Mark Hummel Salutes Little Walter

Mark Hummel’s Blues and Lonesome: Tribute to Little Walter (Rockinitus Records) is a compilation from recordings he has made over the years in homage to Little Walter. Little Walter Jacobs arguably was the most important and influential harmonica player of all time and his songs have been part of Hummel’s repertoire over the years.

Hummel, in his liner notes, was friends with three individuals who had spent time playing and recording with little Walter: Luther Tucker, Dave Myers and Francis Clay, as well as several musicians such as Willie ‘Big Eyes’ Smith, who played with walter when Walter would play with Muddy Waters Band in the sixties prior to his death in 1968. Tucker, Myers and Smith are present on several of these recordings, while many of the tracks feature members of Hummel’s band, the Blues Survivors.

While fans of Hummel may have most of these selections from his albums, it is convenient to have these all in one CD. His fans, and those of Little Walter’s music, will enjoy his tribute. The performances here are modeled on the originals and are strong, idiomatic renditions of classic Chicago Blues that Hummel sings and plays strongly on.

While the level of the performances is high throughout, several selections standout including the title track on which the late Luther Tucker is present. Tucker played on the original, and is able to stretch out with some startling guitar that he could not on the original 45 rpm single. With just guitarist Rusty Zinn, Hummel does a nice job reworking Walter’s “I Just Keep Loving Her,” and there there is the rocking shuffle “My Kinda Baby” with a terrific band that included the late Dave Myers along with Billy Flynn on guitars, pianist Barrelhouse Chuck, bassist Bob Stroger and drummer Willie ‘Big Eyes’ Smith.

I purchased this from bluebeatmusic.com and you might also check Mark Hummel’s own website, www.markhummel.com. Here is a video of Mark playing a Little Walter number not on the CD.

Robert Lockwood Jr Was a Steady Rolling Man

I was a senior at Case Western Reserve University when I first met Robert Lockwood Jr (often referred to as Robert Jr. Lockwood) and interviewed him for the university paper (I wish I still had a copy of that article). Later I did interview him which was run in the Jazz & Blues Report when he passed away in November 2006 at the age of 91.


Robert was one of the most interesting and underrated blues artists who ever lived. He is known as Robert Johnson’s stepson, and was taught many things by Johnson. However he developed a guitar style that reflected considerable jazz influences. He was a member of the King Biscuit radio program and then leading his own band for a competing flour company, Mother’s Best, was one of the first blues electric guitarists to be heard through the Mississippi Delta region, and influenced countless guitarists. This continued in the 1950s when he moved to Chicago and became house guitarist for Chess Records as well as teaching folk like Freddie King techniques. Around 1960, he accompanied Sonny Boy Williamson to Cleveland, Ohio where they played Gleason’s for several months,. Robert liked Cleveland and ended up staying and raising a family there until his death and making a number of albums over the years.

This is the first of a series from reviews of Robert’s recordings over the years that I will be posting here. The following review of “Steady Rolling Man” appeared in November 1992 issue of Jazz & Blues Report (Issue 176).  This CD was recently rereleased by Delmark and should be readily available. 

Robert Jr. Lockwood’s first album as a leader, Steady Rolling Man, has just been made available on compact disc by Delmark. Recorded with the Aces in 1970, shortly after Robert had made a surprise appearance at the 2nd Ann Arbor Blues Festival, this is a solid, straight-ahead session with reworkings of several Robert Johnson tunes (the title track, Ramblin’ on My Mind and Kind-Hearted Woman) several of the songs he recorded for Bluebird (Take a Little Walk with Me and Mean Red Spider), originals in a similar vein (Western Horizon, and Blues and Trouble), and three instrumentals, Steady Groove, Lockwood’s Boogie and Tanya.

All of the performances are marked by the relaxed interplay between Lockwood’s guitar, Louis Myers’ guitar, Dave Myers’ bass and Fred Below’s propulsive drumming. Alternates of Worst Old Feeling and Lockwood’s Boogie are added to prior releases. The instrumental Steady Groove provides a good description of the contents, as Lockwood and the Aces participated and were responsible for the groove for many classic Chess recordings. These are enjoyable, solid performances, as Robert delivers the vocals in an unadorned style, although they are not as charged as the live Japanese recordings Lockwood and the Aces made that were issued on an Advent album that has unfortunately never been issued on compact disc in the United States. Solid, unpretentious blues.

For purposes of FTC regulations, I likely received this from Delmark Records.

Roosevelt Sykes Sounds Good Blowing His Horn

A blues pianist acquaintance of mine suggested to me that Roosevelt Sykes arguably was the greatest pianist in the history of blues. It is not a commonly accepted notion, but upon reflection has more than much to commend itself. Sykes in his career put together a body of recordings that is among the greatest blues recordings by a single performer. A tremendous pianist, songwriter and a great singer with a robust, extroverted delivery, from his early classics like “44 Blues” to post-war sessions like the New Orleans one that produced “Sweet Old Chicago,” Sykes remained a blues giant across the decades.


I will not make claims that the Delmark Sykes’ recording, Feel Like Blowing My Horn, is one of the classic essential blues piano recordings. This is simply a solid recording by Sykes in a solid jump band setting with sympathetic backing. For me, it is the musical equivalent of comfort food. I purchased this when it came out in 1970 and delighted that Delmark reissued it in 1997 (It should still be readily available). The session included long-time friend of Sykes, the late Robert Jr. Lockwood on guitar, along with Dave Myers on bass and Fred Below on drums. I believe this was recorded close to when Lockwood recorded his “Steady Rolling Man” album for Delmark, but the Sykes album appeared to showcase Lockwood’s guitar more, and Myers and Below backed Lockwood on that CD.


Horns were added by trumpeter King Kolax and Oett ‘Sax’ Mallard on tenor sax and clarinet. Mallard had a brief stint with Duke Ellington, and played in numerous blues and jump band sessions including the 1946 Victor session by Sykes that produced Sykes’ hit “Sunny Road,” as well as sessions with Big Bill Broonzy, Washboard Sam, Sunnyland Slim, Eddie Boyd and Jump Jackson. Being reunited with Sykes, this was the last session he appeared on. Kolax himself led a big band in the Windy City which traveled a bit without recording. He joined Billy Eckstine’s last edition of his fabled big band which included fellow Wendell Phillips High School alumni, Gene Ammons, as well as Leo Parker and Frank Wess as well as fabled trumpeter Hobart Dotson and made his first recordings as part of Eckstine’s band with a soundtrack, Rhythm in a Riff. Kolax recorded a 78 for Opera Records, was part of saxophonist JT Brown’s band for a United label session and Kolax’s band backed Joe Williams on his Checker recording of “Everyday I Have the Blues.” John Coltrane spent a stint in Kolax’s band for a period and Kolax’s lengthy session work included playing on Otis Rush’s Duke Session that produced “Homework.” Coincidentally, like Mallard this is the last session Kolax is documented as being on.


The music kicks off with the ebullient title track and the brassy horn riffs, Sykes’ driving piano and Lockwood’s chording and single note runs set the tone with Mallard taking the first solo break as Sykes rocks things with some boogie-laced runs with Lockwood taking a solo during the second break as Below kicks the groove along. The tempo slows down for My Hamstring’s Poppin’, has Sykes noting his woman has a fine body but is a gold digger from her heart, “but I could not resist you, and I’d know it from the start,” as Sykes calls out for Lockwood to take his solo with Sykes encouraging him with cries of “Mercy.” “I’m a Nut,” is a shuffle with a silly lyric, an energetic solo from Mallard, and a playful vocal from Sykes. Sykes’ piano opens, Blues Will Prank Your Soul, with a wistful vocal as Mallard riffs behind the vocal, and Lockwood takes a solo.


Jubilee Time is a relaxed rocking as Sykes sings about it being jubilee time in New Orleans and dancing around the old campgrounds. Mallard is on clarinet here as Sykes encourages him along with Kolax adding a hot solo. An unissued alternate is added here to the originally issued take. All Days Are Good Days is a fine blues in a more reflective vein for which an alternate take is added to the originally issued one and one should pay attention to Sykes’ piano reacting to Lockwood’s solo here. Sykes’ Gumboogie is a lively piano feature as the horns playing simple riffs and the rhythm section push things along while Rock-A-Bye Birdie is a New Orleans R&B flavored song with Mallard playing with gusto of classic Lee Allen. Moving Blues sounds like an adaptation of Move to the Outskirts of Town, with Lockwood taking a solo and Mallard adding his responsive voice. Don’t Bat Your Eye is a previously unissued track with a rhumba groove with punchy horns and a lively Mallard solo. There is a loose jam-like feeling to this performance which has a short solo from Kolax as well. Eagle Rock Me, Baby is a medium rocker where Below keeps the grove in the pocket.


With two previously unissued alternate takes and two previously unissued tracks, Delmark’s reissue on CD of Feel Like Blowing My Horn, added to the value of this fun session. The music sure sounds like all were having a blast.



Delmark Records provided me with a review copy of this recording.

Live 1966 Junior Wells Is Blues Lovers Treat

What a pleasant surprise it was to learn that Delmark was planning to issue a 1966 Boston appearance by Junior Wells. It was recorded shortly after the classic “Hoodoo Man Blues,” was issued but as Scott Dirks notes, instead of the band Junior was using in the clubs (that included Buddy Guy), he travelled with the Aces (Louis and Dave Myers, guitar and bass guitar respectively; and Fred Below on drums). The result is Junior Wells & the Aces, “Live in Boston 1966,” and is a release that will certainly raise the blood pressure of the many fans the late legend had. The hour long performance issued here includes twelves songs interspersed with Wells’ comments and introductions. For those who remember the live tracks on Wells’ Vanguard album “Its My Life Baby,” there with be some similarity although Louis Myers’ guitar style is very different from the more flamboyant fretwork of Guy.


The songs include “Feelin’ Good,” a staple of his repertoire followed by “Man Downstairs,” where he quotes “Mellow Down Easy,” in his solo. He has fun playing with audience at time and clear they are having a good time as he launches into “Worried Life Blues,” with Below helping kick it off with his identifiable drum roll. “Junior’s Whoop,” suggests his fusion of funk and traditional blues as the groove again evokes “Mellow Down Easy,” as urges his woman to come on and scats a bit followed by a tough harp break. Over forty years later, renditions of “That’s All Right,” and “Look On Yonder’s Wall,” would hardly be exciting, but Wells sings strongly on what likely would have staples of his club performances. No such complaint can be made about Wells’ “Messing With the Kid,” which is very similar to Wells’ “Chicago The Blues Today” recording, with Myers playing some of the same riffs as Guy behind the vocal. “Hideaway” is a feature for Louis Myers’ guitar and taken straight before Wells comes in on harp over half way through. Dirks suggests that both “If You Gonna Leave Me,” and “I Don’t Know” (note the Willie Mabon recording), sound like Junior put them together from fragments of songs and illustrates his ability to make these sound like finished songs and display his personality. Myers takes a nice solo on the former number, while Wells opens the latter number on a harp with a nice shuffle groove that evokes his mentor, Sonny Boy ‘Rice Miller’ Williamson’s “Don’t Start Me Talkin,’” and even sings a couple lines in a Rice Miller vein. Myers handles one vocal here, “Got My Mojo Workin’.”


Sound is a slight bit muffled, but that is due to the source material and the restoration does a really good job in presenting the music. It is also handsomely packaged in a digipak. Scott Dirks writes that the power of Junior’s personality comes across here and this writer certainly will not disagree with that assessment. The one omission is lack of information of where this was recorded other than in Boston. (Today, October 6, I learned that it was recorded at the fabled Club 47 in Cambridge). This is a wonderful addition to the Junior Wells discography and certainly should appeal to his fans and fans of solid Chicago blues. 




I received a review copy directly from Delmark Records.

Jimmy Rogers at Best on CD "Blue Bird"

1994 saw Analogue Productions Original issue a marvelous album by the legendary Jimmy Rogers with an all star band. These are arguably his best recordings since the best of his Chess recordings, and are still available. This is my review from 1994.

Jimmy Rogers has a great new album, Blue Bird, on Analogue Productions Originals (APO 2001), an audiophile label that issues releases on high quality vinyl in addition to compact disc. Producer John Koenig has assembled a terrific backing band with Dave Myers on bass, Roger’s son Jimmy D. Lane on lead guitar, Ted Harvey on drums, Carey Bell on harmonica and Johnnie Johnson on piano. Rogers reworks several of his classic recordings (Walking By Myself Again, That Ain’t It, and Blues Falling), along with renditions of Howlin’ Wolf’s Howlin’ For My Darling, and Muddy Waters’ rendition of Smokestack Lightning. Rogers was always was a fan of the first Sonny Boy Williamson, and the title track, credited to Rogers, is a reworking of one of John Lee Williamson’s recordings, while the opening I’m Tired of Crying Over You is a retitled version of Little Walter’s Oh Baby. Rogers sounds in good voice and the relaxed, but tight, backing fits like a glove. Johnnie Johnson is a terrific accompanist and is much better in this role than as a leader or singer. Carey Bell’s harp playing here is up to his usual high level and Jimmy Lane’s guitar playing hits all the right bases, without any gimmicks, tricks or flash. He has certainly absorbed a lot of influences from the old school (to use former Muddy Waters guitarist Bob Margolin’s phrase) in his playing including those from his dad and the late Eddie Taylor, along with more rock oriented players. Everything is sung and played at such a high level, and this is one of the best recent albums of traditional Chicago blues. The better stores should have this one - but Analogue Productions Originals is distributed by Acoustic Sounds, P.O. Box 2043, Salina, Kansas 67402-2043 or telephone them at (913) 825-8609. They also have gold disc and 180 gram vinyl audiophile reissues of several albums from the Contemporary Records jazz catalog.