Traditional jazz tuba-ist Mike Walbridge has been active on the Chicago scene for forty five years as leader of The Chicago Footwarmers and a member of the Chicago Salty Dogs. Clarinetist/alto saxist Kim Cusack has been jamming with Mike since their teens! The new Mike Walbridge’s Chicago Footwarmers release, Crazy Rhythm (Delmark) brings together some terrific traditional jazz from the sixties (originally issued on the Blackbird label) with new recordings from 2007. In addition to Walbridge and Cusack, the sixties recordings include Johnny Cooper, piano; Eddie Lynch, banjo; Glen Koch, drums; while the 2007 recordings feature Don Stiernberg, banjo / guitar; Bob Cousins, drums.
The band takes its name from the recordings that included legendary clarinetist Johnny Dodds and pianist Jimmy Blythe and other bands have used the name over the years. Walbridge’s combo, provides a lively, fun take on the music of such bands. Cusack is the main soloist while some space is provided to the Johnny Cooper’s solid two-fisted playing on the earlier sessions, and there are banjo breaks throughout. The renditions of such period numbers as Sugar, Angry, and Nobody’s Sweetheart, are done at such a nice relaxed tempo. Walbridge takes a short tuba solo to get the mood set on Tin Roof Blues, before Cusack enters with a lovely clarinet solo on a marvelous instrumental blues. Some may be familiar with Fats Domino’s hit When My Dreamboat Comes Home. This song is a staple of the traditional jazz repertoire, and the rendition here is nicely done with Cusack on alto, while they rip through the trad jazz flagwaver, ‘Nagasaki’ with Cusack on alto, Cooper pounding out a solo, Lynch takes a crisp break on banjo, as Walbridge pumps out the rhythm on the tuba and Koch swings the performance along. Darktown Strutters Ball, is taken at such a nice relaxed tempo while Love Me or Leave Me has a nice indigo feeling. It is easy to play this type of music that comes across as a parody or camp. Over the years Mike Walbridge and Kim Cusack have brought plenty of soul and feeling to traditional jazz that is evident on here. I received my review copy from Delmark. Here is the Western End Jazz Band, which includes Mike Walbridge, performing Nobody's Sweetheart.
Wednesday, October 10, 2012
Celebrating the band’s 20 years, Delta Bound is the new Delmark release by Mississippi Heat, the band that is led by harmonica player Pierre Lacocque who also contributes most of the new material. Mississippi Heat has always been a band that has focused on an ensemble sound and supporting its singers. Inetta Visor is still the band’s vocalist, but for this album as an additional treat the band’s original featured vocalist, Deitra Farr, returns for three songs. The rest of the band consists of guitarists Giles Corey and Billy Satterfield; Chris ‘Hambone’ Cameron and Johnny Iguana on keyboards; Joseph Veloz on bass and Kenny Smith on drums. In addition to Deitra Farr, there are guest appearances from Chubby Carrier on accordion for one track, as well as guitarists Carl Weathersby and Billy Flynn.
Lacocque’s growth as a harmonica player is immediately evident with chromatic playing on the torrid opener “Granny Mae,” as Visor is jubilant about her lover returning after 8 long weeks with Smith displaying why he is among the finest living drummers. “Look-A-Here” is a classic Chicago blues shuffle with Deitra Farr handling the vocal about a mistreating lover. Given the infrequency that Deitra Farr has recorded, the three new vocals here with a clean, natural singing is a special treat and Lacocque’s harp also stands out on this and throughout. Farr is long-due for a new album under her own name. Chubby Carrier adds his accordion to “New Orleans Man” with its second line groove and Visor’s singing about her man from Louisiana man who loves everything about her.
A highlight of this recording might be the rendition of “Don’t Let Me Be Misunderstood” that many will be familiar from the Animals recording but was originally waxed by the great Nina Simone. Visor is outstanding here and it is one of the selections on which Weathersby lends his searing guitar. Billy Flynn’s guitar adds a nice touch behind Deitra Farr on “What’s Happening To Me.” “Going to St. Louis” is a jazz-tinged number with a light latin groove with Kenneth Hall on vibes, and the leader on chromatic harmonica. I can’t praise enough Velez and Smith for the the groove they lay down. Weathersby returns to add his fire behind Visor on “Mr. Mistreater,” while “Lemon Twister,” is a nicely paced instrumental with nice interplay between Johnny Iguana on organ and Lacocque on harp as well as a sharp solo from guitarist Giles Corey. “Sweet Ol’ Blues” is a new song about the blues being a trusty companion with another strong vocal from Farr.
One continues to get impressed by Mississippi Heat. Pierre Lacocque continues to write interesting and varied new blues songs which are rooted in the blues and not blues-rock.Match the material with the tight backing, strong solos and excellent vocals and he continues to bring us after 20 years first-rate and fresh-sounding, new blues.
I received my review copy from Delmark. Here is Mississippi Heat with Inetta Visor singing in performance.
Guitarist Vasti Jackson gave Sista Monica Parker the label of “Lioness of the Blues,” which fairly describes the power and impact of her vocals and performances. Having seen her live a few weeks prior to writing this review, I can attest to the presence of her vocals and performances that she delivers in a natural fashion. She is able to caress a lyric with a whisper before belting out her shouts without it ever sounding mannered or forced. Sista Monica will suggest to some the late Etta James, who along with Koko Taylor, Katie Webster and Ruth Brown, among the Sista’s major inspirations. However, she is her her woman and imitates no one. With a tight band that includes her long-time collaborator Danny B. (Daniel Beconcini), plenty of strong original material and select covers, she commands attention with the soul, warmth and passion she exhibits.
Her most recent recording on her Mo Muscle Records label is Living In The Danger Zone. It has her backed by Danny B.; Artis Joyce on bass; Leon Joyce, Jr. on drums; Don Caruth on guitar; and Danny Sandoval on tenor saxophone with appearances on guitar from Mighty Mike Schermer, Vasti Jackson; Terry Hiatt, Danny Caron and others; as well as appearances by Kelley Hunt on vocals and keyboards; Andy Just on harmonica, and Ruth Davies on acoustic bass.
Sista Monica at the 2012 DC Blues Festival
Monica may well be Fierce Force of Nature, as one of her songs is titled. Her fierceness may be directed against the the man who can’t take the truth when she says goodbye in No Shame In My Game, when he doesn’t meet her needs; he spends no money on her; or is dancing too close with some other woman as onWorn Out Your Welcome. In contrast on the opening track (that was inspired by a back stage visit with B.B. King), Hug Me Like You Love Me, she sings that when you hug me like you love me I’ll feel it and let you know.” In a similar vein on Fierce Force of Nature, she declares that if her man treats her right she’ll make him scream and dance.
The title track casts a different mood as Monica sings about having to be strong and holding one’s own while Mighty Mike Schermer adds nice guitar fills. Tears is a strong slow blues where Monica sings that she can’t stop crying. It has outstanding guitar from Schermer and piano by Danny B. Andy Just's harp adds to atmosphere of the understated Let Me Moan, where she sings that “if you aren’t coming home, leave me alone and let me moan.” There is a soulful reflectiveness displayed on You Can’t Go Back, with Ruth Davies on bass and Danny Caron on guitar.
There are more soulful originals including Sista Monica’s positive message on Just Keep Living. There is a solid cover of Robert Cray’s The Forecast Calls For Pain, and a heartfelt rendition of the gospel classic, Glory Hallelujah, where Kelley Hunt adds her piano and shares the vocal (sounding more than a little like Bonnie Raitt). It is a spectacular vocal duet that concludes this recording. Living In The Danger Zones another excellent addition to Sista Monica Parker’s body of recordings.. As good as she is on record, she is even more enthralling live, and hopefully she is finally getting the recognition she deserves as among the finest blues and rhythm vocalists today.
I received this directly from Sista Monica. Here she is performing the B.B. King inspired Hug Me Like You Love Me.
Felix Wohrstein’s liner notes to Dawkins’ new Earwig recording, Kant Shek Dees Bluze, state that “there are no Jimmy Dawkins imitators.” If not generating imitators, Dawkins has certainly influenced at least one artist, Bobby Radcliffe, who similarly employs a driving attack, “combining piercing sustain and staccato.”
Dawkins' first album Fast Fingers, is one of the few blues albums to win the Grand Prix of the Hot Club of France and he was voted by Downbeat critics as rock/pop/blues act deserving wider recognition. Despite this critical acclaim, his career never sustained the level of public recognition as other, probably lesser artists. Perhaps it was due to his serious “all for business” nature and his music. No flashy theatrics, just a heavy dose of straight blues.
While he has continued to record overseas, Kant Sheck Dees Bluze is only his second U.S. album in over 15 years. Earwig has brought together a solid studio band that includes “Professor” Eddie Lusk on keyboards, Billy Flynn on rhythm guitar, Johnny B. Gayden on bass and Ray Scott on drums. Two of the vocals here feature singer Nora Jean Wallace who sounds as a promising talent, but the bulk of the vocals are delivered by Dawkins who may have a limited range, but invests his vocals with much feeling.
The songs are all originals, although one can hear allusions to Sonny Boy Williamson’s Help Me on the title track (as he sings that he can’t shake these blues) or Magic Sam’s All Your Love on Wes Cide Bluze. The lyrical themes are typical of Dawkins, as he sings about the troubles of everyday, not simply those between a man and a woman, but also the economic and social problems of poverty.
While the lyrics of the topical Made the Hard Way may be superseded by events, its not an untypical Dawkins theme, nor are his sentiments that life is a struggle, but people must keep struggling and holding on to keep their dreams and hopes alive, as expressed in the religious song, Gotta Hold On, that closes the record. Dawkins offers plenty of searing guitar, with his backing of Nora Jean Wallace’s My Man Loves Me being particularly effective, however, some of his playing is busier than on earlier recordings.
While there is a generous 65 minutes, and like other Dawkins recordings there is the flavor of a club jam. Some performances would have benefited by being shorter and more focused. No question however that Jimmy Dawkins remains one of modern blues’ major talents, and this is a most welcome release.
This 20 year old review originally appeared in the July 1992 Jazz and Blues Report (Issue 172) and I likely received my review copy from the label. Here is Jimmy performing in 1991.
Memphis Minnie was a pioneer in what we now call “country blues,” who recorded over 200 sides from the late twenties until the early fifties. One of the greatest blues performers of her time, her popularity was reflected by the fact she recorded as often as she was. A marvelous guitarist as she was a singer, she often recorded duets with then husband Kansas Joe McCoy in what some would call the “Memphis style.” After the break-up of their marriage, she started playing in small combos that would foreshadow the post-war Chicago blues ensemble style. In her career she made numerous classic recordings including Bumble Bee, Frisco Town, What Fault You Find Of Me?, What’s The Matter With the Mill, Tricks Ain’t Workin’ No More, Joe Louis Strut, Me and My Chauffeur, and Black Rat Swing. She recorded over 200 blues over her career.
Maria Muldaur has long been a fan of Memphis Minnie and performing Minnie’s songs for decades. She has produced … First Came Memphis Minnie (Stony Plain), which is subtitled “a loving tribute.” Included are performances by Maria along with Rory Block, Ruthie Foster, Bonnie Raitt, Phoebe Snow and Koko Taylor with support from Del Rey, David Bromberg, Steve Freund, Alvin ‘Youngblood’ Hart, Steve James and Roy Rogers. 11 of the 13 performances are newly recorded. The performances of Phoebe Snow and Koko Taylor were previously issued.
There's plenty of music to enjoy here, much of it performed by Ms. Muldaur herself on a program that includes a few of Memphis Minnie’s most famous songs and a number of lesser known ones. If her voice is not quite a supple as in her own girlish days, Maria Muldaur is perhaps even more expressive a singer and this is evident on the opening Me and My Chauffeur Blues, with Roy Rogers providing nice easy swinging backing. Ain’t Nothin’ in Ramblin’, has a wonderful vocal from Bonnie Raitt with Steve Freund adding his guitar to hers. I’m Goin’ Back Home is one of two vocal duets by Maria with Alvin ‘Youngblood’ Hart (who provides guitar backing) that revive Minnie’s duets with Kansas Joe McCoy.
There is a bit larger group including Del Ray and Steve James backing Maria’s vocal on I’m Sailin’ with its wistful lyric. Rory Block’s sings When You Love Me backed by her guitars followed by Maria’s hopeful vocal on Long As I Can See You Smile, with Steve James adding mandolin in addition to Del Ray’s guitar, followed by Lookin’ the World Over, with just some lovely accompaniment from Del Ray. Phoebe Snow’s rendition of In My Girlish Days dates from a 1976 recording that included David Bromberg in the backing who adds mandolin along with guitar in the backing of Snow’s vocal. Ruthie Foster backed by a small group with Steve Freund’s guitar delivers a wonderful vocal on Keep Your Big Mouth Closed, which adapts the Sitting on Top of the World melody. Maria’s vocal on Tricks Ain’t Walkin’ is one of her finest here with Del Ray on guitars and Dave Earl adding mandolin here.
The album closes with Koko Taylor’s rendition of Black Rat Swing that was licensed from Alligator from what I believe was her last album. Bob Margolin was among those on the session. It is an interesting choice insofar as it was written and sung by her husband, Ernest ‘Little Son Joe’ Lawler, under whose name it was originally released. In any event, it is a nice finale to this loving tribute to one of the greatest blues artists who ever lived. I received a review copy from a publicist and it is scheduled for release on Tuesday October 9.
The award-winning, Israeli born Clarinetist Anat Cohen’s latest release is Claroscuro (Anzic). Cohen and her clarinets and saxophones are joined on this recording by her quartet of pianist Jason Lindner, bassist Joe Martin and drummer Daniel Freedman. There are also appearances by Paquito D’Rivera on clarinet, Wycliffe Gordon on trombone and Gilmar Gomes on percussion.
The album takes it title from the Spanish word describing the play of light and shade (chiaroscuro in Italian) and was a title that Cohen believes most accurately describes “the contrasts within the sounds of the album mainly between light (buoyant and joyous) and dark (multi-layered and intense).” The music exhibits playfulness on Lindner’s Anat’s Dance, exhilaration in the duet with D’Rivera on Pixinuinha’s Um a Zero, as well as melancholy on another duet with D’Rivera on Artie Shaw’s Nightmare. There is an intensity manifested by the clarinets on that number that contrasts with the pensiveness Cohen, on tenor saxophone exhibits during Abdullah Ibrahim’s The Wedding.
In addition to the variety of emotions expressed, Cohen transverses the traditional and the modern. La Vie En Rose, a song associated with Edith Piaf. H Wycliffe Gordon adds trombone (with some nice growling mute playing) and a Louis Armstrong-inspired vocal in addition to Cohen’s lovely clarinet that would bring a smile to Barney Bigard. A favorite selection is the contemporary rendition of Pixinuinha’s classic choro Um a Zero, with the dazzling clarinet duets between Cohen and D’Rivera. On this, percussionist Gomes and drummer Freedman also get some of the spotlight. Cohen, on tenor saxophone, plays more contemplatively in her interpretation of the afore-mentioned rendition of Abdullah Ibrahim’s The Wedding. This is the final selection in another outstanding recording from one of today's most significant jazz voice. My review copy was provided by a publicist for the release. Here is Anat Cohen and her quartet in performance.
Some of you may remember the duo, James & Bobby Purify who
recorded the classic, I’m Your Puppet, four decades ago. It seems
that there have been at least three singers who have performed
as Bobby Purify, the latest being a terrific vocalist by the name
of Ben Moore, who as Jerry Wexler says in the liner notes to the
new Purify album, Better to Have It (Proper American), “THE
MAN CAN FLAT SING - and I sure don’t mean to suggest he sings
flat.” The disc was produced by the legendary Dan Penn, author
of so many R&B classics including The Dark End of the Street, I’m
Your Puppet and Do Right Woman, Do Right Man. Penn’s long-time
associate, Spooner Oldham is on keyboards on this session, Penn
co-wrote all but one song (Moore wrote What’s Old to You) with
keyboardist Carson Whitsett and Hoy “Bucky” Lindsay. Other
familiar names in the studio band include guitarist Jimmie Johnson and bassist David Hood, while Charles Rose leads the horn
section that includes Harvey Thompson and Wayne Jackson. This
is an absolutely delicious recording that justifies Wexler’s praise.
Moore delivers some wonderful songs including a terrific number, My Life to Live Over (a completely different tune from the old Guitar Slim number) with Purify-Moore reflecting
about how he would change some things if he
could live things anew. There’s a bit of topicality
as Purify delivers a lyric about things being wrong
for a young man to grow up when there’s Nobody
Home to help him grow up with Johnson adding a
strong solo here. More of a classic Memphis-funk
groove is present on Somebody’s Gotta Do It with
strong, punchy horns. The entire disc is first-rate
with strong playing to accompany the terrific
songs and fabulous vocals. Fans of old school R&B
and deep southern soul will find few new discs as
satisfying as this recording.
This review originally appeared in the August 2005 DC Blues Calendar and the September-October 2005 Jazz & Blues Report (Issue 276). I likely received a review copy from a publicist. This disc is still in print. Here is the man singing I'm Your Puppet.
Fast Citizens is a Chicago based cutting edge sextet originally under the nominal leadership of Keefe Jackson that has a rotating leadership. For its third album Gather (Delmark), it is under the nominal leadership of Fred Lonberg-Holm who plays cello, tenor guitar and cornet and contributed 5 of the 7 compositions for the groups latest recording. Other members of Fast Citizens include Jackson on tenor saxophone, bass clarinet and reed trumpet; Aram Shelton on alto saxophone, clarinet and cornet; Josh Berman on cornet; Anton Hatwich on bass and trumpet; and Frank Rosaly on drums and pocket trumpet.
The opening Infra-Pass is a bouncy original with an Ornette Coleman flavored riff and some fine bass clarinet from Jackson, fiery alto saxophone from Shelton, the leader’s gut-bucket fiddling on the cello and an interlude of dialogue between the alto and bass clarinet before the ensemble picks up the tempo riding this performance out. Its a fascinating mix of shifting musical flavors and some tempo shifts. The mood shifts with some alley saw cello against cornet opening Shelton’s It’s a Tough Grid, before the leader’s firm bass solo followed by Jackson’s tenor supported by the rhythm as the other horns repeat a riff that segues to Shelton’s acerbic alto. The leader’s guitar opens up Later News, with a simple rock groove that underpins Jackson’s hard-edged tenor sax solo and Shelton’s somewhat coarse and almost frenetic alto.
Lazy Day with its moody chords and mix of musical colors from the cello, cornet and clarinet followed by Shelton’s strong clarinet is an evocative performance followed by the emphatic, rock-like rhythms of Faster Citizens! Kill! Kill! This latter number (whose title is a take off a Russ Meyer film title) includes a segment where Berman’s cornet engaging Shelton’s clarinet in a fiery unaccompanied dialogue. On Simpler Days, there are excellent solos from Jackson on bass clarinet, Berman on cornet and Shelton on alto sax, with the leader’s prickly guitar providing an interesting backdrop.
I have not heard the earlier recordings by Fast Citizens, but the mix of composition, improvised playing and empathetic ensemble playing on Gather rewards careful listening. It left a very favorable impression on this writer.
I was provided a review copy from Delmark Records. Here is a video clip of Fast Citizens, at the time under Aram Shelton's nominal leadership
Love For Sale (Steeplechase) is a newly issued live recording of Dexter Gordon during the period of his lengthy stay in Europe in the sixties and seventies which has been extensively documented primarily by Steeplechase. This is the fifth of a series Dexter in Radioland which makes available radio broadcasts from Montmartre Jazzhus. This series has extended at least to a fourteenth volume with a recent release Satin Doll. Long Tall Dexter on tenor sax was accompanied by an excellent band of Tete Montoliu on piano, Niels-Henning Ørsted Pederson on bass and Alex Riel on drums.
Besides the title track, Dexter and his combo also performs "I Guess I'll Hang My Tears To Dry," both numbers he first recorded on the classic Blue Note album, Go. The other performances include Big Bad Butterfly, with a vocal; an original Soul Sister, and a fast rendition of Cherokee.
After his introduction of the band and then his introduction to the Cole Porter penned classic that gives this release its title ("Old love, new love... love for sale"), is is quickly evident that he was in excellent form and the remainder of his band is top notch. The arrangement and tempo is from the Blue Note studio date. In his own manner he introduces the next number (a stunning ballad performance) to those in radio-land, "When I want rain, I get sunny weather, guess I'll hang my tears out to dry, out to dry. Arpeggio, s'il vous plait." "Big Bad Butterfly" provides a vehicle for swinging, amusing vocal jive followed by some hot tenor, sensational piano from Montoliu, and strong bass by Ørsted Pederson.
Cherokee opens with some swing trappings before Dexter launches in a straight bop rendition with echoes of Charlie Parker's Koko in the hot solo. Its a really nice performance which solos by everyone, but alas is an incomplete performance as the broadcast must have cut off in the middle of Riel's drum solo. This cutoff might be the only complaint about this first-rate recording as it caught Dexter in his prime, playing with great authority and panache.
I purchased this recording. And here is a taste of Dexter performing live.
Among the most respected blues and roots guitarists associated with the West Coast swing and jump blues scene is Junior Watson. Bharath Rajakumar and Wally Herson have produced his most recent recording, Jumpin’ With Junior (Royal Regal Records). Watson is joined by long-time collaborator Fred Kaplan on piano and different rhythm sections. This CD was recorded in Montreal and Pasadena. Bharath plays harmonica on 2 of the 8 Montreal selections, while Gordon Beadle adds sax to two of the 7 Pasadena recordings.
There is plenty of attention to tone and atmosphere on the recordings starting with the hot Butter Top. Watson's affection for the Memphis guitar stylings of Floyd Murphy, Willie Johnson and Pat Hare is evident on his twisting lines on Knee High Boogie. Watson is adequate as a vocalist on Floyd Jones’ Stockyard Blues, as Bharath channels Snooky Pryor and Walter Horton. Watson’s playing here on this in an Eddie Taylor vein. No one is going to purchase this for Watson’s singing, but the vocals do provide a change of pace.
Bo-Nanza is an interpretation of the theme of the classic TV show as if it had been recorded by Bo Diddley. Another take on a TV theme songs is Beverly’s Hillbilly, with a reggae groove. These tracks contrast with the late night, jazzy tinge of Velvet Mood.Happy Hoppy is a bouncy salute to Houston steel guitarist Hop Wilson on which Watson playd some taut steel. Dragnet Blues was originally recoded by Johnny Moore’s Blazers with Frankie Ervin soning on a Charles Brown styled performance. Watson’s vocal is pretty effective on a moody performance.
The title track is a hot instrumental with driving single note runs accented by slashing chords. His slide guitar rendition of One Night With You may conjure up Earl Hooker, while There’ll Be a Day (with nice harmonica added) is a nice cover of a lesser known Jimmy Reed number. Mr. Downtime is an atmospheric late night cocktail blues instrumental while Boppish provides an interesting contrast between Watson’s jazz-accented blues style and Beadle’s tenor sax that channels Illinois Jacquet and Wardell Gray on this while on the closing The Barn Burner, Beadle plays more in the honking style of Big Jay McNeely.
Junior Watson rarely records under his own name and that is enough reason for many to be interested in this. There is plenty of intriguing and imaginative playing throughout that makes for fun listening.
I purchased this although it may be hard to fine. Here is a video of Junior Watson.
Thank You Les (Showcase Music Productions) is a tribute that guitarist Lou Pallo of the Les Paul Trio put together to celebrate the musical legacy of Les Paul. The recording’s 21 performances have an all star group of musicians that include guitarists Keith Richards, Billy F Gibbons, Steve Miller (who also penned the package’s liner notes), Jose Feliciano, Slash, Johnny A, Bucky Pizzarelli, Arlen Roth, Nokie Edwards (The Ventures), Frank Vignola, Bob Leive, Tommy Doyle and Jon Paris, as well as singers Eddie Brigati, Jr. (The Young Rascals) Blondie Chaplin (Rolling Stones), Nicki Parrott (Les Paul Trio), Lexie Roth, Melinda Doolittle (finalist on “American Idol” season six) and members of the Les Paul Trio, who are brought together by their love of the late musical legend.
Pallo was a long-time friend of Les Paul and his long-time friend and rhythm guitarist, who many credit with helping Les Paul revitalize his career as a live performer after they first met in 1963 and soon after began performing together. It was Pallo who stood on stage with Les for his extended run of weekly performances in New York City starting in 1984, first at Fat Tuesday’s for 10 years, and later at the Iridium, where the Les Paul Trio today continues to celebrate Les Paul’s legacy today.
Space prevents the consideration of every track but there are numerous pleasures starting from the spirited opening Avalon featuring Frank Vignola with marvelous interplay between him and Pallo that is also displayed on Brazil. Steve Miller does a jazzy Mr. Day/ Tell Me What’s the Reason, with a straightforward vocal on the T-Bone Walker classic while he lays down the guitar on Nature Boy, backed by Pallo, pianist John Colianni and bassist Gary Mazzaroppi for the classic jazz ballad. Nokie Edwards’s trebly playing lends a different tinge to the Ellington-Tizol classic Caravan, and is really lovely on “Out of Nowhere,” with soft accompaniment from Pallo and bassist Jay Leonhart.
Few would expect to hear Billy F Gibbons' very deliberate playing on September Song, with a larger backing group and even more surprising is Keith Richards sharing vocals (and saying I’ll be Bing Crosby) and guitar with Pallo on It’s Been a Long, Long Time. Richards crooning is a far cry from the Rolling Stones. Arlen Roth does his best Chet Atkins impression on Mr. Sandman, and Lexie Roth joins for vocals on the wistful Mexican-tinged Vaya Con Dios. Jose Feliciano adds a bit of latin spice with his singing and guitar on “Besame Mucho.”
Slash takes us Deep in the Blues, although with perhaps a bit too much effects and reverb and Jon Paris’ rendition of St. Louis Blues, with his slide and harmonica along with Bob Leive’s trumpet is more satisfying. Pallo and Tommy Doyle perform a lovely rendition of Memories of You, one of the most celebrated collaborations of Eubie Blake-Andy Razaf. American Idol finalist Melinda Doolittle sings Over The Rainbow, accompanied by Pallo, pianist Rio Clemente and bassist Jay Leonhart, to close this wonderful celebration of an innovator and legend. Thank you Lou Pallo for this terrific recording.
I received a review copy of the CD from a publicist. There is also a CD/Bonus DVD package available and a DVD. Here is a video of Lou Pallo with les Paul.
Here is a review that likely appeared in the DC Blues Calendar. It was an excellent recording that Chuck Nevitt, a Dallas, Texas blues lover produced for his Dallas Blues Society label. I purchased my copy and this is still available. It is still in print. Blue Beat Music still shows it in print, but it also available from other sources including ebay. I am not sure whether the contact information for Dallas Blues Society Records is still good. Chuck still participates in the Blues-L internet list.
Those interested in down home blues will find a full plate on the Dallas Blues Society's wonderful release by Henry Qualls, Blues From Elmo, Texas. Backed by a sympathetic trio that includes rhythm guitarist Hash Brown's steady work, Qualls is featured on a variety of songs that include several classics associated with other Texas blues greats like Lightnin' Hopkins (Shotgun Blues) and Little Son Jackson (Rockin' and Rollin' aka as Rock Me), an instrumental rendition of Blind Willie Johnson's Motherless Children, along with his rocking adaptation of the traditional Long Gone.
When he turns the old Newbeats hit, Bread and Butter, into a stomping blues or tears into an instrumental like The Elmo Stomp, Qualls and his group gets a rocking groove going that suggests some of the energy of a Hound Dog Taylor, though his band is a bit less prominent than Taylor's band, the House Rockers. He more than ably covers Jimmy Reed's Can't Stand to See You Go along with Lowell Fulson's Reconsider Baby while his slide playing is moving on the instrumental Death is Moving Across the World.
Qualls' slightly gravelly singing certainly helps make the lyrics standout, while his deliberate, considered playing is quite effective. This album is a gem. And those wanting to hear him first might check out the four songs Qualls has on the Cannonball collection, Dallas Blues collection. You may have to contact the Dallas Blues Society directly at P.O. Box 190406, Dallas Texas 75219 for information on how to obtain this [214-5212583] (I obtained my copy from Blue Beat Music {www.bluebeatmusic.com}.
Here is a video of Qualls performing Long Gone. Sorry the sound is a bit rough on the video.
For their latest recording (and Delta Groove debut) Close To The Bone, Smokin’ Joe Kubek and B’Nois King unplug themselves for an album of acoustic performances. The two are supported on this recording by a variety of individuals over the course of the 14 that include Randy Chortkoff, Bob Corritore, Pieter 'Big Pete' van der Plijim, and Lynwood Slim on harmonica; Kirk Fletcher, Shawn Pittman and Paul Size on guitar; Fred Kaplan on piano; Willie J. Campbell on bass; and Jimi Bott on drums. Most of 14 selections are originals with a couple of the songs adaptations of recordings from the Texas blues tradition.
This does present a different side of the two. While they both play quite vigorously on this album, their contrasting guitar attacks much more effectively play each other when amplified. While they play acoustically, neither is adept at early blues guitar style, so their rendition of a Ramblin’ Thomas or Texas Alexander song has a distinctly different flavor than the original country blues recording. This is not to complain about the music contained here, but to make you aware of what one will not hear.
The music is quite well played. B’Nois King is such an appealing singer and they have some quite appealing songs. A lively rendition of Ramblin’ Thomas’ Poor Boy Blues opens this album with some nice guitar interplay as King sings about rambling from Louisiana to Texas. My Best Friend has a wistful lyric about not having listened to this lady who told him slow down and not grow up too fast. Shawn Pittman contributes a slide guitar solo that adds to the feel here. Keep Her Around is a lively shuffle with a with a strong King vocal and a harmonica trio (Chortkoff, Corritore and Big Pete) that is part of the driving small group. She Got Rid Of Me, is a tale about a high school lover who King supported through college. When she finished her schooling she schooled him, getting on her feet and kicking him out to the street, making big dough and telling B’Nois he had to go.
While songs like Yankin’ My Chain, and She Got Rid Of Me, explore typical blues themes of the relations between the sexes, there are a couple of very strong topical blues, Drowning in Red Ink, and Ordinary Man. “Drowning” is a small group performance with a melody that suggests Charles Brown’s I Want To Go Home with Fred Kaplan adding piano while King sings about holding on to his job, his confidence being shot and just holding on till the next pay day as they are cutting back on everyone’s pay while the boss gives himself a raise. Ordinary Man (another small group performance with Kirk Fletcher added on guitar although Kubek and King solo) lambastes politicians who put on a suit and wave old glory while playing games with folks lives. Lynwood Slim adds some very nice harmonica to the duo’s rearrangement of Texas Alexander’s Bad Luck Child, an effective performance that tames the field holler qualities of Alexander’s original.
Close To The Bone is a welcome addition to the Kubek-King discography. While I would recommend other of their recordings prior to this one, their fans will likely, as I did, enjoy this change of pace.
The following review appeared originally in the January-February 2000 Jazz & Blues Report (Issue 243) as one of three reviews I did of recent releases on Fedora Records. I have made a few minor changes to the original review. I posted my review of Al Garrett's Out of Bad Luck a few days ago.
J.J. Malone'sSee Me Early in the Morningis his second release for Fedora. Malone has been a mainstay of the Oakland, California blues scene for years. Malone mixes downhome blues influences with more urbane influences to produce an interesting mix of music.
The album opens with a remake of his It's a Shame, which was a minor hit in several cities in the sixties. It is followed by the title track which is credited to Junior Wells, and perhaps most associated with the first Sonny Boy Williamson, but which goes back to pioneering blues pianist Walter Roland. Characteristic of these and many of the performances is a distinctive, syncopated and funky rhythm.
Most of the songs are originals, though Malone is heard strongly on a reworking of Memphis Slim's Mother Earth, and reworks Muddy Waters' Walkin' Thru the Park, with an arrangement that borrows from Cross Cut Saw. An instrumental, Smoked Oysters, suggests the swamp blues sound of Slim Harpo, while Malone goes down in the alley on the country-blues flavored Peace Breakin' Woman.
Malone plays and sings effectively throughout and this joins his prior Fedora album as one for blues fans to consider.
George Buck’s American Music label has issued an interesting compilation, Crescent City Piano Players, of three lesser known piano players associated with the City of New Orleans, Earl Roach, Duke Burrell and Louis Gallaud.
Roach was born in Maine but came to New Orleans at the early age. His nine selections open with the simple, firmly played instrumentals Blues and Boogie. There are a couple of simply delivered vocals as well as renditions of older songs Play Jack Carey and Bucket's Got a Hole In It. Plenty of charm by a player in an older style, as his stomping Whistling the Blues, would suggest.
Burrell is a bit better known to me as he was on a tour and record date with Louis Jordan shortly before Burrell passed away. He played on sessions in New Orleans in 1950 and 1953 backing other performers. A student of Burnell Santiago, Burrell incorporated a bunch of more modern influences in his piano style. He was a solid, sophisticated blues player, as his rendition of After Hours, as well as his Boogie Woogie indicates. Also of interest is his modernistic interpretation of the Duke Ellington classic, Caravan. On "Louisiana and Me," he displays a a definite charm as a vocalist. His repertoire was fairly wide and included the movie theme of Love Story and Indiana.
Pianist Louis Gallaud is heard on two vocals of very old pop numbers and was a simple, functional pianist. His performances though are not up to the level of those by Roach and Burrell and ultimately serve as filler on an intriguing, and engaging, album of solo New Orleans piano.
Claude Williams' Swinging the Blues on Bullseye Blues & Jazz, is certainly a release for loves of blues-laced, swinging jazz. Williams' recording career goes back to the twenties when he was with Andy Kirk's Clouds of Joys. A member of Count Basie's Band when Basie left Kansas City, he was replaced as guitarist by Freddie Greene. He can be heard on some radio airchecks of the Basie Band.
In more recent years, his recordings with Jay MacShann on a Canadian album, The Man From Muskogee, helped lead to a revival in his career. Today he no longer doubles on guitar and fiddle, sticking to the latter, and in recent years he has produced a number of highly regarded albums for Progressive and Arhoolie, among other labels. He also was a recipient of a Heritage Award from the National Endowment for the Arts.
Swinging the Blues finds him backed by a terrific band that includes pianist Henry Butler and the great bassist Keter Betts. They play a wonderful collection of ballads and blues including Duke Ellington's blues Things Ain't What They Used to Be, the classic Kansas City rearranging of You're Driving Me Crazy - Moten Swing, the classic blues ballad, Gee Baby Ain't I Good to you along with a wonderful rendition of These Foolish Things.
Over 90, Claude Williams shows no signs of slowing down, and with the terrific combo here, has produced a delightful recording.
I likely received a review copy from Rounder Records and the review likely appeared in the DC Blues Calendar back in 2000. Here he is in performance.
A half century ago, several New Orleans lovers decided to present performances of some of the living masters of traditional New Orleans Jazz in a setting removed from the hucksterism that was part of the Bourbon Street scene at the time. It was an opportunity to present such artists as George Lewis, Jim Robinson, Billie and DeDe Pierce, Sweet Emma Barrett, Alton Purnell, Kid Howard, Percy Humphrey and so many others in a setting that gave them a respect their artistry merited. These concerts evolved in what we know as Preservation Hall, and while these artists became legendary in traditional jazz and have all passed on, Preservation Hall and the Preservation Hall Jazz Band have become iconic and institutions.
Celebrating a half century is a new box set on Columbia/Legacy by the Preservation Hall Jazz Band, The 50th Anniversary Collection. It is taken from several sources including three of the albums Atlantic issued in a series of Jazz at Preservation Hall along with recordings made by Preservation Hall itself and some of those issued on CBS (later Sony). From recordings documenting the bands that played at Preservation Hall to the contemporary editions of the Preservation Hall, one has a richness of music and performances. Also included are some of collaborations with artists from outside Preservation Hall that were on some of the more recent recordings of the Hall. There are some previously unissued recordings among the 57 tracks that are spread across the 4 CDs in this box.
Old and new are intermixed throughout. For example, the first disc opens with the late Allan Jaffe introducing the band on tour followed by a rollicking Eh La Bas by Billie and DeDe Pierce from 1966, followed by the 1986 Band with Percy and Willie Humphrey on Oh Didn’t He Ramble. Then we hear from the same 1986 session Narvin Kimball singing I Get the Blues When It Rains, which is followed by a 2008 recording of St. James Infirmary, with Clint Maedgen with a hyperactive vocal and a hot latin-infused groove. Then there is a 2009 rendition of Ice Cream, a perennial of the George Lewis and other bands half a century ago and then we go back to 1967 for a marvelous rendition of the Humphrey Brothers led band doing the Leroy Carr classic In the Evening (When the Sun Goes Down), with pianist James ‘Sing’ Miller handling the vocal, and George Lewis’ 1962 recording of Down By the Riverside.
Here is the Preservation hall Jazz Band performing at Wolf Trap National Park in Virginia
There is such a richness of material here that I will only reference some of the gems that include the marvelous rendition of In the Evening, referred to above; I’m Alone Because I Love You, featuring the irascible Sweet Emma Barrett; a wonderful Do Lord from 1994 featuring Wendell Brunious singing and on trumpet and a band that included Ellis Marsalis on piano, and Dr. Michael White on clarinet; Billie and DeDe Pierce’s St. James Infirmary, with Billie’s vocal, and George Lewis’ clarinet; Pete Seeger and friends joining for a spirited We Shall Overcome; Tuba Fats’ vocal on His Eye Is On The Sparrow; Nellie Gray, a marvelous vocal by Percy Humphrey on a previously unissued 1986 recording; a rendition of Lil Liza Jane, with Louis Jones on trumpet and benefiting from Shannon Powell’s R&B tinged drums and vocal; Kid Howard’s vocal on the George Lewis Band’s rendition of In the Sweet Bye and Bye; and I’ll Fly Away, from the 2010 collaboration with the Del McCoury Band.
Other gems include Blue Yodel #9, a revival of the Jimmie Rodgers country recording that Louis Armstrong played on the original; George Lewis’ hauntingly beautiful Burgundy Blues; Sweet Emma leading the group on Chimes Blues, originally recorded by King Oliver’s at a historic 1923 session for Gennett; a marvelous take on “Sing On,” a staple of the Brass Bands repertoire; the spirited 1976 take of Joe Avery; Shake That Thing, a revival of a late twenties Sam Morgan recording with a vocal by Clint Maedgen and nice interplay between Charlie Gabriel on clarinet, Freddie Lonzo on trombone and Mark Braud on trumpet; the lovely 1966 Freight Train Blues, with Billie Pierce’s heartfelt vocal and clarinet by George Lewis; and Punch Miller’s 1962 rendition of the languid Nobody Knows The Way I Fell This Morning.
More gems include the bluesy collaboration with Tom Waits of an old Mardi Gras chant Tootie Ma Is a Big Fine Thing; a nice rendition of Paul Barbarin’s Bourbon Street Parade; Ralph Johnson’s clarinet rendition of Sidney Bechet’s Le Petit Fleur; One More ‘Fore I Die, another collaboration with the Del McCoury Band with lovely clarinet by Clarinet Gabriel and mandolin by Ronnie McCoury; Percy Humphrey vocal on the spirited Shake It and Break It; the beautiful funeral march Westward Dirge that is played straight with little improvisation; and Richie Haven’s moving vocal on Trouble on Mind, with considerable restraint shown in the Band’s backing. In addition to the music, Bruce Boyd Raeburn provides an overview of Preservation Hall’s history. Current Hall Creative Director, Ben Jaffe whose father Allan had a similar role with the Hall for several decades, provides his own commentary on each of the selections contained in this box set. My advance copy only had the booklet's text, so I cannot comment of any photos or other graphic material included in the accompanying booklet. I trust these will complement the excellent music.
This is a joy and soulfulness of all of the performances here (not simply the ones I have highlighted) on this celebration of 50 years of what is truly a cornerstone of American culture, not simply music. I was provided an advance copy to review from Legacy Media Relations. It is scheduled to be in stores today, which is when this review is posted. Here are the Preservation hall Jazz Band and the Del McCoury Band from the David Letterman Show.
The following review appeared originally in the January-February 2000 Jazz & Blues Report (Issue 243) as one of three reviews I did of recent releases on Fedora Records. I have made a few minor changes to the original review.
Among recent releases from Fedora Records are albums by J.J. Malone, Mojo Buford and Al Garrett. Garrett is the least known of the three, and while based in the Fresno, California area, was born in Memphis. His dad played juke joints in the delta in the 20s. When the family moved to the Los Angeles area, he became part of the R&B scene there, playing bass with the likes of Johnny 'Guitar' Watson, Smokey Wilson, Roy Brown and Lowell Fulson.
Listening to his debut album, Out of Bad Luck, one cannot help but notice Magic Sam's influence in both his vocal phrasing and some of his guitar playing. Bobby Logan's tenor sax also contributes this feel as his playing suggests that of Eddie Shaw on the Black Magic album. Garrett sings and plays well, but one will find little original here in his covers, although his performances are not slavish covers.
There is a nice mix of material here, ranging from the title track and Jimmy McCracklin's I Just Got to Know, to Guitar Slim's rocking shuffle, You Give Me Nothing But the Blues, and the stark, topical Cummins Prison Farm, with a strong, passionate vocal. Even if he is not nearly as accomplished as Magic Sam, his playing here does suggest how Sam would have sounded doing Little Walter's Last Night and B.B. King's Please Love Me.
If far from essential, Garrett's Out of Bad Luck does have plenty of pleasures to offer blues listeners.
There was quite a turnout for this program including a niece and nephew of Morgan. I did not fully get the name of the pianist (I believe his first name was Hope) and I believe the name of the bassist was Blake Meissner (I was not taking notes during the program). On alto sax was Washington legend Fred Foss and on tenor saxophone was Elijah Jamal Balbed who is establishing himself as among the DC area's finest players. Another legend, Steve Williams was on drums. For the second set, trombonist Lincoln Ross, and then Brad Line on Baritone replaced Balbed.
Fred Foss
Steve Williams
The music was excellent. I had heard much about McCoy, and was not disappointed by the warmth and bite in his playing and the whole band was excellent. I do not remember all of the compositions they played by did include "The Sixth Sense" "Top Cat" and "Rigor Mortis." In addition to meeting a niece and nephew of Morgan, I spoke with Earle Gullins, President of the Lee Morgan Jazz Fan Club of DC, Maryland and Virginia who is writing a biography of Morgan. Also, WPFW programmer and historian Rusty Hassan was among the many enjoying the music.
Lee Morgan's nephew; Earle Gullins; unidentified (holding Lee Morgan's flugelhorn) and Rusty Hassan.
These monthly programs continue on the third Thursday of each month (although they are skipping November and December). October 18, saxophonist Brian Settles will lead a program devoted to the music of Dewey Redman while on January 17, 2013, the Elijah Jamal Balbed Quintet +1 will help celebrate the 80th Birthday year of Wayne Shorter with a program focusing on his Shorter's compositions from his time with Vee-Jay Records (before he signed with Blue Note). The shows start at 5;00PM and run until 7:00PM when the Museum closes. There is food and drink available at the Museum.
Posts
