Motown Blues

VARIOUS ARTISTS | |
MOTOWN’S BLUES EVOLUTION
MOTOWN 31453-0613-2

LUTHER ALLISON
THE MOTOWN YEARS 1972-1976
MOTOWN 31453-0612-2

AMOS MILBURN :
THE MOTOWN SESSIONS 1962-1964
MOTOWN 31453-0611-2

While Motown is not remembered for its blues sessions, three releases in the label's Motown Masters Series should be warmly welcomed by blues fans. It should be noted that Motown's blues were not far removed from the rhythm and blues of the period. In fact on the compilation, "Motown’s Blue Evolution," perhaps only Luther Allison’s high energy tracks will strike some listeners as straight blues, the rest being viewed as R&B or soul-blues. However one pigeonholes this music, it certainly has a harder edge than the chart-making Motown recordings of the Temptations, the Supremes, and the Miracles that many of us loved then and still love today. While closing with three rousing Allison tracks with his high energy guitar and fever pitched singing, the highlights may be the six tracks by Sammy Ward whose gospel based soul-blues would have been at home on Stax. A couple of his early 5 sixties tracks, 'Part Time Love' and 'Someday Pretty Baby,' would be revived by Allison (and are on the Allison album). Also of great interest are three wonderful previously unissued selections of New Orleans R&B by Earl King, three rocking Amos Milburn selections, and two tracks each by another soulful singer, Arthur Adams and Little Willie John's sister, Mable John. While those having the rare Motown album, 'Switched on Blues' with have some of the tracks by Ward, Milburn and Mable John, much of the music here is previously unissued.

After his triumphs at various Ann Arbor Blues Festivals and a striking Delmark debut album, Luther Allison landed on Motown where he produced three albums, 'Bad News is Coming,' 'Luther’s Blues,' and 'Night Life.' 'The Motown Years 1972-1976' contains sixteen selections from those three albums, plus a previously unissued live 1972 Ann Arbor Blues & Jazz Festival performance of Little Walter's 'Last Night' (although erroneously credited to Sam “Lightnin” Hopkins). Four tracks are taken from 'Bad News Is Coming' including an outstanding 'The Red Rooster,' 'Cut You A-Loose,' and 'Dust My Broom,' each delivered with the vocal passion of Elmore James and high energy Freddie King styled guitar mixed with some hot slide. 'Luther’s Blues' is represented by nine selections including the slow, burning title track, and a rocking revival of Sammy Ward's 'Someday Pretty Baby. 'These two albums sported smaller bands, whereas the three songs from 'Night Life,' have a bigger studio aggregation that perhaps heighten a focus a bit more towards Luther's vocals. Luther may have aged in the two decades since these came out, but as those witnessing his three hour performances can attest, has lost no energy, enthusiasm, or passion in his music.

The release of Amos Milburn, 'The Motown Sessions 1962-1964' is another valuable reissue. Consisting of remakes of his Aladdin recordings along with some strong new material like 'My Daily Prayer' and 'Don’t Be No Fool,' co-authored by Milburn and legendary Motown producer Clarence Paul, included are seven previously unissued performances including a new alcohol blues, 'I'm Into Wine,' along with a new rendition of 'Chicken Shack Boogie' which is distinguished by the brassy horns, a harp solo by twelve-year old Stevie Wonder and Milburn’s smooth singing over a funky groove. Milburn’s piano here and elsewhere is of the highest order. While Cub Koda notes how more sophisticated Milburn sounds here, those familiar with the Mosaic box of Milburn’s Aladdin recordings will not be surprised by his comfort with ballads as witnessed by the remake of 'Bewildered.' Among the previously unissued titles is a version of 'I Wanna Go Home,' which Milburn co-wrote and recorded originally as a duet with Charles Brown for Ace, although in this case the vocal backing detracts. As Koda correctly notes, these were Milburn’s last significant recordings. Based in Cincinnati he would suffer a series of strokes at the end of the decade, and this writer visited the wheelchair-bound Milburn in the Cleveland Veterans Administration Hospital in May, 1971. He returned to his native Houston sometime after that and recovered enough to record with Johnny Otis for the Blue Spectrum label but those recordings clearly reflected the effects of the stroke. Those who have never heard the rare original Motown album are in for some real pleasures, while the unissued selections break no new ground but certainly will add to the value of this important reissue.

I wrote this review in 1996 although I am not sure what publication (it may have been Cadence or Jazz & Blues Report).

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.

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.

Alligator Records--50 Years Of Genuine Houserockin' Music

Various - Alligator Records--50 Years Of Genuine Houserockin' Music- Alligator Records

Alligator Records is celebrating its 50th Anniversary this year and, as it has in past years, compiled, 40th Anniversary Collection, a three-CD compilation of 58 recordings from the label since it released Genuine Houserockin' Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label. However, he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition. There is also a double LP vinyl edition with twenty-four selections.

Given the diversity of contents and the purpose of this collection, it is not my intent to review the contents here. I suspect folks will find selections they don't like and others they think are timeless. Besides celebrating Alligator Records history, this compilation hopefully will introduce some of the artists and recordings that some may be unfamiliar with. There are vintage selections from Koko Taylor, Hound Dog Taylor, Son Seals, Fenton Robinson, and Albert Collins. Also, there are contemporary acts like Michael Burks, Tommy Castro, Shemekia Copeland, and Selwyn Birchwood. 

There is a selection from the Grammy Award-winning collaboration between Albert Collins, Johnny Copeland, and Robert Cray, a track from Professor Longhair, a live Luther Allison track, a selection from Saffire-The Uppity Blues Women, and a duet between Corey Harris and Henry Butler. Other performers represented here include Guitar Shorty, Billy Branch, Joe Louis Walker, Janiva Magness, JJ Grey & Mofro, Tinsley Ellis, and Coco Montoya. Also, many of the recent albums on Alligator are represented, including tracks from Chris Cain, The Cash Box Kings, Curtis Salgado, The Nick Moss Band featuring Dennis Gruenling, Toronto Cannon, Rick Estrin & The Nightcats, Elvin Bishop & Charlie Musselwhite, and Roomful of Blues.

In addition to his overview of Alligator's history, label head Bruce Iglauer provides short bios of the various acts. I believe his concluding comments to the liner notes states things very well, 

"Today, after 50 years, Alligator remains proudly independent and still 100% dedicated to Genuine Houserockin' Music. With a roster that includes beloved veterans like Marcia Ball, Lil' Ed & The Blues Imperials, Elvin Bishop and Roomful Of Blues, rising stars like Selwyn Birchwood and Toronzo Cannon, and the 22-year-old sensation Christone "Kingfish" Ingram, we are committed to the past, present and future of the tradition. Now that illegal downloading has been replaced by digital streaming services reaching around the globe, Alligator's music can be heard in China, India, and across Africa, and in other countries where it was never available in physical form. Hound Dog Taylor & The HouseRockers would be amazed to see what happened to the tiny record label, now with over 350 releases, that was created to bring their music to the world. They'd be thrilled to know that billions of people can now discover the joyous houserockin' blues that they played every Sunday at Florence's Lounge."

"Alligator Records-- 50 Years Of Genuine Houserockin' Music" is a vibrant celebration of the impressive (and still growing) body of music produced by Alligator Records and Bruce Iglauer.

Alligator Records provided a download to review.

Take 5 - It Hurts Me Too

Today's Take 5 playlist is devoted to the blues classic "It Hurts Me Too."

We start with Tampa Red's recording.

Among the most famous recordings of this song was that by Elmore James.

Next up is Junior Wells with Buddy Guy on guitar.

I just discovered this amazing rendition from Jimmy Nolen who may be better known for his time with James Brown.

We close with a terrific version by Luther Allison.

Ann Arbor Blues Festival 1969

Various Artists
Ann Arbor Blues Festival 1969
Third Man Records

To celebrate the 50th Anniversary of the legendary Ann Arbor Blues Festival in 1969, Third Man Records has issued a both LP and CD releases. They collect 24 songs by such blues legends as Howlin' Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin' Hopkins, Pinetop Perkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. This release is the first-ever release of music recorded live at this landmark event, except the Magic Sam track that was issued on Delmark.

John Fishel recorded the Festival except for Son House's performance which Jeff Todd Titon did. In the accompanying book to the deluxe LP edition (I am not sure what is included with the CDs), it is stated "These recordings were stored in Jim Fishel's basement and have remained largely unheard for 50 years. In preparing this compilation, we treated the original tapes to an all-analog restoration process – including speed correction and equalization – prior to digitization. However, these are field recordings in the literal sense of the term: audience chatter is audible and there are some technical problems that proved difficult to fix. Every effort has been made to improve the sound without sacrificing the integrity of the performances." In other words, these may not be the highest fidelity, but as good as one is likely to be able to get. Listening through headphones may be the best way to enjoy this music.

The two Ann Arbor Blues Festivals (the second one held in 1970) were signature events. All the succeeding blues festivals pale in comparison to these line-ups full of artists who are in the Blues Hall of Fame in Memphis. There is a broad range of blues performances presented although there is a strong Chicago blues focus. The Chicago blues focus includes Howlin' Wolf, Muddy Waters, James Cotton, Magic Sam, Junior Wells, Pinetop Perkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, and Charlie Musselwhite. Freddie King is not included at the request of the estate. At the request of the family, the Otis Rush performance is from a preview of the 1970 Festival. There are down-home performances from Roosevelt Sykes, Lightnin' Hopkins, Son House, Arthur Crudup, Big Joe Williams, and Shirley Griffith. Sleepy John Estes and Yank Rachell performed, but the tape for it was lost. Clifton Chenier is accompanied solely by his accordion.

Despite any audio blemishes, the music here is often spectacular starting with Roosevelt Sykes opening with "Dirty Mother For You." He humorously wondered how he got by the censors when Decca issued the original 78. Sykes was in great form here. Arthur Crudup sounded fine singing "So Glad You're Mine," It was followed by the blistering slide guitar of J.B. Hutto on "Too Much Alcohol," and then Jimmy Dawkins' driving rendition "I Wonder Why." With Lefty Dizz on guitar, Junior Wells does a rousing "Help Me (A Tribute To Sonny Boy Williamson)." B.B. King (with Onzy Matthews on organ and Sonny Freeman on drums) is terrific on "I've Got A Mind To Give Up Living." B.B. King requested Mississippi Fred McDowell play "John Henry," resulting in a terrific performance in McDowell's rhythmically charged style.

Pinetop Perkins had recently joined Muddy Waters' band when he performed a rousing rendition of "Pinetop's Boogie Woogie." Members of Muddy's band backed him. Luther Allison may have been the most significant discovery of Ann Arbor, and his medley of "Everybody Must Suffer/Stone Crazy," is outstanding. I had a chance to see Luther at an Ann Arbor Blues Festival benefit concert a few months later, and it was a revelation. On "Tu m' as promis l'amour (You Promised Me Love)," Clifton Chenier shows he does not need backing musician in delivering a superb blues in French. Howlin' Wolf's rendition of "Hard Luck Blues," is an extended performance with Hubert Sumlin playing brilliant guitar. Wolf's band included Lucky Lopez on guitar, Bobby Fields on sax, and Calvin' Fuzz' Jones on bass. Otis Rush tears through "So Many Roads, So Many Trains," with Ernest Gatewood on bass and Sam Lay on drums. These performances are on Vol. 1, which is also split into two LPs.

Muddy Waters was impressive with "Long Distance Call" with its fattening frogs for snakes ending. This was a typical set opener for him at the time and opens Vol. 2 (also on 2 LPs). His band included Paul Oscher on harmonica, Pinetop Perkins on piano, Sammy Lawhown and Pee Wee Madison on guitars, Sonny Wimberly on bass and Willie' Big Eyes' Smith on drums. Charlie Musselwhite follows with a terrific instrumental, "Movin' and Groovin'," which also includes some spectacular lap steel guitar from Freddie Roulette, and piano from Skip Rose on piano. His band also included Louis Myers on guitar, Dave Myers on bass and Fred Below on drums. It is followed by Magic Sam's "I Feel So Good (I Wanna Boogie)." Shirley Griffith reworked the Billy Eckstine-Earl Hines classic "Jelly Jelly Blues" into a solo blues.

Mojo Elem may be best known as Luther Allison's bass player. Here he delivers a rollicking rendition of J.B. Lenoir's "Mojo Boogie," with Luther Allison playing some boogie chords while Elem sings in a high tenor. T-Bone Walker, with Luther Allison's band, follows with a terrific lengthy, "Call It Stormy Monday." Allison trades guitar licks with Walker plus sings a line or two as well. Walker also plays guitar on Big Mama Thornton's terrific "Ball and Chain." After Big Joe Williams' propulsive delta blues "Juanita," Sam Lay does a solid "Key To The Highway," with Luther Tucker on guitar and Jeff Carp on harmonica.

Lay's band also backs Lightnin' Hopkins who complains about folks at the Festival messing around with mojos before launching into a rollicking "Mojo Hand." While titled "Off the Wall," James Cotton's energizing instrumental is the same song he recorded as "The Creeper," It displays his fabulous harmonica and showmanship. Son House's "Death Letter" is the closing performance. I believe Freddie King may have closed the Festival, but one wonders how anyone (even King) could follow the baring of the soul in Son's riveting performance.

John Fishel recollects in the book, "Shortly after the Festival, I started college at the University of Miami. As luck would have it, James Cotton came to town a few months later for a performance, and I was assigned to interview him for the local underground newspaper. I asked him what he thought about what had happened in Ann Arbor: 'Oh man, I think that's the best festival I ever went to in my life! Everybody was just ready for it." After 50 years, I can still say that's the case for me. I hope you're ready for it too and that these performances prove as revelatory today, inspiring a new generation of blues listeners, musicians, scholars, and fans. That's the legacy of the 1969 Ann Arbor Blues Festival." That legacy is handsomely documented here.

I mentioned there is an accompanying book and the packaging includes many photos, an appreciation of the Festival and the story of the Festival, performer biographies with suggested further listening, and information on the artists and their accompanying musicians. One would be hard-pressed to think of a more significant historical blues release than this one. Get a copy for yourself and then get another as a gift for the blues lover in your holiday gift list.

I received a download to review from a publicist. This historic package is being released today, the 50th Anniversary of the Ann Arbor Blues Festival. For more information visit https://thirdmanstore.com/records. Here is a promo video for this package.

 

Freddie King Was Electrifying Live Performer

Freddie King was one of the greatest of the post-war Chicago bluesmen. A formidable singer and a highly important guitarist, he had a number of records on the charts and was a major influence on many blues and rock guitarists including Luther Allison (who took over King’s Chicago band and gigs when King toured), Eric Clapton and Stevie Ray Vaughan. While Bear Family has issued all of King’s commercial recordings on two box sets containing twelve CDs of music, King also had some significant live recordings. The following review appeared originally in the March 2006 DC Blues Calendar and the March-April 2006 Jazz & Blues Report (issue (280). I made minor stylistic changes in this review.


Its been three decades since the great Freddie King passed away, and the late blues guitar’s reputation has perhaps been lessened with the passing of time, which is unfortunate because few of the guitarists today play with his mix of passion and imagination.


Shout Factory has just issued Live at the Electric Ballroom, 1974, part of the label’s reconstruction of the Black Top label catalog. Recorded two years before his death, King rips through Women Across the River, which he recorded with Leon Russell; as well as blues chestnuts like Key to the Highway, Earl King’s Let the Good Times Roll, Ain’t Nobody’s Business, which he cut for Atlantic’s Cotillion subsidiary, Sweet Home Chicago and Dust My , before ending this set with Hide Away Medley.


This disc also includes an interview with him and two acoustic performances, perhaps his only acoustic recordings. King probably had the most immediate impact on rock guitar (Eric Clapton among others was heavily influenced by King’s muscular playing), and he was also a first rate singer who brought plenty of soul to his music. This is so nice to have available again.

I likely received this from a publicist for Shout Factory’s releases. This is still in print and should be readily available.

Joe Pitts Brings Us Ten Shades of Blues

Singer-guitarist Joe Pitts is a name new to these ears, but this Arkansas native has put together a hard hitting self-issued release Ten Shades of Blues, that looks at him covering some of his inspirations and others he just likes. With his rhythm of Jimmy Lynnon bass guitar and assorted drummers, keyboards and harp, he handles ten songs that display his gravelly, unforced songs and his fluent guitar. Initially hearing the blues-rock of the British invasion, he discovered Albert, B.B. and Freddie King, Muddy Waters, Elmore James and Robert Johnson and others on the blues highway.

Interesting opener is Breaking Up Somebody’s Home, with his guitar centered performance derived more from Albert King’s recording than other renditions, and he takes a solo that displays his own style. There is loose accompaniment for his take on Muddy Waters’ Cross-Eyed Cat, with some nice harp playing, slide guitar and more modern-styled guitar on the coda. His vocal is pretty solid here but his vocal is a bit over the top on Walter Trout’s Clouds on the Horizon, on which he plays some screaming guitar. With an insistent groove, his vocal is more restrained in delivery and he does a nice take on Luther Allison’s Pain in the Streets. The organ playing adds a nice touch to the backing on this track.

Eric Gales'  Freedom For My Demons brings blistering blues-rock guitar over a melodic line that evokes Stormy Monday, as he fervently delivers the lyric about the demons are dealing and what he’s selling sure looks fine but give Joe some freedom from his demons and some peace of mind. Put the Shoe on the Other Foot, is a nice rendition of an Albert Collins recording with some nice playing that suggest Collins without trying to be a sound-alike, while Pitts’ rendition of I’m Worried, is a bit more in the vein of Allman Brothers than Elmore James with a bit of distortion on his vocal.The jazzy, low-key No Stranger to the Blues, features some atmospheric rhythm guitar and biting single note chicken scratching runs with a nice vocal.

A bit more rock flavoring is heard on the guitar on a nice shuffle take on John Mayall’s Walkin’ on Sunset, with Terry Bradley adding slide guitar here. The disc concludes with Peter Green’s The World Keeps On Turning, on which he takes to an acoustic guitar and his fingerpicking that contrasts nicely with some chording as he sings about nobody sees him crying or knows how feels while his relaxed delivery contributes to a moving vocal performance. Its a nice end to a collection of generally solid, engaging performances. This should be available from cdbaby, itunes and other sources. Weblinks for Joe Pitts include http://joepitts.com/ and http://www.facebook.com/pages/Joe-Pitts-Band/54309185026.


The review originally appeared in the Dec.15 2010-Febuary 1, 2011 Jazz & Blues Report (Issue 332) to which I made a few minor edits. I received a review copy from the publicist for this recording.

Outstanding Vintage Blues Recordings of 2010

First in my List of Outstanding Jazz and Blues Recordings of 2010. I start with Vintage Blues Recordings which includes not simply reissues but also releases primarily consisting of older material.

Junior Wells & the Aces Live in Boston 1966 (Delmark). The release of a sixties club performance by Junior Wells with the Aces (Louis and Dave Myers as well as drummer Fred Below) captures Wells in top form and displays the manner Wells interacted with his primarily white college audience was not far removed from how he interacted with the folks at Pepper’s Lounge.

Albert King / Stevie Ray Vaughan: In Session (Stax). While the music has been available from the legendary encounter on CD, this combined deluxe DVD and CD includes much unissued video by the two. Tremendous meeting of two legends.


Little Smokey Smothers & Elvin Bishop Chicago Blues Buddies (Brown Derby). Compiled as a fundraiser for Smokey, who recently passed away, I wrote “a solid retrospective of a wonderful partnership with the release of the first-rate 1993 Chicago Blues Festival performances particularly welcome as are the tracks that Alligator and Black Magic graciously lent to this project … .”

Otis Redding Live on the Sunset Strip (Stax) The classic live recordings which include the full sets of a legendary performance. “Over four decades later, Otis Redding’s music remains as gripping as when he performed on the Whiskey’s stage. Obviously those having the earlier reissues may not need this, but others who love “Sweet Soul Music,” will want this.”

Luther Allison Songs From the Road (Ruf) CD and DVD of previously unissued performances by one of the greatest live blues performers ever. “What a joy to listen and watch previously unissued performances by Luther Allison after all these years. It doesn’t get much better than this release which is quite reasonably priced and should be available from itunes or amazon and better retailers.”

Sista Monica Soul Blues & Ballads (Mo Muscle Records). A terrific retrospective for which I wrote, ‘There is a generous amount of music here with thirteen outstanding performances for about 70 minutes by one of the blues and R&B world’s finest singers here. I add that she could have selected from her earlier recordings, a dozen different performances and had as compelling a recording. She is just that dynamic and soulful. For those lacking anything by the Sista, here is a good place to start.”

Freddie King Texas Flyer (Bear Family). This is the second Bear Family box sets that has also tyhe commercially issued recordings by the legendary blues singer and guitarist. This set also has the live recordings he did for RSO and much previously unissued live performances. Between the two sets on Bear Family (The 7CD Taking Care of Business is the earlier one) one has about 15 hours of guitar blues of the highest level and one can reevaluate some of the stuff that one might have dismissed four decades ago.  Special note should be made of the hard cover book with Bill Dahl's biographical and musical notes and pianist Dave Maxwell's recollections of working with King. The book also has some incredible photographs and full discographical information.



Little Willie John Mister Little Willie John + Talk To Me (HooDoo Records) Two early albums by the great rhythm and blues singer who died way too soon with a number of his classic songs including Fever, Talk to Me, Home at Last, All Around the World, and Drive Me Home.

Christine Kittrell, Call Her Name:Complete Recordings 51-65 (Bear Family). Nashville was once known as much for its Rhythm and Blues scene as hillbilly music, and the queen of that scene was Christine Kittrell. Bear Family has compiled all of her recordings from 1951 to 1965 (many produced by legendary songwriter-producer Ted Jarrett) that shows a terrific singer that had some mostly regional success but was the equal of some of her better known contemporaries. On one selection, a John Coltrane rips out a sax solo that stands out.


Big Walter Horton Blues Harmonia Giant (JSP) 3-CD box that reissues this important harmonica masters early recordings for a variety of labels along with some of his choice accompaniments and a bonus CD of a live 70's performance with his primary disciple, Carey Bell. I blogged extensively on this reissue.


Bob Corritore Harmonica Blues (Delta Groove). Harmonica player Bob Corritore has championed traditionally styled Chicago blues for decades. This Delta Groove release showcases his considerable skills on the harmonica with a number of blues legends, a number of whom are no longer with us including Robert Lockwood, Nappy Brown and Koko taylor as well as Eddie Shaw, Louisiana Red, Big Pete Pearson and others. There is enough older material to place this in the Vintage category as opposed to a straight new release.

Previously Unissued Live Recording Shows Why We Miss Luther Allison

There were few performers in any genre as riveting as the late Luther Allison. having been a fan since his debut Delmark recordings, I remember going to catch him at Oberlin College in 1970 and almost tore off the roof of the Chapel he was playing at. From playing an one-string guitar in Mississippi to taking over Freddie King’s gig and band in Chicago he brought a hold no prisoners approach to his performances, throwing everything into his singing and his guitar playing. One can point to B.B. King as a primary inspiration, but Elmore James and Freddie King seem even most important influences in Allison’s music. He struck me in his earlier days as a cross of the two Kings instrumentally with James’ impassioned vocals. I was privileged to see Luther a number of times in the last decade of his life including when he performed for a DC Blues Society show for the “Soul Fixing Man” tour. I am not sure if the last time I saw him was at Wolf Trap when they still put on a Jazz and Blues Festival, and I remember this gentleman who had seen James Brown, Otis Redding, Miles Davis and others stating that Luther was as great a live performer as anyone he ever witnessed.

“Songs From the Road” (Ruf Records) presents on disc and DVD one of Luther’s last performances at the Montreal International Jazz Festival on July 4, 1997. Shortly after this performance, he would be diagnosed with the disease that in August 2007 would take this wonderful person away from the world. This was a representative performance with his great band of James Sjoberg, rhythm guitar; Ken Faltinson, bass guitar; Mike Vlahakis, keyboards; and Rob Stupka, drums. It was a band that played hundreds of gigs together, toured globally for several years and played with a tightness that reflected this experience.

Luther, of course, held nothing back this night from the opening moments of “Cancel My Check,” to his brief encore on “Serious.” There are several extended performances that never falter unlike most of his contemporaries (Otis Rush being one of the few exceptions) who could neither sustain such inspired playing and vocals that Luther could, and Sjoberg’s solos add another exciting voice while maintaining the fervor of the performances. Much of this are his originals including the rocking B.B. King styled shuffle “Will It Ever Change,” where he tells his woman to listen to him (with Sjoberg taking the opening B.B. King styled solo while Allison takes the longer break later), while he takes a Magic Sam recording,“What Have I Done Wrong,” and places his own stamp on it.

“(Watching You) Cherry Red Wine,” was always one of the climatic parts of any Allison performance as he sings about this woman destroying herself drinking herself into oblivion, while “There Comes a Time,” is a soulful number as Luther confesses to be a good man who went astray and begging to be taken back by his woman, with another killer solo here. His vocal here is a standout here. Luther takes out the slide for “It Hurts Me Too” (as well as Bernard Allison’s “Low Down and Dirty”), doing Elmore James memory proud with his fervent rendition of the classic.

The DVD contains 7 of the songs from the CD (“Will It Ever Change” is not listed but present) and adds “Move From the Hood.” The 59 minutes of the performances on the DVD video are electrifying with great camera work catching all sweat and passion that he put in his performances. The Montreal Jazz Festival has recorded and filmed records many if not all of the performances in the past couple decades and generally do excellent work. The DVD also includes a 23 minute interview and a ten minute excerpt “Tribute to Luther Allison” from a documentary. This writer understands that a 50 minute CBC broadcast was compiled from this performance This CD/DVD makes all of the music from that day available.

What a joy to listen and watch previously unissued performances by Luther Allison after all these years. It doesn’t get much better than this release which is quite reasonably priced and should be available from itunes or amazon and better retailers.

The above review speaks to Luther Allison’s phenomenal music, but anyway who had a chance to meet Luther knows what a down-to-earth and warm person he was. The review copy CD was provided by the publicity form for the record label (this for FTC regulations).

Ruf's Corrects Its Promotion of Luther Allison's Underground

Post: Updated November 7. Ruf has updated its website discussing Underground, supplementing its original release notes and suggesting a recording date of 1967-1968. When I drafted the original blog entry, the release notes were what is labeled the original release notes after Rien Wisse's updated release notes. The fact that Ruf acknowledged and corrected the error it is quite commendable. below is my original post as of November 2

Ruf Records has issued a CD of Luther Allison, Underground. In the release notes on the website it is stated:

"The discovery and release of Luther Allison's 1958 debut recording represents a blues find that surfaces with all the excitement of some long forgotten historical document. After sitting for 50 years in the home of Luther's wife, Fannie Allison, Luther's son Bernard unearthed these monumental recordings to show the music world the portrait of this artist as a young man."

Later, Art Tipaldi closes these notes,"One researcher note. The first tune here is titled "Hide Away." Research shows that Freddie King took portions of "Hide Away" from Hound Dog Taylor instrumental and that King didn't record that song until 1960. Could this then be the first recorded version of "Hideaway"? Gentlemen, start your search engines."

A sticker on the CD that I saw in a store states that these are 1958 recordings and never previously issued. This not true. First of all these recordings were previously issued and sold. I know because I bought a vinyl lp from Luther in 1971 called Underground with the 8 tracks that have been reissued. It was sold by Luther as if it was bootleg (I suspect he was still under contract to Delmark). The simple album label stated it was produced by Bobby Rush. Unissued. I suggest not.

The suggested 1958 recording date (the date taken from a Bobby Rush recollection) does not stand up to simple scrutiny. Nice fantasy to suggest that it might be the first recording of Hideaway, but one of the songs on this disc, the cover of the Ricky Allen classic, Cut You Loose, was not recorded until around 1963 (Allen did not even arrive in Chicago until 1960) so that if you want to suggest this is the earliest recording of Hideaway, then you also have to make the incredible claim that Luther made the first recording of Cut You Loose as well.

I suggest this was recorded between 1968 and 1970, after Luther's Delmark album was issued. It might have been intended primarily as a demo to be shopped to a bigger label which Luther also sold at gigs. Three of the eight songs on this were redone on Luther's 1972 Motown debut, Bad News is Coming, and Freddy King's The Stumble is on the Motown instead of Hideaway. I point out that no one should not be surprised that Allison performed and recorded King's instrumentals as he took over King's Chicago bar gig when the Texas Cannonball started touring because of the success of his classic Federal Recordings.

On the Post-War Blues List on Yahoo, Klaus Kilian first observed that "Cut You Loose" was recorded after 1958. He stated "Apparently Bobby Rush remembered the date wrong and [Ruf] took his word. However, anybody listening to the music who knows anything about the development of postwar blues should be able to realise that these tracks couldn't be from 1958. I mean, "Don't Start Me Talkin'" with a funk beat? "Cut You Loose" recorded years before Ricky Allen's 45? And with the exact same arrangement Luther did for Motown a little later?"

It will be interesting to see how many reviewers parrot the release notes. I would not be surprised to see a number reviewers out there get this wrong.

Added on November 7: