Tribute: Delmark's 65th Anniversary

Various artists
Tribute: Delmark's 65th Anniversary
Delmark Records

As Delmark celebrates 65 years since founded in St. Louis by Bob Koester, new has come out that the label has been sold which hopefully will keep this historic and visionary blues and jazz label healthy for years to come. This "Tribute" recording has eleven newly recorded blues to help in the celebration. It should be noted that these are new recordings of prior recordings by various blues artists on Delmark. There is a house band with either Mike Wheeler and/or Billy Flynn on guitar on several tracks, Roosevelt Purify on keyboards, Melvin Smith on bass and Willie Hayes on drums.

Omar Coleman sings strongly and plays nice harp on his tribute to Junior Wells, "Train I Ride," with guitar from Wheeler and booting sax by Hank Ford. Lurrie Bell & the Bell Dynasty with Eddie Taylor Jr do Carey Bell's "One Day You're Gonna Get Lucky," likely recorded at the same session that produced their Tribute to Carey Bell album. Steve Bell's harmonica shines on this. Billy Flynn emulates the late Jimmy Dawkins' distinctive guitar style behind Linsey Alexander's fervent vocal on Dawkins' "All For Business." Demetria Taylor effectively growls performing Big Time Sarah's "Riverboat." Jimmy Burns performs his amiable take on Big Joe Williams' "She Left Me A Mule To Ride," without band accompaniment. His performance is not as percussive as that of Williams but he sings quite ably.

Lil Ed Williams and Dave Weld cover "Speak My Mind," by his uncle J.B. Hutto and it is a solid rendition if Ed does not quite match J.B.'s vocal here. Jimmy Johnson with Dave Spector do a strong Magic Sam's "Out of Bad Luck," with Sumito 'Ariyo' Ariyoshi adding some fine piano behind Johnson's marvelous vocal and fine guitar from him and Spector. Corey Dennison and Gerry Hundt provide a lively acoustic duet on Sleepy John Estes' "Broke and Hungry" with tight mandolin runs against the rhythmic guitar, with a strong crying vocal. Mike Wheeler evokes Jimmy Johnson on a fine cover of an Otis Rush classic, "So Many Roads," which is followed by Shirley Johnson's fine singing on the Little Willie John classic "Need Your Love So Bad," that Bonnie Lee previously waxed for Delmark.

Ken Saydak's solo piano and vocal barrelhouses Roosevelt Sykes' rollicking "Boot That Thang," closing this most entertaining collection of fresh blues cover recordings.

I received my review copy from Delmark Records. This review appeared in the July-August Jazz & Blues Report (Issue 379).  Here is Bob Koester interviewed about Delmark about 5 years ago.

Mud Morganfield They Call Me Mud

Mud Morganfield
They Call Me Mud
Severn Records

This is the third Severn release for the late Muddy Waters' son Larry 'Mud ' Morganfield. He is joined by some of Chicago's blues musicians to provide authentic, down-home blues touches. Those heard in addition to guitarist Rich Kreher, Mud's co-producer are: Billy Flynn on guitar, Studebaker John on harmonica and backing vocals, Sumito Ariyo Ariyoshi on piano, E.G. McDaniel on bass and Melvin “Pookie Stix” Carlisle on drums. Guests include Billy Branch on harmonica, Mike Wheeler on guitar and Mud’s daughter Lashunda Williams, who joins her dad on a loving duet, ‘Who Loves You." Several tracks have horns adding a vintage R& B feel.

While there are a couple of new versions of recordings his father made, most of the songs on this are his originals, so this release allows Mud to shine as more than someone recreating his father's music. Certainly the use of horns and original material enables Mud to establish his own personality, despite the similarities of his voice to his father as on the opening title track. This song has some B.B. King styled guitar to the fore while Studebaker John's harp blends in with the horns as Mud boasts about his prowess (likening himself to an earthquake and hurricane). It is followed by a strong modern blues "48 Days," (since his woman has left as he pleads for her to return), and then then a nice soul-blues lament "Cheatin' Is Cheatin'," followed by the churning soulful funk of "Who's Fooling Who?" with biting guitar and harmonica breaks.

Vocally he comes off as honest and convincing as he does on solid cover of Muddy's "Howling Wolf," and "Can't Get No Grindin'." There is some fabulous slide guitar, as well as standout piano and harmonica, on the former number, while Ariyoshi and Studebaker John add to the rollicking flavor of the latter performance. Mike Wheeler contributes strong guitar to the funky "24 Hours," His duet with his daughter is a superb classic soul ballad performance, while "Oh Yeah," is a terrific blues at times suggestive of John Lee Hooker's "Boom Boom."

The album closes with a captivating, jazz-tinged instrumental "Mud's Groove," that features Billy Branch on harmonica and is one of three selections with Mud on bass. It closes an engaging album that certainly should appeal to anyone wanting to listen to some real straight-ahead blues with a soul touch.

I received my review copy from a publicist. This review originally appeared in the March-April 2018 Jazz & Blues Report (Issue 377) and I have made a few minor stylistic changes. Here is a video of Mud performing his bfather's "The Same Thing."

Mike Wheeler Band Turn Up !!

Mike Wheeler Band
Turn Up !!
Delmark Records

The Mike Wheeler Band follows up their Delmark debut "Self Made Man" with "Turn Up !!" Guitarist-vocalist-songwriter Wheeler's band has not changed with Brian James on keyboards, Larry Williams on bass and Cleo Cole on drums with Kenny Anderson's trumpet and Hank Ford's tenor sax adding musical seasoning to the proceedings. Wheeler wrote 12 of the 13 songs (two in collaboration with bandmates) and there is one cover of a Little Milton number. About "Self-Made Man" I wrote that Wheeler's performances had quite a bit of fervor with "plenty of drive in his playing and urgency in his impassioned vocals."

His range as a writer and performer are displayed on the opening selection "Sweet Girl," and then contrasting "You Don't Do Right," with an insistent groove supporting his fervent vocal complaint,  the punching horns and blistering guitar to close this. Brian James also adds considerable musical coloring under the vocal. "Yeah!" is a hard driving funk-blues followed by the heavy metal of "Brand New Cadillac." Others might disagree, but I found the backing and playing here overbearing and the vocal sounds strained. To these ears, that is the only misstep on this recording. It is a relief after that track to hear the swinging shuffle "Talking To Myself," followed by the driving groove of the title track as he celebrates being turned up when around his girl.

Other standout tracks include the marvelous blues-ballad, "Nothing Lasts Forever," the hot funk-blues of the celebratory "Living the Dream"; the early in the morning slow blues, "A Blind Man Can See," with terrific guitar; a funky interpretation of Little Milton's "That's What Love Will Make You Do," and the closing topical blues about wanting to cry watching the TV news, "Sad State of the World," with James' gospel-tinged piano adding to the mood. Once again, Mike Wheeler, and his outstanding band, has delivered a terrific set of straight-ahead, soul-rooted modern blues. 

I received my review copy from Delmark. I have made minor revisions in the review that originally appeared in the July-August Jazz & Blues Report (Issue 367). Here Mike Wheeler is performing Little Milton's "That's What Love Will Make You Do" from several years ago.

Omar Coleman Born and Raised

On his initial Delmark release "Born and Raised," singer Omar Coleman impresses with soul-infused vocals, and harp playing that perhaps evokes both the folk-funk of Bobby Rush, and the soul-blues fusion of the late Junior Wells (both who he admits are influences). He is backed by a solid band of Pete Galanis on guitar; Neal O'Hara on keyboards; Ari Seder on bass and Marty Binder on drums and percussion with guitarists Toronzo Cannon, Mike Wheeler and David Herrero each guesting on two selections. Coleman wrote (or co-wrote) 12 of the 14 songs here.

There is a varied mix of material from the opening rocker "Tryin' to Do Right," where he sings about trying to do right by his lady even though he wants to do wrong, through the closing "Raspberry Wine" with its jazzy accents. His songs and  performances convey a man who is both sensitive and strong as he sings that you don't need a man like him, you need a "Man Like Me," (with Cannon adding some guitar fire). Coleman is a forceful, yet nuanced, singer and is convincing whether delivering the soulful "Man Like Me"; the funky "Sit Down Baby" and topical title track; the wistful ballad, "I Was a Fool"; the driving "Slow Down Baby"; the shuffle "You Got a Hold On Me," and the afore-mentioned "Raspberry Wine." In fact, "Raspberry Wine" suggests that Coleman would be terrific as a standup blues shouter.

Besides Coleman's persuasive vocals, his straight-forward harp playing appeals with its fluidity and voice-like character. Coleman has written fresh new blues songs that are crisply played resulting in these marvelous performances. "Born and Raised" is one of the most striking recent blues recordings of 2015.

I received my review copy from Delmark. Here he performs "Trying to Do Right."

Omar Coleman Born and Raised

On his initial Delmark release Born and Raised, Omar Coleman impresses with soul-infused vocals, and harp playing that perhaps evokes both the folk-funk of Bobby Rush, and the soul-blues fusion of the late Junior Wells (both who he admits are influences). He is backed by a solid band of Pete Galanis on guitar; Neal O'Hara on keyboards; Ari Seder on bass and Marty Binder on drums and percussion with guitarists Toronzo Cannon, Mike Wheeler and David Herrero each guesting on two selections. Coleman wrote (or co-wrote) 12 of the 14 songs here.

Its a varied mix of material starting with the opening rocker Tryin' to Do Right where he sings about trying to do right by his lady even though he wants to do wrong through the closing Raspberry Wine with its jazzy accents. His songs and his performances convey a man who is sensitive and strong. He sings you don't need a man like him, you need a Man Like Me, (with Cannon adding some guitar fire). Coleman is a strong, yet nuanced, singer convincing whether delivered with soulful blues of Man Like Me; the funk of Sit Down Baby and the topical title track; the wistful ballad, I Was a Fool; the driving rocker Slow Down Baby; the shuffle You Got a Hold On Me, as well as the afore-mentioned Raspberry Wine," which suggests that he could do a solid job as a blues shouter.

Besides Coleman's persuasive vocals, his straight-forward harp playing has much appeal with its fluidity and voice-like character. He also has written some fresh new songs that is crisply played resulting in some marvelous performances making Omar Coleman's Born and Raised one of the most striking blues albums of 2015 so far.

I received my review copy from Delmark. Here he is performing the title track live at Rosa's Lounge.

Mike Wheeler Is A Self Made Man

Having played with a who’s who of the blues world for three decades (including Big James Montgomery and the Chicago Playboys, singer guitarist Mike Wheeler has a new CD on Delmark, Self Made Man. He is joined on this by his band of Brian James on keyboards, Larry Williams on bass and Cleo Cole on drums with young harmonica wiz Omar Coleman added to three tracks. 

Wheeler and band wrote most of the songs and there is only one cover, and provides plenty of fervor in his performs with plenty of drive in his playing and urgency in his impassioned vocals. As evident in the opening Here I Am, there are evident soul and gospel roots to be heard in his vocals (which remind this listener of Michael Hill, although Hill’s singing is cooler). And he writes interesting, fresh songs as on Here I Am where he thanks his woman who lets him back in her life and he has done wrong. Big Mistake is a more traditionally styled song with some interesting twists in its groove a he sings about he made a mistake taking a woman in his life as she is more than he can take. Coleman adds harmonica to the peppy title track, where he notes he is a self-made man who made himself have the blues. In addition to telling his stories, his playing really catches the ear with a jazzy sensibility and his fresh twists and turns.

His soul roots are evident on the topical song, Join Hands with his message of people getting together and help each other as “we the people, together we stand, let’s work together, I know we can … join hands,” playing with fire here. A nice cover of Willie Dixon’s Let Me Love You Baby,, set to the Rollin’ and Tumblin’ melody (therefore sounding different than Buddy Guy’s 60s Chess recording), is followed by You’re Doing Wrong, an West Side styled blues with one of his most impassioned vocals here and searing guitar. Moving Forward has some funk styled guitar (he mentions Eddie Hazel with respect to his playing here) and funk groove. On Chicago Blues, he mentions loving all music but if he has to choose, give him the Chicago blues.

Self Made Man certainly will make many take notice of a very distinctive talent who has a very distinctive approach compared to other contemporary blues acts. Jimmy Johnson is another act who has blended elements of blues and soul and created a very personal approach to the blues and based on Self Made Man,” Wheeler has the talent to produce a similar musical legacy.

I received a review copy from Delmark. Here is a video clip for your enjoyment.

Peaches Staten Belts Out Chicago Blues With Some Zydeco Seasoning

Peaches Staten is a new name to this writer and is one of the the unheralded blues artists that Swiss native Chris Harper intends to record and get wider exposure for. Staten is a tough vocalist with influences from Koko Taylor, Mavis Staples and Etta James amongst others. Originally from MIssissippi, she grew up in Chicago raised “on a steady diet of blues, soul, gospel and R&B” to quote Sandra Pointer-JonMike es who wrote the liner notes to Staten’s Cd “Live at Legends” (Swississippi Records). A world traveller, she has spent time in a zydeco band and an Afro Brazilian Samba Ensemble and worked around the world. On one of her song introductions she mentions living in Sweden. This CD was recorded at Buddy Guy’s Legends on the last Sunday before the club moved to its new location. She brings her voice and frottoir (rubboard) to the fore with a band that includes Mike Wheeler on guitar, Larry Williams on bass, Brian James on keyboards and Cleo Cole with Harper guesting on harmonica for several tracks.

She brings a big voice that is evident on her cover of Etta James “I’d Rather Be Blind,” which is solid if in the shadows of the original. This cover shows how strong a voice she has and her relaxed timing in her delivery. Much of this showcases her ability to project lyrics at varying tempo and also that she is a pretty fair songwriter. The opening “Long Distance Telephone Call,” opens with her urging the Legends’ crowd to put their hands together as she sings about missing her man who is so far away and has to hear his voice. The tempo slows down a bit for the soul-based “Don’t Rush Me,” followed by Chico banks’ “It Must Be Love,” which the late Banks wrote for Mavis Staples and Peaches delivers the lyric emphatically in a fashion that evokes Koko Taylor. Guitarist Wheeler is a very busy player which isn’t as much to this listener’s taste, but James’ organ is much stronger in laying the musical coloring and the rhythm is terrific. She takes the crowd to Louisiana for the zydeco romp, “Gotta Find My Man,” with James sounding like he is on an accordion as Staten plays the frottoir which she calls a washboard and Harper adds some nice harp. Its a very lively number with an irresistible groove as well as vocal. I can see this number getting the dance floor packed.

Peaches credits “I Know You Love Me,” to Tina Turner although the CD lists it as a B.B. King number. Harper is part of the driving accompaniment that evokes Howlin’ Wolf’s recording of “Killing Floor.” “Bad Case of Lovin’ You,” is a rocker originally recorded by Robert Palmer and later than Koko Taylor that Peaches emphatically delivers “Doctor, Doctor give me the news, I got a bad case of lovin’ you.” She picks up the frottoir for “Hole in the Wall,” a hard driving boogie blues rocker evocative of Z.Z. Top, before closing with Alberta Adams’ “Keep On Keepin’ On,” with James laying down some really nice boogie-inflected piano before she joyfully delivers the lyric about spreading the news that Peaches will keep singing the blues and that certainly is good news. Wheeler’s guitar is also much more appealing here with a jazzier touch exhibited.

“Live at Legends” is an impressive introduction to Peaches Staten whom we certainly will be hearing more about in the future.


For purposes of FTC regulations, I received the review copy for this from the publicist for Swississippi Records.