Marie Knight The Gospel Truth Live

Marie Knight
The Gospel Truth Live
M.C. Records

A surprise is this posthumous concert recording by the late great Gospel singer, Marie Knight. Knight was then one of the last great singers from the Golden Age of Gospel (1940-1960), who may be kn own for association with Sister Rosetta Tharpe, the nationally famous gospel singer-guitarist, who she met in 1946. The two became gospel’s preeminent duo of the 1940s, recording hits for Decca Records, including “Didn’t It Rain,” “Up Above My Head,” and the gorgeous “Beams of Heaven.” By the late 1940s, Marie and Rosetta had split to pursue separate musical projects—Marie to do solo gospel work on Decca.

Tharpe and Knight still reunited frequently on stage during the 1950s, however. In addition to singing before thousands of gospel fans in Washington, DC in 1950, and touring with up-and-coming gospel vocalist Wynona Carr in 1954. In the 1960s, Marie cultivated a rhythm-and-blues career, touring with the likes of Brooke Benton, the Drifters, and Clyde McPhatter. After a hiatus, she re-emerged in the mid-1970s to record gospel music. After recording a song on a Sister Rosetta Tharpe tribute album, she recorded an album of the gospel songs of Rev. Gary Davis titled “Let Us Get Together” which came out on M.C. Records in June 2007 and was the last studio album she recorded.

The posthumous "The Gospel Truth Live," was recorded October 19, 2007 at a Gospel Festival at the Church Street Center in North Adams MA. As noted in Bil Carpenter's liner notes, it was a wet and overcast day when she first met with students at Massachusetts College of Liberal Arts and then headlined the school's Gospel Fest. She was accompanied only by pianist Dave Keyes on a program that is mainly drawn from the songbooks of Tharpe and Davis (not surprising since Knight's album of Davis songs had been released a few months earlier) interspersed with her introductions and parables about life, including a moving reminiscence of performing in California and learning her mother and two children perished in a fire and having to sing between the tears.

Certainly a good portion of the songs will be familiar including "Didn't It Rain," and "Up Around My Head," from her days with Sister Rosetta Tharpe (and the latter number seems very popular today), along with "I Belong to the Band," "12 Gates to the City," "I Am the Light of the World," and "Let Is Get Together," from Reverend Gary Davis. Then she mixes in traditional spiritual numbers like "Jesus Loves Me," "I'll Fly Away," "Closer Walk With Thee (on which Keyes sings) and "For Thine is the Kingdom." Keyes provides a stately, sometimes barrelhouse rooted, boogie backing that supported her wonderful singing, that belied her age of 87 at the time. Time had little affected the power she could invest her nuanced vocals with.

Less than two years later she would pass away, and a cherished voice was silenced. Not having the pleasure of seeing her perform, I can appreciate the honesty and passion of the music here. Thanks to Mark Carpentini for producing this and making this wonderful release available.

I received from my review copy from M.C. Records.  Here she sings Up Above My Head."

Dave Keyes The Healing

Dave Keyes
The Healing
Keyesland Records

I am familiar with Dave Keyes from his work as a sideman behind the likes of Slam Allen, Alexis Suter and a Johnny Copeland tribute than as a leader. This is apparently his 6th album and a good one indeed. He is backed by Frank Pagano on drums (with Steve Rushton on some tracks) and bassist David J. Keyes with guests guitarists Popa Chubby and Arthur Neilson, singers Vaneese Thomas and Alexis Suter, and harmonica player Rob Paparozzi. Keyes penned 9 originals along with two covers on a program that includes soul-drenched rock, blues and boogie with some gospel touches.

What immediately struck this listener was the level of Keyes' vocals. I knew he had serious keyboard chops, but the quality, diction, dynamics, and authoritativeness of his vocals was a very pleasant surprise. This can be heard on his very intriguing reworking of Robert Johnson's "Traveling Riverside Blues," and Sister Rosetta Tharpe's "Strange Things Happening," both of which he places a personal stamp on. It is also true of his originals including his duet with Vaneese Thomas on the soulful "Ain't Looking For Love," with its chugging rhythm, nice harmonica from Paparozzi and its refrain of some people looking for love and some just looking for sex. Suter and the Brooklyn Interdenominational Choir provide vocal backing on the gospel-tinged "Faith Grace Love And Forgiveness," another performance which illustrates the honesty and conviction Keyes invests his singing with.

Keyes instrumentally is solid throughout whether as part of the rhythm section or playing rollicking solo boogie woogie on "Boogie For Stefan." Furthermore, his songs have memorable lyrics and are well played by the studio band resulting in this terrific recording. After listening to this, I would love to see Dave Keyes as a leader, not simply a sideman.

I received my review copy from Dave Keyes. Here Dave is performing "Blues For Stefan."

Jimmy Carpenter Plays the Blues

Jimmy Carpenter
Plays the Blues
VizzTone

Veteran saxophonist Jimmy Carpenter is currently part of blues rocker Mike Zito's band, though he previously has lengthy stints with Jimmy Thackery and Walter 'Wolfman' Washington. Zito produced this and adds his guitar and vocals to Carpenter's tenor saxophone, bassist Bob Bridges, Matthew Johnson's drums, and Marc Adams keyboards with a variety of guests including guitarists Tony Diteodoro, Tinsley Ellis, Anders Osborne and Jonn Del Toro Richardson and keyboardists Lewis Stephens and Dave Keyes.

The ten songs heard include two originals and eight covers starting with Magic Sam's "You Belong to Me," and ending with a rousing Junior Walker's "Shotgun." Carpenter plays plenty of rousing, raspy saxophone in a Junior Walker-King Curtis--Boots Randolph vein throughout and, if not a great singer, is like-able with an unforced delivery as on the hot Little Walter shuffle "Too Late." The longest selection is "Jimmy Plays the Blues," a nice blues instrumental with plenty of space for his roadhouse saxophone. The other original is a piece of old-fashioned rock and roll, "Kid in My Head," with rollicking piano from Stephens in support of the leader's yakety-yak sax playing.

Jonn Del Toro Richardson adds some nice guitar support on the cover of "Blues With a Feeling," which has a booting sax solo as well, while Tinsley Ellis joins in for a musical dialogue with with Carpenter on a rendition of Freddie King's "Surf Monkey," and Anders Osborne contributes to an instrumental interpretation of Sam Cooke's "Change Is Gonna Come," which arguably has Carpenter's finest playing with a more attack employing a broader tonal range. Up next is a rousing rendition of King Curtis' "Preach," and then Otis Rush's "All Your Love (I Miss Lovin').' with fine guitar from Zito and another booting sax solo.

A straight cover of "Shotgun" closes this straight-forward, well played recording that entertains even if it breaks no new ground.

I received my review copy from VizzTone. This review originally appeared in the November-December 2017  Jazz & Blues Report (Issue 375). Here is Jimmy Carpenter playing "Shot Gun."

 

Peter Karp The Arson's Match

Peter Karp
The Arson's Match

I know of Peter Karp through recordings he made with Sue Foley for Blind Pig. The singer, songwriter and instrumentalist has a new recording that was recorded live at New York City's The Bottom Line by Sirius XM. Most notable about this recording is the presence of Mick Taylor, best known for his tenure with the Rolling Stones (and before that with John Mayall). Also present is harmonica wizard Dennis Gruenling and Dave Keyes plays piano one one selection. Others on the session are Ken Ehinger on keyboards, Daniel Pagdon on bass, and Paul "Hernandez" Unsworth on drums.

These performances range from the title track, a fast tempoed blues about someone burning his home down set to the "Dust My Broom," with a searing blues-rock solo from Taylor. "Chee Chee Chee Chee Wawa," is a catchy number with a bouncy and breezy feel, as he sings about this woman he meets in the Sonoran desert. This performance has more choice Taylor playing that showcases his ability to play softly and employ silence between the notes. It is a captivating performance. "Y'all Be Lookin'," is a nice rock and roll shuffle with a lyric that folks may be looking for something, but they should be looking for love. A highlight here is a solid slide guitar solo.. "The Turning Point" is more in a folk vein with the keyboards adding proper seasoning backing the vocal.

"The Nietzsche Lounge" has another interesting lyric with word-play,  rollicking piano and solid harp in addition to Taylor's fiery fretwork. After this performance Karp introduces the band. "Your Prettyness" is built on a nice groove (hint of Howlin' Wolf's "Who's Been Talking") with a fine Dave Keyes piano solo and a terrific harp solo. The remainder of this recording shares the virtues of Karp's songs, his earnest, appealing, gritty vocals and a terrific band with  terrific playing from (especially) Gruenling and Taylor. Not strictly a blues recording, but the spirit of the blues infuses pretty much this entire recording. It must have been quite a night at the Bottom Line and the music was hotter than the Arson's match.

I received my review copy from a publicist. Here is the performance of the title track from The Bottom Line.

 

Dennis Gruenling Ready Or Not

Dennis Gruenling
Ready Or Not
VizzTone

Harmonica wizard Dennis Gruenling has a new release on VizzTone, "Ready Or Not." Like his previous recording, 2012's "Rockin’ All Day," he is backed by guitarist Doug Deming & the Jewel Tones (bassist Andrew Gohman and drummer Michael Bram). Also, Dave Keyes adds piano to 4 tracks and Doug Sasfai adds saxophone to 4 selections and producer Steve Conte adds acoustic guitar to one selection. The liner notes note that the album was focused on a rock and roll styled record, harking back to the 1950s with artists like Chuck Berry, Bo Diddley and Fats Domino. Gruenling wrote all the songs (some in collaboration) and for the first time takes all the vocals and he comes across credibly with his straight-forward delivery, although his vocals are not on the same level as his harmonica playing. The Jewel Tones and the others certainly do their bit to help create the feel and the lyrics have a school hop flavor.

There are many pleasures starting with the opening Little Richard flavored "Knockin' My Knees," that evokes some of the recordings of Kid Thomas (although Gruenling is somewhat straight-laced compared to Kid Thomas frenzied singing). "Simmer Down" is musically related (not lyrically related) to the Roy Montrell classic "(Everytime I Hear) That Mellow Saxophone" and featured some tasty interplay between Gruenling and Deming. The groove on "Little Sugar," suggests some Gary U.S. Bonds recordings with  very tasty guitar along with a nice harmonica solo, while on "Ready To Burn," it sounds like he sings through his harp mike, giving his vocal a distorted feel matched the hot harp on this. There are two instrumentals, the blistering, "Rockin' With The Rev," and the moody sounding "Count Chromatic," where his fat tone is marked by Deming's Luther Tucker sounding fills that closes the 13 song recording.

"Ready Or Not" is another highly enjoyable recording that fans of Gruenling and Deming will certainly love, and for those unfamiliar with the two, it is musically a solid introduction to the music.

I received my review copy from VizzTone. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). I made a few minor revisions to the review. Here is a video of Dennis performing Count Chromatic."

Debbie Davies Takes A Love Spin

 

Debbie Davies has a new release of interest, "Love Spin" (Vizz-Tone). In addition to her usual band mates including her longtime drummer Don Castagno, the album has appearances from Terry Hanck (sax, vocals), Dana Robbins (sax), Dave Keyes (piano) and Jay Stollman (vocals).

No criticisms can be raised about Davies fluid, biting fretwork. She learned a lot playing with the late Albert Collins, and like her former boss, makes use of space, as well as tone, in her fleet improvisations. Her vocals are heartfelt, sung without artifice and ring with conviction. The rhythm section is also on point and provide strong support on tunes like the opening "Life of the Party," a straight-forward boogaloo number with interesting, ironic lyrics. "Let the Heartaches Begin," a duet with Terry Hanck is a superb swamp-pop styled tune with wonderful vocals. There is also Davies fine, precise guitar followed by Hanck's slightly raspy sax.

Vocalist Jay Stollman joins Debbie on the funky R&B flavored "Don't Change It Up" on which Scott Spray guests on bass. There is nice organ coloring Debbie's focused guitar pyrotechnics. "As long as it sets your soul free" she sings against a loping rhythm on "It's All Blues." Davies gets playful on the rocker, "I'm Not Cheatin' Yet," with has a booting Hanck solo. Davies shows her humorous side telling of her man's illusions about being sexy and dreaming of trading Debbie in for "Two Twenty-Five-Year-Olds." She ingeniously incorporates an Eddie Taylor riff into her tune. A jazzy sophistication is exhibited on "A Darker Side Of Me," adding to the variety heard here.

A slide guitar showcase, "Way Back Home," that uses the "Rollin' and Tumblin'" groove to close out this album. There is a nice mix of material on this that Debbie Davies delivers with more than a little panache resulting in another most entertaining recording from her.

I received my review copy from Vizz-Tone. This review appeared originally in Jazz & Blues Report, but I have made significant changes (Most stylistic) from that review. Here is Debbie in performance.

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.