Delmark Blues Reissues

Here is a composite review of several Delmark Blues reissues that appeared in Issue 218 of the Jazz & Blues Report (1997). I likely received review copies from Delmark.Some of these may still be in print and others may be available used. Check out delmark.com for availability on disc, vinyl and digital downloads.

These releases are among the latest recordings from Delmark Records’ back catalog to be issued on compact disc with additional tracks (including alternate takes and unissued songs) expanding each of these from their original vinyl format. 

Luther Allison’s first album, Love Me Mama (DE-625) will certainly be of great interest given Allison’s phenomenal resurgence in the past couple years. These 1969 recordings with bassist Mojo Elem, drummer Bob Richey, guitarist Jimmy Dawkins on rhythm, and saxophonist Jim Conley still sound fresh with the rawness and passion Allison brings to his performance. B.B. King's influence is highly evident from the opening Why | Love the Blues, a transformation of Why | Sing the Blues, and renditions of 4:00 O'Clock in the Morning, the title track (a version of Rock Me Baby) and You Done Lost Your Good Thing Now. But King’s stamp was more evident on Allison’s guitar and choice of material than his vocals, which this writer has always compared to the vocals of latter Elmore James, with strong renditions turned in of Dust My Broom, and The Sky is Crying. Allison’s experimentation with the wah wah pedal are intriguing in his exploration not only of their tonal palette, but use for a rhythmic springboard. Allison’s fans will definitely want these, but they hold up for more than historical value).

Jimmy Dawkins is represented by his third album, Blisterstring(DE-641), which adds pianist Sonny Thompson to Dawkins’ band that included Jimmy Johnson on rhythm guitar. Dawkins sings with as much passion here as on any recording he ever made, and the band is as good as he ever had with plenty of space for Dawkins gritty, trebly guitar with effective remakes of such blues classics as Feel So Bad, Blue Monday (the Smiley Lewis song), and Blues With a Feeling, along with an instrumental take of Ode to Billie Joe. Along with these is a fine original topical blues, Welfare Line. Several unissued titles fill out this session which is far better than Dawkins subsequent recordings over the past two decades.

Barrelhouse pianist Speckled Red is celebrated for his twenties recording of the bawdy The Dirty Dozens, along with some other celebrated recordings. He was Delmark’s first blues artist, and The Dirty Dozens (DE-601) makes available the label's first blues release. This is rough hewn barrelhouse and boogie woogie as Rufus Perryman (Red's real name) rocks the eighty-eights on new recordings of Right String, Wrong Yo Yo and Wilkins Street Stomp in addition to his signature song. Also included is his take on the classic Cow Cow Blues and the previously unissued numbers include a terrific take of Early in the Morning along with two alternate renditions of the Dozens that are raunchier than the issued version and are not suitable for airplay or young, impressionable children. While his timing occasionally was eccentric, he played with an irresistible drive and his exuberant vocals are reminiscent of the greatest of all blues pianists, Roosevelt Sykes.

Also for blues piano fans is the anthology Blues Piano Orgy (DE-626) which brings together selections by Red, Roosevelt Sykes, Sunnyland Slim, Little Brother Montgomery, Memphis Slim, Curtis Jones and Otis Spann. The Spann track, Three-In-One Blues dates from the session that produced Junior Wells’ Southside Blues Jam and is a duet with drummer Fred Below on one of his last recordings. Sykes is heard on four numbers featuring his strong two-fisted playing a rendition of the dozens, Kickin’ Motor Scooter, while Sunnyland Slim bellows his vocals with his distinctive piano accompaniment, including a tasty rendition of one of his signature songs, Everytime | Get to Drinking. Little Brother Montgomery's selections mix stride and ragtime to his barrelhouse attack, and his classic No Special Rider is among the tunes reprised here. Two selections by Memphis Slim (not on the original album) were originally recorded for the United label with a band that included Matt Murphy's incisive guitar. The under-appreciated lyricist and singer-pianist Curtis Jones is heard on three numbers, including two of his signature pieces, Lonesome Bedroom Blues and Tin Pan Alley Blues. This album never has less than a genial quality to it and is a tasty sampler of some very significant blues pianists.

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.

THE JIMMY DAWKINS BAND - BLISTERSTRING - DELMARK DS 641

Here is another of my reviews from the 1970s from the Buffalo Jazz Report.  The following review appeared in the December 1976 issue and I likely received a review copy from Delmark. It is currently available on CD. Above is the LP cover.

Jimmy Dawkins is one of the most original and important blues artists to emerge in the past few years. His first album Fast Fingers (Delmark DS-623) won the Grand Prix du Disque de Jazz awarded by the Hot Club of France, sort of like winning a Grammy, and his second album All For Business (DS-634) with Otis Rush, among the musicians, has to be one of the best blues albums of the 1970s. Jimmy's third Delmark alhum is good, of not up to the level of the first two, and a much better modem blues album than the Albert King album reviewed elsewhere. 

CD Cover For Blisterstring

This is Jimmy's first album with his working band and where he can control over production along with Delmari's Steve Thomashefsky. One main problem is that a few sides drag a little long, and Jimmy's playing, hard and driving as ever gets repetitious at points. I found it difficult sitting through this whole album, a problem I didn't have with the earlier two. Still there is some great music here, my favorite track being the closer Welfare Line with great lyrics and Jimmy making good use of both rhythmical and tonal effects in his playing. Also outstanding is a cooking version of Kenny Burrell's Chitlins Con Carne, and Blue Monday, an old New Orleans R'n'B tune associated with Fats Domino and Smiley Lewis which is partially a tribute to them. 

One other problem with the album is a somewhat distant quality to the recording. I don't like how the drummer was recorded. Still Jimmy Dawkins deserves your attention as a serious artist who the Downbeat Critics voted in 1974 Talent Deserving Wider Recognition.

Jimmy Dawkins Kant Sheck Dees Bluze

Felix Wohrstein’s liner notes to Dawkins’ new Earwig recording, Kant Shek Dees Bluze, state that “there are no Jimmy Dawkins imitators.” If not generating imitators, Dawkins has certainly influenced at least one artist, Bobby Radcliffe, who similarly employs a driving attack, “combining piercing sustain and staccato.” 

Dawkins' first album Fast Fingers, is one of the few blues albums to win the Grand Prix of the Hot Club of France and he was voted by Downbeat critics as rock/pop/blues act deserving wider recognition. Despite this critical acclaim, his career never sustained the level of public recognition as other, probably lesser artists. Perhaps it was due to his serious “all for business” nature and his music. No flashy theatrics, just a heavy dose of straight blues. 

While he has continued to record overseas, Kant Sheck Dees Bluze is only his second U.S. album in over 15 years. Earwig has brought together a solid studio band that includes “Professor” Eddie Lusk on keyboards, Billy Flynn on rhythm guitar, Johnny B. Gayden on bass and Ray Scott on drums. Two of the vocals here feature singer Nora Jean Wallace who sounds as a promising talent, but the bulk of the vocals are delivered by Dawkins who may have a limited range, but invests his vocals with much feeling. 

The songs are all originals, although one can hear allusions to Sonny Boy Williamson’s Help Me on the title track (as he sings that he can’t shake these blues) or Magic Sam’s All Your Love on Wes Cide Bluze. The lyrical themes are typical of Dawkins, as he sings about the troubles of everyday, not simply those between a man and a woman, but also the economic and social problems of poverty. 

While the lyrics of the topical Made the Hard Way may be superseded by events, its not an untypical Dawkins theme, nor are his sentiments that life is a struggle, but people must keep struggling and holding on to keep their dreams and hopes alive, as expressed in the religious song, Gotta Hold On, that closes the record. Dawkins offers plenty of searing guitar, with his backing of Nora Jean Wallace’s My Man Loves Me being particularly effective, however, some of his playing is busier than on earlier recordings. 

While there is a generous 65 minutes, and like other Dawkins recordings there is the flavor of a club jam. Some performances would have benefited by being shorter and more focused. No question however that Jimmy Dawkins remains one of modern blues’ major talents, and this is a most welcome release.

This 20 year old review originally appeared in the July 1992 Jazz and Blues Report (Issue 172) and I likely received my review copy from the label.  Here is Jimmy performing in 1991.

Tail Dragger Live at Vern's Friendly Lounge

James Y. Jones, the Chicago blues singer took his stage name, Tail Dragger, from a Howlin Wolf song. This was fitting insofar as Wolf was a mentor and heavy influence on him as reflected in his singing, stage act and his music which employs some of the grooves and melodies associated with some of Wolf’s classic recordings, even tossing in a yodel-like Howl on several tracks. A few years back he had a CD and DVD on Delmark is My Head is Bald, Live at Vern’s Friendly Lounge, Chicago. He benefited from a terrific band that has Billy Branch on harmonica, Lurrie Bell on Guitar, Kevin Shanahan on guitar, Bob Stroger on bass, Kenny Smith on drums and Willie Young on tenor sax. Jimmy Dawkins replaces Shanahan on My Head is Bald.

Tail Dragger contributed all the songs except Jimmy Dawkins’ So Ezee. One song, Cold Out Doors, is a DVD bonus track not on the CD. While one would be hard-pressed to call the Tail Dragger a major artist, he entertains with a program that evokes the Wolf. His vocals are slightly slurred and don’t have Wolf’s crispness nor is he as forceful as Wolf was, but still is a very enjoyable singer with the band rocking behind him. Billy Branch is typically outstanding while Lurrie Bell’s stinging lines and riffs evoke Hubert Sumlin’s playing with Wolf. The rhythm duo of Stroger and Smith provide a solid foundation for everybody else. Songs like Tend to Your Business, My Woman is Gone, and the title track, are typically of the solid evocation of Wolf’s music present throughout and its entertaining to watch the DVD to see Tail Dragger singing for the woman, working the crowd and egging his musicians on.

I was also impressed by the camera work and production on the DVD which really gives a sense of that evening at Vern’s Friendly Lounge. This is certainly welcome as an entertaining release that should appeal to fans of classic Chicago blues.

I received my review copies from Delmark and this review originally appeared in slightly different form in the February 2006 DC Blues Calendar which was then the DC Blues Society’s newsletter. It also appeared in the July-August 2006 Jazz and Blues Report (Issue 284). I previously posted a review of his Live at Rooster's Lounge.

If my review interests you, here is Delmark's Trailer promoting this DVD.

Jimmy Dawkins' Lerical Blues Productions

Here is a review of an interesting compilation of blues that originally appeared in Jazz & Blues Report, July 2010 (issue 327) on page 7. You can download the complete issue at jazz-blues.com.

Leric Records was an independent blues label operated by bluesman Jimmy Dawkins in the 1980's. During it's relatively brief existence it issued a number of 45 rpm singles by lesser known members of the Chicago blues community, including some still active today. Dawkins produced or purchased for release the sides issued on Leric, playing on some of the sessions, but mostly making available some interesting music. Delmark has just issued “Jimmy Dawkins Presents: The Leric Story,” with 16 selections, including several previously unissued selections.

Little Johnny Christian opens this collection up with a driving “New LIfe,” with the band including Michael Coleman on guitar and Eddie ‘Jewtown’ Burks on harmonica with a terrific tagline “Why every man gotta have two women, and a good woman only needs one man.” Outside of the functional, unimaginative horn arrangements their is some nicer playing including fine vocal and guitar. Dawkins’ penned “Luv Somebody,” with a strong chugging groove that would be home on a Johnny Taylor Recording with Vance Kelly taking the lead guitar. The two other Christian performances give further evidence of what a fine singer he was and also were the first session for guitarist Chico Banks. “Ain’t Gonna Worry About Tomorrow,” which uses the “Cummins Prison Farm Blues,” melody is an impressive performance with strong singing and terrific playing from Banks. Dawkins’ recognizable guitar is present on the sides by the late bassist-vocalist Queen Sylvia Embry (including the excellent “I Know I Ain't Number One”) and the early siders by Nora Jean (Bruso) who sides show more promise that has been realized on her recent recordings, including an excellent disc on Severn. Dawkins’ also supports a fine performance from bassist Robert ‘Big Mojo’ Elem who once anchored the bands of Freddie King and Luther Allison. His side was previously unissued as were the three sides (one an instrumental) by singer-guitarist Vance Kelly who is still active. “Use What you Got,” is a mix of soulful singing and a down home blues groove. Tail Dragger is represented by two sides with a solid band but I find his Howlin’ Wolf styled performances over-bearing and suffer from his mumbling diction, but others will disagree. Sister Margo and Healing Center Choir close this compilation with two solid gospel performances.

In summary, a solid collection of 80’s Chicago blues which exhibit more than a little soul, but remain rooted in the more traditional blues. David Whiteis contributes a concise overview of the music here. It is not an essential release, but one that still is valuable, especially for making available music from Christian and Kelly.


For FTC purposes, the review copy was sent by the recording company.

Tail Dragger's New Live Album

Its been a few years since Delmark issued a live performance by Tail Dragger on CD and DVD. The prior release, “My Head Is Bald, Live At Vern’s Friendly Lounge, Chicago,” was well received and reportedly one of Delmark’s better selling releases. Three years later they follow with “Live at Rooster's Lounge,” with the Howlin’ Wolf inspired James Y. Jones performs straight Chicago blues in the vein of his mentor and friend as he redoes some of Wolf tunes along with some similarly structured originals and a few tunes associated with Muddy Waters, Sonny Boy Williamson, Little Walter and John Lee Hooker, although played in a Wolf-style.

This is a well-played performance with a solid band that includes Rockin’ Johnny Burgin and Kevin Shanahan on guitars, Martin Lang on harp, Todd Fackler on bass and Rob Lorenz on drums with Jimmy Dawkins added to one track. Jones is an expressive singer who suggests Wolf but whose slurred diction does detract a bit from the forcefulness of the performances and the band plays idiomatically. Shanahan and Dawkins are the only ones returning the earlier CD/DVD which benefited greatly from Lurrie Bell’s mercurial guitar. There is certainly nothing wrong with Jones’ covers of “Louise,” “Baby Please Don’t Go,” or “I’m in the Mood’, his own “Stop Lyin’,” and “Bought Me a New Home,” but also nothing amazing about them either. The DVD has additional performances and Delmark’s usual straight-forward video qualities.

On its own, an enjoyable, if unexceptional, recording. If you have the prior live recording, I find little here to call this a must purchase. This one may be easier to find and one might be fan of this viewing Tail Dragger as a Wolf tribute artist, but he is not such a compelling performer that the general blues fan would need everything he has recorded.

Since I wrote this, I received a email from Kevin Johnson at Delmark who reminds me this CD marks return of Rockin Johnny to recording and performing after almost a decade disappearance! Johnny has been one of the better young guitarists in Chicago at playing in a more traditional Chicago blues vein and its welcome that he is back in circulation.

For purposes of FTC regulations, I received a review copy of this from Delmark.

Sleepy John's Electric Chicago Blues

Sleepy John Estes was one of the great blues poets and vocalists whose prewar recordings were highly influential on the likes of John Lee ‘Sonny Boy’ Williamson and others. A creative lyricist who often spun songs from his own experiences, his crying vocals (and rudimentary guitar playing) backed by the vocalised harmonica of Hammie Nixon and the mandolin of Yank Rachell produced numerous classic songs that became part of the blues repertoire, such Diving Duck Blues, Drop Down Mama, and Everybody Oughta Make a Change. Rediscovered in the sixties, Estes had a revived career recording and performing world wide, producing several excellent albums for Delmark. Delmark’s reissue, On the Chicago Blues Scene, makes available for the first time on CD an album originally released as Electric Sleep, a play on the psychedelic recordings of Muddy and Howling Wolf, although this was simply presenting Estes in a Chicago blues setting with a backing band that included Sunnyland Slim on piano, Jimmy Dawkins on guitar, Carey Bell on harp, Odie Payne on drums and various bassist including Earl Hooker. Koester recalls seeing Estes participate in a jam in Europe with Hubert Sumlin, Rice ‘Sonny Boy Williamson’ Miller, Sunnyland Slim and others and able to sing with such modernists and a few years later cut an album in that vein and with the sympathetic backing by a band that does a fine job in backing Estes who could sometimes not be easy to follow. The vocals are marvelous as can be expected and its a joy to hear familiar Estes songs take on a fresh sound and here the music played with such joy and soulfulness. Recommended.