” segues into “When the Saints Going Marchin’ In.”
The two last musical performances here, “Baby Please Don’t Do Me Wrong” and “Good As Old Time Religion,” are from April, 1961 and are strong performances with good piano and rhythm. The album closes with a brief “I’m Shooting Fire.” where he plays a few riffs but explains why musicians have a tough time playing with him. The liner booklet gives some overview of the music and the circumstances of the recording along with photograph of the recording contract and cancelled checks. Some of the comments on the songs are a bit superficial, and a couple of performance sound not quite finished, but this is certainly a welcome addition to Hopkins’ very extensive discography. Musically, he rarely disappoints and that is the case in this reissue of down-home Texas blues.
I purchased this CD. This review appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here is Lightnin' performing "Stinkin' Foot."
This is Gaye Adegbalola’s most recent “embrace” of the classic blues and the classic blues women, Accompanied by pianist Roddy Barnes, Gaye interprets some well- known, and rescues some more obscure songs from the earliest days of blues recording. In addition, she sings several originals that are presented in the same vein as the early blues foremothers.
From the opening moments of Ma Rainey’s Black Bottom to the last notes of Roddy Barnes’ Summer Sky, we are treated to some exquisite performances. There is a fair number of selections associated with Ma Rainey in addition to the opening track that include Yonder Come the Blues, Prove It to Me, and the immortal See See Rider, all of which Gaye delivers wonderfully with Barnes’ complimentary backing. The bawdy The Dirty Dozens receives spirited treatment as does does Lucille Bogan’s BD Woman Blues. Another Bogan song, Sloppy Drunk, is taken at a distinctively slower tempo than Ann Rabson performs the number with Saffire. Gaye’s original, Twisted Woman Blues fits in seamlessly with Sippie Wallace’s Up the Country Blues, while her ballad How Can I Say I Miss You, compliments her rendition of the Duke Ellington-Paul Webster classic, I Got It Bad and That Ain’t Good.
A couple of songs from blues history are also refreshed by Gaye here, Perry Bradford’s Crazy Blues, the bluesy Perry Bradford song that Mamie Smith recorded to launch the blues craze, and Alberta Hunter’s Down Hearted Blues that was Bessie Smith’s first recording. In addition to the wonderful performances, Gaye provides short but insightful comments on all the songs. This is simply a marvelous disc of blues performed with so much heart and panache that is unreservedly recommended.
This review appeared originally in the July-August 2004 Jazz & Blues Report (Issue 269). I likely received a review copy from a publicist. This still should be available at finer sellers. Here is a video of Gaye and Roddy Barnes performing I Got It Bad and That Ain’t Good.
This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). This is the last review from that group of Sonet Blues reissues reviews.
Robert Pete Williams was discovered by folklorist Harry Oster while recording prisoners at Louisiana’s infamous Angola State Penitentiary. These recordings that originally were issued on the Folk-Lyric label (later acquired by Arhoolie on whom they have been reissued) certainly made some aware of Williams' stark, somber style of performances. These performances drew on Williams' harsh life experiences and were played in a manner reflecting Blind Lemon Jefferson's influence as channeled into the one-chord droning approach similar to that found in the early recordings of John lee Hooker and the recordings of Junior Kimbrough.
His recordings led to his eventual freedom, although not until a probationary period where was almost an indentured servant farmer. Subsequently Williams recorded for Prestige-Bluesville, Ahura Mazda (perhaps reissued on Fat Possum) and this album, originally part of The Legacy of the Blues series. The ten performances here are representative of Williams unique art with his deeply personal lyrics, created out of the hard life he and others shared but distilled through his own experiences as in his re-recording of Angola Penitentiary Blues where he recalls “Locked me down, they tried me for my life; April the 6th, 1956, they sent me to Angola; Not to lie, not to lie, they tried me for my life; Cried, let’s keep the poor boy.” Come Here, Sit on My Knee features his bottleneck style that he learned from his friend, Mississippi Fred McDowell, and the performance sounds derived from Shake ‘Em On Down and other McDowell numbers, while Late Night Boogie, has him in his understated vocal singing about late at night blowing his horn with his unique guitar accompaniment.
Williams music requires the listener’s attention although this disc sounds like it is among his most accessible recordings. Give Robert Pete Williams music some time and its virtues will hopefully become evident to you.
I likely received my review copy from Jazz & Blues Report. Here is Robert Pete Williams performing.
Notes Hot & Blue - This was a column of reviews I wrote for the DC Blues Society's original newsletter, the DC Blues Calendar. This is from April 1988 when it was a two-page flyer. The front-page noted the Blues Society was presenting a concert with Friz Hollway and John Dee Holeman. As noted from my review, Lonnie Brooks was appearing at the Bayou on April 4th.
Lonnie Brooks, in town at the Bayou on the 4th, has a new Alligator album, Live From Chicago- Bayou Lightning Strikes. Brooks has always had strong rock roots, first being part of the Louisiana swamp pop scene before moving to Chicago. This is a pretty tasty set of rocking blues and rhythm & blues which is sure to appeal to those who like blues laced with rock which strikes me as more bouncy than some other recent Alligator albums. As a label on the cover says, this is "Genuine Houserockin’ Music”.
The English Krazy Kat label has been issuing a variety of albums of blues, rhythm'n'blues, and gospel from the Gotham family of labels. A typical album is Big Band Blues (KK814) which includes several swinging selections by the great blues shouter Jimmy Rushing with a band including Bill Doggett and a variety of Basie alumni, a track by J.B. Sumners who sang with Tiny Grimes, three tracks by singer Tiny Tim (Timothy Flair, not the 60s" pop figure), and a jumping band led by trombonist Ernie Fields. Solid swinging and jazzy stuff.
A recent reissue, Alley Special (KK 820) represents Sometime of a coup. This album includes Muddy Waters’ first commercially issued recording, "Mean Red Spider" from 1946 appeared on the 20th Century label as by James ‘Sweet Lucy" Carter. Muddy sings strongly and is backed by an urban blues band which includes strong piano and alto sax but some awful Soprano sax. Other recordings on this include the fine Detroit bluesman, Baby Boy Warren, a previously unissued Eddie Burns track, a track by harmonica player Sonny Boy Johnson (influenced by the 1st Sonny Boy Williamson) and several tracks by Texas bluesman Wright Holmes.
More unissued Eddie Burns along with some excellent John Lee Hooker can be heard on Detroit Blues 1950-1951 (KK 816). The Hooker sides are Strong solo recordings including an early version of “House Rent Boogie". The Burns selections feature some tough harp and a rough down home blues band with John Lee Hooker's quitar evident on a couple tracks. Great Downhome blues.
I likely received a review copy of the Lonnie Brooks from Alligator Records. I likely purchased the three Krazy Kat releases (which were English). The Krazy Kat label no longer operates and I believe its releases are out-of-print although maybe available as CDs from Collectables.
This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.
Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story.
These sides make available albums from the 1970s that were issued in
Europe on the Sonet label although some were imported in the United
States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues
recordings stateside. This latest batch includes more from that series
along with other albums that Samuel Charters had produced for Sonet. I
will be posting these reviews every few days.
Albert Luandrew, the legendary Chicago pianist known as Sunnyland Slim, is represented by some 1974 solo recordings recorded in Stockholm for The Legacy of the Blues. With his unique touch and his vibrato-laden vocals, Slim is heard hear on ten solid performances that includes such staples of his repertoire as She’s Got a Thing Goin’ On, Bessie Mae and She Used to Love Me.
Slim’s strong two-fisted piano and singing is displayed on the rocking Gonna Be My Baby while he gets down in the alley on Couldn’t Find a Mule singing about “Oh Captain,” and his own recasting of Woman I Ain’t Gonna Drink No More Whiskey” singing about how his woman and whiskey take advantage of him laying down firmly played but spare bass while pounding out some strong right hand lines. The longest track Days of Old recalls his early days where he experienced the harsh conditions of a southern black laborer in the dark segregation days.
Slim remained a foundation of the Chicago blues scene until he died in 1995 at the age of 88 and these recordings are a welcome reminder of his well-documented legacy.
I likely received my review copy from Jazz & Blues Report. Here is Sunnyland Slim performing.
The Manuel Valera Trio Live at Diese Onze AZis Recordings
"Live at Diese Onze" is the first recording made available on AZis Recordings. Publicist Chris DiGirolamo established AZis as a label/facilitator/marketer for live material. Artists provide AZis with a live recording of a past performance for which AZis provides all artwork, marketing, PR, and facilitates digital distribution. The initial relation features the trio of Cuban-born pianist Manuel Valera from April 6, 2019, at Montreal's Diese Onze Jazz Club. Besides Valera, the trio consists of bassist Hans Glawischnig and drummer Clarence Penn.
While born in Cuba, Valera grew up in South Florida and attended the New School in New York City. Manuel Valera has a prodigious technique, acute rhythmic feel, who can startle listeners with his attack and move them with a more restrained approach as appropriate. Things kick off with his breakneck approach to Monk's "Rhythm-a-ning," which is a virtuoso, stunning performance. However, the performance lacks the angularity and space of Monk's approach to his composition. Much the same can also be said about his mesmerizing take on "Evidence." Penn solos explosively on this selection. In contrast, his approach begins lighter, almost delicate at times, on Benny Golson's "Whisper Not." His solo here is a master class in thematic improvisation as well as the use of dynamics in building up the intensity.
Also of note is the lyricism and romanticism of the performances of Luis Miguel's "Tres Palabras," with Glawischnig and Penn providing impeccable backing. "But Not For Me" begins melodically before transitioning into a whirlwind display of Valera's touch, technique, and ability to craft his improvisation at warp speed. Penn empathically responds to changes of tempo and intensity. The beginning of "Searching" puts the spotlight on bassist Glawischnig before Valera starts with his magic. As Glawischnig anchoring the trio, Penn adds fiery percussion backing of the leader's dynamic piano.
Give the excellence of the Miguel Valera Trio, and one should not be surprised how outstanding "Hans Glawischnig" is. If future AZis releases are half-as-good, listeners have much to look forward to.
I received a download to review from a publicist. Here The Manuel Valera Trio performing "All of Me," with Mark Whitfield Jr. on drums in place of Clarence Penn.
This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.
Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story. These sides make available albums from the 1970s that were issued in Europe on the Sonet label although some were imported in the United States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues recordings stateside. This latest batch includes more from that series along with other albums that Samuel Charters had produced for Sonet. I will be posting these reviews every few days.
Memphis Slim, real name Peter Chapman, was another Chicago blues giant who became an expatriate, moving to Paris in 1962. Clyde Otis recorded him in New York in 1967 during a US tour with a band that included the great Billy Butler on guitar and Eddie Chamblee on tenor saxophone for a session that would not have been out of place on the Prestige-Bluesville catalog and was in The Legacy of the Blues series.
The set opens with a nice reworking of Everyday I Have the Blues and closes with Sassy Mae, completely reworked from his original which was built upon the Dust My Broom riff. Highlights include the peppy A Long Time Gone, where he sings about it being a long time since his baby called with Chamblee soaring with his solo as Slim plays his rock solid piano under him. I Feel Like Ballin’ the Jack is a retitled version of Big Bill’s Feel So Good, confidently sung. Slim’s considerable prowess on the piano is evident on Broadway Boogie, a storming instrumental with Chamblee and Butler taking crisp solos while Gambler’s Blues has him lament that “Last night I lost the best friend I ever had; I lost all my money, too bad, people how sad.” Sassy Mae which sports a larger (uncredited) horn section completes this welcome reissue.
I likely received my review copy from Jazz & Blues Report. Here is Memphis Slim performing "Slim's Boogie."
Blue Muse is a Jacksonville Florida based band consisting of Jarrett Carter, guitar; Cody Wheaton, bass; Javian Francis, piano; John Medico, drums; Jack Miller, drums; Sarah Lee, tenor sax; Lance Reed, trombone; and Steve Strawley, trumpet & flugelhorn. Blue Muse was formed after saxophonist Sarah Lee left her 20-year career in Information Technology and pursued her passion, jazz. It was while attending Jacksonville University that she brought together the jazz musicians who became Blue Muse. "It Never Entered My Mind" is this group's second album.
This album is a well-played recording in the vein of the classic Blue Note recordings of the sixties, with the influence of Wayne Shorter, Horace Silver, and Art Blakey particularly evident. Three of the six tunes are Shorter compositions. The opening track, "One By One," was by Shorter and recorded by Blakey and the Jazz Messengers. It is a driving performance with clean, crisp ensemble portions and engaging solos from Reed, Francis, Lee, Strawley, Carter, and Wheaton. Following is the title track, the only standard on this album. Strawley's muted trumpet opening with a lyrical solo while the other horns provide atmosphere in the background. Carter again impresses with a guitar interlude. A finger-popping rendition of Horace Silver's "Nutville" follows with some hot trumpet before Sarah Lee takes a dynamic, rhythmic solo before Reed's well-burnished trombone solo and Medico's fascinating use of his whole drum kit on his solo.
"Sweet Sour" is another Wayne Shorter composition initially recorded by Art Blakey. Guitar Carter dazzles on this selection, followed by Reed's gravelly trombone and Francis' fluid piano. Also heard are interpretations of Joe Sample's "Freedom Sound" and Shorter's "Ping Pong." Again, there are spirited solos set against a tight, responsive ensemble on more marvelously played, straight-forward hard bop performances. Blue Muse is calling this an EP as it 'only' has 40 minutes of music. In the days of vinyl LPs, this would have been a full LP, and in any case, these six tracks with 40 minutes are solid performances in the hard bop vein.
I received my review copy from a publicist. This review appeared in the July-August 2021 Jazz & Blue Report (Issue 397).Here Blue Muse performs "It Never Entered My Mind."
When David “Guitar Shorty” Kearney performs, one not witnesses an ardent performance of modern blues, but also showmanship and a stage act that stems from his days working with such R&B legends as Ray Charles, Sam Cooke and Guitar Slim. Guitar Shorty’s band, Central Avenue, deftly backed him as he walked the floor of Tornado Alley, serenading the audience at their tables. He delighted the audience with his raspy vocals and his chicken scratching attack which has his guitar echoing his vocals. Later, during his song, “It’s a Hard Road,” he came off the stage to serenade the audience again and then he walked out of the club and strolled a half block from the club without losing a beat on his radio equipped guitar. After his return to the inside of Tornado Alley, Shorty continued to dazzle the audience before executing a flip on the dance floor without a break in his solo. After a few more numbers, including a version of “Hey Joe” (recorded by the half-brother of his first wife, Jimi Hendrix), he returned with more theatrics, reworking Guitar Slim’s “Just Got Into Your Town,”playing with his teeth, and playing behind his head before executing a couple more flips. After two hours of gritty, soulful singing, and scorching guitar solos, he fiinally left the stage, playing “Star Spangled Banner’ and other songs unaccompanied and carefully controlling feedback as his band packed up.
After the set ended, a fan engaged Shorty backstage in a conversation, and told Shorty that it has been about twenty years since he last saw Shorty playing at the Soul’d Out, a club on Sunset Boulevard in Hollywood. They chatted about the owner of the place, and how it flirted with disco in the eighties, and how the owner should go back to the blues. Shorty’s fan kidded him about not doing a flip off the stage and Shorty replied that he didn’t want to hit the dancers on the floor. We chatted for an hour and a half, although there was a technical glitch for part of the taping. As we chatted, Terence McArdle joined us and contributed a number of insightful questions. A few months later when Shorty played Fleetwood’s in Alexandria, Virginia, I had the chance to talk some more with him, double-check some facts and fill in gaps.
David Kearney was born in Houston, Texas in 1939. He grew up Florida after his parents broke up and both moved to the Sunshine state. His father lived in Orlando and his mother moved to Kissamaree. It was his uncle, Willie Quarterman (now a minister in White Plains, New York, known as Reverend Lane) who started him playing music, and buying him a Sears Silvertone guitar as a youth. “He put the guitar in front of me, sitting on his left knee and took my hand and put them on the strings, and he’d show me how to chord the strings and stuff. He’s strum the guitar and let me see what it sound like.” His uncle also was a major influence on him vocally and recalls how his uncle “Turned the church on.”
Seeing his interest in music. David's grandmother had him receive formal training from a man her remembers as "‘Wash.' I never did get his full name. He was the Wash, a little short guy who was left handed but played the guitar right handed.” Wash had David go through the lessons in Numbers One and Two of the Nick Maloloff (?) guitar instruction books. He would have David go through the material, but David picked up up playing the music quickly. Wash, as a result, told David's grandmother to call whenever David needed any help. Learning to read music and varlous aspects of musical theory served to provide him with a musical grounding and prepared him for the experiences of the ensuing decades.
David remembers hearing blues on the radio, and was a John Lee Hooker fan growing up. One of the first tunes he played was Hooker’s “Boogie Chillum.” David kept practicing and learning guitar and when only 13, he was good enough to gather the attention of band leader, Walter Johnson, and his promoter, Dewey Richardson. Johnson ran a big band and shows in the area with a home base at the Club Royal in Tampa. Johnson and Richardson went to David’s grandmother and received her permission for him to play.
David became part of the band, although initially they had him pretend to play. Gradually, as he got more proficient, he actually played. One weekend, the promoter got up and told the audience that they had a great showman, Guitar Shorty, who would be featured the next weekend. David got anxious that week, and practiced, not wanting to be shown up by the "newcomer. Somewhat nervous because of this Guitar Shorty, David was playing and the promoter announced that Guitar Shorty would be later featured. Finally, when David was playing, Guitar Shorty was announced, and no one came out to the stage. He was still in disbelief when the promoter pointed to him as Guitar Shorty, and it wasn’t until members of the band took him out front that he accepted the fact that it was he who they had been talking about.
Dewey Richardson gave him the name Guitar Shorty. “Dewey was like a father to me, in a way, because he took a liking to me. After he gave me the name he told me, he said, ‘Now it’s gonna be a lot of people gonna ask you to change that name. Lot of producers.. You get record companies gonna want you change. Don’t change the name. You keep it. Plus it will bring you you good luck.’ And I’m not kidding, it had brought me good luck.”
Still a young man, Guitar Shorty went to Chicago in 1957 with his manager Pawn Shop Lewis, and a singer, Clarence Jolly, to record for Cobra/Artistic. Shorty didn’t know anything with his manager, Pawn Shop Lewis. Shorty didn’t know anything said, ‘Make sure you call.’ "Next day, I got up. I kept looking at that card. I really wanted help ‘cause I was trying to learn something. Around 12 o'clock, around noon, I called him. And he said, “OK. I'll tell you what to do. You got any money on you?’ I said, ‘Not too much, but I got some.’ He said, ‘Forget about that Just catch a cab. The address is on that card, have him bring you down there.’ And I went down there. he was outside waiting on me. Paid the cab driver, took me inside. He had one helluva layout. He said, ‘Now, stay with me awhile. I’m gonna straighten you out.’” Following Preston’s advice, Shorty said “I’ve been in the martial arts for about thirty-five years That’s what you see out there. That’s how I got it. Now I don’t hurt myself."
The days of touring with Ray Charles and Guitar Slim provided ed Shorty with valuable experience but the others “were making the money.” At the time he was with them, Guitar Shorty was playing the Silvertone guitar that he had as a kid. He “wasn’t making enough money,” to buy a new one. After Shorty left Guitar Slim in Thibideaux, he hooked up again with Sam Cooke who was travelling through Louisiana and came out to California. At the time, the Pilgrim Travellers were part of the troupe. “I just got to California just when the group broke up.”
Moving gave him another chance to record. “When I finally got there, Bob Tate and his sister Doris, they all moved [to Los Angeles], got some money together. They took that Silvertone I had and that amp; went to a pawn shop and got me a strat and got mea super reverb amp. So they got that for me. That was the first Fender that I ever owned, that they just gave to me. I had a Telecaster for a little while. I didn’t really like it. Then I started working around the area of LA. I worked at Moe’s Swing Club, ... I worked in a place called ‘the Veterans Club. I was working there five nights a week. They had gambling, everything. Man the police come in there. They have the cats in cables instead of chains instead of handcuffs. And walked them down through the audience with them right on out the door. Let everybody see it. But the people never stopped coming. They started packing the place every night. There after I worked there for awhile, and things started getting real bad, obviously I got scared so I quit.
In Hollywood, Shorty worked at the Talespin with a guy named Sid Galloway for about a year and a half which was long enough for Charlie Reynolds to catch him at the Talespin, “Next thing I know, Bob Tate had got to him some kind of way. Talked him into recording me. That's when he had Flash Records. That's where the pull came from. He say, ‘Guitar Shorty. I want to record you.’ That’s where I recorded A Hard Life.”
After he had recorded that song and other sides (with Tate on bass), Shorty joined Big Jim Wynn who previously had led his band behind T-Bone Walker. Wynn was getting ready to go to Vancouver. British Columbia, In Vancouver they played the New Delhi. “We were there for two weeks. Guy that owned it, his name was Leon Baggery, and he really liked the group.” Big Jim had to go back to L.A. for business, so Shorty told Baggery that he’d like to stay.
Baggery took Shorty under his wing. “That guy sure looked after me like I was the family.” Having someone like Baggery around was a great help, particularly since it could be real difficult for an American to get working papers in Canada. “What he did, he got me a month, a month-to-month visa. And I stayed there and I stayed so long, they told me I had to go ‘cross the border and come back. Then I could do it for another three months. That’s how I stayed there: I did that, man, over six years. I stayed there, right in Vancouver.”
During those years, he was playing rock and rhythm and blues. “I was playing hard metal stuff and I was doing a little bit of soul like Otis Redding would do and doing some of T-Bone Walker's stuff. Kept me busy, butI got tired of that too. What happened was, I really started looking at things, it was time to get out.” Shorty recalls Barry Gordy coming out to see Bobby Taylor and the Vancouvers. “He saw me, but he actually came to see them. That’s where his mind was focused on. He told me, he said, “Shorty, I’ll be back and listen to you again. ... He never came back. So I got to think about it. I said, it’s time for me to get out of here. That's when I left.”
Shorty left Vancouver for Seattle in 1963 where he stayed until 1970.
He married Jimi Hendrix's stepsister, Marcia, in 1965 after she got
pregnant with their daughter, Tammy. Shorty remembers seeing Hendrix in
L.A. before the Experience years. “Yeah I saw him then, but it never
dawned on me. He didn’t excite me or anything. ‘Cause that time Jimi was
just trying to learn, learn things about his guitar, So when I Went to
Seattle, I played in Seattle and around Vancouver, I didn’t find out
“bout this till after I married Marcia, and then he told me. He used to
go AWOL just to watch me. ‘It really was a blast to watch you. Now since
you in the family, I can tell you I really learned a lot from you
Shorty.” Every time he came to town, Hendrix and Shorty would jam
together in Hendrix's father’s basement.
Asked about his first
impression after he first heard the Jimi Hendrix Experience, Shorty
recalls, “When I heard it, I knew it was him. But there was a lot of
other people didn’t know who it was. That was exactly what they said.
They said, ‘What in the hell is that? Where did he come from?’ And it
was a long time before the blacks would even accept him. By the time
they started accepting him, he’d gone. He went to New York. He turned
New York around. But that’s where he had his bad experience at. He was
‘bout ready to give it up. And the dude took him to England.” He still
remembers the last time he saw Hendrix. “I mean, he was out of it. He
was upset cause his family came in, so his dad went to see him, he
grabbed his dad, put his arms around him and just cried like a baby.
Told him he was sorry, he had a problem and just had to work it out. And
after that we didn’t see Jimi no more alive.”
Guitar Shorty plays to the audience at JVs in 2019.
Shorty left Seattle after Hendrix’s death, arriving in L.A. in early 1971. Staying in Vancouver may have helped him escape from personal problems but it also meant he couldn’t cash in on his new records. “This is a Hard Life took off. No one knew where I was. I didn’t find out anything about ‘till I came back in. I came back in 1970, when I came back I found out about that record.” Other bad luck hit him. He moved into an apartment in a motor home in Anaheim, California. He went to Las Vegas for a weekend and “I got back, all the pictures of me and Jimi, all the places I ever played in my life, the whole history of me, everything, you know. Somebody broke in the place and stole the stuff. ... That’s when I had that strat, my amplifier, all my promotional stuff on me, everything.
“So then I was really uptight cause I had no job, no instruments, nothing. And just lucky I met this guy named Vincent Battista, Italian guy. He had a warehouse, hauled lumber and stuff. He took a likening to me when I was playing, when I was work ing in Orange County at a place called the Wild Goose. That's where I worked. A lot of motorcycle guys used to come out there. So he told me. He called me David. He said, ‘David, I know how things are when the chips are down, boy. I got a job for you man. You can work and get your money together, buy another guitar and amp and stuff. I'll help you.’ If it hadn’t been for that I don’t know what I do. I would probably have gone back where my mom was. But through him sticking by me, like he said he would, that’s how I got back on my feet, working in a warehouse. And after that I started working all over L.A. area and down by Riverside, back in little jobs, back in Vancouver. You know fly in and out ...” He toured throughout Canada, playing Toronto, Ottawa, Montreal, back to L.A. and then down to Mississippi.
In 1984 he was run over by a car and one leg was injured. It is still swollen today. After he got to the hospital, the doctor checked him out. “Didn't break my leg or anything but had pulled, pulled the muscles here. I remember wrestling with the car, remember that much and as I was wrestling with the car, all up here, all the way, all the way back up here. I could feel a thing just say popping and the doctor say that was a muscles, ligaments type of thing. I asked him, ‘How long will it be you think before I can really start working again.” He said, ‘You're looking at from 6 months to a year.”
Despite his determination, it would take longer to recover. “I could walk pretty good but I wouldn’t do the flip. I tried it one night at the Holiday Inn in Los Angeles, right across from Knotts Berry Farm, from Disneyland Inn. Hurt me so bad when I got up.I managed to get up and turned and landed on my feet. I couldn't move. I had to stand there and play. So I made my mind right then I not gonna do it more soon.” It wasn’t until 1988 that he got full use of the leg back. “They told me 6 months to a year. It took me till 88. That’s where I started coming back.”
Shorty became friends with Tina and Percy Mayfield. With respect to Percy he recalls, “We got real close. He wrote two songs for me. I never saw them, “cause he died before we got a chance to even work on them. Then I called Tina one day and asked Tina about the songs. She said, ‘Shorty, I'll see what I can do. I don’t know if I can find them or not but I'll do whatever I can, try to find them for you.’ Never found the tunes. So anyway I'm scuffling, still trying to make it, doing everything I could. All kind of odds and ends jobs and stuff. So Lowell Fulson told her of a place I could go overseas. Cause he had been talking to some people over there. Behind (Between?) her and Lowell Fulson is how I managed to get overseas. When I arrived overseas, that’s why I am where I am right now. Because that record I did over there for JSP. Yeah, after that, when I got that W.C. Handy Award, the thing took off.” .
Shorty recorded in England with Otis Grand’s band. He had been touring with Grand at the time. While the album pushed his career, he wasn’t satisfied with it “cause I know we could have done it better. I even talked to JSP about it. I ttold John [Stedman]. Isaid, ‘John. I don’t like doing an album like this, man. It’s not right. We should spend some time on it.’ He was in a hurry to get me out of there. I said ‘Man, you're gonna be sorry.’ He called me up about two months ago [May 1994] and apologized.
Shorty’s record for JSP opened a lot of eyes and ears to him, and led to Black Top’s Hammond Scott locating him. Shorty recalls Hammond Scott telling how he had been looking for Shorty for a long time, but couldn’t get a number on him. “But you know how it is. Lotta of musicians, entertainers, if they find out you're a record producer or you in some kind of limelight, and they ain't gonna to give another artist's number, cause they gonna want to try to get their thing in. So that’s what what was happening.” It was Dan Jacobs, who lives in Long Beach, California, who located Shorty for Scott. “Called me, soon as he hung up from Dan Jacobs and he talked to me like he'd been knowing me all my life. He does that right now. He said, ‘I been trying to catch up with you for the longest Shorty, and I finally caught you. He said, "This is Hammond Scott from BlackTop.'"
Here is a video of Guitar Shorty playing "Hard Life."
Shorty’s Black Top album, “Topsy Turvy” has made him a lot more familiar
to blues fans around the world. His guitar playing shows a variety of
inspirations, notably Guitar Slim and Jimi Hendrix, but the output is
pure Guitar Shorty. Like Hendrix, he uses various tools including a wah
wah pedal, plunger and the delay to create various effects. “You got to
know how to do that though, cause if you don’t, it sounds like a bunch
of noise. You can overplay it. If you overplay, might as well turn it
off. It took me awhile to learn how to handle that.”
One tune on
“Topsy Turvy” he is particularly proud of is his version of “(I Love
You) More Than You'll Ever Know,” which he took from his major vocal
influence as a singer, Donny Hathaway, Other influences include his
uncle, Willie Quarterman, Willie John and B.B. King, “but the cat that I
really like was Donny Hathaway. That was a cat that, that dude could
really sing. You ever heard him? ... That cat could get down. That’s why
I did “More Than You'll Ever Know”, on that CD and I got lot of
compliments on it. They said I was the first one who did it after Blood,
Sweat and Tears.” Hathaway recorded it, and Shorty acknowledges his
impact. “I did it so that had Donny Hathaway been living he would have
liked it the way I play it and I tried to sing it the way he would have
sung it.” Other Hathaway songs that Shorty includes in his repertoire
include “In the Ghetto,” and “I Believe To My Soul” which Hathaway
recast from a RayCharles original. “Donny Hathaway. He’s got it. It’s
not like Ray Charles (hums tune) It’s moving. … The way Donny did, it
was a major and minor thing, the way, the way he did it. Ray Charles was
strictly minor.”
Shorty’s band, Central Avenue, provides him
with solid, tight backing. They open up with some blues and a touch of
funk. Among the members of Central Avenue is guitarist Terry Joseph
DeRouen, a New Orleans native who has played with Etta James, Big Mama
Thornton and Joe Turner, and recently recorded behind Lowell Fulson for
Bullseye Blues. Tony Taylor handles the keyboards, Howard Deere from
Lubbock, Texas is on bass and Paul Michael Lopez is the drummer. DeRouen
and Deere both ” take vocals while warming up an audience. While they
have not been on his albums, Shorty is hoping to be able to use them on
at least some of his next album. “I got a few things that I'm gonna do. I
got one tune called “What is the World Without a Woman.” That's one I
got. And then I' got another one I wrote called “What Are We Gonna Do
Now”, and what else I got. I wrote a tune called “Santa Cruz.” I can’t
think about all the stuff I git written out.” Whatever he records, it
is certain to be an album for blues lovers wait for. Hopefully, we'll
get a taste of Central Avenue in the studio in addition to the Black Top
studio crew.
This article appeared in the Winter 1994 National Capital Blues Quarterly, a short-lived publication of the DC Blues Society.
Here is his recording of “(I Love You) More Than You'll Ever Know.”
Bob Barnard & Ralph Sutton The Joint is Jumpin: The Music of Fats Waller La Brava LB0012
The Joint is Jumpin’/ I’ve Got Feeling I’m Falling/ Black and Blue/ I’m Crazy ‘Bout My Baby/ Blue Turning Grey Over You/ Up Jumped You With Love/ Keeping Out of Mischief/ Dream man/Squeeze me/ You Meet the Nicest people (In Your Dreams)/ Sweet and Slow/ It’s a Sin To Tell a Lie/ I’m ALways in the Mood For You// I Used to Love (B ut It’s All Over Now). 57:35
Bob Barnard crt; Ralph Sutton, p; Ed Gaston b; Len Barnard, d; Don Burows cl-1. -2 Bob Barnard & Sutton; -3 Sutton & Len Barnard. April 21, 1999, Sydney Australia.
Bob Barnard & Jim Cullum Cornet Copia La Brava Music LB0037
Jubilee-1/ Chimes Blues-2/ Sugarfoot Strut-1/ Almost Daylight-2/ Shreveport Stomp-3/ Bobby Hackett Waltz-5/ When You’re Smiling-2/ Potato Head Blues-1/ Lying to Myself-3/ Wildman Blues-1/ On the Road to Gundagai-6/ West End Blues-6/ Hear Me Talkin’ To Ya-1/ Skit Dat de Dat-3/ Waltzing Matilda-6.
Bob Barnard cnt; Jim Cullum cnt; Ron Hockett, reeds-1; Mike Pittsley, tbn -1, -5; John Sheridan, p-1, 3, 4, 5; Howard Elkins, bjo, g-1, 3, 5, 6; Don Mopsick, b-1, 2, 6; Mike Waskiewicz, d-1, 3; Chris Taperell, p-2; Ed Gaston, b-2; Len Barnard-2; Ed Torres, d-5, 6; Brian Ogilivie, cl -6. 2 - Jan,25, 2000, Sydney Australia; 1, 3, 4- April 18, 2000, San Antonio, Texas; 5, 6- 1993, San Antonio, Texas.
Australian cornetist Rod Barnard shares the credits on two fine recordings rooted in pre-bop styles On "The Joint Is Jumpin), Ralph Sutton shares the credits for a spritied and charming program of songs associated with Fats Waller. The disc benefits from its selection of material (which does not stick solely to the best know tunes of Waller) as well as the wonderful playing from all concerned. Sutton certainly is one of the finest practioners of the stride tradition, making him an apt choice for a tribute to Waller. Not having heard Barnard previously, I was impressed by the bright tone and lyrical quality of his playing. Listening to his solos, one would have to think he took seriously Lester Young’s advice of knowing the lyrics of the songs. Sutton heads the strong, swinging rhythm section with Barnard’s brother Len on drums. Several tracks feature Don Burrows clarinet. and Barnard sits out on “Squeeze Me” where Burrows is joined by fellow clarinetist John McCarthy. In addition to the wonderful playing (which thankfully avoids frantic tempos), the sequencing of the tracks also should be commended.
Jim Cullum joins Barnard on "Cornet Copia" which was mostly recorded in San Antonio and includes several tracks from Cullum’s public radio program, Live at the Landing. Looking at the song-titles, on "Cornet Copia" he is joined by fellow cornet player, Jim Cullum, and several tracks come from including Cullum’s radio program, "Riverwalk, Live from the Landing."
These reviews originally appeared in Cadence Magazine. I likely received review copies from the publication. "The Joint Is Jumpin" was also issued on the Canadian Sackville label. Here is a performance by Bob Bernard and Ralph Sutton.
This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this batch of reviews every few days in the next couple weeks.
Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story.
These sides make available albums from the 1970s that were issued in
Europe on the Sonet label although some were imported in the United
States and some were even issued in the US, as GNP-Crescendo issued The
Legacy of the Blues recordings stateside. This latest batch includes
more from that series along with other albums that Samuel Charters had
produced for Sonet. I will be posting these reviews every few days.
Eddie Boyd, the Chicago pianist-vocalist who is most known for the classic Five Long Years, had become an expatriate in 1965 to escape racism and married a Finnish woman in 1970 prior to recording his album for The Legacy of the Blues series with some Swedish musicians and drummer Ed Thigpen for a solid session.
The opening notes of Lovesick Soul evoke Boyd’s classic before he launches in a nice Chicago blues ably backed with Peps Persson on harp as Christer Eklund adds tenor sax riffs and the rest of the set is a varied set of solid performances. Eklund sounds fine on tenor on I’m a Fool, while Boyd’s skill as a songwriter is present on Kindness For Weakness with Persson on guitar embellishing the vocal with some nice playing, while Black, Brown and White has Boyd confronting the issue of discrimination in a song that updates Big Bill Broonzy’s similar song.
Boyd’s years in Europe kept him out of the spotlight in the US, except for a brief 1986 visit associated with an appearance at the Chicago Blues Festival, but musically fertile. In addition to this welcome reissue (with two alternate takes added), Boyd’s Complete Blue Horizon Recordings, including those with Fleetwood Mac, has been issued and available at specialty outlets.
I likely received my review copy from Jazz & Blues Report. Here is Eddie Boyd performing Five Long Years.
Dwayne Dopsie & The Zydeco Hellraisers Set Me Free Louisiana Red Hot Records
Reviewing Dwayne Dopsie's album "Up in Flames" in 2010 I wrote, that a son of the late Rocking Dopsie (Alton Rubin) "Dwayne ‘Dopsie’ Rubin is one of several sons that followed their legendary father into zydeco music and has in the years since his father’s passing has established himself as one of zydeco’s relative young guns." I observed that his brand of zydeco was more in the vein of Clifton Chenier, Buckwheat Zydeco and Nathan Williams with a rocking blues and R&B styled sound in contrast to the music of the late Beau Jocque or Boozoo Chavis that focused more on vamping on a chord or two. I originally saw him at a Festival in Maryland where he was impressive for someone so young. I more recently saw him at one of the last Pennsylvania Blues Festivals where he just tore it up with his act. He brought together an exciting visual performance with his soul-drenching bluesy and soulful zydeco.
He does not have that extensive a discography, so his new release, "Set Me Free" is most welcome. In addition to Dwayne's vocals and accordion, the Zydeco Hellraisers are Paul Lafleur, washboard; Brandon David, guitar, Tim McFatter, saxophone, Dion Pierre, bass, and Kevin Minor, Drums. On two tracks, Alton Rubin, Jr. aka Tiger Dopsie, plays Drums, and Rocking Dopsie, Jr. plays washboard and vocals. With the exception of a cover of Guitar Slim's "The Things I Used to Do," Dwayne Dopsie wrote all the songs.
Things kick off with the hard stomping groove of "Take It Higher" whose melody partially incorporates the Bobby Bland hit, "Turn On Your Love Light" as he takes the energy and takes it even higher with a stinging guitar solo added that would have made Lil Buck Senegal smile. More of his piano accordion prowess opens the ebullient "Louisiana Girl" followed by the reggae-tinged groove of the title track with Dopsie's classic soul singing. Then there is "My Sweet Chaitanya" that suggests Clifton Chenier's renditions of Fats Domino numbers. A more traditional zydeco performance is "DD's Zydeco Two Step" again recalls some of Clifton Chenier's classic zydeco, followed by the relaxed feel of "Lafayette Boogie." Dwayne Dopsie then does a top-flight rendition of Guitar Slim's "The Things I Used to Do," with a wailing sax and tough guitar alongside Dopsie's one-man orchestra accordion and a terrific vocal.
The rest of the recording is full the same sterling vocals and music. This outstanding album certainly will make a terrific record for parties to get folks up and dancing, but it will warm the pulse of those who simply sit back and listen. Dwayne Dopsie is at the top of today's zydeco field and "Set Me Free" is as good a zydeco recording as any in the past several years.
I received a download to review from a publicist. Here is a video of Dwayne Dopsie from June of this year.
This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.
Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story. These sides make available albums from the 1970s that were issued in Europe on the Sonet label although some were imported in the United States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues recordings stateside. This latest batch includes more from that series along with other albums that Samuel Charters had produced for Sonet. I will be posting these reviews every few days.
Snooks Eaglin was represented by a prior volume in this series playing solo. The 1977 recordings represented on this latest album is With His New Orleans Friends who include the great Clarence Ford on tenor sax, George French on bass and background vocals, Bob French on drums and Ellis Marsalis on piano for a set of New Orleans R&B in the mode of Eaglin’s Imperial recordings.
The songs include Down Yonder, a Smiley Lewis number that Eaglin would keep in his repertoire decades later, Roscoe Gordon’s No More Doggin’, J.B. Lenoir's Talk to Your Daughter, Fats Domino’s Going to the River and Let the Four Winds Blow, James Wayne’s Traveling Mood (which Eaglin recorded for Imperial), Fat’s Domino’s Going to the River, and even Sir Mack Rice’s Mustang Sally (which comes off as tolerable in Eaglin’s hands.
The band plays solidly behind Eaglin here, although not quite as inspired as the bands Snooks would have on his Black Top recordings. Charters notes how Eaglin insisted on his fuzzy tone for his guitar and there is plenty of his unique guitar playing with the band playing solidly behind him and these enjoyable sides foreshadows his spectacular Black Top recordings that started a decade later.
I likely received review copies from Jazz & Blues Report. This may still be available new or used and as downloads. Here is a Snooks Eaglin performance
Adam Schultz Soulful Distancing Blue Heart Records
"Soulful Distancing" is the debut album under the name of 18-year old songwriter-guitarist Adam Schultz. Schultz's dad asked Clarence Spady if he would give then 14-year old Adam a guitar lesson, and Spady was so impressed he invited Adam to play a couple of songs with him at Spady's regular Terra Blues gig in NYC. Thus began Spady's mentoring of Schultz, who has developed into quite a guitarist and has quite a close musical relationship with Spady.
Spady and Douglas Schultz produced the present album. Spady adds his guitar as well as vocals on the five cover tunes. Adam Schultz wrote six songs for which Spady sang one, Michael Angelo sang four, and Ekat Pereyra sang one. Besides Adam and Spady's guitar, the core members of the studio band are Adam Cohen on bass, Robert O'Connell on keyboards, Sharon O'Connell on drums, Scott Brown on piano, Tom Hamilton on saxophone, and Pat Marcinko on percussion.
As Spady says in his liner note about Adam, "He has developed a unique style: fusing a Latin jazz influence from his music teachers with a blues influence from me, sprinkled with a bit of funk that Adam is naturally drawn to." This statement is displayed in his playing on the revival of Johnny 'Guitar' Watson's "A Real Mother For Ya," as well as his original "Harlem Tonight," a fine original that might melodically suggest "Just the Two Of Us" with a solid Michael Angelo vocal. The old Louis Jordan classic "Early in the Morning," besides showcasing Adam's keen, crisp guitar, also has saxophonist Hamilton in the spotlight.
Spady revisits Adam's "Good Conversation" that Spady recorded on his recent album, "Surrender." Then on an imaginative cover of Little Walter's "Who," Adam's lean, twisting guitar impresses more. Another song of note is the Latin-tinged funk, "Cure For the Blues," about this dancing lady who has the cure for the blues. A terrific vocal by Angelo, a churning bass line by Cohen, and more scintillating blues guitar result in a super track. Then there is a nifty cover of Tyrone Davis' "Can I Change My Mind," with a choice Spady vocal, along with an intriguing funk re-working of the old Ricky Allen recording "Cut You Loose."
There is plenty to enjoy in "Soulful Distancing." Adam Schultz is a guitarist who shows much more than promise and writes some darn good songs. Add that the under-recorded Clarence Spady sings on six of the eleven songs and strong backing from a first-rate studio band, and one has quite a solid blues with a strong dash of soul recording.
2b3 is an organ trio that have devoted this project to the music of Jimi Hendrix. 2b3 consists of electric guitarist Mike Abbott, B-3 organist and synthesizer player Jeff Jenkins, and drummer Mike Marlier. All three have long careers as performers, educators, and more.
Abbott has performed or recorded with Randy Brecker, Maria Schneider, Jeff Hamilton, John Clayton, Sammy Davis Jr., Burt Bacharach, Joey Calderazzo, Marc Copland, and others. Abbott is the author of "The Guitar and Amp Sourcebook," and currently teaches at the University of Denver, Colorado Conservatory for The Jazz Arts, and privately in Denver.
Drummer Marlier has performed and recorded with countless artists and musicians, including Dave Grusin, Nelson Rangell, Benny Golson, Bobby Shew, Rob Mullins, the Neophonic Jazz Orchestra, Lee Ritenour, and Stanley Jordan. He is director of drum set studies at Lamont School of Music of Denver University.
Jenkins, as a jazz pianist, has worked with many jazz legends. These include Phil Woods, Freddie Hubbard, David Fathead Newman, Marlena Shaw, Eddie Harris, Richie Cole, Dakota Staton, Bobby Hutcherson, Curtis Fuller, Benny Golson, John Abercrombie, and Clark Terry. He was resident in New York in the eighties, where he studied with Richie Beirach, Kenny Barron, and Fred Hersch. He currently is teaching at the University of Colorado at Boulder, and for the Colorado Conservatory for the Jazz Arts.
This recording is fascinating, with some performances closer to Hendrix's recordings than others. While the trio might reference at times the melody of "Manic Depression," the energetic and exciting instrumental solos are pretty free-flowing in a jam band vein. This also holds on the rendition of "Purple Haze" that opens this album and the driving version of "Fire." In contrast, the foundation for the atmospheric interpretation of "Little Wing" hews somewhat close to Hendrix's original recording, although there is no attempt to imitate Hendrix's sound. "Foxy Lady" (misspelled Foxey on the album) is almost transformed into an organ trio shuffle with Jeff Jenkins providing color for Abbott's searing guitar solo before laying down his own choice soulful organ solo before Marlier takes the spotlight. There are two tracks I believe are not associated with Hendrix as a performer. "Etched in Stone," by Jeff Jenkins is a gospel-laced blues that evokes "A Change Is Gonna Come," while "Jimi" by Mike Abbott is a dreamy composition with Jenkins setting the atmosphere for Abbott's nuanced solo.
Jimi Hendrix's music has long attracted interpretations from jazz artists going back to Gil Evans Big band. 2b3 have added to this body of jazz interpretations of Hendrix with an intriguing and appealing recording.
I received my review copy from a publicist. Here 2b3 perform Hendrix's "Manic Depression."
Bobby Parker’s second Black Top album certainly shows that the acclaimed Bent Out of Shape was no fluke. | should caveat that Bobby is one of my favorite artists, and one of the benefits of living around D.C. has been the opportunities to see him relatively frequently and get to know him.
A Washington area native, Bobby Radcliff once mentioned to me that years ago Parker was as good as his better known Chicago contemporaries. Listening to Shine Me Up, one would suggests that in some ways Bobby betters them. Ten of the eleven songs are Parker originals, and neither Buddy Guy nor Otis Rush have contributed any comparable body of new songs in recent years. And, they are good songs mixing hooks with catchy riffs and tasteful horn riffs covering a wide soul-blues palette.
For example, It’s Unfair, a terrific slow blues, opens up with a James Brown horn part before Bobby sings about women treating men like toys as the band captures some of the flavor of the classic Stax recordings of the seventies. Bobby adds a pleading vocal and his buzz-saw guitar with the skill of a surgeon finely opening up his patient. The title track finds Bobby asking his woman to “Shine me up baby. Make me feel good for you and me. | feel dull and I’ve had a bad day darlin’, and | really need sympathy... .’ Splib’s Groovefinds Bobby working over a go-go groove, and Somebody’s Coming In My Back Door is a classic blues theme freshly reworked by Parker.
The one cover is a lesser known Little Willie John recording, Drive Me Home. The choice of the song may have been fortuitous, but Parker’s keen, high-pitched vocals owe a bit to the past rhythm and blues giant, although Bobby brings plenty of his own personality to the songs. It has taken Bobby Parker years to get to where he is now, which is one of the blues’ most sizzling vocalist-guitarists. He also happens to be one of the best songwriters in the idiom.
This review appeared in a 1995 issue of Jazz & Blues Report (Issue 205), and likely also appeared in the DC Blues Calendar, the DC Blues Society's newsletter. I probably received a review copy from Black Top Records. This may be available used or as a download. Here is Bobby Parker performing "Watch Your Step" a few months before he passed away in 2013.
This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.
Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story.
These sides make available albums from the 1970s that were issued in
Europe on the Sonet label although some were imported in the United
States and some were even issued in the US, as GNP-Crescendo issued The
Legacy of the Blues recordings stateside. This latest batch includes
more from that series along with other albums that Samuel Charters had
produced for Sonet. I will be posting these reviews every few days.
Otis Rush’s volume, subtitled Troubles, Troubles, is being released for the first time in its original form. Alligator had leased it, but Bruce Iglauer edited the solos and added “noisy keyboard” (quoting Sam Charters in his notes here), was retitled as Lost in the Blues, but there was a very critical reaction including from Rush (I seem to recall).
This 1977 Swedish session was with Rush’s band at the time with Bob Levis on second guitar, Bob Strokes on bass and Jesse Green on drums tackling a diverse repertoire including Jimmy Reed’s Baby What You Want Me to Do, You’ve Been an Angel, and You Don’t Have to Go; Willie Dixon’s Little Red Rooster; B.B. King’s Whole Lotta Lovin’ (actually Please Love Me) and Troubles, Troubles; Albert King’s Got to Be Some Changes Made; and Little Milton’s Same Old Blues (on which drummer sings). Alternate takes of You Been an Angel and Same Old Blues are included.
The song selection is mostly covers of some well known songs with Rush sounding relaxed and soulful (Little Red Rooster suggests more of Sam Cooke’s influence than Howlin’ Wolf) with plenty of solid guitar. Rush’s admiration for Albert King is evident from the opening notes of a strong rendition of Albert King’s Got to Be Some Changes Made, and he throws quite a bit of passion into Hold That Train.
This may not be an essential Rush album, but it is a very good ‘un and the release in this untampered form is most welcome.
I likely received a review copy from Jazz & Blues Report. This may be available used or as a download. Here is Otis Rush in performance.
"Troublemaker" is an intriguing recording of roots music as pianist-singer Clint Morgan who mixes country, blues, folk, and gospel. Besides singing, he plays piano on this album. Others on this album include Kevin McKendree (who co-produced this with Morgan) on keyboards, David Santos on bass, Kevin Blevins on drums, Jim Hoke on saxophone, and Bob Corritore on harmonica. Additionally, there are appearances by Bob Margolin, John Del Toro Richardson, Kinky Friedman, Watermelon Slim, and the McCrary Sisters.
This is a well-produced recording with excellent backing. Morgan's singing might suggest Johnny Cash and even does a pretty solid rendition of Cash's "Big River." His vocal style is often more talking than singing with a narrow range and occasionally stilted approach. There are several tracks of note, including "Hungry Man Blues," a fascinating reworking of Robert Johnson's "Kind Hearted Woman," although Morgan's woman just can't cook a decent meal. Then there is the rock and roll of "She Take My Money," about a woman who thinks Clint is a cash machine. The backing evokes classic Chuck Berry with a seriously booting sax solo from Hoke and rollicking Johnny Johnson-styled piano.
Whatever vocal limitations Morgan has, he has a knack for crafting and delivering lyrics such as "Too Rich To Sing the Blues," singing that he can sing like Robert and Elmore but is too busy picking stocks for his retirement plan. Jonn Del Toro Richardson joins him on slide guitar and vocal for "Hurricane Harvey," about the devastation caused by the hurricane that took homes away but still, the sun will come out tomorrow, which is a whole new day. Kinky Friedman joins Morgan for the honky-tonk "Someone Put a Walmart on the Farm." Watermelon Slim and Bob Margolin add their talents to Morgan's "The Cover of the Living Blues," a reworking of the hit "The Cover of Rolling Stone."
There are a couple of gospel numbers included. One is a rendition of the old spiritual "Go Down Moses" with the McCrary Sisters, with Morgan's softly sung baritone quite effective. With just his piano accompaniment, he sings about Jesus as a troublemaker. The simplicity of his performance adds to its effectiveness. Despite his limitations as a singer, Clint Morgan's songs are intriguing, and his performances have a definite appeal.
I received my review copy from a publicist. Here is a a track from the album with Bob Corritore on harmonica.
On "The Bright Side," tenor saxophonist Joel Frahm leads a trio consisting of bassist Dan Loomis and drummer Ernesto Cervini. This trio was born at a masterclass at the University of Toronto as an offshoot of Cervini's band Turboprop. During a European tour, a repertoire of recent original tunes by the band members. The present album provides a sense of the breadth of the band's repertoire.
One hears hints of trio albums by Sonny Rollins and Joe Henderson for some of this recording, starting with the opening "Blow Poppa Joe," which is dedicated to Joe Henderson. Frahm is a saxophonist with a robust tone able to improvise thematically or melodically. On this performance, he plays propulsively with Loomis as an anchor and Cervini driving things along, playing around the groove before taking a crisp solo. "Thinking of Benny" is dedicated to Benny Golson, and Frahm's playing has a playful and prancing quality to it. It is followed by Frahm's "Boo Sip Dip," a brisk performance based on a fascinating bebop-inspired line, and after an inspired sax solo, Frahm and Cervini trade fours.
Loomis composed "Silk Road" with his bass stating the theme as Cervini adds percussive accents before Frahm enters on soprano sax on an alluring, atmospheric performance. It is followed by Frahm's salute to bassist Omer Avital, "Omer's World." Frahm and the trio play with considerable energy here. Loomis also contributed "X-Friends" a reimagining of the standard "Just Friends," with surging sax over a turbulent rhythm. Cervini composed the tone-poem "The Beautiful Mystery," with Frahm's tenor and the rhythm section inducing a sense of serenity,
The title track is said to be based on the opening riff of Lou Reed's "Walk on the Wild Side." It also sounds as it incorporates a bit of "Jumping' With Symphony Sid," along with Frahm quoting other compositions in the manner of Dexter Gordon. It provides an engaging close to a superb recording.
I received a download to review from a publicist.Here is Joel Frahm in a trio setting.
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