Best known as Muddy Waters' pianist after Otis Spann left, Joe Willie 'Pinetop' Perkins also spent time with the King Biscuit Time radio program, played (and recorded) with the likes of Earl Hooker, and Robert Nighthawk, and was a founding member of the Legendary Blues Band after Muddy's seventies' band split from their leader. He has a new album on Antone's Pinetop's Boogie Woogie which is a well played and recorded collection of Chicago style blues. He is backed by members of the Fabulous Thunderbirds (harpist Kim Wilson sounds particularly good here), James Cotton, Hubert Sumlin, Luther Tucker, Willie Smith and Calvin Jones. There is plenty of strong band work and soloing, and Pinetop's solid two handed piano provides more than a solid foundation.
Unfortunately, Pinetop's low-key vocals are not nearly as strong or colorful as his keyboard work and his treatment of jump blues like Eddie Vinson's Kidney Stew, and Louis Jordan's Caldonia, are not memorable. His laconic, low-key singing is more successful on Sunny Road, and is most effective on Jimmy Reed's You Don't Have to Go, and his own Ida B. (which reminds me of Robert Nighthawk's Anna Lee). The impact of these recordings is also diminished by the fact Pinetop has recorded many of the songs before.
This review originally appeared in Issue 178 of Jazz & Blues Report from 1992. I made some minor changes to this review. I likely received a review copy from the label or a publicist.
Muddy Waters Paris 1972 Pablo A part of Norman Granz’ Jazz at the Philharmonic Series of recordings (that includes albums by Ray Charles and Cannonball Adderley) this is a valuable new live recording of Muddy waters from a quarter-century past. He’s with his then working band of Pinetop Perkins/piano, Mojo Buford/harp, Calvin Jones/bass, Willie Smith/drums and Louis Myers on guitar, filling in for then ailing Sammy Lawhorn, and relegating himself to a mostly supporting role.
This is a “what you see is what you get” sort of recording. Muddy sounds in good form, singing robustly and plays a fair amount of slide guitar , Pinetop Perkins shows what a fine backing pianist he is, and even Mojo Buford, not my favorite of Waters’ harp players, acquits himself well on his steady, if unspectacular accompaniments. The material should be fairly familiar, with Clouds in My Heart, Hootchie Cootchie Man, Blow Wind Blow, Honey Bee, Walkin’ Blues and Got My Mojo Workin’.
Produced in cooperation with Waters’ estate, this is a lively, highly entertaining addition to Waters’ discography.
I likely received a review copy from Fantasy Records who owned the Pablo catalog. This review appeared originally in the July-August 1997 Jazz & Blues Report (Issue 223). Here is Muddy in 1976 performing "Rollin' and Tumblin'."
Snooky Pryor was one of the earliest Chicago blues artists
to record after World War II, first as part of Snooky and Moody, and
later on his own for several labels including J.O.B. and Vee-Jay.
Influenced in his harp playing by John Lee ‘Sonny Boy’ Williamson, he
never had great commercial success with his initial recordings, although
many are classic Chicago blues performances marked by a crying vocal
style complemented by his crying harp playing. Antone’s has done a great
job in recording him, and has presented several remakes She Tried to
Ruin Me, and Judgment Day (from a live recording), along with nice
versions of Sonny Boy’s Bluebird Blues, and new songs like Bury You in a
Paper Sack, and Take It Easy Greasy. The late Luther Tucker adds his
cutting accompaniment to several tracks and guitarist Derek O’Brien does
a yeoman’s job elsewhere. Pinetop Perkins adds his typically solid
piano on several tracks, and Ted Harvey, one of the last great blues
drummers, adds to the music’s spirit. Another fine album of classic
Chicago blues.
This review appeared in the July-August 1994 Jazz & Blues Report (Issue 193) and I likely received a review copy from Antone's Records. This may be harder to fine on CD or LP but is available as a download.
Snooky passed away October 18, 2006 in Cape Girardeau, Missouri. Here is Snooky performing his classic Judgment Day, from a New York City appearance in 1991.
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Thursday, January 14, 2016
Pinetop Perkins Portrait Of A Delta Bluesman
Omega
While there hasn’t been a shortage of Pinetop Perkins albums in recent months, this new album is of particular interest as it is Pinetop playing solo. Intermixed with his music performances are his recollections, so this comes off as a musical autobiography.
Pinetop himself prefers playing with a band, yet his performances of such blues as Come Back Baby, Big fat Mama, Chains of Love, Grindin’ Man, Forty Four, Caldonia, Pinetop’s Boogie Woogie, and other songs here are played in a relaxed fashion that is still full of plenty of feeling. While most of these songs will be familiar from other band recordings, Walter Davis’ Come Back Baby is a particularly pleasing performance.
He discusses his influences, growing up, playing around the delta (He was with the King Biscuit Show) and joining Muddy Waters. An elder statesman of the delta and Chicago blues piano traditions, this unpretentious collage of music and recollections is a fascinating portrait of the blues piano legend and his music. Highly recommended.
This review originally appeared in the January-February 1994 Jazz & Blues Report (issue 188). I may have received my review copy from a publicist, the record company or the publication. This may be hard to find as a CD, but should be available as a download.
Nothing fancy about the music on "Genuine Blues Legends" (Elrob Records), a release by Chicago blues legends Pinetop Perkins and Jimmy Rogers with Little Mike and the Tornadoes. Harmonica player and leader, (Little) Mike Markowitz and his band of guitarist Tony O. Mello; bassist Brad Vickers and Michael Anderson did yeoman service backing the likes of tours by Perkins and Rogers up and down the East Coast in the late eighties through the mid-nineties. As Pat Morgan, the former manager of Perkins, recalls, Perkins started playing regularly with Little Mike after he left the Legendary Blues Band. Thid in fact resulted in Pinetop's first solo album "After Hours." Rogers and others including Hubert Sumlin, were featured regularly with the Tornadoes, who this writer saw numerous times at the legendary Bethesda, Maryland club, "Twist & Shout."
This is a typical evening of Pinetop and Rogers as they were heard on tour one night in Maine from 1988. Pinetop was never a very demonstrative singer. Rather, he could be very appealing with an easy going, comfortable delivery shown on a number of blues classics that would remain part of his repertoire for over three decades. These include Eddie 'Cleanhead' Vinson's "Kidney Stew," St. Louis Jimmy's "Going Down Slow" (titled here "Had My Fun"), the Larry Darnell hit "For You My Love," Ivory Joe Hunter's "I Almost Lost My Mind" (titled here "When I Lost My Baby"), and Clarence 'Pinetop' Smith's "Pinetop's Boogie Woogie." That number became a staple of Perkins repertoire decades before and led to his stage name. There is plenty of Pinetop's fine, reliable piano and these performances are solid, even if he might have made equally fine performances of these songs in his other recordings.
One wishes there was more of Jimmy Rogers' vocals than the three songs heard here. Rogers was one of the finest singers of Chicago blues with his relaxed, distinctive delivery lending appeal to a cover of "Big Boss Man" along with his own "The Last Time." Pinetop's playing is exceptional on this, and Little Mike and the Tornadoes add lively backing. Rogers addis his own distinctive guitar lines producing some gems of Chicago blues. Rogers adds his guitar into the backing for the rendition of "Pinetop's Boogie Woogie," that is a feverish and exhilarating a performance as Perkins ever produced of this number.
My main complaint about this release is the attribution of composer credit to Pinetop Perkins for "For You My Love" composed by Paul Gayten, and the aforementioned Ivory Joe Hunter and Pinetop Smith songs. Otherwise this is an entertaining reminder of the delightful, sometimes exciting, Chicago blues on tours like the one captured on this release. Perhaps not essential, but certainly a release fans of the two, and Chicago blues, will be interested in.
I received my review copy from a publicist. Here is Jimmy Rogers with James Cotton.
And here is Pinetop Perkins as part of Mitch Woods' Boogie Woogie Blow-Out.
Muddy Waters was a towering perfumer who I had the opportunity to see a number of times ranging from him opening for Moby Grape at Central Park (where one could not hear Otis Spann’s piano) to touring with the band that had Pinetop Perkins, Luther ‘Guitar Jr.’ Johnson, and Bob Margolin outside of Buffalo. Here are a couple of older reviews I have done of his recordings over the years. The first review appeared in the April 1994 Jazz & Blues Report (Issue 190) while the second one appeared in July/August 1997 (Issue 223) issue.
The Complete Plantation Recordings
If Muddy Waters had never made it to Chicago, and was simply some person who had only recorded for Alan Lomax and the Library of Congress, he would still be regarded as one of the great delta blues musicians. MCA/Chess’ The Complete Plantation Recordings makes available all the extant Library of Congress recordings, including 4 interview segments.
Whether magnificent solo blues like the two versions of Country Blues adapted from Walking Blues, I Be’s Troubled, the spiritual You Got to Take Sick and Die Some of These Days, Ramblin’ Kid Blues with the Son Sims Four or You’re Gonna Miss Me When I’m Gone, these performances are significant not simply as a harbinger of his Chess recordings, but as among the greatest country blues recordings.
The mastering of rough source material is as good as one can get, and while some may fine this noisy, it is unreservedly recommended.
Paris 1972
A part of Norman Granz’ Jazz at the Philharmonic Series of recordings (that includes albums by Ray Charles and Cannonball Adderley) Paris 1972 (Pablo) is a valuable new live recording of Muddy Waters from a quarter-century past. He’s with his then working band of Pinetop Perkins/piano, Mojo Buford/harp, Calvin Jones/bass, Willie Smith/drums and Louis Myers on guitar, filling in for then ailing Sammy Lawhorn, and relegating himself to a mostly supporting role.
This is a “what you see is what you get” sort of recording. Muddy sounds in good form, singing robustly and plays a fair amount of slide guitar , Pinetop Perkins shows what a fine backing pianist he is, and even Mojo Buford, not my favorite of Waters’ harp players, acquits himself well on his steady, if unspectacular accompaniments. The material should be fairly familiar, with Clouds in My Heart, Hootchie Cootchie Man, Blow Wind Blow, Honey Bee, Walkin’ Blues and Got My Mojo Workin’.
Produced in cooperation with the Waters’ estate, this is a lively, highly entertaining addition to Waters’ discography.
Now here is Muddy a few years later after Bob Margolin and Luther 'Guitar Jr. Johnson joined the band and the great Clark Terry sitting in.
Following up the acclaimed and award-winning reissue, Muddy ‘Mississippi’ Waters Live, Sony/Legacy recently reissued the three studio albums Johnny Winter produced by the legendary Muddy Waters, Hard Again, I’m Ready and King Bee. Recorded after Muddy had ended his affiliation with Chess Records, there is no question that these recordings were among the most vital Waters recorded since the classic recordings from the late forties to mid-sixties with which his legend was established.
Hard Again was the earliest one and it opens with Muddy reprising his Mannish Boy with Johnny shouting in support with the band hammering out the beat and Muddy singing with a virility that a twenty-five year old wishes they possessed. The backing band here includes Winter, harpist James Cotton, Pinetop Perkins, Willie ‘Big Eyes’ Smith and Calvin Jones, who help Muddy reprise I Want to Be Loved. They take Brownie McGhee’s The Blues Had a Baby and recast it into a Muddy Waters song, and then take things Deep Down in Florida. The mix of old and new set the tone for the Waters Blue Sky releases.
I’m Ready was the second release and reunited Muddy with Big Walter Horton and Jimmy Rogers from his classic bands of the fifties. The rhythm section is perhaps a touch lighter here as Walter reprises the title track, (I’m Your) Hootchie Cootchie Man, Screamin’ and Cryin’ and Rock Me, along with Good Morning Little School Girl and 33, a slow blues that is a recasting of Eddie Boyd’s 24 Hours. Its also nice to hear Winter and Bob Margolin holding things together with their playing and Winter often adding his own inspired straight guitar as well as slide playing to compliment Muddy’s.
The final album, King Bee features more authoritative performances including Slim Harpo’s I’m a King Bee (with a strong Rock Me groove). (My Eyes) Keep Me in Trouble, Sad Sad Day, and Mean Old Frisco are classic recordings refreshed here along with Champagne and Reefers, which became a Waters staple in his later years.
Johnny Winter certainly must be thanked for showing that Muddy Waters remained among the true giants of American music and these recordings certainly kept him in the public eye.
This review originally appeared in the November-December 2004 Jazz & Blues Report (Issue 271) along with a review of a Johnny Winter reissue that will be posted here on Monday the 15th. Here is Muddy live with John lee Hooker as well as Johnny Winter.
1999 brought a treat to Blues Lovers when Blind Pig issued previously unissued recordings by Muddy waters, The Lost Tapes. I wrote the following review in 1999 and it likely was published in the DC Blues Society newsletter. This recording is still in print.
Blind Pig Records has something of a coup with the release of a previously unissued live performance from one of the greatest blues performers of all time, Muddy Waters. The Lost Tapes presents Muddy from two 1971 West Coast shows with his band that included George ‘Harmonica‘ Smith, pianist Pinetop Perkins, guitarists Sammy Lawhorn and Pee Wee Madison, along with bassist Calvin Jones and drummer Willie Smith. The opportunity to hear Waters performing some of the staples of his repertoire with one of his best bands makes this a recording that should be of interest to blues lovers.
Songs heard here include, Honey Bee, Hootchie Cootchie Man, Walking Thru the Park, Trouble No More, Just to Be With You, She‘s 19 Years Old, Mannish Boy, Crawlin‘ Kingsnake, and Got My Mojo Working. While some of the songs may be overly familiar, the opportunity to hear Waters belt out the vocals in a robust fashion while showcasing his stinging slide on Honey Bee and Long Distance Call, makes it worth it.
This was a fine band although one wishes 19 Years Old was a brief shorter (although Lawhorn and Smith sound quite good on their solos). While probably not as strong as the Live Newport Jazz Festival album that appeared on Chess, The Lost Tapes, certainly is an important addition to the discography of one of the premier blues artists of all time. Incidentally, this is an enhanced cd, but the enhanced features only operate under the Windows operating system.
Here is a video of Muddy with George 'Harmonica' Smith doing Walking Thru the Park.
This was a review I wrote back in 2004 that likely appeared in the DC Blues Society’s newsletter.
While Pinetop Perkins has recorded a number of albums, one limitation has been the fact that he has a small core of songs that he repeatedly records. While his performances are solid, one does wish to get some fresh material. M.C. Records has just issued a new Pinetop Perkins, Ladies Man which avoids some of these problems by having Pinetop record accompanying some blues women including Deborah Coleman, Susan Tedeschi, Madiline Peyroux, Ruth Brown, Marcia Ball, Angela Strehli, Ann Rabson and Odetta. I believe this was recorded around the time of the 2003 Handy Award shows which enabled these recordings to take place. Pinetop's renditions of Leroy Carr's How Long Blues and Wilbert Harrison's hit Kansas City, don't break new ground but are typically pleasant performances amiably sung. It certainly nice to hear Susan Tedeschi sing Ivory Joe Hunter's ballad Since I Met You Baby with nice accompaniment, while Odetta gives us a strong rendition of Trouble in Mind with Ruth Brown's revival of her old friend, Big Joe Turner's Chains of Love, to which she embellishes with her own sassy self.
I was not familiar with Madeleine Peyroux who sings the delightful vaudeville-styled He's Got Me Goin'. Deborah Coleman sings Meanest Woman, credited to Muddy Waters but really Tommy Johnson's classic Maggie Campbell Blues. Marcia Ball duets on piano with Pinetop on Pinetop's New Boogie Woogie while I believe Ann Rabson shares the piano on a lovely Careless Love. Angela Strehli salutes the pianist with Hey Mr. Pinetop Perkins, a song that takes at its premise Pinetop's tall story of having written Pinetop's Boogie Woogie, which was recorded by the legendary Clarence 'Pinetop' Smith in the twenties when Joe Willie Perkins was a wee boy. It may have been a signature number for him, leading him to be identified for the song, but it was not his song. However, the nonsensical lyrics did prevent me from enjoying her performance.
This was a varied and enjoyable release that is distinguished from much of Pinetop’s recordings.
Blues singer-guitarist Bob Margolin has self-published an e-book, Steady Rollin’ (Vizz-Tone) compiled mostly from pieces he has contributed to Blues Revue. Margolin, is best known for his tenure playing guitar with Muddy Waters but as a performer in his own right has continued to perform in the basic style of the legendary Waters.
This e-book opens with a brief explanation of why and how he came to put this volume together. Included are reflections on turning 60, a short illustrated autobiography that traces his early days playing in a rock band: joining Luther Johnson, Jr.; and then joining Muddy Waters; his tenure with Muddy and his post Muddy Waters period which includes his recording career under his own name. There is a separate chapter where he focuses more on his time with Muddy and what he learned from playing with the blues giant.
Another chapter, entitled The Guitar Hero Conspiracy where he talks his view of music as a music collaboration, not a competition and provides stories he heard from blues legends and his own experiences while also acknowledging that others have a different view. He recalls the time he travelled with Muddy and Pinetop Perkins to be part of the final performances of “The Band” that was captured for the film, The Last Waltz. His recollections include some revelations of what went on backstage among some old hippies.
Bob considers the stays of the blues today and who is carrying on the traditional blues as well his experiences playing with the new breed of women blues artists. Touching is his farewell to Pinetop Perkins after Pinetop passed away. This comes from one who had four decades playing with the piano blues master. He also includes some short blues fiction that allows him to make points about the blues and the old school of the music. In one story, Bob to take his digs at today’s airlines as he tells the story of one Mississippi Slim who is not allowed to take his guitar on the plane and what then happens to Slim and his guitar.
Bob also included a number of photographs that he has taken over the years. I will not claim this is an essential book on the blues, but certainly I can’t see anyone who has enjoyed Bob Margolin perform, had a chance to meet him or just likes to read about the blues not enjoying this. I know I did. purchased Steady Rollin’ on Apple’s ibooks, but I believe it is also available from Amazon and Barnes and Noble for the Kindle and Nook respectively.
Steady Rollin’ Bob Margolin continues to play in the style of blues he played with Muddy Waters two decades after that legend’s death. He has added to his growing discography with a new Telarc disc , Bob Margolin’s All Star Blues Jam. The disc brings together Carey Bell, Hubert Sumlin, Pinetop Perkins, Willie Smith and Jimmy Lane for renditions of mostly classic blues tunes. It was recorded mostly at the Blues Heaven Studio in Salina, Kansas, and captures the classic Chicago blues sound of Waters and others with Margolin sharing the vocals with Waters band veterans Perkins, Bell, and Willie Smith, and bassist Mookie Brill.
Smith, longtime drummer with Muddy does a first-rate job on Waters’ Country Boy and plays harmonica on the reworking of Juke. Pinetop’s steady piano helps anchor much of this disc along with Brill on bass and Smith on drums. Margolin tackles Johnny Shines’ Brutal Hearted Woman, which he has rearranged the number into a Waters’ styled Chicago blues, but vocally does not come close to Shines’ vocal on the original. Bell is solid throughout whether playing fat chromatic harp behind Smith’s vocal on Always on My Mind, or singing, with his gruff delivery, on the shuffle One Day You’ll Gonna Get Lucky.
Pinetop ably does Robert Nighthawk’s Sweet Black Angel. A live recording of Mean Old Chicago, a song Margolin wrote in memory of Jimmy Rogers, includes some nice guitar from Rogers son Jimmy Lane. Sumlin supports Margolin on Jimmy Rogers’ Last Time and the blues staple Goin’ Down Slow. The album closes with an instrumental rendition of the gospel standard Just a Little Walk With You that Pinetop takes the lead on a simply delivered rendition.
There is a consistency in the performances here. If few are exceptional, the level is still strong which makes for enjoyable listening that will not disappoint fans of classic Chicago blues.
This review originally appeared in the June 2003 DC Blues Calendar and the July-August 2003 Jazz & Blues Report (issue 263). I have made minor stylistic changes. I likely received a review copy from the record label or a publicist for the label.
I remember when the D.C. Blues Society presented Barrelhouse Chuck with Mark Wenner and Ben Andrews for what was a very magical evening of acoustic blues. He was supposed to have recorded an album at the time but it never was released. Thankfully we have an absolutely wonderful disc Prescription For the Blues (The Sirens) by a man who was mentored by legends like Sunnyland Slim and Little Brother Montgomery and the lessons he learned from these giants are evident in his strong playing that evokes the great piano blues of the past and his own vocals.
Several tracks are introduced by a short homage to the original artist whether Montgomery on the title track (Erwin Helfer plays the piano on this while Chuck sings), Sunnyland Slim on Johnson Machine Gun and Going Back to Memphis (Slim’s variation on the Rollin’ and Tumblin’ theme taken by Chuck as an instrumental), or Leroy Carr on Barrelhouse Women, Mean Mistreater Mama, Straight Alky Blues, and My Own Lonesome Blues as well as his own renditions of blues standards like Sitting on Top of the World, Tin Pan Alley and Corrine Corrina.
His renditions of many of these numbers are truly a joy as he displays a touch and sense of time that many heralded pianists’ lack. He really captures the flavor of Montgomery and Carr with his playing along with his natural singing. With Sunnyland Slim’s material, he evokes the flavor of Slim’s originals, but doesn’t duplicate Sunnyland’s own distinctive sense of phrasing. On Ain’t Nobody’s Business Erwin Helfer joins him for a piano-organ duet on this blues standard. Handsomely packaged, Prescription For the Blues is an absolute delight that piano blues enthusiasts will want.
Barrelhouse Chuck is also present on 8 Hands on 88 Keys (The Sirens) along with pianists Erwin Helfer, Detroit Junior and Pinetop Perkins. Chuck opens with a fine rendition of Sunnyland Slim’s It’s You Baby, followed by a fine slow instrumental, Rooster’s Blues, is backed by Helfer on Pinetop’s Blues where Helfer plays some stunning runs inspired by Pinetop Smith’s original, and by Detroit Junior on Miss Ida B, an old Roosevelt Sykes number that Pinetop Perkins frequently performs.
Detroit Junior, a member of Howlin’ Wolf’s last band, is also represented on disc and it’s a delight to hear him on the rollicking I’m So Unhappy and the slow country-inflected Ella although his rendition of Staggerlee, based on Lloyd’sPrice’s hit is simply pleasant. Helfer backs him for Ain’t Nobody’s Business, which is followed by a fine original boogie woogie and Jimmy Yancey’s 4 O’clock Blues. Helfer accompanies Pinetop Perkins vocal on the Ivory Joe Hunter classic, I Almost Lost My Mind, which is followed by Perkins’ typical renditions of Grinder Man Blues, How Much More and How Long Blues. There is perhaps nothing new from Pinetop, but his performances provide a fine end to a collection of top-notch piano blues performances. It should be mentioned that Helfer has an excellent disc on The Sirens, I’m Not Hungry But I Like To Eat – Blues that was nominated for a Handy Award as Comeback Blues album of the year.
Another highly recommended piano blues album is Christian Dozzler’s All Alone and Blue. The Austrian born Dozzler was for years a member of The Mojo Blues Band, one of Europe’s leading blues aggregations. He played with Larry Garner for a period and now is based in Dallas where he plays with Robin Banks (he can be heard on her two excellent discs I reviewed a few months ago. This disc features some strong piano and vocals with the title track and Midnight Hour Blues being strong renditions of Leroy Carr numbers while his rollicking piano drives along John Brim’s Be Careful. A couple of tracks display his strong boogie woogie piano style and he even takes out the harmonica for a track. You can order this as well as the discs on The Sirens thru cdbaby.com, and likely better stores and online cd retailers.
This review of several piano blues albums appeared originally in the September 2003 DC Blues Calendar, then the newsletter of the DC Blues Society. I likely received review copies of the albums on The Sirens and purchased the Christian Dozzler CD. These are still available.
It must have been quite a night at Phoenix’s The Rhythm Room, June 1 and 2, 2006, when they recorded three of the then greatest living blues pianists, Henry Gray, Pinetop Perkins and Floyd Dixon, with Dixon dying a few days after this summit meeting. The resulting CD has just been issued, Time Brings About a Change … , A Floyd Dixon Celebration (Highjohn) and is a very nice musical celebration that is perhaps a bit bittersweet knowing that Dixon would not be able to enjoy the resulting acclaim.
A solid backing band led by Kid Ramos is joined by Kim Wilson for the performances by Gray and Pinetop and the horns, especially trumpeter Joe Banks, gets space for Dixon’s performances. Ramos kicks things with a hot tribute to Albert Collins, Don’t Lose Your Cool which is followed by Johnny Tucker handling the vocal on Do You Wanna Dance. Gray is heard on a nice instrumental, Henry’s House Rocker, Sweet Home Chicago and Dust My Broom, while Pinetop performs his own Down in Mississippi as well as Walter Davis’ Come Back Baby and Ivory Joe Hunter’s Since I Lost My Baby. Both Gray and Pinetop are in typical form but these are hardly earth shattering performances of unfamiliar material.
The bulk of this album is given to Dixon with a few of his classics including Hole in The Wall, Call Operator 210, Rita and the title track mixed with solid renditions of Cold Cold Feeling, I’m Gonna Move to the Outskirts of Town and Caledonia. Ramos adds some lovely T-Bone Walker-ish guitar for Cold Cold Feeling, where Banks adds some bluesy brass on several tracks while Dixon rocks as well as takes us down in the alley. Those familiar with Dixon’s fine Alligator album will undoubtedly enjoy this fine last performances from a major figure in the post-war R&B world.
I likely received a review copy from the record label. This review appeared originally in slightly different form in the December 2006-January 2007 DC Blues Calendar, newsletter of the DC Blues Society. It is still available.
Willie ‘Big Eyes’ Smith is best known for his tenure as drummer with the great Muddy Waters. Later he was the foundation of the Legendary Blues Band, formed by former members of Waters’ Band and in the years since has played on numerous recordings as well as occasionally showcased his harmonica playing, an instrument he actually recorded on prior to joining Muddy.
Bob Corritore has produced a new Hightone release, Way Back, that showcases Smith’s harp as well as his amiable vocals on some choice covers as well as idiomatic originals. His son Kenny Smith handles drums on most tracks here while the band and guests include James Cotton (superb playing on I Don’t Trust You Man and If You Don’t Believe I’m Leaving ), Pinetop Perkins, Bob Stroger, Bob Margolin, Calvin ‘Fuzz’ Jones, Bob Stroger, Billy Flynn Little Frank Krakowski and Johnny Rapp.
Smith sings in a very natural, likable manner and delivers the opening Don’t Say That No More, in a very ingratiating fashion while tossing in harp In a Little Walter manner on Read Way Back and Walter’s Tell Me Mama (actually a Washboard’s Sam number, Back Door). He lacks Walter’s tone, but his driving harp playing has its own attraction. Guitarists Rapp and Krakowski generally stay in the background here, helping push the groove along, although there is some fine playing on Woman’s World. Pinetop Perkins is expectedly splendid throughout. Producer Corritore’s harp and Billy Flynn’ guitar is featured on Lowdown Blues and I Want You to Love Me, two tracks where Big Eyes takes the drum chair. Blues and Trouble is a terrific duet with Margolin who adds some great slide guitar.
Throughout this album, the backing band is wonderful whether taking the tempo down or rocking a shuffle. There are no frenzied hyped-up grooves here, just some first class old school blues playing, and some strong versions of classics as well as some choice originals by Smith results in a fine album that will appeal to lovers of the Chicago blues.
Received review copy from either the record label or a publicist for the label. This review was originally written for the DC Blues Calendar, newsletter of the DC Blues Society in 2006, but am not sure if it was published.
Joe Willie ‘Pinetop’ Perkins led a full and rewarding life. The iconic blues pianist passed away on March 21 at the age of 97. An important part of the post-war Delta blues scene of the forties through the sixties, he may have been best known as the pianist who succeeded Otis Spann in Muddy Waters Band. Later a member of the Legendary Blues Band, Pinetop, went on as a solo artist for the last 30 odd years of his life, receiving numerous awards and becoming one of the most beloved performers in the blues, always with a twinkle in his eye. With his passing one of the last links to the classic period of the Delta Blues has passed.
Pinetop started as a guitarist but after his arm was cut by a knife in a barroom fight, he took to the piano and became one of the top players in the post-war Delta scene. The name Pinetop derived from the fact that the Clarence ‘Pinetop’ Smith tune, “Pinetop’s Boogie Woogie,” became a signature number for Perkins. He was a King Biscuit Boy, one of the members of Sonny Boy Williamson’s Band that played daily on KFKA from Helena, Arkansas and toured Mississippi, Tennessee and Arkansas. He taught a young Ike Turner how to play piano and later did sessions for Sam Phillips backing up Earl Hooker, Walter Horton and others as well as made his first recordings under his name (although these would not be issued until a couple decades later).
He was associated with guitarist Earl Hooker for a substantial time, and Bobby Bland on a Blues Cruise, called out to Pinetop, after seeing him on his scooter in front of the stage, if he remembered playing east St. Louis with bobby and Earl Hooker. PInetop’s music became known to blues fans when he was on Earl Hooker’s Arhoolie album, “Two Bugs and a Roach.” It was within a couple years after that that Pinetop joined Muddy Waters Band with whom he stayed until not that long before Muddy’s death. Lovie Lee was Muddy’s pianist when Muddy passed away. During this period he did a fair amount of recording sessions with Muddy and others. For example he appeared on Carey Bell’s excellent “Last Night” album on ABC-Bluesway.
Over the next three decades Pinetop started releasing albums under his own name. He was an affable singer, but his piano playing was consistently strong. He perhaps had a limited repertoire as reflected by his recording some songs repeatedly, but he had a delightful personality. He mentored countless other musicians (not simply pianists) and charmed fans worldwide with his music.
Bob Corritore has been championing blues for four decades, first while living in Chicago and producing albums by under-recorded harmonica masters Little Willie Anderson and Big Leon Brooks, then later after moving to Phoenix, Arizona, as a radio programmer on KJZZ as well as the operator of The Rhythm Room where so many blues greats and lesser known acts have played over the past couple decades. Corritore is a pretty fair harmonica player with a swinging touch and a nice fat tone and has recorded and played with many over the years, which have been represented on various compilations under his name or by the artist (such as a superb Robert Lockwood album). Delta Groove has just issued a solid new compilation of 15 performances, “Harmonica Blues,” on which Corritore adds his harp to a varied group of artists, some of whom are no longer with us.
The opening “What Kind of Man Is This,” has him supporting the late Koko Taylor with a solid band that includes the Bob Margolin. Louisiana Red is in fine form backed by Corritore and Rhythm Room regulars Chris James and Patrick Rynn, while Dave Riley, with whom Corritore has shared albums with is solid on a tune by the late Frank Frost. Its interesting hearing the late Nappy Brown on the Piedmont-ish “Baby Don’t You Tear My Clothes,” with atypical guitar from Kid Ramos and Johnny Rapp lending this a unique feel. Eddie Shaw is present for “1815 West Roosevelt,” an atmospheric instrumental with Shaw’s raspy sax complimenting Corritore’s harp, while Robert Lockwood reworks “That’s All Right,” with henry Gray on piano for a terrific take on the Jimmy Rogers classic. Big Pete Pearson really tears vocally into “Tin Pan Alley,” with Chris James and Johnny Rapp’s guitar among the sup[port and Corritore sounding terrific on chromatic harmonica.
Tomcat Courtney, another down home bluesman that Corritore has championed and recorded struts on “Sundown San Diego,” while That’s My Baby,” is a slightly frenzied Eddy Clearwater rocker. “Things Have Changed,” is a strong performance by pianist Henry Gray with the late Chico Chism, while Pinetop Perkins is heard on an engaging, if unremarkable “Big Fat Mama.” Chief Schabuttie Gilliame does a fresh take on “No More Doggin’” as if it was John Lee Hooker’s song, while Honeyboy Edwards has the company of Corritore, James and Rynn to help hold his performance of “Bumble Bee,” together. Carol Fran’s “I Need to Be Be’d With,” is a terrific vocal and the disc closes with a solid Little Milton performance that is a bit more down home in its flavor. It is a solid ending to a very spirited compilation of very good to superb performances. Bob Corritore’s solid harp enlivens all of these performances, but at no time does he overshadows the blues legends and masters he shares the recordings with on this most entertaining compilation of real deal blues.
The review copy was sent by the publicity firm for the recording company. Delta Groove’s website for this release is Harmonica Blues.
Australian blues woman Fiona Boyes is as nice a person as she is talented and her talent shines on her new Yellow Dog album, “Blues Woman.” Recorded in Austin, Texas, and produced by saxophonist Mark ‘Kaz’ Kazanoff who has put together a solid band including guitarist, Derek O’Brien; drummer, Jimi Bott; bassist, Ronnie James; B-3 organ and piano, Nick Connolly; and the Texas horns (Kazanoff on saxophones and Al Gomez on trumpet) with guest appearances from Watermelon Slim, Marcia Ball and Pinetop Perkins for a varied collection of performances of mostly original material that includes one cover and some heartfelt songs.
The opening “Woman Ain’t a Mule,” shows her feisty side as she tells her man that he make think of his woman as a mule or slave to his whims, but she has other ideas, or the similarly toned medium temp shuffle “Precious Time,” with her complaint that she has worked to hard to let that man waste her precious time. Her solo is noteworthy in her restraint and her focus on rocking some chords.
She renders J.B. Lenoir’s “I Want to Go,” with just bass and Jimi Bott’s congas for a down the country flavor which also characterizes here “Fishin’ Hole,” with Connolly adding some rollicking piano. Marcia Ball adds her piano and Watermelon Slim his harmonica and a spoken part as a hellfire priest to “The Barrelhouse Funeral,” with Fiona celebrating with driving resonator guitar and vocal a barrel housing, hell raising man’s funeral.
“Do You Feel Better,” is a lovely fifties style pop ballad with a lovely bit of sax and nice biting tremolo guitar from Boyes. “Train to Hopeville,” sports a lively Crescent City rumba groove, while “Got My Eye On You,” a song about her attraction to this gentleman has a ripping baritone solo from Kazanoff. She plays some nice slide on “City Born Country Gal” while her one solo piece, “Juke Joint on Moses Lane,” celebrates the Florida club, Bradfordville Blues Club of which she sings that she can’t wait to get there to have herself a ball.
This is a terrifically entertaining recording full of strong, spirited songs and playing that will have toes tapping and fingers snapping.
Fiona is once again a nominee for Traditional Female Blues Artist of the Year in the 2009 Blues Music Awards. I peeviously blogged about her in June 2006. This review originally appeared in the September-October 15 issue (issue 219) of Jazz & Blues Report in substantially the same form. It can be downloaded at www.jazz-blues.com. The review CD was supplied by Fiona Boyes' publicity firm.
Pianist Joe Willie ‘Pinetop’ Perkins keeps going, seemingly as musically vigorous in his nineties as much younger blues acts. Born in the Honey, The Pinetop Perkins Story is an hour-long bio-documentary produced by Peter Carlson who put together Don’t Start Me Talking: The Junior Wells Story. A narrative provides the details on Pinetop’s life including the circumstances of his youth and later emergence as a star on the blues circuit. Blended in are some stock still pictures of southern plantation, town and juke scenes, some acting to recreate Pinetop’s youth, along with interviews of Pinetop along with his admirers and some performance clips from a variety of shows including King Biscuit Festival, the Legendary Rhythm & Blues Cruise and some footage of him with The Nighthawks. Admirers include his colleagues with Muddy’s band such as Paul Oscher, who recalled when Pinetop replaced Otis Spann in Muddy’s band and, guitarist Bob Margolin and drummer Willie Smith. Others talking about Pinetop include Lonnie Brooks, Bobby Rush who tells a hilarious story about Pinetop who had some wisdom for men out on the town, Ike Turner recalling Pinetop’s influence and stature as a pianist, and Kim Wilson. Its an affectionate and loving performance that is as ingratiating as its subject. The DVD does not have any extras and does not seem divided into chapters, for those who that matters. It also comes with a CD of live performances, mostly Chicago performances with one studio track from a Bob Corritore that covers the same ground as his available recordings with versions of Chicken Shack, Mojo, How Long Blues, Ida B and the rollicking Down in Mississippi. Pinetop affably handles the material backed by Little Frank Krokowski on guitar, Bob Stroger on bass and Willie Smith on drums. The packaging erroneously credits Pinetop for Memphis Slim’s Grinder Man Blues, and Magic Sam for Rosco Gordon’s Just a Little Bit, titled here Little Bit of Your Love. Certainly a documentary that fans of the blues, especially Pinetop’s fans, will certainly enjoy.
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