Nora Jean Is Going Back to Mississippi

The following review originally appeared in the October 2004 DC Blues Calendar as well as the November-December 2004 Jazz & Blues Report (Issue 271). I have made a few stylistic changes since the original review. I likely received a review copy from Severn Records and it is available. She has a new recording Good Blues from 2011 which I have not heard but will have to check out. Nora Jean is now Nora Jean Wallace and her website is website is http://norajeanblues.com/music.html.

I recently reviewed a cd from Nora Jean Bruso, a Chicago based blues singer, who really impressed many at this year’s Pocono Blues Festival. That cd was comprised of interpretations of some well known and lesser known blues. Severn has just issued a new album by her, Going Back to Mississippi (Severn Records), which is comprised solely of originals, so she is presenting her own “musical vision of the blues, rather than interpreting the vision of others.” 

Nora Jean Bruso at 2004 Pocono Blues Festival
Photo © Ron Weinstock

She has a strong backing band that include Carl Weathersby or Dave Spector on lead guitar, Rob Waters on keyboards, Ron Graham on saxophone, Harlan Terson on bass and Marty Binder on drums. Bruso’s powerful vocals will suggest Koko Taylor to many (Koko is her idol). She does have a similar background, as she, like Taylor, moved to Chicago after having deep southern roots (Bruso grew up in Mississippi).  Her roots are lyrically expressed in the title track, a shuffle where she talks about going back because that’s where her baby is as well as Miss Mae’s Juke Joint, that celebrates the juke her grandmother operated. 

She gets down in the alley on a superb slow blues, All My Life, with some nice sax in the accompaniment, while sings in a more relaxed manner on Broken Heart, with its caribbean-flavored groove. She takes us to New Orleans on the rhumba, I’ve Got Two Men, (one of whom has to go) with a nice solo break from Dave Spector. Don’t You Remember is a slow blues that evokes Someone Loan Me a Dime, with Bruso telling her baby how sweet their love used to be and how their relationship changed. Carl Weathersby is particularly impressive here in his instrumental responses to Bruso’s vocal and his solo. 

With this new release she has gone beyond the promise shown on her earlier disc and has shown herself as among those who will carry on and follow Koko Taylor and keep “this great music alive and vital.” 

Here she is singing Going Back to Mississippi. 

Wallace Coleman's Lively Harmonica Blues

I first saw Wallace Coleman playing with the late Robert Lockwood, Jr., and had the pleasure of seeing him with that late legend as well as leading his own groups over the years. The following review appeared in the the September/October 2002 Jazz & Blues Report (Issue 259). I am not sure if I received a review copy from the publication or purchased this. 

Wallace Coleman was part of Robert Lockwood Jr.’s band through the sixties and until recently where his Little Walter inspired harp was a delight to those who caught him with Lockwood. His new album is Live at Joe’s (Pinto Blue), a recording done live in the studio, not a club. 

Wallace Coleman at 2012 Pennsylvania Blues
Festival. Photo © Ron Weinstock

The band provides a steady, swinging foundation. The guitarists get their solo spots but their playing does not intrude when Coleman is in the fore. Nothing startlingly original here perhaps, but Coleman and band do a solid job in evoking the classic Chicago blues sound which will appeal to those who love that sound.There is nothing fancy about the music here as Coleman displays his stylistic indebtedness to Walter on a program of mostly classic blues including Juke, One More Chance With You, and Tell Me Mama, as well as songs associated with Jimmy Rogers, You’re the One and My Last Meal, and Muddy Waters’ Young Fashioned Ways. Throw in a few originals including the slow Hard Life with some nice chromatic harp playing and the jazzy Love Spell, and one gets a nicely sung and played set of performances that are centered on Coleman’s very likeable, unforced vocals and fluid harp playing. 

Here is Wallace Coleman in performance.

Ronnie Earl Plays With Heart & Soul

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the Anson Funderburgh and Guitar Shorty compilations have already run. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue or mp3 and you might want to check collector's choice music as well as Amazon and other websites for the Black Top recordings.

Ronnie Earl has established a lengthy catalog since leaving Roomful of Blues with albums on Bullseye Blues, Telarc and Stony Plain in addition to his fine discs on Black Top. Heart and Soul; The Best of Ronnie Earl. Starting with Smokin’, we hear Earl expanding his musical palette incorporating jazz influences in his playing and repertoire over the years leading to his instrumentally recordings of recent years. 

Vocalists supported by Earl include, Sugar Ray Norcia (with whom Earl recorded as Ronnie Earl Horvath in the late seventies before he joined Roomful of Blues) handling Guitar Slim’s You Give Me Nothing But the Blues; Darrell Nulisch on the fittingly titled Soul Searchin’; Kim Wilson on I Smell Trouble; and Mighty Sam McClain on the stunning Earl original, A Soul That’s Been Abused from Hubert Sumlin’s Blues Party. 

Instrumental features include a wonderful interpretation of Earl Hooker’s Blue Guitar as well as trading licks with Duke Robillard on What have I Done Wrong, from a 2005 Stony Plain recording, before closing with an instrumental rendition of Drown In My Own Tears, that features the great David ‘Fathead’ Newman. 

I am not sure whether this is really a Best of, but certainly is an excellent career retrospective of Mr. Earl’s music.

Here is Ronnie from 2012 doing a Kenny Burrell classic.

Jimmy McCracklin RIP

Jimmy McCracklin at 2008 Pocono Blues Festival
Photo © Ron Weinstock

Jimmy McCracklin, a fixture on the San Francisco Blues Scene for over six decades passed away, Thursday, June 20, 2012 at the age of 91. He was raised in St. Louis and his main influence would be Walter Davis, the popular recording artist. After a stint in the Navy, he relocated to the West Coast and was a mainstay of the blues scene there for over 65 years.

He first recorded in 1945 and later recorded prolifically for a variety of labels turning out numerous recordings ranging to thoughtful songs on the relations between the sexes including "My Time Is Limited," "Just Got To Know," "Yesterday Is Gone", "Every Day and Every Night" and "Think," along with dance numbers like "The Georgia Slop," and "The Walk." Some of his recordings were quite humorous like his adaptation of Memphis Slim's "Beer Drinking Woman," along with its sequel "Couldn't Be a Dream."

McCracklin's Band became known as the Blues Blasters and while in its early days included guitarist Robert Kelton, he was replaced by guitarist Lafayette 'Thing' Thomas who had a lengthy association with McCracklin and was guitarist on many of his most famous recordings including "The Walk." Add a booting sax and one had a group that could handle sober songs about relations breaking up, hot dance numbers and grooving boogies like "Club Savoy" about the Richmond, California club McCracklin played for years (set to the melody of Amos Milburn's "Chicken Shack Boogie").

His music was recorded by numerous artists including "Tramp," a hit for Lowell Fulson and then Otis Redding and Carla Thomas. Lonesome Sundown and Phillip Walker did a cover of "Stepping Up In Class," while Los Lobos revived "Georgia Slop." Freddy King incorporated part of "The Walk"into his classic "Hideaway," while Magic Sam covered "Every Day and Every Night" as performed "I Want To Know" in his live performances.

It was not simply the fact he was one of the blues strongest lyricists and song writers that made him important. He was a marvelous performer who I had the pleasure of finally seeing in 2008 at the Pocono Blues Festival where his performance belied the fact he was 87 at the time.

Here are some links of obituaries for him:

Jimmy McCracklin East Bay Blues Legend Dies.

Bay Area Blues Legend Had 65 Year Old Career

NY Times - Jimmy McCracklin, R&B Singer and Songwriter, Dies at 91

And here is the link to Bill Dahl's All Music Guide Entry as well as limited Discography.

Here is a video of Jimmy talking about himself, the blues and performing.

Brad Linde's Holiday Jazz

Brad Linde led a fascinating evening of holiday music on Thursday December 20, 2012 at the Kogod Courtyard in the Smithsonian's Museum of American Art. Saxophonist Linde's Quartet with fellow saxophonist Sarah Hughes was augmented by a brass ensemble for a terrific evening of holiday music. It was as if the Birth of the Cool Band interpreted Jingle Bells, and other favorites. Here is an excerpt from their performance of Sarah Hughes's arrangement of "Chorale of the Bells."

WAMA - How about Jazzing Up Your Hall Of Fame

Edward 'Butch' Warren belongs in
the Hall of Fame of Washington DC Music

I have in the past blogged about Washington, DC area musicians that have been long overdue for being honored by the Washington Area Music Association in their Hall of Fame, In the past I have noted the Bobby Parker, DC's Blues Legend and major influence on many artists including Chuck Brown; Haywood 'Little Sonny' Warner, one of the greatest blues vocalists from the area; and Mr. Personality himself, Lloyd Price, who was based in Washington for several years and who made musical history here. Their continued omission in WAMA's Hall of Fame reflects poorly on those in WAMA who make the selections for the Hall of Fame.

I do have a couple of names from the world of jazz that also deserve to be recognized.

Edward 'Butch' Warren is a Washington native that in the sixties was one of the leading hard bop bassist and part of Blue Note's House Rhythm Section (Sonny Clark on piano and Billy Higgins on drums) for many sessions such as Clark's Leapin' and Lopin'; Dexter Gordon's Go and A Swinging Affair; Don Wilerson's Preach Brother! and Jackie McLean's Vertigo. He also recorded with Herbie Hancock, Takin' Off (with the original recording of Watermelon Man); Kenny Dorham's Una Mas; and Thelonious Monk's It's Monk Time. Warren, in fact, was part of Monk's Band for 1963 and 1964.   He has had hard times but his return to music in recent years has been very heartwarming and in 2011 he produced his first album as a leader, French 5Tet, that the website capitalbop.com selected as among the five best new DC jazz recordings of 2011. Few have produced such a body of recordings as he participated on. Here he is seen playing Kenny Dorham's Blue Bossa in France. He played on Dorham's original recording.

Carter Jefferson was one of the fine tenor saxophonists who emerged in the seventies and was taken too soon from us in 1993. He played in the backing bands of The Temptations, The Supremes and Little Richard before playing with Art Blakey and Mongo Santamaria. Between 1977-1980 he was a member of Woody Shaw's Band, arguably the leading hard bop ensemble of that time. After his time with Shaw, he spent time with Elvin Jones, Roy Haynes, Cedar Walton, Jerry Gonzalez, Malachi Thompson, and Jack Walrath.  He only recorded one album as a leader, but left an impressive body of work on the recordings by Shaw and others. Here is carter Jefferson as part of Woody Shaw's great band.

There are others that are also worthy including the marvelous drummer, composer, educator and leader, Nasar Abadey; or the legendary pianist and composer, Freddie Redd, who recorded for Blue Note as well as composed music from the legendary play, The Connection. I am sure Michael West from the Washington City Paper and other publications, or Luke Stewart and Giovanni Russonello from capitalbop.com could make additional suggestions. 

Smithsonian Holiday Jazz with Brad Linde & Sarah Hughes

Brad Linde and Sarah Hughes on Saxophone at the 2010 DC Jazz Festival's Jazz at the Phillips Collection.
Photo © Ron Weinstock

If you are in The Washington DC area tonight, Thursday December 20, you might want to check out the Holiday Program the Smithsonian's Museum of American Art is presenting in the Kogod Courtyard starting at 5:00 PM and continuing until the Museum closes at 7:00PM. It will be some cool yuletime jazz with The Brad Linde Quartet and a Brass Ensemble. The program is described as "Brad Linde and Sarah Hughes present an evening of holiday music arranged for their jazz quartet and brass ensemble. Listen to your favorite Christmas classics as you've never heard them in the Brad Linde Quartet's unique post-cool, free-bop style." In addition to the music, one can participate in a free drawing workshop during the Take 5! performances. Build your own sketchbook from recycled materials to take home. Workshops are in conjunction with the exhibition Abstract Drawings.

It marks the return of the monthly series of free jazz concerts at the Kogod Courtyard. Upcoming programs in the Take 5! series include saxophonist Elijah Jamal Balbed: Tribute to Wayne Shorter on Thursday, January 24  which is in tribute to Wayne Shorter's 80th birthday year. Elijah Jamal Balbed, will showcase Shorter's early works. On Thursday, February 21, Take 5! will showcase Trumpeter Mike Davis performing the music of the legendary Kenny Dorham, one of the mist significant trumepters of the bebop and hardbop period (1945-1965). 

For more information on these performances and the Take 5! series visit the Smithsonian’s website. Note that while the webpage has the performances running until 8:00PM, these performances will end by 7:00PM.

Almost Guitar Shorty's Best

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the Anson Funderburgh compilation has already run and another will run in the next few days. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue or mp3 and you might want to check collector's choice music as well as Amazon and other websites for the Black Top recordings.

David Kearney, best known as Guitar Shorty, was among the three major rediscoveries that Black top made (Robert Ward and Bobby Parker are the other two). The Florida born singer- guitarist was heavily influenced by Guitar Slim who made some choice recordings for Cobra Records and the LA based Pull label. For a period he was married to Jimi Hendrix’ stepsister and would swap ideas with the future leg-end. 

Kearney had recorded a wonderful My Way or the Highway for the English JSP label before joining Black Top where he recorded three albums, Topsy Turvy, Get Wise To Yourself, and Roll Over, Baby. After leaving Black Top, there were live albums on Collectibles followed by Evidence’s I Go Wild and more recently he signed to Alligator. Shout Factory’s The Best of Guitar Shorty: The Long and Short of It, is taken from the JSP album, the three Black Top CD and the Evidence. The highlights include a stunning remake of Hard Life, You Better Get Wise to Yourself, Swamp Dogg’s I Want to Report a Crime and a duet with Carol Fran, I’m So Glad I Met You. 

The two cuts from the JSP disc, No Educated Woman and Red Hot Mama, are almost equal to the Black Top discs which employed such first-rate players like Lee Allen Zeno on bass, Herman Ernest III, Shannon Powell or Raymond Weber on drums, David Torkanowsky on keyboards, Kaz Kazanoff on sax. Oddly the only number from Black Top that had South Central, his working band of the nineties, was a credible rendition of Hey Joe, a tribute to Hendrix which is ok, but there are some other selections that are missing, especially his rendition of Al Kooper’s (I Love You) More Than You’ll Ever Know, derived from Donny Hathaway’s recording. Hathaway was a major influence on Shorty as a singer, but you would never know it from most of which has been written about him that focuses on his guitar playing and Hendrix connection. 

With the more rock-oriented production of his recent recordings, his vocals also suffer. But if this gem had replaced a track from the Evidence album, then the title would be more accurate as opposed to really being Almost The Best of Guitar Shorty. Still this will have to do until Topsy Turvy and Get Wise To Yourself are reissued. The JSP is in print. 

Here is Guitar Shorty doing one of his signature songs, It's A Hard Life.

Franklin and Wiggins Live at the DC Holiday Market

Today Rick Franklin (guitar and vocals) and Phil Wiggins (harmonica) treated lunch time visitors to the DC Holiday Market to some acoustic blues and hokum. I caught the pair here performing the classic Blind Blake blues from the 1920's That Will Happen No More. Enjoy the video.

Michael Roach Has The Good New Blues

Former DC Blues Society president Michael Roach has been resident in England for several years now. He has become an influential performer as well as promoter and educator of blues there and in Europe where he has organized blues conferences and an annual Blues Week. At Blues Weeks, he has brought over as instructors the late John Jackson, Larry Johnson and Phil Wiggins among others. He has continued to develop as a blues performer too and as a songwriter and has two recent (as of 2003) recordings, Good News Blues and the just released Cypress Grove on his Stella Records label. 

The earlier disc, Good New Blues, also features sympathetic harp accompaniment from Ian Briggs and includes a number of Roach originals along with his often-topical originals including Pleading Insanity and the amusing Vote For the Wino on which his wife and daughter add an amusing chorus backup. He has become more than an adept guitarist too, which is not surprising when he was mentored by the likes of John Jackson, John Cephas and Jerry Ricks. And his adaptations of classic blues themes are not slavish recreations of earlier recordings.

With a bouncing riff, he reinvigorates Trouble is Mine as well as pays his respect to Big Bill Broonzy on a nice Keep Your Hands Off (Her). Bumble Bee Slim’s recordings are not often performed today, but Roach’s rendition of Bricks In My Pillow suggests that this popular blues artist from the 30’s deserves some reconsideration. The late Otis Williams penned the title track, and Mike integrates Williams’s recitations of his poetry into this fine performance. A reworking of the traditional Alberta that closes a varied and very enjoyable set of performances follows a heartfelt gospel performance Jesus Gonna Make Up My Dying Bed.

The just issued Cypress Grove is dedicated to the late John Jackson and found Michael recording a number of songs that he knew and recorded if only for archival purposes. In his own words on this recording Michael chose “to go for original sounds rather than releasing original material.” Included are Roach’s interpretations of Skip James’ Special Rider and Cypress Grove, Blind Boy Fuller’s So Sweet, and Furry Lewis’ Brownsville Blues, along with his renditions of traditional material like Lonesome Valley, C.C. Rider, Go Tell It on The Mountain and What Month Was Jesus Born. Again he brings his own touch to this material and sings in a simple, direct manner with plenty of sincerity. That Roach does Lewis’ Brownsville Blues is telling because Lewis is not simply among Roach’s favorite blues artists, but Roach’s guitar playing suggests Lewis’ style with its nicely rhythmic focus. 

There is an original from Roach as well as the closing song about the closing of the coal mines in Britain, Hard Times For the Working man, written by Bernie Marsden of the rock group Whitesnake. Another varied program that is full of heartfelt performances that demonstrate just accomplished a blues guitarist Michael Roach has become, but also how strong a performer he is. Information on these re- leased including how to order them can be obtained from websites,www.stellarecords.net and/or www.michaelroach.com, and it is well worth the effort in trying to get these.

The above review appeared in the July-August 2003 DC Blues Calendar and these releases still should be available directly from Michael. I have made a few stylistic changes. As performances he made earlier in 2012 in the DC area showed, he is among the finest living country blues performers. Here is Michael with harmonica player Johnny Mars at the 2008 Pocono Blues Festival.

The Stories of The Chitlin' Circuit and Bettye LaVette

With the holidays approaching, there are plenty of books that might be of interest to those in your lives with interests in blues and jazz. A few days ago I posted a review of Ted Gioia’s The Jazz Standards. Here are a couple more books you might consider giving. 

The Chitlin’ Circuit

Preston Lauterbach’s The Chitlin’ Circuit and the Road to Rock’N’Roll (New York: Norton) is a fascinating look at the development of the string of clubs and joints that emerged after the fall of the Theatre Owners Booking Association (T.O.B.A.) Circuit. Lauterbach’s inspiration to write this book was a story he did on Bobby Rush for Living Blues. In it he introduces us to Sax Kari, a recording artist whose career went back to the 1920s with Butterbeans and Suzie. Kari then introduces us to an Indianopolis nightclub boss and racketeer neamed Denver Furguson and how in the 1930s he helped started what became known as The Chitlin Circuit.

In the early days, the Chicago big band leader, Walter Barnes, was among teh first to have tours arranged for him. Barnes, who recorded ten titles in the 1920s, was also a correspondent for the Chicago Defender, who contributed dispatches from the road in addition to the various stories he contributed on the black entertainment world. Its fascinating to learn his biography as well as his tragic, and heroic death, in the Natchez Fire in 1940 whose impact was still felt when Howlin Wolf recorded a song over a decade ago. Barnes and Ferguson are only some of the intriguing people we meet. Enabling Louis Jordan to tour was one way the Circuit started to develop. We also find the interrelationship between record companies and booking agents as well. 

The Chitlin’ Circuit and the Road to Rock’N’Roll is a book from which I learned much and it is a very lively read. It has been available over a year and if you may have missed it, I do recommend it highly.

Bettye LaVette

David Ritz has assisted another legend from the rhythm and blues world with an autobiography. A Women Like Me from Bettye LaVette (New York: Blue Rider Press). Its a raw and compelling story that LaVette tells of a career marked by ups and downs and a life where she has been literally pimped out as well as had the fortune of being mentored and coming under the wings of those who truly cared her and helped her develop her talents. 

LaVette us from her musical upbringing in Detroit, her various recording efforts in the sixties and seventies with near brushes at stardom and the failure of various motherf******s to keep their word to the past decade or so where her star finally ascended to its rightful place. 

Be warned that the language here is raw and unfiltered and profane but the story rings with the truth of her recordings. This book has soul.

I purchased these books.

Eddie Burns Remembered With Snake Eyes

Word arrived by vocalist and harmonica player, Eddie Burns one of the centerpieces of the downhome post-war Detroit Blues Scene, passed away Wednesday, December 12, 2002. Burns was perhaps best known for being part of John Lee Hooker's Band for part of the fifties. The Mississippi native was influenced by John Lee 'Sonny Boy' Williamson and also Big Bill Broonzy. He was an adept harmonica player who was heard on Hooker's brilliant early recording of Burnin' Hell, on Sensation, along with the Chess album, The Real Folk Blues. He recorded a number of singles and some albums over the years for labels that included Harvey, Von, Checker, Blue Suit and Delmark. In 2002 I reviewed his Delmark album, Snake Eyes in the September/October Jazz & Blues Report (Issue 259) which follows.

Delmark has recently issued this latest album, Snake Eyes, by another under recorded blues veteran, Eddie Burns. Burns is a veteran of the Detroit blues scene, including playing with John Lee Hooker on a number of Hooker’s finest band recordings. He shares some influences with Hooker including Tommy McLennan, but in addition to being a fine rhythmic guitarist he is a capable harmonica player indebted to John Lee ‘Sonny Boy' Williamson. 

Delmark, which has issued a couple of albums by his younger brother Jimmy. On Snake Eyes, Eddie Burns is joined by brother Jimmy on guitar along with pianist Roosevelt Purifoy, bassist Nick Charles (brother of Magic Slim) and drummer Larry Taylor in an album of postwar ensemble blues. Playing both acoustic guitar as well as electric guitar and harmonica, Burns’ simple, effective playing and his straightforward plaintive singing result in delightful traditionally oriented blues. 

There are echoes of classic Muddy Waters’ stop-time grooves on Night Shift, while the rollicking Papa Likes to Boogie evidences the influence of Williamson. A spirited remake of the Drifters’ Your Cash Ain’t Nothin’ But Trash, is joined by a tasteful cover of Memphis Slim’s Lend Me Your Love. wile Going to New Orleans is similar to recordings by Otis Spann and Lonnie Johnson. The two Burns play acoustic guitars on the shuffle Treat Me Like I Treat You. 

The backing band is wonderful, and with Burns’ honest and heartfelt performances, Snake Eyes is a gem.

I probably received a review copy from Delmark and I have made some minor stylistic edits. Nick Charles is not Nick Holt, who was Magic Slim's brother, but a different person. Thanks to the members of the Facebook group, The Real Blues Forum, for pointing this error. Also on that forum was a suggestion that Burns harmonica with John Lee Hooker in 1949 (the Burnin' Hell session) may have been the first recording of amplified harmonica on record.

A Few Blue Notes

The Oxford-American has just published its Annual Music Issue which this year is dedicated to the and music of Louisiana, Trah-La-La-La, Louisiana. Its the fourth of a 12 year series looking at the music associated with a southern state. Included are the usual essays exploring significant artists like Jason Berry on Professor Longhair (pictured on the cover), Amanda Petrusich on the creole accordion pioneer Amédé Ardoin, and New Orleans and Jazz by Stanley Crouch and the writings take us from Cosimo’s studio to the Louisiana Hayride. Included is a diverse recording of music from a variety of Louisiana Artists including Clarence Garlow’s “Bon Ton Roula”; a lesser known Professor Longhair recording; zydeco and cajun music from Nathan & the Zydeco Cha Chas as well as Octa Clark & Hector Duhon; cajun rock from Cleveland Crochet; Rev. Utah Smith’s fervent gospel classic “Two Wings”: classic soul from Johnny Adams as well as Margaret Lewis’ original of “Reconsider Me,” which Adams recorded as well; then there is some funk form the legendary New Orleans Band, the Gaturs as well as from Lil’ Buck & the Top Cats (who included Lil’ Buck Senegal and Stanley ‘Buckwheat’ Duval); “Shirley” by the 16 year old John Fred (a few years before Judy in Disguise With Glasses; Dr. John; and Kid Ory. This issue is available at Barnes and Noble (where I purchased my copy) and I would presume better independent bookstores. You can also purchase this from the Oxford American directly, and here is the link to their website, http://www.oxfordamerican.org/articles/issues/latest_issue.

The Wire is devoted to a variety of improvised music. The current issue has a feature on legendary free jazz saxophonist Peter Brotzmann and his music and art. Included besides the feature on him is an overview of his very extensive recording career that ranges from fundamental works of the free improvisational scene in Europe to his collaborations with artists like Sonny Sharrock, Bill Lasswell and Ronald Shannon Jackson. I purchased my copy at Barnes & Noble

Taste of Treme: Creole, Cajun, and Soul Food from New Orleans' Famous Neighborhood of Jazz by (2012: Ulysses Press) is a cookbook by a self-described Cajun and Creole foodie (www.LouisianaBoy.com) and this profusely illustrated volume presents recipes with new twists on such classic New Orleans favorites like Muffuletta Salad, Chargrilled Oysters, Crawfish and Corn Beignets, Shrimp and Okra Hushpuppies; Chicken and Andouille Gumbo, Roost Beef Po’ Boy, Bananas Foster and more. Also included are cultural facts about the music, architecture and dining that make up Tremé. I should mention I received a free copy because I gave permission for them to include a coupe of images (Uncle Lionel Batiste (page 16) and saxophonist Roger Lewis (page 134)). I am not a cook but this is a wonderfully designed and illustrated volume that I am sure will provide some inspiration for the culinary folk out there. Here is the Christian Science Monitor review of the book, http://www.csmonitor.com/The-Culture/Food/Stir-It-Up/2012/1128/Cookbook-review-Taste-of-Treme.

Anson Funderburgh & The Rocket's Best!

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the other two compilations will run in the next couple weeks. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue and you might want to check collector's choice music as well as other websites.

Shout Factory has been reissuing product from the catalog of the Black Top label, arguably the label that from the mid-eighties through its demise in the nineties, had the strongest catalog of blues releases in that period. Earlier releases included the discs of Solomon Burke, and a Hubert Sumlin one. Three new releases are “Best of” collections centered on three of the label’s artists that do include recordings these performers made for other labels.

It was ironic that I received, Blast Off -- The Best Of Anson Funderburgh & The Rockets, the day word that Sam Myers, the great Mississippi vocalist had passed away. It is odd that this reissue does not mention featuring Sam Myers who appeared on most of the Rockets discs after Myers joined Anson and his varying line-up over the years, especially since the band took off as one of the preeminent blues bands after Myers became featured. 

The above is not to say that the band was shabby with the original vocalist Darrell Nulisch who certainly turns in an amiable performance on Earl King’s Come On, but a younger Nulisch simply had not developed the authority that Myers brought with his singing and harp as evident on A Man Needs His Loving, Moose John Walker’s Ramblin’ Woman or Buddy Guy’s reworking of Barrett Strong’s Money, $100 Bill. Additionally Myers brought his considerable harp talent to the recordings and live dates. Anson himself displays his sizzling playing as well as his impeccable taste, and is featured on Down at JJ’s. While the backing personnel changed over the years, they remained a tight, swinging outfit. 

There are numerous pleasures to be heard on all 17 selections which is compiled from all nine Rockets recordings, including selections from the two Bullseye Blues albums and the two with Nulisch and one certainly hopes that at least a few of the Rockets CDs featuring Sam Myers including Sins, Rack ‘Em Up, and Tell Me What I Want to Hear, are issued in their entirety. 

Here is a video clip of Anson Funderburgh and the Rockets featuring the late legend, Sam Myers.

My Music MIx For Today

Today they are having a party at my office to celebrate my upcoming retirement. Knowing my interest in music they asked me to prepare some music to play. I prepared a CD and here is the playlist with song, artist, and composer.  I must say it is a pretty diverse set of music. And I included some youtube clips that are mostly the recordings but an occasional live performance mixed in.

1 My One And Only Love by John Coltrane & Johnny Hartman, written by Robert Mellin & Guy Wood

2 Love For Sale  by  Dexter Gordon written by Cole Porter

3 I Never Loved A Man (The Way I Love You) by Aretha Franklin,  written by Ronny Shannon

4. In Walked Bud  by Thelonious Monk, music by Thelonious Monk and lyrics by Jon Hendrick

5. You Used To Call Me by Clifton Chenier and written by Clifton Chenier

6. Flowers For Albert by the Skatalites and written by David Murray

7. Burgundy Street Blues by The George Lewis Band and written by George Lewis

8. Mercy, Mercy, Mercy by Cannonball Adderley and written by Josef Zawinul

9. When Something Is Wrong With My Baby by Charlie Rich and written by Isaac Hayes & David Porter

10. Petite Fleur  by Evan Christopher and written by Sidney Bechet

11. A Man And The Blues  by Buddy Guy and written by Buddy Guy

12. Jumpin' At The Woodside  by Count Basie Orchestra and written by William Basie 

13. Mr. Moonlight by Roy Lee Johnson and written by Roy Lee Johnson

Eisenhower Blues Has Some Excellent Post-War Blues

The following review appeared in the September/October 2006 Jazz & Blues Report (Issue 286) I have made minor corrections. I should note that my original review did not include the recording's subtitle, Post-War Urban Blues Classics From the Eisenhower Era (1952-1960).

While J.B. Lenoir waxed a blues protesting the hard times during the administration of President Eisenhower during the 1950s, most of the recordings compiled on Eisenhower Blues (Empire Musicwerks) lack such a topical center but simply are strong blues recordings with most having a down home flavor.  

Long-time collectors will have some or many of these performances, but these remastered sides sound really nice. Others will discover a number of little known artists that have much to say. There are a couple of gems from Lenoir, including the title track and the lively medium tempo boogie, Fine Girls. The CD opens with John Brim’s topical Tough Times, with Jimmy Reed on harmonica. 

Others heard here of note include Jody Williams (as Little Papa Joe)  doing a peppy Lookin’ For My Baby; Harp player and vocalist Dusty Brown (recently heard on Severn’s Chicago harp anthology) on his fine downhome Yes, She’s Gone, more down home harp and vocals from Little Sammy Davis (who is still active and occasionally on Imus’ radio show) doing 1958 Blues based on the Rollin’ & Tumblin’ riff; and Joe Hill Louis’ Jealous Man (as Johnnie Louis) which sports a wild guitar break. There is Sunnyland Slim’s Goin' Back to Memphis, another Rollin & Tumblin’ variant; Willie Egan’s wild Fat Domino-inspired rocker Wow Wow Wow; a couple from Baby Boy Warren with Calvin Frazier on guitar and Washboard Willie (I believe on washboard), including Mattie Mae, adapted from a John Lee ‘Sonny Boy’ Williamson recording; an early Albert King recording (showing a bit of Elmore James influence), (Be on Your) Merry Way; and Little Willie Foster’s tough Fallin’ Rain Blues.” 

There are other equally fine songs by others on this collection with annotation from Bill Dahl making for a treasure trove for the blues fan. 

As a sample of this here is Dusty Brown's Yes, She’s Gone.

Ted Gioia's Stimulating The Jazz Standards

The Jazz Standards: A Guide To The Repertoire
Ted Gioia
Oxford University Press
2012: 544 pages

Musician and author Ted Gioia has provided a fresh resource for jazz aficionados with his new book The Jazz Standards: A Guide To The Repertoire. What he has done is take 250 compositions that he finds to be at the core for jazz musicians and provides an overview of the compositions including some biographical information of the composers, the history of the song including what shows or movies it may have appeared in and then a discussion of the recording history of the recordings, noting how the song first came into the jazz repertoire and discussing some of the notable jazz recordings of the composition.

When I received my review copy I was impressed by the originality of this book which was an effort in part to cull the Fake Books of the most important compositions. Such an effort is likely to lead to questions of omissions both in the selected songs as well as the renditions he discusses. While there were a few songs I had minimal familiarity with, I would be hard pressed to name any I might disagree being part of the Jazz Repertoire. My disagreement might be in what was omitted, particularly thinking about blues compositions like Leroy Carr’s “How Long, How Long Blues” or Eddie Miler’s “I’d Rather Drink Muddy Water,” which still receive fresh attention today decades after their original waxing decades ago.

I was surprised by the omission of Dinah Washington’s rendition of “Love Come Back to Me,” or Dexter Gordon’s rendition of “Love For Sale,” in discussing those classic songs both of which have been extensively recorded. Also more surprising is the omission of Bobby Bland’s superb recording of “St. James Infirmary,” particularly in light of Gioia’s referring to Buddy Guy’s recording of “Watermelon Man” as a rare instance of blues artists tackling the jazz repertoire. Otis Rush recorded Kenny Burrell’s “Motoring Along,” Junior Wells handled “Chitlin Con Carne,” and Taj Mahal did a terrific treatment of Horace Silver’s “Senor Blues," to name a few examples. This perhaps indicates that Gioia does not have as deep a background in the blues as well as the fact that one will not find many of the compositions of Burrell, Buddy Johnson, and Jimmy Smith, which were favored by a wide variety of musicians, included among those included by Gioia.

I note that the recordings he cites and recommends cover a wide range of styles and even genres so if he omits Dr. John’s rendition of “St. James Infirmary,” he does include Dr. John doing a Johnny Mercer song and he cites a number of other recordings by Dexter Gordon and Dinah Washington with other of his Jazz Standards. Also even with only 250 standards discussed, the book is weighty and over 500 pages.

The Jazz Standards is a pioneering work that will inform and educate as well as generate much thought and discussion. It is a welcome addition for jazz bookshelves and will make a wonderful gift for the jazz lovers on your gift lists.

I was provided a review copy from the publisher or a publicist for the publisher. 

Take a Sentimental Journey With Fats Domino

The following is taken from the April 2007 Jazz & Blues Report (Issue 292) when I did a lengthy review of a number of releases on The German Blue Label (a subsidiary of SPV Gmbh). This is the first of a number of posts from that composite review. My review copies were supplied by the publication. This is still in print.

Of interest will be a double disc by the legendary Fats Domino titled Sentimental Journey. Recorded in 1987, Fats was accompanied by his working band for what is a solid live recording at the University of New Orleans as he revisits so many classics including I’m Gonna be a Big Wheel Someday, I’m Walking, Ain’t It a Shame, The Fat Man, Walking to New Orleans, Blueberry Hill, My Girl Josephine, Let the Four Winds Blow, I’m in Love Again and Professor Longhair’s Mardi Gras in New Orleans. 

 The band is in solid form and the Fat Man rocks and one gets to hear plenty of his piano in addition to his warm, ingratiating vocals. Unfortunately no band personnel are listed though there is plenty of fine sax, muted trumpet and guitar (featured with Fats on the closing instrumental rendition of Sentimental Journey). This is an enjoyable performance, although there is much live Domino available including a hot European concert with trumpeter Dave Bartholomew present and his Austin City Limits TV show (also available on DVD). 

Here is some Fats live.

Eleanor Ellis Is DC's Acoustic Blues Queen

I have known Eleanor Ellis since very shortly after I joined the DC Blues Society, which she was one of the founders of. I served on the Board of Directors with her for a couple years as well as always enjoyed her wonderful acoustic blues. Some female acoustic blues performers may be much better known, but I would be hard pressed to name one any finer whether she is performing a Memphis Minnie classic, or a number from Jim Jackson, Bo Carter or some other pioneering blues artist. Her friend Donna Fletcher made the observation that she makes what is really so difficult to play seems so easy.  Her vocals flow and come across as soulful in the same flowing manner. This picture was taken from her performance at the DC Holiday Market in front of the National Portrait Gallery in Washington DC on Monday December 3.

Perhaps if she had not been as concerned with helping others like the late Flora Molton or Archie Edwards (or helping launch the Archie Edwards Blues Heritage Foundation) and focused on her own career she would be as well known and as highly regarded as say Rory Block. Her music is that good and I refer you to a review I did of her CD Comin’ a Time which I once again highly recommend. Here is a video of Eleanor performing this past Monday.

Satchmo at Symphony Hall - 65th Anniversary: The Complete Recordings

It was 65 odd years ago that the great Louis Armstrong in May, 1947 did his first small group performance in many years at New York City’s Town Hall. The performance was such a success and combined with the fact that Armstrong’s Big Band was struggling, he disbanded his band band a month later. After performing with his new small group at Billy Berg’s in Hollywood, he came to Boston’s Symphony Hall in November, 1947 for a performance that would be recorded and be celebrated when it was initially issued on two LPs a few years later. Hip-O-Select has just released Satchmo at Symphony Hall - 65th Anniversary: The Complete Recordings, which includes several previously unissued performances and several performances unedited for the first time.

Armstrong and the All Stars included in addition to the leaders’ trumpet and singing, Jack Teagarden on trombone and vocals, Barney Bigard on clarinet, Dick Cary on piano, Arvell Shaw on bass and Big Sid Catlett on drums. Velma Middleton was also on vocals. The music here was in the format that Armstrong would employ leading groups for the rest of his life and while personnel would change (Catlett would pass away around the time of the original release of this material in 1951). 

Included are two sets of music totaling about two hours. Both sets open with abbreviated renditions of Armstrong’s theme, When It’s Sleepy Time Down South, and close with short treatments of I Got a Right to Sing the Blues, associated with Teagarden. Listening to the first CD, one is treated to a rousing Muskrat Ramble, followed by the poignant song about racism (What Did I Do To Be So) Black & Blues. After taking us to Chicago on Royal Garden Blues, Teagarden is showcased for Lover and Stars Fell on Alabama with a nice vocal from Mr. T. A couple vocals from Velma Middleton include a take on Buddy Johnson’s Since I Fell For You, followed by Bigard features on Tea For Two and Body and Soul. Armstrong then takes a traditional blues Back O’Town Blues, a staple still of New Orleans bands today that is followed by a showcase for Catlett’s spectacular stick work, Steak Face.

The second set displays a similar variety of material as Armstrong opens with old favorites of his including Mahogany Hall Stomp, On the Sunny Side of the Street and the parade classic High Society. Teagarden was always at home with the blues and does a nice version on St. James Infirmary, while Velma Middleton’s Velma Blues is a mix of traditional lyrics. Its followed by her taking the initial vocal on That’s My Desire before Armstrong joins in for some fun. Bigard is featured on C Jam Blues, while bassist Shaw is spotlighted on How High the Moon. Catlett again gets to display his showmanship and deft drumming on Mop Mop although one can hear him failing to catch one of his sticks as it crashes into the stage. The last number of the performance (before the closing theme) is the previously unissued Jack Armstrong Blues that the two had recorded originally on a V-Disc. In addition to the two swapping lyrics, there was some spectacular playing by both here.

While there is occasional noise from the source material, sound is generally quite good. This is packaged in a small hardback with the accompanying booklet including the original 1951 notes as well as the more recent observations (including how this reissue came about) from Ricky Riccardi who is the Archivist for the Louis Armstrong House Museum. This is one of the classic traditional jazz recordings and one of the most legendary performances of Armstrong’s career which thankfully is finally available in a complete issue.

The record company sent me the review copy. Here is video of a later edition of Louis Armstrong and the All Stars.