That Houserocking Slide Guitarist Lil Ed Williams

This is the text of an article I wrote about Lil Ed that appeared in the August 1998 DC Blues Calendar, the the newsletter of the DC Blues Society. Ed was one of the featured artists at the 1998 DC BLues Festival, and this article was to promote that appearance. I believe I interviewed Ed when he was appearing at Bethesda Maryland's Twist & Shout, a club memorialized in a Mary Chapin Carpenter song. Twist & Shout unfortunately closed many years ago. All the photos are from the 2009 Pocono Blues Festival at Big Boulder Ski Area in Lake Harmony, Pennsylvania. © Ron Weinstock.

There are certain sounds that characterize the blues, and slide guitar is one of them. particularly in the vein of the legendary Elmore James who made a number of pioneering recordings in the fifties and early sixties including Dust My Broom, The Sky Is Crying, and Shake Your Moneymaker. James’ houserocking style has been emulated by countless blues players including Hound Dog Taylor, J.B. Hutto, and Homesick James. One of the modern masters of this tradition is Lil' Ed Williams, nephew of the late J.B. Hutto, who tears into his blues with the ferocious joy that marked his uncle's music. Williams will bring his houserocking music to this year’s D.C. Blues Festival.

A Chicago native, Ed is 42 years old, and he takes great pride in playing in the vein of his uncle. “My uncle was J.B. Hutto. He taught me basically everything |know. He'd come around and play for the family.”Growing up, Ed remembers listening to a lot of Muddy Waters, John Lee Hooker and a lot of the older guys on records. “My uncle introduced me to his first album, which the one I know of, “Hawk Squat. That really fascinated me. We sat down and we played it over and over and over. He laughed about it.“

He remembered parties in the yard where J.B. and his band would come by and play. "My family, my aunts, my uncles. We had a really big backyard, and they would get out there and Uncle J.B. came over with his band. ° They would barbecue and just have cases of beer, and whiskey, and they'd be out there. It was all dirt yard. And they'd be out there — kicking that dirt up.

... He'd be playing so loud everybody in the neighborhood came aon by. Everybody coming in and we stayed. like our house was this side of big yard. And right by us was a big, they call it a honeymoon building then, but it was a big project, and there was an alley between us. And people would line up in this alley coming up to the fence shaky their bodies. It was so wonderful and you know I was real young then. I think I was about 8 or 9 years old. And I thought it was  the most wonderful thing in the world. | wish I could do this."

Too young to get into the clubs his uncle played (Wise Fool or Biddy Milligan’s), the he name often would sneak him in. "Paing a mustache on me, put a big wide hat on me , sneak me in." At the time was playing with Lee Jackson on second guitar, J.D, Buckner on drums and Bombay Carter on bass. It was fascinating to see him play, step on a stage with 100 foot chords. ... A lot easier without a child, but the chord is much more because people get involved, make sure you don’t trip."

When 17, Ed played in a soul group, displaying an unusual chording technique he learned from from Hutto. “This one guy used to play a lot of Temptations, Aretha Franklin, stuff like that. | wind up trying to do chords for him, but by me (being) an unorthodox player, my chords for him was not the same as his and he got upset with me. But it was the same chord, but I wouldn't do it the way (he wanted). He told me I was playing right, he couldn’t understand that when I do the chord, it sounded like his but I was doing like him, but doing a different motion.”

Ed started playing blues around 19. “I started forming my own band. I was going with a girl and her brother. I teached him to play drums ‘cause I knew how to play drums. That was my first instrument, was drums." As a drummer he was self-taught. “I did not look to anybody, I just used to listen to J.B.’s drummer when they came over to play. That’s where I got me feel from.”

Ed writes a lot of material but leaves a lot of room for his band members to develop their parts. He may add a bass part “and my brother, he'll take it (and from it). I like them to improvise themselves. I like them to take control of what they want to do and that way it all blends together. When you have to real deal with a person all you have to a special run, then it gets to be more work, but when they can improvise it and play it the way they feel it, then it’s fun.”

He also doesn't spend too much time rehearsing tunes. “The way I do me it, I kinda surprise my guys. I'll come up with something and I'll let them hear it one time and before they know it, I'll lay it on them.”

Ed’s first recording was for an Alligator anthology Roughousin' that came out in the 1980's, but the session led to a release of a full album. He recalled how it happened. "| used to see Bruce (Iglauer) come in. We used to play at BLUES on Halstead. And he used to come in.He just come in and walk out. But I didn't know who this guy was. My old rhythm player, Dave Weld, know who he was. Dave would grab me by the arm, 'There’s Bruce, There’s Bruce from Alligator records.' I said 'So what man. You know just a man.’

One day Bruce came in real late that night. We were finishing off the last song. He came up, walked up to me. "How ya doing?' 'Yeah, how ya doing?' He introduced himself. I shook his hand.He said, 'How do you guys feel about coming down to the studio and do a collection song.' 'Sure.' Dave was having a fit. Dave knew what was going on. We knew we wanted to make a record. We were going to save our money and go into one of those studios and own the collection. That was me Dave was talking about. I had no construction, no idea what this was all about.

So the next morning we had to get up real early that morning.  | never forget it. I had to go to work. I was working at the car wash and I had to leave the car wash I think at about 10 or 11 o'clock. Pookie was working the car wash, he had to leave and Dave and our drummer met us at the studio. We walked in with our car wash suits on and Bruce laughed and we said we looked funny and we all laughed.

I was kinda shaky. I was kinda scared. so we got in and we started warming up. Bruce said, 'Well, do something.' I had already been writing songs at that point and I started playing some of the old-time stuff that I learned from B.B., Muddy, all then guys. He said, 'That's good. What about some of your stuff.' And I started playing my stuff and everybody that was in the studio started clapping, having a good time and I got excited ‘cause it was like I was in a club. And I started to doing my club antics walking around, walking on my toes, crawling on my knees ‘cause we were all having fun.

“I had never heard studio sound. That’s what really got to me, ‘cause I never heard it coming from. the headphones sounding so good. Sounded really good. Bruce came out after we did 5 or 6 songs. 'You know it sounds real good. Let’s do an album. OK.' Right then, I freaked out. That was the happiest day of my life. ... We cut 30 songs in 3 hours.”

When I mentioned some acts do 4 songs in 3 hours Ed told me about someone once asked him about artists who do a lot of overdubbing and whatever. “I said well that’s their thing, if that's what they want to do. But to me, for me, Number one, time is money. Number two by me working in the car wash I've got that fecling of getting my job done. “Cause I was buffer. So I had to finish, I had to buff cars in 15 minutes. I had to buff it, and detail it In 30 minutes, So that’s the way I work even in the studio, get it done.” If a take is not right they'll try it again not overdub it. However, if they do it three times and still  can't get it right, they drop that song. “Cause you're going to lose it. Not gonna sound no better, it's only gonna get worse. The more you play it, the more you get tired of it.”

Ed has recorded four albums, three for Alligator, and when we spoke in June, was getting ready  to do another album for Alligator. Musically he continues to grow. "I'm improvising more, more different lyrics cause I'm listening to everybody. Then I was just  listening to Muddy Waters. John Lee Hooker, Elmore James. But I'm a music type of guy and I listen to all types. … I've got some stuff I'm working on in [a reggae] groove. When I do songs like that, put those types of tunes. I want to make my own so I have to really improvise, feel it out, You know I got into Chuck Berry about two months ago and I already came up with a couple songs in his style. I've got into Ruth Brown. I see her on the boat when I was on the boat going to the Bahamas. It amazed to see this woman,'cause I never hear her before. However, my wife know who this was. All I knew was about Etta James, Koko Taylor, Billie Holiday. How did I miss Ruth Brown. She is fantastic. I do one of her songs, 'If you want to live happy, don't listen to your so-called friends.' | do that."

While J.B. Hutto is Ed's biggest influence, he only has recorded Hutto's 20% Alcohol. "What I really want to do is make a tribute album to him, because I  know all his songs." J.B. influenced Ed not simply as a guitarist but also as a singer. He mentioned others, "I like Muddy Waters. That's why I hit those deep tones. And stuff like thal.”

Ed got the opportunity to play with J.B. once before his uncle passed at a club Vegetable Biddies in Indiana, "It was so wonderful. he was walking on tables and he gave me a long chord too and he made me jump off the stage. It was just great. I said then. I told him I wanted to play. One thing he told me, ‘You promise me your gonna keep the blues alive then I'll teach you.’ He did. I promised him that and he said 'You keep my tradition going, cause you’re the next one In line' He knew that."

Here is Lil Ed Williams and the Blues Imperials in performance from a Blues Festival in 2008.

Willie Kent Long Way to Ol' Miss

Willie Kent
Long Way to Ol' Miss
Delmark Records

Willie Kent is a Mississippi native who has mixed in traditional and modern blues elements. His new Delmark album, "Long Way to Ol' Miss," eschews novelty for straight-forward blues. Kent's gruff vocals and firm bass anchor the performances which mix shuffles and midnight grinders with nice playing as keyboardist, Kenny Barker, and guitarists Chico Banks and Willie Davis tossing in apt fills and solos.

The back cover highlights Banks, so he may be the featured player here. Kenny Savdak spells Barker on four tracks including "Dirty Works", an effective reworking of Little Joe Blue's back door blues classic and Mississippi Heat guitarist James Wheeler adds guitar to a couple of his originals, the high-stepping shuffle, 'It Ain't Right" (where he also sings), and "Extension 309". 

There are also covers of the a classic Charles Brown recording "Black Night," and Amos Garrett's" Ain't No Love in My Heart," along with eight Kent originals. "My Friend," is a nicely rendered shuffle suggestive of a top-flight B.B. King number from the late fifties. There are some flaws like Kent's "Ain't Got Long to Stay," with its messy accompaniment, but that is the exception here.

Certainly those who have enjoyed Willie Kent's past albums or live performances will find plenty to like here. Others will discover a bluesman worth hearing.

I believe this review appeared in a 1996 DC Blues Calendar, the newsletter of the DC Blues Society. I received my review copy from Delmark Records. Here is a video of Willie Kent performing.

J.B. Hutto - Stompin' at Mother Blues

J.B. Hutto - Stompin' at Mother Blues  - Delmark

The late J.B. Hutto was among the most gifted of those slide guitarists who were heavily indebted to the legendary Elmore James. The Georgia-born Hutto played a fierce broom dusting slide mixed with his powerful vocals that probably are best  captured on the first volume of the classic series, “Chicago, The Blues Today.” Delmark has just released a new cd of previously unissued tracks, Stompin' at Mother Blues, that makes available a complete session with the same band (bassist Herman Hassell and drummer Frank Kirkland) that appeared on those celebrated recordings and six recordings from a 1972 session with Lee Jackson on second guitar, Elbert Buckner on bass and Bombay Carter on drums. 

From the first session, only “Hip Shakin’” (heard here) was previously issued on Hutto's first Delmark album, “Hawk Squat,” while of the six tracks (along with some studio chatter) come from the session that produced “Slidewinder,” three are unissued, two alternate takes and one was issued on Delmark Records - 50 Years of Jazz and Blues. The two sessions were done during the day at the now-defunct Mother Blues.

There are some exceptional tracks here as on the opening “Evening Train,” with its “Dust My Broom” riff and Hutto's insistent vocal while on other tracks, the backing does not seem as balanced as on “My Soul” and the rendition of “Alcohol Blues” is not as charged as Hutto and the Hawks' performance on “Chicago The Blues Today.” One of the performances, “If You Change Your Mind,” was recut with a slightly different band including pianist Sunnyland Slim for the “Hawk Squat” album, and was stronger than this earlier recording, which is by no means poor. “Married Woman Blues” and “Sorry,” have strong vocals although the backing is not as crisp as this band was at its best. With respect to the 1972 tracks, Hutto is upfront as always, but the band seems more in the background and not nearly as sympathetic accompanists. None of these tracks comes close to the level of the chilling original “Too Late,” which was a highlight of “Slidewinder.” 

This is a release more for blues slide guitar fans and Hutto completists. For those not familiar with J.B. Hutto, you should get  “Chicago The Blues Today Volume 1” (which also has excellent Junior Wells and Otis Spann) and “Hawk Squat” before this release.

This review originally appeared in the November-December 1999 Jazz & Blues Report. I have made minor stylistic changes. I likely received a review copy from Delmark. Here is a vintage clip of J.B. Hutto.

JIMMY JOHNSON - Every Road Leads Somewhere

JIMMY JOHNSON - Every Road Leads Somewhere - RUF RECORDS

Jimmy Johnson's infrequent albums are always occasions of great interest for blues lovers. With his wiry guitar attack and high tenor vocals, the Chicago bluesman has produced some very distinctive and fine recordings. This new one is another strong addition to his discography. 

Johnson has contributed some fine originals like the opening “Roots of All Evil” (about money, and sporting a trumpet solo by Claude Egea), “End of the Road,” which contains an appearance by the late Luther Allison who rides the song out with a fiery short solo, and “The Street You Live On,” with its lilting reggae beat. In addition, Johnson's covers of “Black Night,” “Cut You Loose,” and James ‘Thunderbird’ Davis' “Blue Monday” are fresh, with crisp funky arrangements. 

Throughout this, Johnson plays in his recognizable style that perhaps show the influence of Otis Rush and Albert King more than others, as well as delivering his vocals without too much in the nature of hysterics. In addition to his fine band, Johnson is backed by a nice horn section that includes jazz trombonist Frank Lacy and saxophonist Paul Cerra in addition to trumpeter Egea. With Johnson being in strong form both vocally and instrumentally, he has produced a very fine release.

This review originally appeared in the November-December 1999 Jazz & Blues Report (Issue 242). I have made a few minor formatting and stylistic changes. I likely received a review copy from Ruf Records or a publicist. This may be hard to find, so you may have to find it from used record stores. Here is Jimmy in a performance from 1994.

Maurice John Vaughan - Jimmy Johnson - Luther Johnson Jr

(1) Maurice John Vaughan

Dangerous Road

Blue Suit-116D

1- Talking to Each Other With the Music/ 2 - Dangerous Road/ 3- Two Can Play That Game/ 4- Love Abuse / 5- Mama, She Believed in Me/ 6- In the Midnight Hour/ 7- Stop and Take a Drink/ 8- I Don’t Care/ 9- Lady in the Box/ 10- The Pigeon/ 11- Shoo Fly Shoo/ 12- The Telephone’s Running My Life/ 13- I Can’t Stand Being Alone. 51:41

Maurice John Vaughn, g, s, c; B.J. Emery, tbn, v-4, 7; Ilaria Lantieri, b, v-9, 13; Massimo Bertagna, d- 1, 4, 8, 9, 11, 12, 13; Fred Brousse, g -2, 5, 6, 7, hca -1, 10; Jerome Moho, d- 2, 3, 5, 6, 7,10; Khouki Pontelero, or - 2, 6, 7, 10, p-1, 5; Detroit Junior, p. 8, 11, 12; Allen Batts, or 4, 12; Velvet McNair, v - 4, 7, 13. Milan, Italy & Chicago Il.

(2) Jimmy Johnson & Luther Johnson Jr

Ma Bea’s Rock

Storyville STCD 8050

So Many Roads -1/ Crosscut Saw -1/ Ma Bea’s Rock -1/ Feel So Bad -2/ I Believe My Time Ain’t long -3/ All Your Love -3/ You Gotta Have Soul -3/ My Own Fault -1/ Get Ready Here I Come -1/ Same Old Blues -1/ Got Mind to Travel -3/ Can You Use a Man Like Me -3/ I Got To Be Crazy -3/ Got papers on You Baby -3. 62:18.

-1 Jimmy Johnson v, g; Jimmy Dawkins, g; Sylvester Boines, b; Tyrone Centuray, d. October 15, 1975, Chicago IL.

-2 same as -1 but Andrew ‘Big Voice’ Odom, v. October 15, 1975, Chicago IL.

-3 Luther Johnson Jr, v, g; Willie James Lyons, g; Willie Kent, b; Tyrone Centuray, d. October 17, 1975.

While he has been producing and playing on a variety of recordings the past few years, (1) is Maurice John Vaughan’s first album since his 1993 Alligator album Shadow of the City. Recorded in Italy and Chicago, Dangerous Road displays his soulful mellow baritone, guitar, and saxophone in a variety of blues and soul/funk settings. Along with trombonist B.J. Emery, he is aided by pianist Detroit Junior on three tracks along with other guests elsewhere. In the liner notes, David Whiteis describes Vaughan an “aggressive innovator” as an ironic comment on the title of Vaughan’s self-produced debut album, Generic Blues. Some might dispute calling him an innovator, but his strength is that he is a very good performer. He writes thoughtful original blues such as “Love Abuse” and “I Don’t Care,” knows how to deliver a lyric and he plays thoughtfully, and his solos are full of surprises. His saxophone soloing is particularly noteworthy as he avoids honks and overblowing that one award winning sax player employs to excess. Equally intriguing are the funk numbers such as “Lady in the Box” which incorporates clever Italian repartee from bassist Ilaria Lantieri. However, the reworking of Wilson Pickett’s “Midnight Hour” is pleasant at best, with the rhythm section not as hard-hitting as might have been hoped. Vaughan is not one to hit you over the head with musical cliches. It may take some listening to this disc to appreciate its pleasures, but it will be worth the effort.

(2) is another in Storyville’s reissues of a series of recordings made at various Chicago clubs in the mid-seventies and which first appeared on the French MCM label. Despite being club recordings, they usually were recorded in the afternoon, often minimizing any club ambience. Additionally, the recordings have somewhat dull sound and would have benefitted from more skillful engineering. This writer at one time possessed the original vinyl album of this disc and remembers it as among the better ones in the MCM series. It was among the first LPs to spotlight Jimmy Johnson and Luther Johnson Jr. The original eight songs (the first eight titles) are augmented by two additional Jimmy Johnson performances and four by Luther Johnson Jr. For those familiar with the two artists, there will be few surprises. Their basic approaches have not changed, although they have honed and refined their styles. 

Jimmy Johnson is heard on covers of songs associated with Otis Rush (“So Many Roads), Albert King (“Crosscut Saw”) and B.B. King (“Its My Own Fault”) displaying his stinging guitar and his tenor that cuts through to the listener’s gut. Some composer credits are sometimes mangled as Johnson is wrongly credited as composer of the Temptations hit, “Get Ready,” perhaps his weakest performance. At the time of the recording, Johnson was in Jimmy Dawkins’ Band which provides functional backing. Dawkins’ own guitar is featured on the title cut, a medium tempo instrumental, and behind Voice Odom on Chuck Willis “Feel So Bad.” 

Luther Johnson Jr. was an important part of Muddy Waters Band at the time of his recording, which are solid performances in the West Side Chicago blues vein. He opens with a rippling instrumental homage to Elmore James on “I Believe,” on which he emulates Elmore’s broomdusting slide guitar without (I believe) using a slide. Luther follows with Magic Sam’s “All Your Love,” and then launches into the funky “You Gotta Have Soul.”. The late Willie James Lyons on second guitar and Willie Kent on bass lay down a nice foundation, although Tyrone Centuray’s wooden drumming adds little. The new Luther Johnson tracks are quite nice to have available. “I Got To Be Crazy” is a powerful adaptation of a fine George ‘Wild Child’ Butler lyric. Despite the quality of the music, the sound quality will probably deter more casual listeners who might want to check out the more recent recordings by both. Fans of either will certainly enjoy this disc.

This is a review I wrote for Cadence in 2001. As was customary, full discographical information was provided although I do not remember what 'c' was for Maurice John Vaughan. The s was for saxophone and g for guitar. I should have had v for vocals there as well. I likely received my review copies from the publication.  I have made only minor changes to punctuation. Both may still be available although the cover for Ma Bea's Rock is from a later Storyville reissue.

LUTHER ALLISON - Live In Chicago

LUTHER ALLISON - Live In Chicago - ALLIGATOR 

The late Luther Allison certainly emerged as among the most exciting live blues performers in his too-brief American comeback of 1994 to his passing in 1997. While there are some excellent live albums of Luther in Paris and at the Montreux Jazz Festival on Ruf, Alligator has just issued Live in Chicago, a two-disc set of live performances, anchored by his June 1995 Chicago Blues Festival performance. Also included are November 1995 performances at Buddy Guy’s Legends and May 1997 performances from Lincoln Nebraska’s Zoo Bar, the latter being among what would be his last.

Backed by the James Solberg Band augmented by the Memphis Horns, Luther opens his Chicago Festival performance with an incendiary rendition of Soul Fixin’ Man, sung with as much passion as his guitar possessed fire. The Chicago Fest performance is laced with impassioned renditions of Cherry Red Wine and Bad Love (the latter featuring a dialog between Luther and his guitar. A rendition of Hound Dog Taylor’s Give Me Back My Wig is taken at supersonic tempo, a bit fast, although Luther cleanly sings the lyrics and rips out his slide guitar solo. This performance is not from the festival but from the Legends recordings. Perhaps some audio problems with the festival performance resulted in the substitution of this recording. It is followed by another slide feature, It Hurts Me Too with Allison pouring everything into his vocal. 

The first disc concludes with Luther and Eddie Campbell joining Otis Rush for a medley Gambler’s Blues, (first waxed by Dinah Washington), and Sweet Little Angel (which goes back to Lucille Bogan’s Sweet Black Angel). It is a memorable jam as Rush and Allison sing with fire and all three layout some strong licks. The second disc continues in the same spirit, with originals like All the King’s Men and Will It Ever Change heard along with covers of What Have I Done Wrong and Everything’s Gonna Be All Right. 

Some of the most memorable performances I ever attended were from Luther Allison, and this release probably best showcases the power and passion he brought to the stage.

I received a review copy from Alligator. This review originally appeared in the November-December 1999 Jazz & Blues Report, although I have made minor edits. Here is a video of Luther performing "Bad Love" from another show.

Benny Turner & Cash McCall - Going Back Home

Benny Turner & Cash McCall - Going Back Home - Nola Blue Records

After the death of Clay 'Clady C' Graham of the gospel group The Pilgrim Jubilees, Benny Turner texted Sallie Bengtson, Nola Blue Records President to find Cash Mccall. McCall was found in Memphis but not doing well and needing support. The contact led the two veterans of Chicago's blues scene to the recording session producing "Going Back Home." Turner and his bass and vocals, along with McCall on rhythm guitar and vocals, are joined by a variety of studio players including Raishene Webb, and Joe Krown on keyboards, Butch Mudbone on guitar, Billy Branch and Johnny Sansome on harmonica, and Rodd Bland on drums. 

These are solidly performed songs (9 covers and one original) as one might expect from the personnel and Benny Turner's production skills. The vocals are pleasant, if not compelling, with McCall overshadowed by his performances from decades past when he had some hit recordings, did session work as a guitarist for Chess and other labels and spent a year and a half touring with Minnie Riperton. His blues recordings in the intervening years also had a vocal range reflecting his gospel roots.

One should not get an idea that these are poor performances. Turner does a solid job in reviving Harold Burrage's "Got to Find a Way" on which McCall played on as well as a wry treatment of Willie Mabon's hit "Poison Ivy," a driving rendition of Elmore James' "Shake Your Money Maker," as well as a rollicking interpretation of G.L. Crockett's "There's a Man Down There." 

McCall had a close connection with Willie Dixon, but adds little to the cover of "Spoonful." Much better is his humorous, talking blues original, "Money." Billy Branch's harmonica and Mudbone's slide guitar contributes to an enjoyable "It Hurts Me Too," with Turner on backing vocal. This Tampa Red song is wrongly credited to Elmore James. There is an entertaining, bawdy "The Dirty Dozens" taken from his days playing with pianist Little Johnnie Jones.

Billy Branch handles the vocal (and harmonica) on a Sonny Boy Williamson cover, "Bring It On Home," that takes this recording home with Turner and McCall in supporting roles. This track closes an enjoyable, although not compelling, Chicago blues recording.

I received my review copy from a publicist. This review appeared originally in the May/June 2019 Jazz & Blues Report (Issue 384). Here is a video of the two talking about this recording

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."

Johnny Burgin and Special Guests No Border Blues

Johnny Burgin and Special Guests
No Border Blues
Delmark Records

This unusual recording brings guitarist-singer Johnny Burgin together with some Japanese blues players that showcase blues music’s worldwide reach. On his Japanese tours, Burgin met and played with the musicians heard on this CD. Some like pianist Lee Kanehira have established themselves in Chicago, where she is a member of The Cash Box Kings.

On the 11 performances, they display their traditionalist approach to Chicago blues. Burgin writes about a stigma attached to a purist (what I would call traditionalist) approach. In contrast, in Japan, purism is a starting point. “The more ‘pure’ I played the blues — the more I stuck to the tone and the flavor of the original blues masters — the more the musicians and audiences liked it!” The simple fact is the musicians that he collaborates with here play authoritatively in this manner.

I should note that not all the performances come off equally, especially with the singing, which on occasion, come off as not natural, but this is minor. Certainly listening to the terrific harmonica player, Iper Onishi, cover Carey Bell’s “One Day You’re Gonna Get Lucky" is a treat even with his slightly slurred diction like Bell. With their singing, pianist Kanehira and harmonica player Kat Nogio evoke the vocals of Tampa Red and Little Johnny Jones on “So Crazy About You.” Kanehira’s “Pumpkin’s Boogie” has authoritative singing, rollicking piano, Kotez’s driving harmonica, and a terrific chorus from Burgin. Kotex powerfully sings, in addition to playing fine harmonica on “I Just Keep Loving Her (Mada Sukinanda).” It is intriguing hearing an early Little Walter recording sung in Japanese. “Hurry Up Baby,” featuring guitarist-singer Naomi Tanaka, with a frenzied garage rock sound is an unconvincing performance.

Burgin himself sings on five songs. He delivers credible vocals of Elmore James’ “Sunnyland,” John Brim’s “Rattlesnake,” and his original “Old School Player.” These tracks include Onishi’s robust harmonica and the guitar of Yoshi Mizuno, Mozumo's interplay with Burgin brings back memories of Robert Lockwood and Louis Myers. There is  blistering, stinging guitar from Minoru Maruyama on a lesser-known Bobby King recording, “Two Telephones.” This is the single track recorded in Chicago. “Samurai Harp Attack” is a harmonica duet showcase for Kaz Nogio and Iper Onishi, with the two also trading comments in Japanese.

The album closes with a rocking “Sweet Home Osaka,” a barely disguised retitled rendition of the Robert Johnson song with Nacomi Tanaka and Kotez joining in the vocal, and Nogio and Onishi wailing on harmonica. Is it Yoshi Mizuna channeling Earl Hooker on this closing track? Burgin’s liner notes provide background on the music, and the performers on a most entertaining CD of traditional Chicago style blues.

I received my review copy from Delmark Records. Here is Johnny Burgin playing with Lee Kanehira from the 2019 Chicago Blues Festival.

Sugar Ray and the BlueTones featuring Little Charlie Too Far From the Bar

Sugar Ray and the BlueTones featuring Little Charlie
Too Far From the Bar
Severn Records

The new Sugar Ray and the BlueTones album is a corker of a recording. The regular cast of Anthony Geraci on piano, Michael 'Mudcat' Ward on bass, and Neil Gouvin on drums support Ray Norcia's vocals and harmonica. Handling the guitar on this recording is (Little) Charlie Baty playing on some of his last recordings. Duke Robillard, who produced this recording, adds his guitar to four songs. This stellar band is heard on nine originals from Norcia, Ward, or Geraci along with six covers of songs that have not become hackneyed from being over-recorded.

Norcia is superb, whether singing with his warm natural baritone or laying down swooping horn licks on the harmonica while the backing is stunning. Norcia's vocals flow naturally with a relaxed, mellow flow suggestive of Junior Parker and Fenton Robinson. His harp playing can rock like a Big Jay McNeely sax solo or warble like Sonny Boy Williamson. Baty's guitar sings whether comping, adding subtle comments to the vocal, or a sizzling solo. Robillard is more in a jazzy single note o his selections while Geraci is at the top of the game, at times channeling Otis Spann and elsewhere laying down his accompaniment with a jazz-tinged sophistication. The supple rhythm from Ward and Gouvin completes this sublime music.

The recording opens with a spirited reworking of The Five Royales "Don't Give No More Than You Can Take," with Norcia's ripping horn-like solo and Baty's explosive playing. It is followed by a first-rate rendering of John Lee Williamson's "Bluebird Blues" with Geraci superb while Norcia's harp evokes Rice Miller. There is plenty of humor in several songs, including the title song. It is about folks who go to a restaurant or bar and wondering when they will get served. After a swamp-pop flavored "Too Little Too Late," Norcia showcases his virtuosity on the energetic instrumental "Reel Burner." His playing on it is more James Cotton than Little Walter here. An excellent cover of Little Walter's "Can't Hold Out Much Longer," follows. One of the most original lyrics here is "Numb and Dumb" about a woman that has Norcia under her thumb as he wonders who she is taking home.

There is a somewhat frantic feel to "My Next Door Neighbor," with Baty blasting off with rockabilly-laced solo, although Norcia's vocal lacks the relaxed quality due to the frenzied tempo. On the cover of Otis Spann's "What Will Become of Me," Geraci is outstanding as channeling the legendary blues pianist behind Norcia's heartfelt singing. Robillard adds his touch to the jazzy feel of "What I Put You Through," as well as the standard, "I Got a Right To Sing the Blues." Another selection that Robillard is present on is Mudcat Ward's "The Night I Got Pulled Over." It is a talking blues with Norcia providing the narrative of a traffic stop without a reason because he fit a profile.

An alternate take of "Reel Burner" closes this album. That song title is an allusion to what Duke Robillard observed that the band was so hot that they even set a multi-track tape machine on fire. As hot as some of the performances are, others bring out different qualities and moods. Whatever the tempo or feeling, "Too Far From the Bar" is simply a stellar blues recording.

I received my review copy from a publicist. (This CD is being released on September 18). Here is a video from 2019 of Sugar ray and the BlueTones with Little Charlie and Duke Robillard.

Professor's Blues Revue featuring Karen Carroll

The recent loss of the late Eddie Lusk hit the blues world hard. He earned the title of Professor because of his multiple keyboard prowess. While he played with numerous blues and soul greats, and is heard on many recordings, Professor Strut (on Delmark) was the only American release under his  name (actually Professor's Blues Revue featuring Karen Carroll). It is a fitting testament to a musician whose musical roots were rooted in the gospel he played at his father's South Side Chicago church, and this can be heard in the arrangements and the voicings heard here.

Using gospel and jazz voicings, his blues has a sophisticated flavor. Even a Jimmy Reed styled blues, I Wanna Be With You, is given an uptown flavor with the arrangement Professor provides vocalist Karen Carroll's relaxed, soulful singing. In addition to Lusk's considerable talents on various keyboards, mention should be made of Joey Woolfalk's versatile guitar work. Woolfalk is comfortable with straight soul-blues lines, reflecting his tenure with Otis Clay (check out his playing
on You're Leaving Me with a fine vocal from Carroll), or in a jazzy vein on the title track. In addition to the jazz seasonings of the Professor Strut, Carroll's vocal on Everything is You is more akin to Al Jarreau, than Koko Taylor, and has nice chording by Woolfalk and splendid sax from Paul Mundy. Woolfalk can sing also, although he could have chosen a more obscure vehicle than Stormy Monday, although it is very well-played.

Blues Revue is an apt description for the contents of this release. While not a must recording, the arrangements, the solid ensemble work, and the jazzy flavoring help this release stand out.

This review originally appeared in Issue 177 of Jazz and Blues Report from 1992.  Here Professor Lusk and guitraist Michel Coleman perform at the 1991 Chicago Blues Festival.

Pinetop Perkins Pinetop's Boogie Woogie

Best known as Muddy Waters' pianist after Otis Spann left, Joe Willie 'Pinetop' Perkins also spent time with the King Biscuit Time radio program, played (and recorded) with the likes of Earl Hooker, and Robert Nighthawk, and was a founding member of the Legendary Blues Band after Muddy's seventies' band split from their leader. He has a new album on Antone's Pinetop's Boogie Woogie which is a well played and recorded collection of Chicago style blues. He is backed by members of the Fabulous Thunderbirds (harpist Kim Wilson sounds particularly good here), James Cotton, Hubert Sumlin, Luther Tucker, Willie Smith and Calvin Jones. There is plenty of strong band work and soloing, and Pinetop's solid two handed piano provides more than a solid foundation.

Unfortunately, Pinetop's low-key vocals are not nearly as strong or colorful as his keyboard work and his treatment of jump blues like Eddie Vinson's Kidney Stew, and Louis Jordan's Caldonia, are not memorable. His laconic, low-key singing is more successful on Sunny Road, and is most effective on Jimmy Reed's You Don't Have to Go, and his own Ida B. (which reminds me of Robert Nighthawk's Anna Lee). The impact of these recordings is also diminished by the fact Pinetop has recorded many of the songs before.

This review originally appeared in Issue 178 of Jazz & Blues Report from 1992. I made some minor changes to this review. I likely received a review copy from the label or a publicist. 

Muddy Waters Blues Band Mud In Your Ear

Muddy Waters Blues Band

Mud In Your Ear

Douglas

Douglas Records has made available on compact disc, “Mud In Your Ear”, 15 selections by the Muddy Waters Blues Band originally issued on two vinyl albums issued back over forty years ago on what was then Alan Douglas’ new label. Muddy Waters is on the session, but limited to backing guitar although taking a few recognizable slide solos. His band at that time included Luther ‘Snake Boy’ Johnson on vocals and guitar; George ‘Mojo’ Buford on harmonica and vocals; Otis Spann on piano; Sammy lawhorn on guitar; Lawrence ‘Sonny’ Wimberly on bass and Francis Clay on drums. 

Johnson and Mojo, along with Spann, would have been featured on the Band’s opening selections before Muddy would be brought up. This recording allows Johnson and Buford to have more of the spotlight then they would live as well as allows us to hear this edition of Waters Band upfront. Johnson takes the bulk of the vocals including a nice rendition of Washboard Sam’s “Diggin’ My Potatoes,” and Muddy’s “Long Distance Call,” with his take on the “another mule kicking in my stall” climax. The title track, heard in a lengthy version and a brief reprise, is an rocking instrumental rendition of “Got My Mojo Working.” There are also solid renditions of “Coming Home Baby” and Jimmy Smith’s “Chicken Shack,” songs that were typical opening numbers. 

Johnson’s “I’m So Glad” is a pretty strong original with Muddy adding some stinging slide. Also nice are his interpretations of a couple lesser known Waters numbers, the brooding “Remember Me,” and Waters’ “Evil,” where he sings that when you see him coming better run and hide. Spann is particularly superb on these and Buford adds some nice harp. Buford comes across well on the first-rate “I’m So Glad,” and “Watch Dog.” The latter number is a slow blues with a clever lyric about needing a watch dog to look after things when he goes away on business. 

This was a tight band and these are solid performances. Johnson did record overseas after leaving Muddy Waters but died much too young while Buford made several albums until his passing a few years back. This is a good document of the Muddy Waters band of the time before Spann left, and while this is not an essential reissue, it is a welcome one.

This was a purchase. This review originally appeared in the September-October 2012 Jazz & Blues Report (Issue 344). Here is a performance from Luther ‘Snake Boy’ Johnson.

Linsey Alexander Live at Rosa's

Linsey Alexander
Live at Rosa's
Delmark Records

Reviewing Linsey Alexander's debut album "Been There Done That" in 2012, I wrote that it was "a most impressive blues recording which is one of the finer blues albums I have heard this year. His is a voice I want to hear more from." I further noted his fervent singing and stinging guitar in his 2015 follow-up recording, "Come Back Baby." It has been way too long since his last album, so this new live recording is welcome. His vocals and guitar were supported at Rosa's by Sergei Androshin, guitar; Roosevelt Purifoy, keyboards; Ron Simmons, bass; and "Big Ray" Stewart, drums.

"Live at Rosa's" is a pretty straight-forward recording as Alexander performs five of his originals and four covers. It opens with a fresh rendition of B.B. King's "Please Love Me," that avoids the "Dust My Broom" feel of most versions. Alexander's searing guitar is supported by Purifoy's organ. Purifoy takes a greasy solo here. Alexander also musically provides a fresh feel to Freddie King's "If You've Ever Loved A Woman." The insistent groove of Alexander's "I Got a Woman," may evoke "Mustang Sally." Alexander adds a fiery guitar solo. There is appealing guitar picking on the relaxed shuffle "Goin' Out Walkin'" followed by a soulful rendition of Latimore's "Somethin' 'Bout' Cha," with more strong support from Purifoy. "Snowing in Chicago" provides a driving funk-blues. The final cover is of a Muddy Waters recording, "Just to Be With You," although it is titled on the album "Ships on the Ocean" and credited to Junior Wells. Wells' recording is the inspiration for Alexander's interpretation, and Linsey sings robustly and plays perhaps his finest solo here.

Alexander sings convincingly with fervor, although there are a couple spots where his diction suffers. With solid backing and strong performances, Alexander's "Live at Rosa's" is a most engaging album of live modern Chicago blues."

I received a download to review from Delmark Records. Here is an older performance of Linsey Alexnader performing "Snowing In Chicago."

Take 5 with John Primer

For this week, we have a short playlist of Chicago bluesman John Primer. A veteran of the bands of blues legends Muddy Waters and Magic Slim, John Primer is one of today's greatest performers of traditional Chicago blues in the manner of Muddy Waters and others. A superb singer and guitarist, we open with John and Billy Branch doing a Muddy Waters number, "Sugar Sweet."

Here he is heard performing another Muddy Waters song, "40 Days and 40 Nights."

John is among the more gifted Elmore James interpreters. Here he performs "I Held My Baby Last Night."

Here he channels Muddy Waters for "They Call Me John Primer."

To close this, we go back to when John was part of Magic Slim's band, singing "Pretty Women" before Slim took over the show.

Backtrack Blues Band Your Baby Has Left

Backtrack Blues Band
Your Baby Has Left
VizzTone

Backtrack Blues Band has been performing blues around the Tampa Bay region since 1980, and "Your Baby Has Left" is their 7th album. The harmonica and vocals of Sonny Charles, as well as the lead guitar and vocals of Kid Royal, are upfront. The rhythm guitar of Little Johnny Walker, the bass of Stick Davis, and the drums of Joe Bencomo fill out this band. Bruce Katz contributes keyboards, and backing vocalists and horns are heard on several selections.

The music on "Your Baby Has Left" is straight-forward Chicago-styled blues that they perform in a solid, nicely paced manner. The opening "Best Friend's Grave (Joy, Joy, Joy)," has a strange lyric about burying his best friend but everyone dancing and singing 'Joy, Joy, Joy,' around his grave. It does have a robust vocal from Sonny Charles, who also lays out his fat harmonica sound. Kid Royal also impresses with bruce Katz helping with the foundation with greasy organ, and the rhythm is solid. The title track is a rocking boogie with a wailing vocal and harmonica. Then there is "Dixie Grill," a rocking shuffle about a place to get one's fill of some Carolina cooking. Kid Royal ably handles the vocal on Jimmy Reed's "Natural Born Lover," the one cover.

Kid Royal takes a searing solo behind Sonny Charles' vocal on "You'll Come Back Someday," and sings and plays fervently on the closing "Times is Hard." This track is a slow, down in the alley blues with more excellent fretwork (perhaps his best playing here) along with moaning backing horns and Sonny Charles' horn-like harmonica. It caps a very entertaining, straight-ahead album of Chicago-styled blues.

I received my review copy from VizzTone. Here they perform "Best Friend's Grave."

Take 5 With Muddy Waters

Muddy Waters (real name McKinley Morganfield) was one of the greatest of all the post-World War II blues artists associated with the city of Chicago. I was fortunate to see him perform several times in my life. Born in Mississippi, he moved to Chicago and electrified the deep Delta Blues. His music influenced countless other blues artists as well as rock artists. One of the most famous rock bands, as well as music magazines, took their name from one of his records, "Rolling Stone." Here is a small selection of his musical legacy with a focus on his pre-1950 recordings.

One of his first recordings made for the Library of Congress was "Country Blues." Reflecting the influence of Son House and Robert Johnson, it is a brilliant country blues performance.

After he moved to Chicago, Muddy made some recordings for Columbia that went unissued for some time. His first issued recordings were not even under his own name including a cover of a Robert Lockwood, Jr. recording. Circumstances had Sunnyland Slim bring him to Leonard Chess at Aristocrat Records where he started his legendary recording career. one of the early recordings he made with Slim was "Gypsy Woman."

Next up is a song Muddy learned from Robert Lockwood, Jr.  It is a cover of a recording Lockwood made for Bluebird, "Mean Red Spider." muddy first recorded this with James 'Sweet Lucy 'Carter under whose name it was released. Here is the recording Muddy made for Aristocrat.

Next up is a song that gave Peter Guralnick the title of one of his first books," I Feel Like Going Home."

The last selection of this brief playlist is "Burying Ground" with Big Crawford on bass. Big Crawford was the bassist on many of Muddy's early recordings

 I will be presenting Muddy Waters in the weeks to come.

The 44's Twist the Knife

The 44's
Twist the Knife
Ripcat Records

This is the first recording from The Forty Fours in seven years. Bandleader-Guitarist-vocalist Johnny Main spent the past few years rebuilding the 44's. This all-new lineup includes Eric Von Herzen on harmonica, Mike Hightower on bass, and Gary Ferguson on drums. Junior Watson plays guitar on seven of these eight songs that mostly straight, no-nonsense Chicago blues.

Main is a solid guitarist and robust singer, who sometimes sounds like a Howlin' Wolf imitator as on Wolf's "Howlin' For My Darling," and part of Muddy Waters' "Champagne and Reefer." They turn the old Dirty Red classic "Too Many Drivers" into a relaxed, rocking Chicago shuffle. Von Herzen is outstanding on harmonica while Hightower and Ferguson propel this nicely paced performances. The opening instrumental "Cuttin' Up" showcases Main displaying Albert Collins' influence in his tone here. They convert T-Bone Walker's "T-Bone Shuffle" into a nifty Chicago styled blues, "44's Shuffle."

There is a bit of a psychedelic freakout on the rendition of Doyle Bramhall II's "Rosie," which is the only bum selection to these ears. Also, the playing time is only 33 minutes. These points aside, this is still primarily an entertaining collection of straight-forward Chicago-styled blues.

I received my review copy from a publicist. This review originally appeared in the January-February 2020 Jazz & Blues Report (Issue 388). Here is a recent performance by The 44s.

Windy City Blues

Various Artists
Windy City Blues 
Stax

This new compilation on Stax brings together selections from various Prestige blues discs featuring Chicago blues acts with a previously unissued Albert King session that Willie Dixon produced in Chicago. This 1970 session is simply stunning as he plays some very hot guitar and sings strongly while backed by a band with a full horn section that complements his performances. The opening track, The Lovin’est Woman in Town, is an original he would record later. Here he just tears into the song with his guitar blasting away on his solo as the horns riff behind him. Equally as good is King’s rendition of Dixon’s Put It All In There and Love Me To Death. One wonders why these songs were not issued until now, as they are first-rate Albert King. 

In addition to King, James Cotton handles Dust My Broom, while Otis Spann recreates his It Must Have Been the Devil. Willie Dixon handles a couple songs in an uptown vein with saxophonist Harold Ashby among those backing him. Billy Boy Arnold shows the influence of John Lee ‘Sonny Boy’ Williamson on Two Drinks of Wine, derived from Sonny Boy’s Early in the Morning. Sunnyland Slim advises us that The Devil is a Busy Man, one of three tracks backed by a combo that included King Curtis and an organist. Finally, three alternate takes by slide guitarist Homesick James close this disc out. 
 

Most of this is solid, if not exceptional, and it is well worth getting for the Albert King sides. They are that good. 

I likely received my review copy from Fantasy Records. This review appeared previously in the March--June 2004 Jazz & Blues Report (Issue 268). You may have to check online for the current availability of this CD or its availability as a download.