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.

Little Willie Littlefield at the 2009 Ponderosa Stomp

2009_Ponderosa_Stomp_Night_1-1021-Edit, a photo by NoVARon on Flickr. Copyright Ron Weinstock

Sad to hear the news that Little Willie Littlefield passed away on June 23 in Holland at the age of 81. The Texas born pianist and singer was part of the West Coast blues scene of the late forties and early fifties and his music was in the vein of Ivory Joe Hunter, Charles Brown, Amos Milburn and Floyd Dixon. He is best known for his recordings of "K.C. Lovin'" (better known as "Kansas City" from Wilbert Harrison's monster hit) and "Ruby Ruby" but outstanding recordings he made for Modern and Federal included "Happy Payday" and "Its Midnight." He had been living in Holland for the last 35 years and rarely performed in the US in this period. I was lucky to see him perform at the 2009 Ponderosa Stomp where his solo performance had a vigor that belied his age. RIP.

Here is Little Willie Littlefield performing "Kansas City"and a performance with Candye Kane.