Weston & Liston's Blues Eruption

The following review originally appeared in the January-February 1994 Jazz & Blues Report. As originally written it contains one major gaffe that I have corrected here. This is a part of the Johnny 'Clyde' Copeland recorded legacy I would suspect most are unaware of. This is well worth trying to acquire at used CD stores or ebay auctions.

Pianist-Composer, Randy Weston, and arranger, Melba Liston, have teamed for an exploration of the blues in its various forms, Volcano Blues (Gitanes), as they lead a little big band which includes Wallace Roney on trumpet, Hamiet Bluett on baritone sax, Teddy Edwards on tenor sax, Ted Dunbar on guitar and Charlie Persip on drums. Comprised mostly of Weston’s compositions, the voicings of Liston’s arrangements add more than punch to these intriguing explorations in the blues. Texas bluesman Johnny Copeland performs on unaccompanied acoustic guitar, Blue Mood, a Jessie Mae Robinson composition that T-Bone Walker first recorded. Eschewing his guitar, Copeland also reprises Jimmy Rushing’ vocal on a Count Basie recording, Harvard Blues, which like the Caribbean flavored Volcano, is taken from the Count Basie orchestra book. It should be noted that one expecting to hear wailing Kansas City jazz with plenty of blowing solos will be disappointed as Weston and Liston explore a variety of aspects of the blues. Links with Africa are explored on Chalabati Blues, which is anchored by Jamil Naser’s steady bass line and framed by Liston’s imaginative horn voicings. Wallace Roney’s hard bop trumpet shines on Sad Beauty Blues, a Weston composition featuring another carefully worked out Weston solo. More African flavor underlies The Nafs, a feature for Hamiet Bluett’s gut bucket baritone sax. In addition to Copeland’s vocal, Harvard Blues sports a splendid tenor solo from Teddy Edwards who also solos on Blues for Strayhorn, which Weston originally wrote for (and performed at) the funeral of Duke Ellington’s right hand man. Both Weston’s piano and Liston’s scoring capture the Ellington flavor. J.K Blues is a tight bop blues reminiscent of some of the hot blues instrumentals recorded forty years ago, although this performance is distinguished by the concise solos. The supporting cast features some great players who shine here. Weston is the primary soloist on piano and while economical playing, like that of Basie and Monk, shows that it is what one plays and says that matters, not how many notes are played. While the liner notes get pretentious at spots, there is little else to fault about this consistently thoughtful, earthy and rewarding recording.

Mercy Dee's classic down home blues classic

This review is from the September 1993 Jazz & Blues Report and while this CD has been discontinued, it is still available from some sellers at Amazon Stores.

The many Specialty blues reissues of note include Mercy Dee Walton’s One Room Country Shack. The title track, one of Mercy Dee’s two top ten R&B recordings, may be familiar from versions by Buddy Guy or Mose Allison, but Dee’s dry vocal really captures the starkness of his blues poetry. While compiler Billy Vera notes Mercy Dee’s sophisticated lyrics bear some comparison to Percy Mayfield, his themes and some of his lyrics reflect the rural sharecropping life he grew up in. His three Specialty recordings are included here along with 18 other sides, some of which served as demos perhaps. Sides like Love is a Mystery show a bit of versatility as he is in the club blues mode of a Charles Brown, while Winter Blues almost sounds like a remake of One Room Country Shack, although with totally different lyrics. A similar accompaniment is heard on Dark Muddy Bottom with its powerful depiction of a sharecropper’s life getting up at 4:30 to hit up his beat up team. A boogie backing is found on other songs like Pauline while Get to Gettin’, a duet with Lady Fox, is a New Orleans flavored rocker. The unissued sides are a welcome addition to his sparse recorded legacy, and while there may be a certain sameness to some of the songs here musically, the wit and imagery of his songs, his understated vocal delivery and Texas blues piano make Mercy Dee’s recordings a treasure to his fans.

Big Daddy Stallings at the 219 Restaurant

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Originally uploaded by NoVARon

Its been way too long since I had the pleasure of seeing Charles 'Big Daddy' Stallings and his band live, so when I got the word that he would be appearing in Old Town Alexandria, Virginia at the 219 Restaurant's Bayou Room, I made plans to attend and after fighting the brutal traffic on King Street I made it there just as they started playing.

Stallings has a fine band led by saxophonist Joe Thomas and includes Steve Levine, a harmonica player who has really developed over the years. I apologize for not having the names of the other players. Opening up with the Hugh Maskela classic 'Grazing in the Grass," the band opened with several soul instrumentals with the horn line of sax, trumpet and harmonica being very effective. Then a couple instrumentals featured Levine who channeled his inner Walter Horton, "Easy" and the Duke Ellington standard, "Don't Get Around No More."

The it was time for Big Daddy to get out of his chair and take the vocal mike opening with a pair of Louis Jordan numbers "Choo Choo Ch' Boogie," and "Caldonia," before tackling his own originals. Stallings has a down home vocal approach, yet is as much as home with a Jimmy Reed groove as when his band gets into a funk groove. His down home style helps invest such songs as his "4 X 4 Woman," with quite a bit of their charm as well as his lively "I've Got the Blues," set to a "Hootchie Kootchie Man" groove. Enlivening songs with his solos as well as some of Thomas, Levine and the excellent trumpet player, when they closed the set to Archie Bell's "Tighten Up," with the band getting introduced, it was quite an enjoyable set and well worth the drive.

John Primer

John Primer still remains true to his blues, deeply rooted in the classic Chicago blues of Muddy Waters and Elmore James. This review of his first US release on Earwig appeared back in Jazz & Blues Report in 1993, when John was still a member of Magic Slim & the Teardrops.

Fans of straight ahead Chicago blues should check out John Primer’s Stuff You Got to Watch on Earwig. The Mississippi born Primer was in the house band at Theresa’s Lounge where he was befriended by the late Sammy Lawhorn. Later he was in Muddy Waters’ last band and has been with Magic Slim and the Teardrops for the past few years. While he has an album for the Austrian Wolf label, this US debut certainly makes one wonder what took him so long to get hooked up with a US label. Among those on this date are fellow Teardrop, Nick Holt, on bass, Harmonica Hinds on harp and Carl Snyder on keyboards. It is an excellent studio band which strongly supports Primer’s delta rooted vocals and guitar . While much of this is Primer’s originals, his covers are imaginative with a strong nod to Muddy on the title track. His renditions of Freddy King’s See See Baby and Magic Sam’s That’s All I Need are wonderfully paced performances while he personalizes Otis Rush’s Double Trouble, giving it a fresh cast that almost is as good as Rush’s original (which had Ike Turner’s guitar in addition to Rush’s). Jimmy and Jeannie Cheatham’s Meet Me With Your Black Drawers On, is answered by Primer’s original Bring Your Clothes Back Home. Less expected is his transformation of Texas country bluesman Little Son Jackson’s Cairo Blues into a Chicago band blues.The instrumental Lawhorn Special is a fitting nod to the late guitar giant and his mentor. To these ears, the only misguided effort is Rhinestone Cowboy (the Glen Campbell pop-country hit), but perhaps it will get him on Nashville Now. This is first-rate album of Chicago blues that comes from (to borrow a Bob Margolin phrase) “The Old School.”

Dr. Ross is the cure for the Boogie Disease

This review of Dr. Ross' Boogie Disease on Arhoolie, appeared back in the November 1992 Jazz & Blues Report (issue 176) back before the explosion of the World Wide Web. He would pass less than a year after this was written. He had moved to the Detroit area in 1954 and I had the pleasure of seeing him perform at the Smithsonian Folklife Festival where he was as vigorous as anybody. The Swedish blues artist, Robert Lighthouse, based in the Washington DC area, is among those who was musically influenced by this marvelous player. The album is still in print too.

Now a resident of the Detroit area, Isaiah “Dr.” Ross developed from a fine delta blues artist in the tradition of Big Joe Williams and Robert Petway into a one-man band. One of the artists who recorded for Sam Phillips, his early Memphis recordings have been reissued on Boogie Disease. Listening to the exuberance of the alternates to Boogie Disease and Chicago Breakdown, one can detect not only the strong delta rhythmic style of a Big Joe Williams (as well as northern transplant John lee Hooker), but also more than a bit of the influence of John Lee Williamson, reflected in a variety of songs including Going Back South and Polly Put a Kettle On. Of considerable note are his strong interpretations of such delta themes as Going to the River (Derived perhaps from Blind Lemon Jefferson, but played in the delta style), Shake ‘Em Down and Mississippi Blues. The latter is a Catfish Blues variant better known as Cat’s Squirrel and the source of the recording by the rock group, Cream. In addition to his youthful influences of John Lee Williamson and Tommy McClennan, one can also appreciate the impact of Muddy Waters, and John lee Hooker, particularly on the hypnotic rhythms of Industrial Avenue Boogie, a reworking of Hooker’s Boogie Chillum.This is an updated version of a vinyl reissue, and Steve La Vere has updated his and Bob Eagle’s original liner notes. Some of you have heard some of Dr. Ross’ Sun recordings and will have an idea of the exuberant boogie and barrelhouse blues to be found here. Others are in for a treat with respect to these superbly rendered performances.

The Twisters - Nice Blues Suprise from Western Canada

The following review was published in the August 2009 (issue 319) Jazz & Blues Report (the whole issue can be downloaded as a pdf file at www.jazz-blues.com). This band was completely unknown to me and as indicated, this was more than a pleasant surprise.

Its a pleasure to put on something from a band that one had not previously been familiar with, and take notice.The new album by The Twisters, “Come Out Swingin’” (Northern Blues), produced that reaction. Based out of Vancouver, British Columbia and White Horse, Yukon, this quartet has developed a reputation as a first rate jump and swing blues band. On “Come Out Swingin’,” they add elements of rockabilly, reggae and gospel to this jump blues foundation. The Twisters consists of harmonica player Dave Hoerl, guitarist Brandon Isaak, bassist Keith Picot and drummer Lonnie Powell, with Matt Pease on drums for 3 of the 12 tracks, and Dave Haddock on fender bass for one with Kenny “Blues Boss” Wayne added on keyboards and Jerry Cook on saxophones and horn arrangements.The members of the band wrote all of the songs here and Hoerl and Isaak share the vocals between them.

Things sure start off strong with the opening “I’ll Make It Up To You,” with a melodic line evoking the twenties classic “Please Don’t Talk About Me When I’m Gone,” with some jazz-laced fretwork from Isaak (evocative of Bill Jennings, Tiny Grimes and Al Casey) and superlative chromatic playing by Hoerl with some unusual voicings behind Isaak’s vocal and guitar solo, and that doesn’t take into account Wayne’s piano. Hoerl takes the vocal on “Something’s Got to Give,” with a 60s R&B groove, some nice saxophones from Cook and the rhythm section just hits the groove with a nice topical lyric followed by “Long Overdue,” with an insistent beat as Isaak sings about waiting on his baby and pacing the floor because she is long overdue with Cook’s driving sax solo followed by Hoerl, again on chromatic displaying his strong tone and drive. Bassist Picot’s slap bass along with Isaak’s Tennessee Two styled guitar spark the rockabilly flavored “Doghouse” with Hoerl delivering the lyric and its followed by a modern blues shuffle, “Guess That I Was Wrong,” with Hoerl adding some remarkable harmonica accompaniment and solo here. I could continue with a comment on each track, but this superb recording deserves praise as does the band. Not simply having command of their instruments, Isaak and Hoerl add imaginative and distinctive touches throughout and the band is tight as two embracing lovers. The Twisters are simply a terrific band that deserves to be heard.

Storyville's Nicely Varied "The Blues Box"

“The Blues Box” is a 7CD compilation of a variety of mostly downhome blues that has appeared on the Scandinavian Storyville label over the decades. The recordings were made by touring blues artists and mostly date from the sixties and early seventies and include some of the most important artists alive at the time. The overwhelming majority of these recordings are solo or duo, or in a few cases there are small groups. the overall flavor is intimate recordings although using the word intimate with a rambunctious barrelhouse performer like the great pianist Speckled Red seems like an oxymoron.

One complaint in a written review I have seen is that they should have included the complete Storyville Recordings of the artists presented (they may have done so with respect to Lonnie Johnson). I do not disagree with that assessment, but can also appreciate the sense of bringing together a wide group of performers as they have done here. I should point out that some of the recordings by Lonnie Johnson, Otis Spann, Roosevelt Sykes, Sippie Wallace and Sleepy John Estes have been issued in the United States after being licensed from Storyville. I am not sure what may be currently readily available stateside although I believe Roosevelt Sykes and John Estes sides may be on CD reissues on Delmark.

Here is a brief summary of what you get here. CD One provides 13 sides by Lonnie Johnson, accompanied by Otis Spann on all but one with a remake of “Tomorrow Night,” and a mix of blues and ballads. there are also 8 excellent performances by Spann including a terrific “Trouble in Mind,” where Johnson backs him as well as a nice rendition of Johnson’s “Jelly Roll Baker. CD Two features 13 terrific piano blues by Speckled Red with his barrelhouse renditions of “The Dirty Dozen,” and “St. Louis Stomp,” along with Sunnyland Slim’s eight strong tracks including moving renditions of his Aristocrat single “Johnson Machine Gun,” and Leroy Carr’s “Prison Bound Blues.” Both pianists often provide brief spoken introductions that enliven the superb performances. CD Three brings together recordings by two of the greatest blues pianists Roosevelt Sykes (9 selections including a remake of “44 Blues”), and 5 tracks by Little Brother Montgomery and the two of them provide accompaniments to 8 of the nine excellent Sippie Wallace vocals. Sippie accompanies herself on “Up the Country Blues.”

CD Four shifts the focus to blues guitarists with 10 energetic and exuberant Delta blues by Big Joe Williams whose “El Paso Blues,” is clearly inspired from “Sweet Home Chicago” and “Kokomo Blues.” Sleepy John Estes and his long-time associate Hammie Nixon are heard on 7 songs with Estes crying vocals and Nixon’s sympathetic harmonica with “Diving Duck Blues,” being a highlight. the final 7 selections are by Robert Pete Williams in his mesmerizing style. CD Five has the earliest selections here, live 1956performances from Copenhagen’s legendary Club Montmartre by Big Bill Broonzy as well as 6 1964 recordings by John Henry Barbee, a solid if unspectacular bluesman influenced by Broonzy among others turning in a rendition of “Dust My Broom.”

More piano is featured on CD 6 which opens up with 11 selections by Memphis Slim including a nice “Fattening frogs For Snakes.” Champion Jack Dupree performs seven selections, some solo and some with a small group including Leroy Carr’s “Blues Before Sunrise.” Eddie Boyd and Jay McShann each have three selections. Boyd reprises “Five Long Years,” while McShann performs “Kansas City Blues,” which is credited here to Little Willie Littlefield and not Lieber & Stoller. Littlefield has long claimed to have written the song (originally issued as “K.C. Lovin’” on Federal) and sold it to the more famous duo. CD Seven shifts the focus to harmonica (well not entirely) and 9 recordings by the second Sonny Boy Williamson, some with Matt Murphy’s guitar and Memphis Slim’s piano of which the quasi-autobiographical “The Story of Sonny boy Williamson perhaps demonstrates his surreal blues poetic lyricism. The remaining 10 selections are by Sonny Terry and Brownie McGhee and are strong performances by the pair.

There is also a bonus DVD which open with some excellent vintage and intimate performances by Champion Jack Dupree and Sonny Boy Williamson. Then there are performances by Robert Lockwood, Jr., James Booker, Henry Gray, Boogie Bill Webb & Harmonica Slim, and Cousin Joe that are excerpted from a series of videos recorded at the Maple Leaf in New Orleans that I believe were filmed around the time of the ill-fated New Orleans World Fair.

There is a generous amount of music in the box with the bonus DVD. The performances are never less than good and many are exceptional and provide a wide variety of musical performances and styles.

Nice Billy Lee Riley Obituary

My friend, Terence McArdle, had a feature obituary in today's Washington Post for the late rocker who passed away this past weekend.

The opening paragraph of the obituary:

"Billy Lee Riley, 75, the growling rockabilly singer and multi-instrumentalist who accompanied Jerry Lee Lewis, Charlie Rich and others in recording sessions in the 1950s, died Aug. 2 at a hospital in Jonesboro, Ark. He had colon cancer."

I will leave it to you to read the whole obituary on the Washington Post's website

Rock on in Peace, Billy Lee Riley

While word had been coming down that the former Sun Records artist was an bad health, he just passed away this weekend about a painful bout with bone cancer. One of the bluesiest of the Sun rockabilly acts, Riley is best known for his "Flying Saucers Rock And Roll." Riley continued to perform and record after the hey day of rockabilly ended with a couple of straight blues albums among his recent efforts. Noted writer Bill Dahl published an obituary on his blog on his website, billdahl.com

Recalling Albert Washington

During the 1960s and '70s, Washington recorded many albums for Fraternity Records and performed at Cincinnati clubs andconcerts. His music was said to reflect influences of gospel, rhythm and blues, and funk." A bio of Washington on the web gives his age as 53 at death and notes Lonnie Mack played on some of his singles. He recorded a couple singles for Jewel that were terrific mixes of soul and blues. The following is my contemporaneous review of the first of the two Iris albums that tried to promote his musical comeback. His best work shows he is one of many who never quite reached the acclaim he should have.

Albert Washington is a singer-guitarist who made a number of singles from the late fifties to the seventies for such labels as Fraternity and Jewel, one of which, If You Need Me, was covered by the Rolling Stones. Born in Georgia, but a Cincinnati resident for most of his adult life, he hasn’t recorded for twenty years. Iris Records, an independent label that previously issued some notable jazz recordings has just remedied this with Step It Up and Go, a newly released album containing ten originals and a nice reworking of the Buddy and Ella Johnson classic, Since I Fell For You. Washington suffers from high blood pressure, and near blindness, both derived from diabetes. While his voice can’t soar as high as on his classic deep soul recordings, this fifty three year singer certainly comes across as soulful as ever on a program of mostly modern blues with several tracks, such as Hard Days and The Good Old Days, showing more than a hint of southern soul.. He receives solid backing here, with horns on a few tracks, and harmonica on a few others, although horns suit his music far better than the harp. Bruce Katz’s keyboards are particularly worthy of note, and Kevin Barry adds some nice guitar. The bass and drums simply provide a basic foundation, but without as much imagination as Katz and Barry. A couple of message tunes, Things Are Getting Bad and Leave Them Drugs Alone, add variety to his blues and soul laments like Hold On To a Good Woman, a fine slow blues with Katz and Barry both featured. A solid, promising return of a midwest blues legend.

A Brassy Classical Salute to Satchmo

This review has been submitted to Jazz & Blues Report, and hopefully will be published in its August issue.

The celebrated Canadian Brass has issued a release “Swing That Music: A Tribute to Louis Armstrong” (Opening Day Entertainment Group), an album that puts a classical take on swing jazz. Louis Armstrong was of course one of the seminal musicians of the 20th Century, and I forget which jazz writer (it may have been Gary Giddins) observed he even influenced how classical trumpeters played. On this release, the Canadian Brass salutes Satchmo in a program of tunes associated with Armstrong and some of his contemporaries. The songs range from the title track, which was a big band hit for Armstrong, to James P. Johnson’s “Carolina Shout,” Jelly Roll Morton’s “Black Bottom Stomp,” and several George Gershwin compositions including “Promenade” from the musical “Strike Up the Band.”

Its entertaining to hear the various songs translated into a chamber group format, and much of the credit goes to the late Luther Henderson as a writer, arranger, orchestrator and more who worked with Duke Ellington, Lena Horne, Victor Borge and the Canadian Brass, to whom he contributed over 100 arrangements including arrangements to 11 of the 17 selections here including recasting Johnson’s stride piano classic to the brass group, three Bach preludes, Handy’s “St. Louis Blues,” Waller, Razaf and Brooks’ “Black & Blues” (which Armstrong was one of those who popularized along with “Ain’t Misbehavin’.” The arrangements allow brief solos with the other horns adding color or musical counterpoint. The playing is spirited and as expected the members of Canadian brass have marvelous tone and technique, yet they certainly bring enthusiasm and charm to a collection of performances that might be called chamber jazz. Particular performances that stand out might be the wistful melancholy of “Black & Blue,” along with the jaunty rendition of “Black Bottom Stomp,” and one of the classic Hot Five recordings “Struttin’ With Some Barbecue,” with its nice voicings and playful quoting of “Shortnin’ Bread,” during the performance. “Swing That Music” is worth hearing, and many will find this a delightful chance of pace.

The Canadian Brass website from which this can be purchased is http://www.canbrass.com. Downloads are available for purchase from itunes and amazon.

The Original Guitar Wizard still sounds great

Lonnie Johnson was a pioneer guitarist who was influential in jazz as well as blues. he was not simply a marvelous singer, songwriter and deft, inventive guitarist, but also he was quite a balladeer. Proper Records issued a marvelous 4 CD box several years ago, The Original Guitar Wizard, with 95 choice recordings (some are two part) that range from 1924's "Mr. Johnson Blues" with James Johnson on piano and Alonzo (his real name) on violin to his post-war blues and ballads for King Records, including the hit "Tomorrow Night." Included are several accompaniments of Victoria Spivey, recordings with Louis Armstrong (including the celebrated "Hotter Than That") and Duke Ellington ("Misty Mornin'"). Then thee are the duets with Eddie Lang (or Blind Willie Dunn) such as "Blue Guitars" and "Bullfrog Moan" and even one side as part of Blind Willie Dunn's Gin 4 which included Joseph 'King' Oliver. There is the two part duet "You Done Lost Your Good Thing Now" with Victoria Spivey (I believe a number B.B. King recorded in the sixties), as well as his "She's Making Whoopee in Hell Tonight," that King Solomon Hill waxed as "Whoopee Blues." He would sing about floods in "Backwater Blues," and tornadoes in "St. Louis Cyclone Blues," boast that "I Got the Best Jelly Roll in Town," and warn in "Racketeers Blues." Despite dating back as far as 85 years ago, his music still sounds modern today and as typical with proper, there is an excellent booklet that provides an overview of his life and recordings. Robert Johnson reportedly claimed to be one of the Johnson boys to pull on the more famous Lonnie Johnson's coattails, although I do not believe that the Lonnie Johnson recordings that he adapted are included in this compilation. Well on 4 CD's you can't include everything by one of the blues' most influential and pioneering performers. Bluebeat Music (www.bluebeatmusic.com) apparently still carries it.

Tommy Brown Keeps Rocking the Blues Away

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Originally uploaded by NoVARon

One of the performers at this year's Pocono Blues Festival I was looking forward to seeing was the veteran blues shouter, Tommy Brown from Atlanta was part of the BoneDog Records Revue. Brown, now 78, first started performing and recording about six decades or so ago. Brown had a number of recordings for a variety labels, including the pair of "Remember Me" and "Southern Woman" for Chicago's United label which was produced by Willie Dixon and included Walter Horton on harmonica. Other records included "Atlanta Boogie," what was likely his biggest record, "Weepin' and Cryin' Blues," a rockabilly laced "The Thrill is Gone" (different song from the B.B. king hit), and a lively vocal rendition of "Honky Tonk." A couple years, the Pittsburgh-based BoneDog Records issued a CD "Remember Me," that included a mix of remakes of some of his older tunes like the title track, "Honky Tonk," and "Women and Cadillacs," along with a strong rendition of the Big Joe Turner hit, "Chains of Love."

The CD was full was a revelation as he sang with great power and style. It was with anticipation thus I watched him perform at the Poconos backed by a solid blues-eyed soul and blues band (Featuring a number of current members and/or alumni of the Billy Price Band) that first backed Git Shorty, a funky blues and soul singer an guitarist, and then the soulful vocals of Stevee Wellons. The Tommy Brown came on, and showed he could not only belt out his blues, but he danced and told jokes, some admittedly bad, as he brought decades of performing to the stage. His showmanship did not detract from his performance, and in fact added to his considerable appeal. During his rendition of "Weepin' and Cryin' Blues," Brown pretends to be weeping, gets own on his knees and during his Poconos performance, he fell off the stage, almost landing on a photographer.

BoneDog Records has just issued a follow-up release by Brown, "Rockin' Away My Blues." Backed by some of the same musicians that provided such solid support to him live, Brown graces us with new renditions of "Southern Woman," "Weepin' And Cryin' Blues," "Atlanta Boogie" (the hard rocking number he opened his Poconos set with), and "House Near the Railroad Track." He can shouter a hot rocker as well as get down. Several originals are provided such as a humorous, cautionary song about avoiding intimate relations with minors, "Leave It Alone," Mack Rice's warning about divorce (a hit for Johnnie Taylor) "Cheaper to Keep Her," and a classic Dave Bartholomew and Pearl King New Orleans R&B rocker, "Rock Away My Blues," that ends this CD on an uptempo note. BoneDog has done Tommy Brown good by the first rate production and strong idiomatic musicianship that help his vocals shine. Brown brings passion, soul, and humor to his performances. He shouts the blues yet never fails to entertain and this terrific disc shows the fires still burn brightly. BoneDog's website is www.bonedogrecords.com and this should be available from bonedog or cdbaby.com

Ronnie Earl's soulful playing

Here is a review of a DVD of Ronnie Earl live in performance. It appeared in the December 2008 Jazz & Blues Report, Issue 311 (which can be downloaded at www.jazz-blues.com).

Stony Plain has just issued a DVD by Ronnie Earl & the Broadcasters, “Hope Radio Sessions,” which was filmed and recorded at Wellford Sound in Acton, Massachusetts in April 2007. On these two all instrumental blues sessions, Earl’s guitar is backed by Dave Lumina on piano and Hammond organ, Jim Mouradian on bas and Lorne Entress on drums with special guests, guitarist, Nick Adams, and Michael ‘Mudcat’ Ward on bass and keyboards. Earl has had an extraordinary career, first coming to notice as the guitarist with Sugar Ray & the BlueTones who i saw in 1978 backing J.B. Hutto in new York City. I picked up an EP by the group that included Earl featured on an Earl Hooker instrumental that quickly had one observe his tone and musical imagination. He had also a productive spell in Roomful of Blues, replacing Duke Robillard, before taking the lead with his Broadcasters with whom he backed a number of terrific blues singers and legends. Musically one can hear a diverse group of influences including Robert Lockwood, Otis Rush, Earl Hooker and Johnny Heartsman. What is noteworthy about all of them is the attention to tone and nuances in all their playing, and Earl’s music has always focused on subtle musical invention as opposed to simply banging out hard rocking blues solos. And in recent years, his music has become jazzier.

Handling substance abuse and other issues, Earl turned to faith and his music perhaps is a bit more introverted (although he still can get down and get funky as the mood suits him. The Introduction by the Reverend Deborah J. Blanchard mentions getting to know Ronnie and how his music has the gift of being able to touch and soothe the soul. Certainly at times on this video his guitar and backing band do just that. He opens his performances here with a jazzy “Bobby’s Bop,” with a nice groove and some jazz-inflected playing, before he launches into the moody “Blues For the Homeless.” He gets into a funky groove for “Eddie’s Gospel Groove,” where he calls to the audience to get up and move, before two moody slow blues instrumentals, “I Am With You,” and “Kay My Dear.” “New Gospel Tune,” opens with some evocative churchy piano from Lumina to set the mood. The second evening’s performances opens with Earl playing some charged Otis Rush-styled guitar, with Mudcat on bass and Nick Adams on second guitar. It is followed by “Blues For the West Side,” which was an instrumental originally recorded by Magic Sam, whose playing Earl evokes without imitating, and on which Mudcat guests on keyboards. It is followed by a solo “Lightnin’ Hopkins Thing.” Also included is an interview with Stony Plain’s Holger Petersen and then an abbreviated, skeletal rendition of the traditional “I Shall Not be Moved.”

I found the lack of a vocalist or horns made the performances best sampled in batches as opposed to straight through, although others might disagree. Earl often does reach the heart with the playing here. The video production is excellent following the keep it simple stupid school that focuses on the performers and performances and realizes that this is not for MTV but for fans of blues, jazz and Ronnie Earl. Well worth checking out by his fans and fans of blues guitar.

New Twist on Swing/Jump Blues

Its a pleasure to put on something from a band that one had not previously been familiar with, and take notice.The new album by The Twisters, “Come Out Swingin’” (Northern Blues), produced that reaction. Based out of Vancouver, British Columbia and White Horse, Yukon, this quartet has developed a reputation as a first rate jump and swing blues band. On “Come Out Swingin’,” they add elements of rockabilly, reggae and gospel to this jump blues foundation. The Twisters consists of harmonica player Dave Hoerl, guitarist Brandon Isaak, bassist Keith Picot and drummer Lonnie Powell, with Matt Pease on drums for 3 of the 12 tracks, and Dave Haddock on fender bass for one with Kenny “Blues Boss” Wayne added on keyboards and Jerry Cook on saxophones and horn arrangements.The members of the band wrote all of the songs here and Hoerl and Isaak share the vocals between them.

Things sure start off strong with the opening “I’ll Make It Up To You,” with a melodic line evoking the twenties classic “Please Don’t Talk About Me When I’m Gone,” with some jazz-laced fretwork from Isaak (evocative of Bill Jennings, Tiny Grimes and Al Casey) and superlative chromatic playing by Hoerl with some unusual voicings behind Isaak’s vocal and guitar solo, and that doesn’t take into account Wayne’s piano. Hoerl takes the vocal on “Something’s Got to Give,” with a 60s R&B groove, some nice saxophones from Cook and the rhythm section just hits the groove with a nice topical lyric followed by “Long Overdue,” with an insistent beat as Isaak sings about waiting on his baby and pacing the floor because she is long overdue with Cook’s driving sax solo followed by Hoerl, again on chromatic displaying his strong tone and drive. Bassist Picot’s slap bass along with Isaak’s Tennessee Two styled guitar spark the rockabilly flavored “Doghouse” with Hoerl delivering the lyric and its followed by a modern blues shuffle, “Guess That I Was Wrong,” with Hoerl adding some remarkable harmonica accompaniment and solo here. I could continue with a comment on each track, but this superb recording deserves praise as does the band. Not simply having command of their instruments, Isaak and Hoerl add imaginative and distinctive touches throughout and the band is tight as two embracing lovers. The Twisters are simply a terrific band that deserves to be heard.

Missy Andersen's Soulful Debut!

I had not heard of Missy Andersen, a San Diego based vocalist before I received her impressive eponymously entitled release on Main Squeeze Records. Born in Detroit, raised in Queens, she has had a varied career (even a rap single) before coming under the tutelage of Earl Thomas. The present album shows up as blues on my Itunes, but it as centered as much on deep southern soul. It was recorded in Copenhagen with her husband Heine on guitar and a strong band that plays strongly in the classic Memphis Stax-Hi records vein. They may not be the reincarnation of the Hi Rhythm Section but they acquit themselves well as do the horns added to 4 of the seven selections.

There is a mix of some classic soul and blues including the opening rendition of the O.V. Wright classic “Ace of Spades,” Ann Pebbles “I Can’t Stand the Rain,” Etta James’ hit, “Tell Mama,” Junior Wells’ “Little By Little,” and Don Nix’s “Same Old Blues,” along with the original by Missy and the band, “New Feet,” a strutting soulful blues. The covers are musically not that far removed from the original recordings, but Missy does sing them with conviction and an unforced, full-throated, and soulful manner. The last number, “Stand Up and Dance,” has her strutting her stuff over an acoustic accompaniment with Nathan James on Dobro slide guitar. A complaint is that with 8 tunes, and just over a half hour of music, this is a short CD, but there is no filler here. It will be interesting to see how she follows this up, but she is someone I would love to see perform as she is one of the better soul-blues singers to come to my attention recently. Her website is http://www.missyandersen.com/ and this is available on cdbaby.com.

Esther Phillips sings "And I Love Him.

The introduction speaks for itself even if this is lip synced.

Duet between Hank Jones and Joe Lovano

It really does not get better than this. He turned 90 not too long ago and the jazz community expressed their love and admiration for him as among the greatest of all jazz pianists. Joe Lovano, one of today's outstanding tenor players is also a fan of the amazing Mr. Jones who has come a long way from playing at the Anchor Bar (in Buffalo and long before chicken wings were invented) across the street from where Art Tatum was playing.

A ripping "Tennessee Waltz"

I was surfing TV and came across CMT's program "Can You Duet?" and one of the contestants was one Avalon Peacock and her partner was Ryan Larkins and they launched into a marvelous rendition of "Tennessee Waltz." Avalon is the daughter of Annette Peacock and also a photographer. I wish I could shoot as well as she does. Enjoy.

I originally had Avalon as Gary Peacock's daughter but she corrected to me. Annette was married to Gary and kept the surname after the marriage dissolved, and is a significant composer, musician and much more. In any event, Avalon is a wonderful singer as this video makes clear.

Nathan Abshire's cajun blues

I started listening to cajun and zydeco music while I was in college at Case Western Reserve University. Nathan Abshire's "Pine Grove Blues" was a classic recording that I encountered back then. Abshire was an important figure in the revival of the accordion in post-World II cajun music. Here is a video of him at Fred's Lounge in Mamou, Louisiana. I don't understand French but one does not need to know the words to appreciate the soulfulness of his music.

Cannonball Adderly at his best

I think most will know the tune. Great stuff.

Big Bill Morganfield's solid Chicago Blues

When a child follows in the footsteps of iconic parent, it is easy to be overshadowed. Sometimes one has to pursue a different musical direction such as a John Lee Hooker, Jr. Big Bill Morganfield has chosen to perform in the tradition of his dad, Muddy Waters, which makes comparisons somewhat unavoidable. If Big Bill has not become a blues performer of his father's stature (and few who have lived are), it does not diminish the fact that he has become a solid purveyor of classic Chicago-styled blues as his latest album "Born Lover" (Black Shuck Records/Vizztone) displays.

Produced by Bob Margolin and Brian Bisesi who play guitar along with Morganfield here, the disc features a studio band of Chuck Cotton on drums, Mookie Brill on bass, Chuck Stern on keyboards and Steve Guyger on harmonica. Given this backing band, it is no wonder that the playing here is so strong, and reminiscent of the 1970s Muddy Waters band which Margolin was such an important part of. Stern and Guyger in particular deserve special mention for their superb playing.

There is a varied program of interpretations of older recordings including Little Walter's "It's Too Late Brother," the title tune by Muddy Waters, Howlin' Wolf's "My Last Affair," and Lonesome Sundown's "Lonesome Lonely Blues," along with Morganfield's originals such as the topical "High Gas Prices," and "X-Rated Lover." The rhythm is always in the pocket and Guyger is in top form whether evoking Little Walter on "Born Lover," or Jimmy Reed, on the excellent take of Snooky Pryor's "Peace of Mind." Big Bill Morganfield may never reach the stature of his father, but that does not diminish the fact he has become a solid interpreter of the Chicago blues tradition and a keeper of the flame."Born Lover" is a very enjoyable collection of performances that rightfully should find a wide audience.

What does sex sound like?

There is something pretty sensuous about Ben Webster's sound on the tenor as this ballad shows.

Is this the Future of the Blues? Not Too Bright a Future If You Ask Me!

I must confess that I was not overwhelmed by the initial album by The Homemade Jamz Blues Band and seeing them play live, my impression was not changed much. Well they have a new Northern Blues CD, "I Got Blues For You," which I doubt I will listen to much any more. So what if I am older than their combined ages and they play these cute guitars. I mean at 15 years old, Grace Lee recorded with Lee Konitz and was his musical equal. She sounds like she was playing sax on some classic Blue Note Recordings. Sugar Chile Robinson recorded at a comparable age to these Mississippi teenagers, and made boogie woogie recordings marked by a rhythmic complexity and swing that exceeded his years and stand up today as solid piano blues. Not the case here. It does not help that the rhythms of bassist Kyle Perry and his sister Tara just plod along. The original songs by the trio's father Renaud come across as generic with little to distinguish them. While the oldest of the siblings, Ryan, continues to show promise as a guitarist and a singer, the songs and the accompaniment help prevent his performances from being memorable. I wish I could be encouraging about them, but they need to show more than a mere competence at playing musical instruments and show how they can swing, rock and funk it up, as opposed to merely pounding out a simple groove without any rhythmic nuance.

Irwin Mayfield & the New Orleans Jazz Orchestra at JazzFest on May 2

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Originally uploaded by NoVARon

One of my favorite acts at the 2009 New Orelans Jazz & Heritage Festival was Irwin Mayfield & the New Orleans Jazz Orchestra. This superb big band led by another of the young lions, leading this superb band with too many terrific soloists to identify all, but tenor saxophonist Ed Pederson and clarinetist Evan Christopher each merit mention on numbers that featured their superb playing. While not imitative of the Ellington band, Mayfield's writing and arrangements evoked the Ellington band in the overall sound of the band and Mayfield’s writing of several numbers to put the spotlight on members of the band. It is a terrific aggregation and they have a superb recording, Book One (on World Village), of many of the numbers they performed this day. I believe the vocalist's name is Johnaye Kendrick.

The recording is available from the Louisiana Music Factory and Amazon. Irwin Mayfield books the jazz club at the Royal Sonesta Hotel in the French Quarter and is among those regularly performing there.

The first paragraph appeared in slightly different form in the June 2009 Jazz & Blues Report as part of my overvoew of this year's Jazz & Blues Report.

Dr. Michael White at the French Embassy

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Originally uploaded by NoVARon

One of the delights of the 2009 Duke Ellington Jazz Festival was a perfromance by Dr, Michael White & the Original Liberty Jazz Band at the French Embassy. From my review of the Festival, here are my observations on that event.

"Wednesday, June 10, La Maison Française at the French Embassy in Washington hosted a gala performance, Vivre La Nouvelle Orleans, with Dr. Michael White and the Original Liberty Orchestra. This event occurred on the day of the horrible shooting at the Holocaust Museum which made traffic in Washington DC more miserable than usual so the performance went on a little later than originally scheduled. The program opened with some awards to several DC elected officials short speeches from (among others) the French Ambassador; Charlie Fishman, the Festival’s Executive Producer; and former New Orleans Mayor Marc Morial (current head of the National Urban league) who introduced Dr. White noting that he had taught Morial Spanish.

Then the evening belonged to clarinetist White and his marvelous band consisting of Gregory Stafford on trumpet and vocals, Lucien Barbarin on trombone, Detroit Brooks on banjo, Steven Pistorious on piano, Kerry Lewis on bass and Herman Lebeaux on drums. This is a classic line-up for groups playing traditional New Orleans jazz and from the opening moments of “Shake It, Break It,” the Original Liberty Jazz Band entertained with their marvelous music, played at a relaxed tempo and lacking the frenzy and hyper-ness of some “Dixieland jazz.” The contrapunctual playing during the heads, the marvelous solos with Stafford adding his husky vocals and the crisp rhythmic pulse made the entire evening a delight. Included were classic New Orleans numbers like Sam Morgan’s “Bogalusa Strut,” and originals based on their own experience but rooted in the New Orleans tradition like “Come Together” one of the selections to feature Stafford on vocals. White was featured on a superb rendition of “Summertime,” inspired by Sidney Bechet’s hit recording for Blue Note seventy-odd years ago. A hot original second line number had Paquito D’Rivera join the ensemble adding his contrasting clarinet style to White's before a marvelous take of Duke Ellington’s “Black & Tan Fantasy.”

Trombone Shorty and Orleans Avenue

Coming to the Pocono Blues Festival on Sunday, June 27, with two sets, one outside and one inside. Here is an excerpt of my review from their Duke Ellington Jazz Festival performance on June 14.

"Troy ”Trombone Shorty” Andrews is a double threat on trombone and trumpet and comes from a musical family. Brother James had stints with the Tréme Brass Band and was original leader of the New Birth Brass Band besides recording “Satchmo of the Ghetto for Allen Toussaint’s NYNO label. Troy, who had broad experience in his hometown, came to notice in one of the Katrina benefit television broadcast. His own band Orleans Avenue is one of several groups that take the modern brass band as inspiration for a riveting mix of traditional jazz, funk, and soul with a touch of hip hop. He opened up with a brass band favorite that his brother James has recorded, ”I Want My Money Back,” with guitarist Pete Murano using an effective hard rock riff while saxophonist Trixie wailed. Introducing “Rats and Roaches Around My Home,,” Andrews alluded to DC’s Go Go Beat while Big D added some interesting accents on congas. A nice change of pace was the rendition of “It’s a Wonderful World,” just be Andrews and guitarist Murano. The set closed with his own take on “The Saints” which opens with a modern trumpet styled reading of the theme before they funked it up with Shorty walking into the crowd and then the band members all switched instruments as guitarist Murano ended up on sax and Shorty on drums. What a rousing set of music that just tore things up and really got the crowd up and dancing."

Buckwheat Zydeco at Duke Ellington Jazz Festival

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Originally uploaded by NoVARon

The following is an excerpt of an article I did on the 2009 Duke Ellington Festival as it related to the June 14, 2009 performance by Buckwheat Zydeco currently celebrating 30 years of performing as among the top zydeco acts anywhere. He will be closing out the main stages at the Pocono Blues Festival, Sunday, July 27, 2009 ay Big Boulder Mountain in Lake Harmony, PA.

"Its been thirty years since Stanley Dural has assumed the mantle of Buckwheat Zydeco and has been playing the creole music throughout the world, extending the musical base that Clifton Chenier, his one-time employer created. His band included his son Reginald on frottoir (the rubboard), Paul ‘Lil Buck’ Sinegal (also a veteran of Clifton Chenier’s Red Hot Louisiana Band) and Olivier Sciazec on guitar, and Lee Allen Zeno on bass. Buckwheat Zydeco got the crowd rocking and dancing with his opening “Party Down,” followed by a nice “Walking to New Orleans” where a member of the audience got to help him play the accordion.. Pacquito D’Rivera on alto saxophone joined the band for a rousing “Hot Tamale Baby,” while Buckwheat laid down the accordion for a rousing B-3 organ instrumental. Then he followed with the title track of his new CD “Jackpot,” with it’s refrain “I’ve Always Been Lucky, I Hit the Jackpot With You,” There was also a reggae tinged groove on”Why Can’t We Live Together,” with its plea for love and happiness. Really nice set by one of the standard bearers for zydeco."

For info on the Pcoono Blues Festival check http://www.jfbb.com.

Chuck Brown Sings the Blues

The idea of Chuck Brown being paired with Bobby Parker was so obvious that it was amazing no one thought of it before. The folks at the Tinner Hill Foundation brought the idea to fruition at Falls Church’s State Theatre on Friday Night, June 12 for a gala fundraiser for the Tinner Hill Blues Festival and it was a night of music film and dance demonstrations.

The Tinner Hill Blues Festival is dedicated to the memory of John Jackson and the evening opened up with the Film, “John Jackson, A Blues Treasure.” Its a film mostly about remembrances about John and while it has a few clips from the films “Blues Houseparty” and “American Songster,” the film, narrated by Chuck Brown, was mostly memories and appreciations of John by friends like John Cephas, students like Mike Roach and Mike Baytop, family, son James, and folklorists Kip Lornell and Chuck Perdue. Enlightening the film may have been, but inclusion of some performances would have made the film better.

After a brief demonstration of hand dancing, a D.C. swing dancing variation, Bobby and his Blues Night band was introduced by WPFW’s Scooter MacGruder. Bobby came on and did a strong set which included his usual inclusion of songs associated with Albert King, “Feel Like Breakin’ Up Somebody’s Home,” and “Angel of Mercy,”, Guitar Slim’s “Nothin’ But the Blues,” as well as several of his originals including “I’m So Glad I Found You,” “Wild Thing,” and “Lick ‘Em and Stick ‘Em.” One welcome surprise was his performance of “Watch Your Step,” which he noted was covered by several and whose riff John Lennon used on a couple tunes. The last number of his set was a funk number on which he did a stroll into the crowd.

After another hand dancing demonstration, Bobby and the band returned to the stage with the King of Go Go, Chuck Brown. Brown on his last recording in an interview segment had mentioned if he could only play on genre of music, it would be the blues. And he has adapted blues tunes in his Go Go music. This evening allowed him to play some blues in a straighter blues vein. Nothing surprising with the tune choices as he opened with “Everyday I have the Blues,” taking the lead on guitar here. Then before going into an uptempo “Stormy Monday,” he mentioned that Bobby was the reason he plays guitar, recalling watching Bobby with Paul ‘Hucklebuck,’ Williams. After a rendition of “Down Home Blues,” Brown then launched into a Go-Go medley backed by Parker’s band with members of the crowd yelling “Wind Me Up Chuck.” His “The Party Roll,” (some will recognize it from his D.C. Lottery commercial), segued into “it Don’t mean a Thing (Unless It Got That Go Go Swing),’ and finally Louis Jordan’s “Run Joe,” which really works well in the Go Go form. It was a terrific high point as the crowd just was rocking the dance floor for him. Then both Chuck and Bobby shared solos as Bobby took the vocal on Johnny ‘Guitar’ Watson’s “A Real Mother Fuyer.” The music was still going on as I headed home having enjoyed the terrific grooves.

I would love Chuck to do a blues thing again, with perhaps some wider exploration of songs, but it was an interesting experiment that worked. Kudos to the Tinner Hill Foundation for the show.

Chuck Brown with Bobby Parker Highlight of Tinnel Hill John Jackson Blues Festival

On his most recent recording, Washington musical legend Chuck Brown intersperses some interviews among his Go Go music. One short question is if he could only play one musical genre, what would it be. And he answers "The Blues." Chuck has mixed blues and swing in with his originals funk and Go Go, but he will be doing a special performance of the blues backed by Bobby Parker and his Band at Fall Church, Virginia's The State Theatre, Friday, June 12 at 8:00PM. It is sort of appropriate since in the Washington Post a year or so ago, Brown credited seeing Bobby Parker for inspiring him to play guitar. This should be an amazing show, and certainly the most interesting local (DC area) blues show in some time. It is a benefit for the annual; Tinner Hill John Jackson Blues Festival that starts that day and runs through Sunday, June 14.

Most of the events at the festival are free and all take place in the City of Falls Church. The afternoon of June 12 with lunchtime performances by the likes of the Southside Homewreckers and Greg Kimball with Jeff Scott (a nephew of the late John Jackson). Saturday Morning there will be blues played during the weekly Farmer's Market at City Hall and a panel discussion, Whites, Blacks, and Blues: The Past, Present, and Politics of Blues Music, moderated by Gregg Kimball with scheduled participants including Kip Lornell, Luvenia George, Barry Pearson, Harold Anderson,Ida Campbell, Phil Wiggins, Rick Franklin, Warner Williams. There will be a variety of activities including the screening of John Jackson - A Blues Treasure, a short documentary on the life of John Jackson at the Falls Church Community Center. The main part of the Festival takes place at City Hall Park and the highlights among the performers include Deanna Bogart; Daryl Davis & the Blues Divas including Angela Hill, Stacy Brooks and Ruby Hayes; Nadine Rae & the All Stars and Warner Williams.

Sunday there will be a jam at Bangkok Blues and an exhibition of artwork by Jackie Merritt who will also be performing with M.S.G., the Acoustic Blues Trio. Its a marvelous festival with more information available at http://www.tinnerhill.org/blues.

It is unfortunate that there is a scheduling conflict with the Duke Ellington Jazz Festival which will have two major concerts on the National Mall in Washington on June 13 and 14. This is in part due to the Ellington Festival moving this year from early fall to late spring. Hopefully this conflict will be avoided next year.

Photo of Chuck Brown is from his 2009 New Orleans Jazz & Heritage Festival Performance

Little Freddie King coming to Duke Ellington Jazz Festival

I was recently in New Orleans for the second weekend of the New Orleans Jazz & Heritage Festival along with the 8th Ponderosa Stomp. As part of the Stomp I had the pleasure of seeing the down home blues of Little Freddie King who was part of a New Orleans Music revue at the stomp. Freddie is a wonderful down home blues performer with a style not that far removed from the North Mississippi Hills style of the late R.L. Burnside while also being an animated performer. Little Freddie will be coming to the Nation's capital as part of the musical gumbo to be displayed at this year's Duke Ellington Jazz Festival.

As stated, the music of New Orleans music will be featured at this year's Duke Ellington Jazz Festival in Washington DC. There will be performances on the National Mall on the weekend of June 13 and 14 with Little Freddie and such other acts as Nicholas Payton, Don Vappie, Bob French, Buckwheat Zydeco, Rebirth Brass Band, and Irma Thomas Duke Ellington Orchestra The Duke Ellington Orchestra will be performing the late maestro's New Orleans Suite. Also on the National Mall, Friday night June 12, The Terence Blanchard Quintet with Chamber Orchestra will perform his A Tale of God’s Will – A Requiem for Katrina. On Monday, June 15, the Festival concludes with a Kennedy Center hosted JazzMasters Tribute to pianist, composer and educator Ellis Marsalis with Marsalis' sons Wynton, Bradford, Delfeayo and Jason performing along with Harry Connick Jr., Dr. Billy Taylor, Herlin Riley and Eric Revis. The Festival also has family events and concerts throughout the Washington area between June 6 and 15 and club performances during this time span at venues like Twins and Blues Alley. Many performances are free. For more information visit http://www.dejazzfest.org/.

Soulful and Loving Tribute for the Chicago Blues

A delightful surprise is a new double CD, “Chicago Blues: A Living History,” (Raisin Music). It is an attempt to portray a sketch of the evolution of Chicago Blues over the past seven decades as performed by two generations of the idiom’s greatest tradionalists. Featured on this recording are Billy Boy Arnold, John Primer, Lurrie Bell and Billy Branch, backed by a stellar band of guitarist Billy Flynn; keyboard whiz, Johnny Iguana, bassist Felton Crews and drummer Kenny Smith with Matthew Skoller adding his harp on a few tracks. Also present are special guests Carlos Johnson and Mike Avery who add addition spice to this rich blues stew.

Included are renditions of classic blues recordings by the likes of both Sonny Boy Williamson, Muddy Waters, Little Walter, Howlin’ Wolf, Elmore James, Memphis Slim, Otis Rush, Buddy Guy, Earl Hooker and Magic Sam. The music here is traditionally oriented and remains true to the originals without being slavish copies. Let me point out that the ‘legendary’ John Mayall Blues Breakers album with Clapton is comprised of mostly covers, and the music here is simply better. I don’t care whether or not Clapton is a guitar god, the truth is that The Living History Band is a much stronger band than Mayall’s band and the musicians here invigorate the tradition from which their careers are rooted.

Billy Boy Arnold opens with songs from John Lee ‘Sonny Boy’ Williamson, Tampa Red and Big Bill Broonzy with Billy Flynn conjuring up Tampa Red’s distinctive slide sound before pianist Iguana does a solo rendition of Big Maceo’s “Chicago Breakdown.” Things get a bit more modern as John Primer does Muddy’s “Feel Like Going home,” followed by Lurrie Bell’s exuberant vocal on Elmore James’ “I Believe,” with Flynn adding slide and Billy taking his usual sharp solo. Primer puts an emphatic stamp Wolf’s “Moanin’ at Midnight,” with Skoller adding harp. While B.B. King’s music is not Chicago Blues, his influence is all pervasive and the rendition of “Three O’Clock Blues,” introduces us to vocalist Mike Avery, a cousin of Magic Sam, a riveting singer that Lurrie Bell’s guitar complement so well. Billy Boy handles “Memphis Slim USA,” a bit subdued compared with Slim’s recording that had Matt Murphy’s slashing guitar on it, but the energy picks up when Billy Branch lights into Little Walter’s “Hate to See You Go.”

The second disc opens with primer in a Muddy Waters bag again on “Sugar Sweet,” with Branch adding fine harp and then Jimmy Reed’s “Can’t Stand to See You Go,” as the band aces the lazy boogie Jimmy Reed groove and Skoller adds some Reed-sounding harp. Its followed by Billy Boy reworking his own “I Wish You Would,” before Primer takes the lead on Rice Miller’s “Your Imagination,” with Skoller displaying his virtuosity as he emulates the second Sonny Boy’s style. Lurrie Bell handles the Otis Rush classic “My Love Will Never Die,” followed by Billy Branch’s interpretation of Junior Wells’ “Hoodoo Man Blues,” which is derived from the Delmark recording, not Wells’ original. Billy Flynn takes the spotlight on Earl Hooker’s “Hooking It,” displaying not only his chops but his musical good taste followed by Avery handling his cousin’s “Out of Bad Luck.” Branch returns for a strong treatment of James Cotton’s “One More Mile,” before the one ringer track as Carlos Johnson handles the vocal and guitar on John Lee Hooker’s “The Healer.” No question Hooker had in impact on Chicago, but its odd that they represent Hooker with this as opposed to the great recordings like “Boom Boom,” on which Chicago musicians had played. Johnson does an able Carlos Santana impression. Johnson is lead guitarist behind Bell on Buddy Guy’s “Damn Right I Got the Blues,” which is included to represent the continuing development of Chicago blues, although I would have preferred a reworking of one of Guy’s earlier recordings.


As I stated this is a sketch of the Chicago Blues as it evolved. One can think of a variety of artists who were skipped like Floyd Jones, J.B. Hutto, Jimmy Rogers, Big Walter, Carey Bell, Sunnyland Slim, John Brim, Otis Spann and many others. But this album does it job of lovingly bring to life some terrific songs. And as stated, Mike Avery is a helluva singer who somebody should do a full recording by. This is accompanied by a booklet with plenty of information on the original performers and the artists on the disc. For more information, visit www.raisinmusic.com or www.chicagobluesalivinghistory.com.

Roy Milton's Miltone label delighted both musically and visually

The British Acrobat label has been issuing a number of very intriguing public domain reissues of classic rhythm & blues, often focusing on a specific label. While these releases may duplicate reissues of various recordings, such reissues often have a lot of unfamiliar material. Also, the releases gather together a variety of material that ranges from blues to gospel quartet, vocal group, pop, swing jazz and more. I point to reissues from vintage labels as Trilon, Big Town, Olivet or Irma as examples.

One reissue of special note is of the Miltone label that the great Roy Milton was a co-owner of. The attractive labels often sported illustrations from cartoonist William "Alex" Alexander that made them a treasure trove for collectors. The label was centered on Roy Milton and His Solid Senders, one of the premier jump blues bands, but included a number of other terrific recordings. Like other Acrobat label reissues, this disc contains a detailed label history and artist notes from Opal Louis Nations as well as some terrific sounds. The liner booklet also contains plenty of label illustrations.

The set opens with four solo sides by The Blues Troubadour, Jesse Thomas, who had recorded for Victor in 1929. Thomas, from Shreveport Louisiana, superficially comes off as a country blues artist as a solo performer, but his dazzling single note guitar and bop-tinged vocals (the delightful D. Double Due Love You being one example), sound modern six decades later. Then there is Jimmy Grissom, the Mississippi born singer who fronted the Blenders and Miltone vocal groups as well as share solo spots with Camille Howard, Milton's featured pianist. One interesting single was Miltone 4001 which coupled You Look So Good To Me b/w The Signifying Monkey, two early Willie Dixon classics with the Big Three Trio. Some of the sides with The Blenders featured comedienne and singer Effie Smith who sang Answer to R.M.Blues, an answer song to one of Milton's biggest hits.

Of course there are a number of Milton's big hits like Milton's Boogie, Red Light, Sunny Side of the Street, and Rainy Day Confession Blues, although some of the transfers here are noisier than those reissued on Specialty. Other delights are five stunning vocals from Little Miss Cornshucks and a number of sides from New Orleans legends like Roy Brown, Paul Gayten and Annie Laurie. So included here is Chubby Newsome's Hip Shakin' Mama; Roy Brown's Long About Midnight; Paul Gayten's Hey Little Girl; and Paul Gayton with Annie Laurie doing the classic Since I Fell For You. Through in some down home blues by Wright Holmes, and blues shouting from The Great Gates, and one has a real fine sampling of late forties R&B with many terrific recordings.

This is available from various Internet retailers like bluebeatmusic.com or amazon.

Bob Corritore - Congratulations on 25 Years of Great Blues Radio

I became first aware of Bob Corritore in the '70s when he issued some blues albums by lesser known, but hardly lesser, Chicago artists Little Willie Anderson and Big Leon Brooks. Subsequently he relocated to Phoenix Arizona where he has become a multiple blues-threat, running a blues venue, The Rhythm Room; hosting for twenty-five years a blues show, Those Lowdown Blues, on KJZZ 91.5 on Sunday Nights (from 7:00PM to Midnight Phoenix Time); being a blues harmonica player of some note; and being a producer of many fine blues records.

Recently, Southwest Musical Arts Foundation Records has issued Broadcasting the Blues, a 25th Anniversary Celebration of Bob's excellent Those Lowdown Blues program. It includes some relaxed informal performances by such blues artists as Billy Boy Arnold, Billy Flynn, CeDell Davis, Dave Riley, Henry Gray, Johnny Dyer, Lazy Lester, Louisiana Red, Lowell Fulson, and Tomcat Courtney, that were done during Bob's show. While one would not call this essential, there are some very memorable moments such Lowell Fulson reprising "Sinner's Prayer," Billy Boy Arnold's solo version of "Shake Your Boogie,"Tomcat Courtney's "The World is Mad," Louisiana Red's gospel number (with nice slide) "Home in the Rock," Henry Gray's "Cold Chills," and Lazy Lester's "Out on the Road."

This is available from KJZZ (http://kjzz.org/music/blues) which gets proceeds from the sales as well as Bluebeat Music (www.bluebeatmusic.com). Having listened over the net to Bob's program, my only regret is that it is not on earlier as he plays nothing but the blues.May Bob have another 25 years of playing the real lowdown blues. Bob's own website is http://www.bobcorritore.com, and is a valuable resource in its own right. As the late Willie Dixon is heard, "Bob, keep on playing the blues." I will keep on listening,

Mark Hummel's Rocking Blues Parties

Mark Hummel has been playing the blues for decades and with his Blues Survivors, has shared the stages as well as backed numerous blues legends. In more recent years, he has been known for his tours of Blues Harmonica Blowouts, with recent tours being documented on disc on compilations on the Mountain top label. Now we have the good fortune to have new new compilations that go back to the vaults that help celebrate the blues. Electro-Fi, Hummel's current label has just issued Mark Hummel's Blues Harmonica Blowouts, subtitled "'Still Here and Gone' 1993-2007," while Mountain Top has released Mark Hummel's Chicago Blues Party subtitled "Recorded Live! 1980-1992."

For those who are fans of the Blues Harmonica Blowouts, the new double disc collects recordings by a variety of highly regarded players, some who are no longer with us. The focus on harp allows the presence of Magic Dick whose vocal talents nowhere approach his instrumental skills, as well as the brilliant Lee Oskar, who turns in a stunning instrumental rendition of Duke Ellington's In a Sentimental Mood. Hummel turns in his usual solid playing, rooted in the classic playing of Little Walter and Big Walter (a nice rendition of Hard Hearted Woman, along with the set's closing Summertime). There are nice representative performances from Lazy Lester, Sugar Coated Love; Carey Bell, I Got to Go; Billy Boy Arnold, Sugar Gal; Johnny Dyer, and Rick Estrin. Of special note are performances by several not with us: two by Paul deLay, Can't Stand Your Evil Ways; two by Sam Myers with Anson Funderburgh on guitar, especially I Done Quit Getting Sloppy Drunk; and three brilliant performances by William Clarke, including Stretch My Money and the instrumental Chrome Jumpin'. Rusty Zinn are on these selections while Junior Watson graces the James Harman and Paul deLay selections. The harp playing is high and most of the vocals are strong on a set with broad appeal.

Chicago Blues Party is even better with previously unissued performances spotlightling a number of now deceased blues legends: Jimmy Rogers, Eddie Taylor, Mississippi Johnny Waters, and Luther Tucker. The disc opens with five 1992 performances by the great Jimmy rogers backed by Hummel and a band that included Rusty Zinn on guitar from Slim's in San Francisco. Over a decade and a half later it is a delight listening to Rogers redo You're the One and Ludella with Hummel's harp embellishing the vocals so well. Less familiar Rogers songs like Tricky Woman, standout along with a rendition of Jimmy Reed's Big Boss Man. The late Eddie's set lacks reworkings of some of his better known recordings like Bad Boy and Big Town Playboy. Instead he focuses on reworkings of Wolf's Smokestack Lightning, Muddy Waters' Trouble No More, and Charles Brown's Sunny Road. Despite the familiarity of the material, Taylor is in good form. On Taylor's set, Mississippi Johnny Waters is on rhythm guitar and takes the lead vocal as well as plays some strong slide guitar for Dust My Broom. Waters, real name Johnny Sandifer, was a strong traditionally oriented Mississippi bluesman who Hummel played with for several years from 1977 on and there are two performances by Waters with guitarist Sonny Lane from the 1980 San Francisco Blues Festival including solid renditions of Wolf's Shake For Me and J.B. Lenoir's How Much More Long. These performances display strong vocals backed by a tight rocking band playing classic Chicago blues. The fact Waters recorded so little makes these especially valuable. Another 1985 Waters performance, a rendition of Long Distance Call, has Luther Tucker on guitar. Tucker himself is featured on two 1994 performances with Hummel handling the vocal with Tucker's solo on "Blue & Lonesome," based on his solo on Little Walter's original recording, arguably being the highpoint of a terrific disc of Chicago blues. Hummel is to be thanked for making these superb performances by some departed blues masters accessible.

As I write this, the “Chicago Blues Party” set may be hard to find. Bluebeat Music, www.bluebeatmusic.com has both of these.

Muddy Waters' Fillmore Debut Finally Available

It was a surprise to find out that Geffen Records was going to issue some previously unreleased live performances by Muddy Waters, at a time he was arguably musically at his peak. Recorded around the time Muddy recorded Muddy, Brass, & the Blues, the newly issued Authorized Bootleg/ Live Fillmore Auditorium, presents Muddy's performances (but not those by his band members) from November 4 through 6, 1966. His band at the time consisted of Luther "Georgia Snake Boy" Johnson and Sammy Lawhorn on guitars, George 'Harmonica' Smith on harmonica, Mac Arnold on bass and Francis Clay on drums. Its unusual in that Otis Spann was not with the band. Perhaps he had left Muddy at the time they went to San Francisco, but I recall seeing Muddy in the summer of 1967 or 1968, opening for Moby Grape in New York's Central Park and Spann was with the band.

Be what it may, what is important is here is the music, and this contains probably the best live Muddy Waters recordings I have heard. Especially on the six performances from November 5 that open this session, find Muddy singing with such power and authority and the band is terrific. Listening to him do Forty Days and Forty Nights and She Moves Me, is riveting. Got My Mojo Working sounds fresh and not hackneyed. From November 6, there is a terrific rendition of You Can't Lose What You Never Had and an extended rendition of Thirteen Highway. When Muddy takes out his slide, it just adds to the power of these performances. And Muddy's band members get their spots to shine, with George 'Harmonica' Smith perhaps being the most prominent here.

One might wish that some of the opening and closing songs by the members of the Muddy Waters Band had been included, although I can see for the purpose of limiting this to one disc, that would not have been feasible. To repeat myself, this is the finest Muddy Waters live recording available and is essential to all blues lovers.

I am adding today (April 4) that these three shows are available to download in full (with the band cuts included) from Wolfgang's Vault. http://concerts.wolfgangsvault.com/
link to the November 5 show - There is a charge to download.