Clint Morgan - Troublemaker

Clint Morgan
Troublemaker
Lost Cause Records

"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.

Daryl Davis - American Roots

 Daryl Davis - American Roots - Armadillo

Daryl Davis is a fixture on the DC music scene and arguably one of the finest blues and boogie-woogie pianists anywhere, not just in DC. Influenced by many of the greats of jazz and blues piano, Davis was fortunate to have been taken under the wing of Chuck Berry's pianist, Johnnie Johnson, and the legendary Pinetop Perkins, who helped him mature into a master of blues and boogie-woogie piano. Additionally, as those who have witnessed his performances at clubs, festivals, or swing dance, he is no slouch on a guitar. While it has taken some time, he has put together an album, American Roots on the British Armadillo label. 

Put together at several sessions in the area, the disc displays Davis' versatility and is certainly a lively album which is at its best when his piano is at the fore. Comprised of originals, some like the rollicking I'm a Boogie Man display the pumping piano and Daryl's energetic vocals, although the backing vocal chorus is dispensable. As many know, Daryl often works with Chuck Berry, and We All Owe a Debt is a tribute to his sometimes employer. Other tunes evoke other legends of blues and rock'n'roll, including Little Richard (Let Me Boogie With Your Woogie) and Jerry Lee Lewis (Going Back to the Country). However, Lewis seems more of an influence on Davis' playing. Phil Wiggins adds his harmonica to this selection. 

With a variety of backing musicians present, the level of the groups varies, with some of the rhythm sections are more workmanlike than others. Bob Margolin lends his guitar to a rocking Broadminded, one of two selections on which Ron Holloway adds his authoritative saxophone. Two piano features, Double "D" Blues, a tribute to Johnnie Johnson, and the closing Y2K Boogie, dedicated to Pinetop Perkins, display his terrific piano playing. I'm Coming Back is a terrific slow blues that suggests that Davis could produce a killer straight blues album.

Some of the material may be a bit lightweight, but this is in keeping with Davis' ability to get people up and dancing. And his playing is never insubstantial. 

I likely received this CD from Armadillo, This review originally appeared in the June 2002 DC Blues Calendar. Many of the songs here are available on a CD Daryl produced, Greatest Hits. Here is Daryl performing.

Johnny Iguana's Chicago Spectacular

Johnny Iguana
Johnny Iguana's Chicago Spectacular
Delmark

This album is subtitled "A Grand and Upright Celebration of Chicago Blues Piano." Pianist Iguana is a Philadelphia native who moved to Chicago after joining the late Junior Wells' Band. This is his first album under his name, although I am familiar with him from the group The Claudettes. Producer Larry Skoller helped provide the organizing theme for this recording as Iguana pays tribute to seven Chicago blues piano legends. Helping him on these sessions are some of today's finest players, including Michael Casey or Kenny Smith on drums; Bill Dickens on bass; Billy Flynn, Bob Margolin, John Primer, Lil' Ed Williams, or Philip-Michael Scales on guitar; and Mathew Skoller or Billy Boy Arnold on harmonica. Singing on this album are Matthew Skoller, Billy Boy Arnold, Lil' Ed Williams, John Primer, and Philip-Michael Scales.

There is plenty to enjoy such as when Iguana evokes Joshua Altheimer's style while Billy Boy Arnold revives Big Bill Broonzy's "Hot Dog Mama" that closes this album. Iguana also suggests Big Maceo on Arnold's revival of John Lee Williamson's "You're an Old Lady." These selections' swinging feel may be due in part to Kenny Smith's drumming and Billy Flynn's fleet guitar.

The album kicks off with Iguana saluting Memphis Slim behind John Primer's vocal on "44 Blues." The rendition is based on Slim's 1959 recording with Willie Dixon, and while Iguana ably pounds on the ivories, one wishes that Caskey was a tad less prominent on the drums here. Primer also handles the vocal on Howlin' Wolf's "Meet Me in the Bottom," with Iguana hinting at Little Johnny Jones' style.

Guitarist and songwriter Philip-Michael Scales contributes an intriguing role rendition of Gil Scott-Heron's "Lady Day and John Coltrane," which allows Iguana to show off a jazzier side. Lil' Ed Williams sings and plays slide guitar on Otis Spann's "Burning Fire" and Elmore James' "Shake You Moneymaker." On these selections, Iguana recalls Otis Spann and Big Moose John Walker, respectively. Lil' Ed sings and plays strongly, and Caskey's drums are not as prominent. Matthew Skoller handles the vocal and plays choice harmonica on "Stop Breakin' Down." This performance is based on Junior Wells' "South Side Blues Jam" recording and again Iguana channels Otis Spann.

I again note that there were no bass players on these selections as Iguana wanted the bass lines to emanate from the studio piano and his left hand rather than a bass player. These selections come off as solid, traditionally rooted Chicago blues. There are four instrumentals with bass player Dickens added to Iguana and Caskey. While displaying Iguana's technique and skillful playing, these selections are enjoyable but a bit too much flash and show for this listener's taste.

If imperfect, overall "Johnny Iguana's Chicago Spectacular," is a showcase of Iguana's considerable talent, and a very notable salute to Chicago blues piano legends.

I erected my review copy from Delmark Records. Here is a video of Johnny Iguana playing Big Maceo's "Chicago Breakdown."

Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills

Henry Gray & Bob Corritore
Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills
SWMAF Records/ Vizztone

This is the second volume of performances the late Henry Gray made with Bob Corritore, the Phoenix blues promoter, harmonica player, and record producer. It collects 14 performances (and one phone message) recorded over the span of a couple of decades. Gray was a mainstay of Howlin' Wolf's band for over a decade before relocating to Louisiana. He passed away in January 2020 at the age of 95. I wrote about the previous volume, "This is a solid and delightful collection of classic Chicago blues with a touch Louisiana swamp blues mixed in. Given that this is labeled Vol. 1, one looks forward to a further release of Henry Gray's blues sessions with Bob Corritore." That further release has arrived.

Besides Gray's Chicago piano, he sings on eight tracks. Other vocals are provided by John Brim, Jimi' Primetime' Smith, Eddie Taylor Jr., Tail Dragger, and Chief Schabuttie Gilliame. The impressive musicians heard here include guitarists John Brim, Bob Margolin, Eddie Taylor Jr., Robert Lockwood Jr., Johnny Rapp, Illinois Slim, Johnny Burgin, Chris James, and Kirk Fletcher. Chico Chism handles drums on most selections with Brian Fahey, Steve Cushing, and Marty Dodson also are heard. Bassists include Bob Stroger, Troy Sandow, Paul Thomas, Patrick Ryan, Pops McFarlane, and Mario Moreno.

Gray was a husky pianist influenced by the great Big Maceo, but with his own distinctive style and phrasing. The opening selection "Cold Chills' is a strongly performed slow blues he first recorded over a half-century ago. Margolin and Corritore add strong guitar and harmonica in support. There is a rollicking rendition of GL Crockett's "Look Out Mabel" with a hint of "Mystery Train" in the melody. A John Brim phone message telling Bob he should hook up with Gray leads to Gray backing Brim on a terrific Chicago blues "Moonlight Blues." It is followed by Eddie Taylor Jr.'s fine rendition of Jimmy Rogers' "Going Away Baby." Gray's backing on these tracks are terrific. Also, Tail Dragger is heard on the slow Howlin' Wolf styled "Hurt Your Feelings," and the rocking shuffle "Birthday Blues." Chris James and Kirk Flecther enliven this last recording.

Gray provides a robust vocal to "Mother-in-Law Blues" with a choice Robert Lockwood Jr. guitar solo in addition to Gray's choruses. The is plenty of energy in Gray's rendition of J.B. Lenoir's "The Mojo," and even an unusual cover of Hank Ballard's "The Twist." This number was from Gray's last Phoenix session with Corritore. This collection of Henry Gray performances closes with a robust rendition of "Going Down Slow," with outstanding guitar from Johnny Rapp. The performances here are consistently enjoyable with several exceptional ones. As I said about the earlier release, this is a delightful collection of Chicago blues with a touch of Louisiana swamp blues.

I received my review copy from Vizztone. Here is a performance by Henry Gray and Bob Corritore of Jimmy Rogers "Blues Won't Let Me Take My Rest."

Ben Levin Before Me

Ben Levin
Before Me
VizzTone

Listening to Ben Levin, one might believe as annotator Mark Thompson observes, is a "product of decades of long nights in dark clubs and smoky juke joints." He has just finished his first year of college even though he plays and sounds with a maturity far beyond his youth. He is from Cincinnati and been playing since he was 11. This is his second recording, and he is backed by Chris Douglas on bass, Oscar Bernal on drums along with his father, Aron Levin on several tracks. Bob Margolin on guitar and Bob Corritore on harmonica are several selections, while legendary King Records drummer Phillip Paul plays on two of the 12 songs.

One is impressed not merely by his solid blues piano technique, but the maturity he displays. His maturity is shown by the fact he never sounds like he is trying to impress people, but simply plays what sounds right. The opening track is a rendition of Big Bill Broonzy's "I Feel So Good." It is based on Muddy Waters' version with Margolin and Corritore helping provide the Chicago blues feel. In addition to his piano, he sings with an appealing, straight-forward, understated delivery. His approach is at the root of a memorable interpretation of Jay McShann's "Confessin' the Blues," with Corritore providing some horn-like harmonica and Margolin in a jazzy vein.

"Before Me" is an original that evokes classic Fats Domino that illustrates his touch, restraint, and taste. Much the same can be said about his playing on the instrumental, "Creole Kitchen." This is a striking tribute to Professor Longhair and other New Orleans piano professors. Phillip Paul takes over the drum chair for the cover of a Freddie King recording, "Lonesome Whistle Blues." This cover features a convincing vocal delivery, strong string-bending from Bob Margolin and an understated piano solo. Then there is "So Soon," an atmospheric blues with some effective spare piano.

Otis Spann's influence is evident during the interpretation of a James Cotton instrumental, "Lightnin'," with Margolin and Corritore capturing the flavor on the solid Chicago blues. Levin, Margolin, and Corritore collaborated on the closing instrumental "Open Late," that sounds like an unreleased Otis Spann slow blues with Corritore on chromatic harmonica. I was not familiar with Ben Levin before this recording. I was impressed by his talent and his musical sense from the first time I heard "I Feel So Good." After listening to this recording several times, I am struck by how fresh this music keeps sounding. "Before Me" is an exceptional recording.

I received my review copy from VizzTone. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of Ben with Bob Margolin on guitar and Phillip Paul on drums.

 

Watermelon Slim Church of the Blues

Watermelon Slim
Church of the Blues
NorthernBlues Music

This is the 13th album by William P. Homans, better known as Watermelon Slim, dating back to 1973 when his "Merry Airbrakes" recording was celebrated as one of the first anti-Vietnam War albums done by a military veteran. It took him 29 years for his second album, "Big Shoes To Fill," which established his acclaimed career. Mississippi Fred McDowell is perhaps his biggest influence, and he developed his slide style as well as his gritty, raspy vocals. He co-produced this album with Chris Hardwick as well as plays harmonica and electric slide guitar. He is backed by his band of John Allouise on bass and Brian Wells on drums. He has guests including guitarists Bob Margolin, Nick Schnebelen, and Joe Louis Walker; vocalists Sherman Holmes and John Nemeth; and keyboardist Red Young. While the guests may add interest to this recording, it is Slim with his strong playing, vocals, and personality that makes this album so enjoyable.

The recording opens with "St. Peter's Ledger,' as he authoritatively delivers Ron Meadow's lyrics about where he might end up in the after-life and displays his strong slide guitar style. He follows up with one of several topical songs, Tom McFarland's 'Tax Man Blues," a strongly performed working man's complaint of having too much taken out of his pay stub. The strong backing enhances his strong singing and slide guitar solo. Muddy Waters' "Gypsy Woman" (with Slim on harp and Bob Margolin adding playing slide) is one of several covers of classic Chicago blues that he avoids copying the original while placing his stamp on the performance. Other similarly strong performances include Howlin' Wolf's "Smokestack Lightning" and J. B. Hutto's "Too Much Alcohol.' He makes minor changes in the arrangement (no trace of broom dusting on the Hutto number) so that these songs receive a fresh feel along with his powerful singing and playing.

Slim's "Post-Modern Blues," with the strutting horns, has him singing about trying to deal with the rapid changes of the 21st Century, while "Hollar #4" is a moving vocal moan about blues and his own life. His rendition of Allen Toussaint's "Get Out of My Life Woman" with his slide driven accompaniment evokes the early Paul Butterfield cover while a similar funky feel is present on a cover of Gene Barge's "Me and My Woman," the latter tune sporting more fine harmonica. Among other high points include the high-stepping topical blues about protests and the increasing visibility of overt racism "Charlottesville (Blues for My Nation)," with his hope for better days for all. An amusing bonus song, 'Halloween Mama" closes another excellent Watermelon Slim recording.

A received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).  I have previously reviewed some Watermelon Slim albums including "Escape From the Chicken Coop," the eponymously titled "Watermelon Slim and the Workers," and "No Paid Holidays." Here is Watermelon Slim performing.

John Brim Ice Cream Man

John Brim
Ice Cream Man
Tone Cool / Rounder

John Brim made several classic Chicago blues recordings in the 1950s, and he occasionally has surfaced over the past four decades. He guested on Bob Margolin’s recent Alligator album and Margolin has helped Brim with this, his first ever full album. 

Margolin is joined by harmonica player Jerry Portnoy and others to help Brim reprise three of his Parrot/Chess recordings, Tough Times, Ice Cream Man and Be Careful. Margolin’s presence is major a factor in why this captures much of the feel of Brim’s fifties recordings on these three, on Brim’s originals (the topical Wake Up America) and versions of Muddy Water’s Standin’ Around Cryin’ (with splendid Margolin slide) and Little Walter’s Can’t Hold Out Much Longer. Brim, like Jimmy Rogers, sings in a cleanly articulated, relaxed manner. 


While he may sound a tad rusty four decades older, he still sings with a warm, relaxed honesty. Margolin’s dedication to perpetuating the classic Chicago blues sound makes this a solid session of interest to any with an interest in Chicago blues.

This review originally appeared in the November 1994 Jazz & Blues Report (Issue 194). I likely received a review copy from Rounder Records.Here is his original rendition of the title track. This may be only available used or as a download.

Henry Gray Plays Chicago Blues

 

Since he moved back to Louisiana a few decades ago, former Howlin Wolf pianist Henry Gray has kept playing but has never enjoyed the level of recognition that contemporaries, such as Pinetop Perkins, have received. Besides being in Wolf's band for an extended period, Gray did a fair amount of session work, recording with Jimmy Rogers, Little Walter, Billy Boy Arnold and Jimmy Reed, as well as making his own recording for Chess. The biggest influence on Grays style is Big Maceo, and like that great master, he is a strong, two-handed player and he certainly sings with a definite sense of urgency.

Gray did record some swamp-blues flavored sides for an Arhoolie anthology, and some singles for small Louisiana labels, an album for Antone's which I believe is long out-of-print, and a live album for Lucky Cat which would have been better if some of the performances had been edited to be tighter. Hightone has issued a new cd by him, Plays Chicago Blues , which has him backed by guitarists Bob Margolin and Kid Ramos, fellow Wolf alumni Chico Chism on drums and Bob Corritore on harmonica.

My promo cd does not provide any more detailed information, but these are from various sessions that Corritore produced over several years. Its a nice mix of material including covers of classic Chicago blues including a couple songs associated with Elmore James, It Hurts Me Too and I Held My Baby Last Night, as well as Wolf's How Many More Years , The Maceo influence is quite evident on the slow moody Trouble Blues and It Hurts Me Too, while Henry’s Houserocker is a strong, rollicking instrumental. There is nothing fancy about this music but it strikes this writer as the best currently available disc of Henry Gray's music available.

Henry Gray had a recent album issued under Bob Corritore's direction, The Henry Gray/ Bob Corritore Sessions Vol. 1 that I will post my review of tomorrow. This review was written in  mid-2001 and likely was published in Jazz & Blues Report and the DC Blues Calendar. I likely received a review copy from Hightone and this may be still available.

Here is Henry in performance in 2009 at the Louisiana Music Factory.

Erin Harpe & the Delta Swingers' Love Whip Blues

The Delta Swing is a fine original as Harpe calls listeners out to go swinging from Cambridge to Memphis. It is played with a relaxed groove and features strong harmonica. The rendition of Willie Brown’s Future Blues exhibits the tight ensemble playing supporting Harpe’s vocal although some might find the tempo a bit fast here. Bob Margolin’s slide guitar enhances the fine reworking of Lucille Bogan's The M&O Blues. Good Luck Baby is an original with a bit of reggae flavor.

There is jaunty adaptation of an old William Moore recording, One Way Man, followed by a similarly buoyant rendition of Pick Poor Robin Clean. That was originally waxed by Virginia songster Luke Jordan. Gross adds a mandolin solo and Countryman taking a bass break here. After the call to the dance floor of Virtual Booty Blues, the Delta Swingers perform Charles River Delta Blues, a lovely rendition of William Brown’s Mississippi Blues. This William Brown (solely recorded by Alan Lomax) is a different individual than the Willie Brown of Future Blues who is best known for an association with Son House and Robert Johnson.

Erin Harpe & Jim Countryman performing at the Archie Edwards Blues Heritage Foundation

A solid rendition of John Prine’s Angel of Montgomery closes out this most enjoyable recording. Listening to Love Whip Blues, one appreciates why this group has been developing a large following around Boston. In fact, they won the Boston Blues Society’s Blues Battle and will be competing in Memphis at the 2015 International Blues Challenge. One certainly expects more will be heard from them.

I received my review copy from VizzTone. Here are they performing a lovely rendition of Charles River Delta Blues from that same performance. After that is a duet performance of that song by Erin and Jim Countryman at an Archie Edwards Blue Heritage Foundation concert.

Ann Rabson with Bob Margolin is Not Alone

I have known Ann Rabson for a little over 25 years. I remember meeting her at a DC Blues Society picnic and seeing her, Gaye and Earline, the original line-up of Saffire-the Uppity Blues Women when they used to play regularly in a small Georgetown bistro and also at some Dc Blues Society events. It was a joy to see them go from being a local blues act to the world-spanning performers that they became. While Saffire has ended its run, Ann, Gaye and Andra Faye have continued with their own musical endeavors. 

Some may now that Ann has had serious health issues recently so word of a new recording was warmly welcome. She is joined on this by Bob Margolin who adds his guitar and vocals to Ann’s piano and vocals. His presence gives the disc its title Not Alone on the Vizz-Tone Label release. There is a mix of familiar and lesser known songs that go down easy with good, heartfelt singing, solid musicianship and good feelings. 

Ann is a straight-forward, two-handed pianist who eschews flash for her solid playing and there is plenty of her heart in her rendition of the late Thomas Dorsey’s I’m Going To Live the Life I Sing About In My Song, with Margolin adding some biting electric fills. Her touch and timing is assured throughout with her cover of Tampa Red’s Let’s Get Drunk and Truck, while she is wistful on Leroy Carr’s How Long Blues, on which Margolin shares the vocal in addition to his acoustic guitar break while it rides out with stately piano from Ann. 

I am not familiar with Jim Ritchie, Ann sounds quite animated on his It Ain’t Love, with Margolin’s crying slide providing additional support. Margolin takes the reflective vocal on Memphis Slim’s Guess I’m a Fool, with Ann’s firm support under the vocal and Margolin playing in a jazzier vein here. Ann notes that Louis Jordan’s Caledonia is a fun number, although like almost every cover of I have heard (and that includes recordings by Muddy Waters, Pinetop Perkins and Gatemouth Brown), it is wonderfully played but does not stands out. Woody Herman is one of the few whose cover of the song captured some of the ebullience of Jordan’s original. 

Ann’s matter-of-fact approach to Let’s Go Get Stoned in contrast provides a delightful personal rendition of a very well-known song. Ann’s tango-rooted Crescent City-flavored playing stands out behind Margolin’s Let It Go, a nice lyric calling for having perspective about things and if one cannot make things better, avoid making things worse. After a plaintive Is You Is Or Is You Ain’t My Baby, Ann gets things rollicking as she sings that Anywhere You Go, Ann can go there too and can love you like no one can do. After telling us that she has No Time For The Blues. 

Bob handles the vocal on a sober reading of Percy Mayfield’s River’s Invitation. It is the final track of a very genial recording that captures Ann Rabson and Bob Margolin in an intimate, low-keyed setting that should delight many.

I received a review copy from the record company. Here is a video of Ann Rabson performing.

Sweet Betty's Live & Let Live

Based in Atlanta, Sweet Betty started singing in church and later after singing around was encouraged and featured by saxophonist Grady ‘Fats’ Jackson. Performing, she made many fans including Bob Margolin who introduced her to Tim Duffy, head of the Music Maker Relief Foundation. 

Sweet Betty had a cd on JSP some years ago, but it was a special treat to receive from the Music Makers Foundation her newest recording, Live & Let Live. On it she is backed by bassist Bill Rich and drummer Kester Smith of Taj Mahal’s band, keyboards from Dave Keyes and a variety of other musicians that provide a definite uptown blues and deep soul feel. The material covers a range of moods and grooves. 

The disc opens with the shuffle, Party, where Betty launches into her vocal with the force of a Koko Taylor although with a bit cleaner deliver. Next she handles Eddie Hinton’s soulful Everybody Needs Love, and Joe South’s Untie Me. The title track has a nice funk groove with Sweet Betty soulfully telling us that we have to live for oneself and not someone else, but most importantly live, live and let live and love one another. Touched By You is a strong southern blues number with a nice dance groove followed by a terrific rendition of Damn Your Eyes. Other pleasures to be heard include Sam Cooke’s Ain’t That Good News and two gospel numbers that close out this wonderful release. 

This is yet another nice addition to the Music Maker catalog and can be purchased from the website, www.musicmaker.org. Purchases not only support the artist but also the mission to help the pioneers of Southern musical traditions.  Visit the website, www.musicmaker.org.

This review originally appeared in the November 2005 DC Blues Calendar. I do not know if I received this from Music Maker Foundation as a premium for membership or received a review copy. Here is a video clip of her backed by The Shadows at Blind Willie's in Atlanta.

James Harman in a Lonesome Moon Trance

James Harman has been laying his blues harmonica and vocals for several decades. He has stayed true to the blues tradition while as I note in the following review, telling his own story. This review appeared originally in the December2003-January 2004 D.C. Blues Calendar, then the newsletter of the Dc Blues Society. I do not recall if I received a review copy of this or purchased it.

Photo © Ron Weinstock

In his liner notes to his latest release, Lonesome Moon Trance (Pacific Blues), James Harman notes how he has been going through changes in recent years and how he has a bunch of stories to tell which we are fortunate enough to hear now. Harman has brought together some terrific musicians to help out on this including Kid Ramos, Kirk Fletcher, Bob Margolin, Junior Watson, Carl Sonny Leyland, and Gene Taylor on the twelve tracks. 

Performances like Piecework Politicians with its witty suggestions that politicians get paid for the benefits they give the citizens or My Secret Escapade with its atmospheric use of the Bo Diddley groove. Harmon’s superb Little Walter-styled harp graces several tracks including Double Hogback Growler, while on his Miss Bessie Mae Blues, his playing is more in the Sonny Boy Williamson II vein. This is not to suggest he is a copyist, but rather simply to suggest the general flavor of his playing. It should be noted that he certainly appears to have tried to capture the feel and flavor of the classic Chicago blues of the fifties while telling his own stories. 

Harman’s playing, vocals and songs stand up on their own and are well worth hearing. This is a typically excellent recording by Icepick James who has never disappointed this listener with his music. If you have trouble locating this in stores, you can try www.pacificblues.com. 

Here is James in performance at the Wilmington DE Riverfront Blues Festival. Nathan james is the guitarist.

Muddy Waters Recordings With Johnny Winter Had His Blues Hard Again

Following up the acclaimed and award-winning reissue, Muddy ‘Mississippi’ Waters Live, Sony/Legacy recently reissued the three studio albums Johnny Winter produced by the legendary Muddy Waters, Hard Again, I’m Ready and King Bee. Recorded after Muddy had ended his affiliation with Chess Records, there is no question that these recordings were among the most vital Waters recorded since the classic recordings from the late forties to mid-sixties with which his legend was established.

Hard Again was the earliest one and it opens with Muddy reprising his Mannish Boy with Johnny shouting in support with the band hammering out the beat and Muddy singing with a virility that a twenty-five year old wishes they possessed. The backing band here includes Winter, harpist James Cotton, Pinetop Perkins, Willie ‘Big Eyes’ Smith and Calvin Jones, who help Muddy reprise I Want to Be Loved. They take Brownie McGhee’s The Blues Had a Baby and recast it into a Muddy Waters song, and then take things Deep Down in Florida. The mix of old and new set the tone for the Waters Blue Sky releases.

I’m Ready was the second release and reunited Muddy with Big Walter Horton and Jimmy Rogers from his classic bands of the fifties. The rhythm section is perhaps a touch lighter here as Walter reprises the title track, (I’m Your) Hootchie Cootchie Man, Screamin’ and Cryin’ and Rock Me, along with Good Morning Little School Girl and 33, a slow blues that is a recasting of Eddie Boyd’s 24 Hours. Its also nice to hear Winter and Bob Margolin holding things together with their playing and Winter often adding his own inspired straight guitar as well as slide playing to compliment Muddy’s.

The final album, King Bee features more authoritative performances including Slim Harpo’s I’m a King Bee (with a strong Rock Me groove). (My Eyes) Keep Me in Trouble, Sad Sad Day, and Mean Old Frisco are classic recordings refreshed here along with Champagne and Reefers, which became a Waters staple in his later years.

Johnny Winter certainly must be thanked for showing that Muddy Waters remained among the true giants of American music and these recordings certainly kept him in the public eye.

This review originally appeared in the November-December 2004 Jazz & Blues Report (Issue 271) along with a review of a Johnny Winter reissue that will be posted here on Monday the 15th. Here is Muddy live with John lee Hooker as well as Johnny Winter.

Bob Margolin's Blues Recollections and Stories

Blues singer-guitarist Bob Margolin has self-published an e-book, Steady Rollin’ (Vizz-Tone) compiled mostly from pieces he has contributed to Blues Revue. Margolin, is best known for his tenure playing guitar with Muddy Waters but as a performer in his own right has continued to perform in the basic style of the legendary Waters.

This e-book opens with a brief explanation of why and how he came to put this volume together. Included are reflections on turning 60, a short illustrated autobiography that traces his early days playing in a rock band: joining Luther Johnson, Jr.; and then joining Muddy Waters; his tenure with Muddy and his post Muddy Waters period which includes his recording career under his own name. There is a separate chapter where he focuses more on his time with Muddy and what he learned from playing with the blues giant.

Another chapter, entitled The Guitar Hero Conspiracy where he talks his view of music as a music collaboration, not a competition and provides stories he heard from blues legends and his own experiences while also acknowledging that others have a different view. He recalls the time he travelled with Muddy and Pinetop Perkins to be part of the final performances of “The Band” that was captured for the film, The Last Waltz. His recollections include some revelations of what went on backstage among some old hippies.

Bob considers the stays of the blues today and who is carrying on the traditional blues as well his experiences playing with the new breed of women blues artists. Touching is his farewell to Pinetop Perkins after Pinetop passed away. This comes from one who had four decades playing with the piano blues master. He also includes some short blues fiction that allows him to make points about the blues and the old school of the music. In one story, Bob to take his digs at today’s airlines as he tells the story of one Mississippi Slim who is not allowed to take his guitar on the plane and what then happens to Slim and his guitar.

Bob also included a number of photographs that he has taken over the years. I will not claim this is an essential book on the blues, but certainly I can’t see anyone who has enjoyed Bob Margolin perform, had a chance to meet him or just likes to read about the blues not enjoying this. I know I did. purchased Steady Rollin’ on Apple’s ibooks, but I believe it is also available from Amazon and Barnes and Noble for the Kindle and Nook respectively.

George 'Mojo' Buford 1929-2011

I had the pleasure of seeing George ‘Mojo’ Buford sing with James Cotton at the 2006 Pocono Blues Festival, but never had the chance to see him play harmonica.  Word of his passing on October 11 hit hard for those of us who are fans of old school Chicago-styled blues. Born in Hernando, Mississippi, Buford moved to Memphis while still young and got his early blues schooling there before moving to Chicago in the early 50’s where he became a band that became known as the Muddy Waters Jr. Band. It was not a band of Muddy imitators, but rather Muddy's selected band to fill-in for him at Chicago clubs when Muddy was on the road. Buford, himself, would have several stints as part of Muddy’s band replacing Little Walter and James Cotton. He was a member Muddy’s band when that legend passed away in 1983.

After Muddy’s death, Mojo performed as a leader and also with other blues legends, serving a spell with James Cotton as vocalist after Cotton lost his singing voice. His last performance was with Cotton and guitarist Hubert Sumlin at Yoshi’s in San Francisco this past July. Shortly after returning to Minneapolis, he had heart surgery from which he never fully recovered, and he died on October 12 of heart failure. He was survived by nine children.

James Cotton and Mojo Buford at 2006 Pocono Blues Festival. Photo © Ron Weinstock

Buford physically relocated to Minneapolis in 1962 which would remain his home for the rest of his life and he would be a major figure in that community’s blues scene. In 1964, his first album, Exciting Harmonica Sound of Mojo Buford (Blues Record Society) was issued and it would not be until 1979 when Mr. Blues issued Mojo Buford’s Blues Summit, would he have another full album as a leader. This was subsequently issued on Mr. Blues and the Japanese P-Vine label. He shared albums with other members of the Muddy Waters Band for Douglas Records and was a sideman on a Bluesway album by Otis Spann as well as on some live performances by Muddy Waters. Subsequent to the Mr. Blues album, he recorded several albums for JSP, Blue Loon and Fedora. The latter label issued a 1998 live recording, Champagne & Reefer which was Buford's last album.

Ironically I had uploaded two of his albums to itunes on my Mac computer a few weeks ago. These were Still Blowing Strong, a 1996 recording originally issued on Blue Loon, and Champagne & Reefer, the live Fedora CD I have mentioned. Both recordings are solid efforts that show him to be influenced by Muddy Waters as a vocalist and a capable harmonica player in the Little Walter vein with a fat, crying tone. Both of these albums are currently available.

Still Blowing Strong was a studio recording with a solid Chicago styled band (and not having the physical CD in front of me I can’t provide personnel). It has some solid idiomatic originals, performed in the style of the Muddy Waters Band. There is some Muddy styled slide guitar provided on Apple On A Tree, a nice cover of Sonny Boy Williamson’s In My Younger Day, and a couple of instrumentals that showcase his harp playing.

Recorded in Phoenix, the performances on Champagne & Reefer are solid with a band that included Bob Margolin on guitar and Chico Chism on drums. Margolin, in introducing Buford, notes that Buford got him to join Muddy’s band right after one of Muddy’s guitarists had left, which Margolin thanks him publicly for. He provides guitar in the vein of Muddy as Buford delivers forceful vocals on the title track, Blow Wind Blow, Long Distance Call, Don’t Go No Further, and other songs associated with Muddy. There also are spirited versions of Willie Dixon’s Wee Wee Baby, and Sonny Boy Williamson’s Nine Below Zero.

Information in this review was based on Bill Dahl’s biography at allmusic.com and the obituary in the Minneapolis Star Tribune. Bob Corritore, who produced Champagne & Reefer, has an appreciation of Mojo Buford on his website, http://www.bobcorritore.com/WhatsNew.html. It is an entry dated October 11, 2011.

Steady Bob Margolin's All Star Chicago Blues Jam

Steady Rollin’ Bob Margolin continues to play in the style of blues he played with Muddy Waters two decades after that legend’s death. He has added to his growing discography with a new Telarc disc , Bob Margolin’s All Star Blues Jam. The disc brings together Carey Bell, Hubert Sumlin, Pinetop Perkins, Willie Smith and Jimmy Lane for renditions of mostly classic blues tunes. It was recorded mostly at the Blues Heaven Studio in Salina, Kansas, and captures the classic Chicago blues sound of Waters and others with Margolin sharing the vocals with Waters band veterans Perkins, Bell, and Willie Smith, and bassist Mookie Brill.


Smith, longtime drummer with Muddy does a first-rate job on Waters’ Country Boy and plays harmonica on the reworking of Juke. Pinetop’s steady piano helps anchor much of this disc along with Brill on bass and Smith on drums. Margolin tackles Johnny Shines’ Brutal Hearted Woman, which he has rearranged the number into a Waters’ styled Chicago blues, but vocally does not come close to Shines’ vocal on the original. Bell is solid throughout whether playing fat chromatic harp behind Smith’s vocal on Always on My Mind, or singing, with his gruff delivery, on the shuffle One Day You’ll Gonna Get Lucky.

Pinetop ably does Robert Nighthawk’s Sweet Black Angel. A live recording of Mean Old Chicago, a song Margolin wrote in memory of Jimmy Rogers, includes some nice guitar from Rogers son Jimmy Lane. Sumlin supports Margolin on Jimmy Rogers’ Last Time and the blues staple Goin’ Down Slow. The album closes with an instrumental rendition of the gospel standard Just a Little Walk With You that Pinetop takes the lead on a simply delivered rendition.


There is a consistency in the performances here. If few are exceptional, the level is still strong which makes for enjoyable listening that will not disappoint fans of classic Chicago blues.

This review originally appeared in the June 2003 DC Blues Calendar and the July-August 2003 Jazz & Blues Report (issue 263). I have made minor stylistic changes. I likely received a review copy from the record label or a publicist for the label.

Willie 'Big Eyes' Smith Takes Us Way Back

Willie ‘Big Eyes’ Smith is best known for his tenure as drummer with the great Muddy Waters. Later he was the foundation of the Legendary Blues Band, formed by former members of Waters’ Band and in the years since has played on numerous recordings as well as occasionally showcased his harmonica playing, an instrument he actually recorded on prior to joining Muddy.


Bob Corritore has produced a new Hightone release, Way Back, that showcases Smith’s harp as well as his amiable vocals on some choice covers as well as idiomatic originals. His son Kenny Smith handles drums on most tracks here while the band and guests include James Cotton (superb playing on I Don’t Trust You Man and If You Don’t Believe I’m Leaving ), Pinetop Perkins, Bob Stroger, Bob Margolin, Calvin ‘Fuzz’ Jones, Bob Stroger, Billy Flynn Little Frank Krakowski and Johnny Rapp.


Smith sings in a very natural, likable manner and delivers the opening Don’t Say That No More, in a very ingratiating fashion while tossing in harp In a Little Walter manner on Read Way Back and Walter’s Tell Me Mama (actually a Washboard’s Sam number, Back Door). He lacks Walter’s tone, but his driving harp playing has its own attraction. Guitarists Rapp and Krakowski generally stay in the background here, helping push the groove along, although there is some fine playing on Woman’s World. Pinetop Perkins is expectedly splendid throughout. Producer Corritore’s harp and Billy Flynn’ guitar is featured on Lowdown Blues and I Want You to Love Me, two tracks where Big Eyes takes the drum chair. Blues and Trouble is a terrific duet with Margolin who adds some great slide guitar.


Throughout this album, the backing band is wonderful whether taking the tempo down or rocking a shuffle. There are no frenzied hyped-up grooves here, just some first class old school blues playing, and some strong versions of classics as well as some choice originals by Smith results in a fine album that will appeal to lovers of the Chicago blues.


Received review copy from either the record label or a publicist for the label. This review was originally written for the DC Blues Calendar, newsletter of the DC Blues Society in 2006, but am not sure if it was published.

Steady Rollin' Bob Margolin Gets "Down In The Alley"

Bob Margolin came to the notice of folk during his lengthy tenure in Muddy Waters Band, with which he played a significant role in helping maintain the classic Muddy Waters sound. After his time with Muddy he has been one of those trying to keep alive the classic “old school’ Chicago blues sound alive and vibrant. “Down in The Alley” was the first of three albums he would record for Alligator Records and the following review appeared in the January/February 1994 Jazz & Blues Report (Issue 188). I likely received my review copy from Alligator Records at the time. Bob Margolin certainly has become one of the foremost interpreters of older blues styles since his time in Muddy Waters’ band. Since leaving Muddy’s band and setting out on his own, he has devoted himself to playing blues in the manner of Muddy and of others of what Bob terms the old school. He has become a fine interpreter of the classic Chicago Blues tradition. His new album shows his continual maturation as a blues performer, and although he will never win an award as a blues vocalist, his singing is more forceful with a phrasing that almost overcomes his natural limitations. Of special interest are guest appearances by John Brim (who reprises his Tough Times in a duet with Margolin, and Nappy Brown, who shows a different side as he sings the Clovers’ Down in the Alley and Big Maceo’s classic, Worried Life Blues, backed only by Margolin’s guitar. Margolin covers considerable musical territory raging from a rocking Boogie at Midnight, Elmore James’ Twelve Year Old Boy, and his own Big Tree Blues, with some very nice slide. Dave Maxwell on keyboards, Ronnie Earl on guitar, and Kaz Kazanoff on saxophone (who co-produced this with Bob) help out on what is Margolin’s best recording. His strong idiomatic playing continues to impress and he is ably supported throughout. While he may not have the voice of Muddy Waters or Nappy Brown, his phrasing shows their influence and helps, with the strong band playing, make for a very entertaining set of blues.

Mac Arnold's Meaty Blues

A short stint on bass with Muddy Waters several decades ago along with other gigs including John Lee Hooker, constituted Mac Arnold’s musical resume until a few years back when he debuted to critical acclaim. His second CD with the Plate Full’O Blues Band, “Backbones & Gristle” (Plantation #1) is the follow-up. Arnold  has an appealing baritone with a natural  delivery, and he gets solid support, although sometimes the backing rocks out a bit like the long blues-rock guitar jam that is part of the opening track “Love and Relations.” The next track, “U Dawg Gone Right,” has a nice vocal and a stinging solo by Arnold on his Gas Can guitar, constructed by his older brother.

The title track has strong down home flavor as Arnold recalls growing up and the advice his daddy gave him when Mac did wrong.  His dad told him Mac had a hard head and his backbone was nothing but gristle. The track has nice guitar from Austin Brashier.  Max Hightower, who is on piano on much of this album, plays harp on a high octane, supersonic, harp ripper, “Blow Until You Blow,” on which Mac plays bass and Steve Kester plays piano. Following this is a late night blues “I Refuse,” as Mac recalls the time he refused to listen to his good friend telling him about his women being with another man and how Mac ignored the warning signs until his women, crying, tells him she will always will love him, as she runs away.

On “Gas Can Story,”Mac recalls his brother making a gas can guitar and winning a contest at school. Another highlight is “Things I Don’t Need,” with a doomy bass riff and stinging guitar as Arnold sings about having a one room shotgun shack in the middle of a cotton field and not needing a grocery store. He has a three-acre garden and does not have to spend his life chasing the wind so Mac is satisfied with his family and friends. Blues meets Doobie Brothers for the uplifting message, “I Can Do Anything,” which has a church choir joining Mac as he sings about getting his education, how getting an education worked for Mac and can work for you.

Mac unplugs for “The Garden Song,” with nice harp from Hightower, “Where I’ve Been,” is a semi-autobiographical song about where Mac has been around the world singing the blues. Its the final studio track, and the album closes with two live tracks originating from the 1st Annual Mac Arnold Cornbread & Collard Greens Blues Festival. On “Mean to Me,” which Mac recorded on his first CD, Bob Margolin adds slide guitar and Willie Smith handles the drum chair. This is  a really nice slow blues with Brashier adding  nice guitar fills before Margolin takes a lengthy Muddy Waters-styled slide solo. The live version of “I Can Do Anything,” features a school choir and marching band helping Mac deliver his uplifting message that provides a solid conclusion to this generally strong recording . It may have a few bum moments, but is full of intriguing originals (mostly by Arnold), heartfelt singing and songs, and first-rate musicianship. Arnold’s website is www.macarnold.com and this disc is available from amazon, cdbaby, and other outlets./


This review originally appeared in the June 2009 Jazz & Blues Report (Issue 317) and I have made some minor edits and stylistic changes. It is the second of three albums Mac has produced.  My review copy was likely supplied by a publicist for this recording.