A couple years ago, three saxophonists were inducted to the Blues Hall of Fame. Few could question the selection of the late Eddie 'Cleanhead' Vinson, who was notable as a fluid saxophonist and a notable blues shouter. Also inducted was Big Jay McNeely, who was noted as one of the great honkers of rhythm and blues and is still alive, and Eddie Shaw, a Chicago saxophone player and vocalist first noticed for being Howlin' Wolf's last band leader and his playing on recordings of Magic Sam, Jimmy dawkings and others who has led his own bands over the past four decades.
Here are three individuals whose contributions similarly merit such recognition
Grady Gaines (heard playing "There is Something on Your Mind") was leading one of the top local bands in Houston (where he was on recording sessions for Peacock and Duke Records) when he received the call from Little Richard to join Richard's band in the early 1960s. Gaines remained with Richard, leading the Upsetters, and after Richard's leaving music for the ministry took over the Upsetters and they would become the backing band for Little Willie John, Sam Cooke and then some of the legendary rhythm and blues tours of the late sixties and early seventies. In more recent years, Gaines has led the Texas Upsetters performing a wide range of music for many occasions but always rooted in blues and rock and roll. He had two outstanding albums on Black Top in the 1990s and I recently reviewed his biography, I've Been Out There. He probably has backed more acts in the Rock and Roll Hall of Fame then anybody else and more than a few of these are also in the Blues Hall of Fame.
If one was going to name perhaps the greatest saxophonist of the post-war Chicago blues, chances J.T. Brown would be the person most familiar with the history would select. Brown's nanny-goat vibrato and swinging attack is best known from his numerous recordings with Elmore James and the Broomdusters, but he also recorded behind countless other blues legends including Roosevelt Sykes, Jimmy Oden, Eddie Boyd, Muddy Waters, Howlin' Wolf, Jimmy Rogers, Little Johnnie Jones and the blues-rock band Fleetwood Mac. He also recorded a number of vocals including his own "Blackjack Blues," that is a different number than the Ray Charles blues. Brown as Sax Man Brown is heard on "Sax-Ony Boogie," backed by Elmore James, Little Johnnie Jones on piano, Ransom Knowling on bass and Odie Payne on drums.
J.T. Brown mentored A.C. Reed, the big-toned player who was not simply a member of several of the greatest blues bands of the seventies and early eighties, but also was a significant leader and ocalist on his own right. In addition to his prized 45s ("My Buddy Buddy Friends"), he was a member of Earl Hooker's Roadmasters before being a significant part of the great Buddy Guy-Junior Wells Band of the 1970s, followed by a stint with what likely was Son Seals' greatest bands, and then was with Albert Collins and the Icebreakers, when Collins toured in support of Collins (and he appeared on Collins' first five Alligator CDs). His own recordings and performances featured in addition to his big saxophone sound(Gene Ammons was an admitted influence), his tongue and cheek lyrics as represented on his Alligator album title, Take These Blues and Shove 'Em! or on the rocking "These Blues Is Killing Me."
Certainly J.T. Brown and A.C. Reed's credentials are certainly equal to those of Eddie Shaw and Grady Gaines' career certainly is as meritorious as Little Richard, who after all was a rocker.
After his two superior albums on Delmark, many were pleased to learn about Alligator Records signing Toronzo Cannon and now we have his label debut "The Chicago Way." Those who enjoyed his prior releases will not be disappointed with this and it is likely to raise his profile, not simply in the blues world. Cannon wrote all eleven songs on "The Chicago Way" and is backed by his band The Cannonball Express. The band consists of Brother John Kattke, Hammond B-3 Organ, Piano, Keyboards; Pete Galanis, Electric and Acoustic Rhythm Guitar, Larry Williams, Bass and Melvin "Pookie Stix" Carlisle, Drums. Kattke also arranged the three piece horn section on a few selections.
This is hard-hitting music that might superficially be compared to Son Seals. Certainly Cannon's searing buzz-kill guitar bears a similar intensity to what the late Seals brought to his music. And like Seals, Cannon is all business. His music though is a bit more urban and soul-rooted than Son. Like Son Seals' music, Cannon's music reflects his own life and experiences from growing up in the shadows of the Chicago projects, to working as a bus driver and listening and observing the city life around him.
The tightly performed and hard-hitting playing on "The Chicago Way" provides a frame for his telling social commentary like the opening "The Pain Around Me." Starting off in a funky manner, it has a lyric about six kids on the corner, six broken homes, and Toronzo not wanting his kids to go outside because of the thugs hanging around. Furthermore, he doesn't want to sing this but this is what he, in fact, sees. There is plenty of fire in his playing and vocal with his band tightly backing him.
In contrast to the serious opening track, one hears plenty of humor in his lyric about a marriage gone bad on a funky shuffle "Bad Contract." This bad contract is the one where you sign on the line and only gets half back when its over. The driving shuffle "Fine Seasoned Women," has Toronzo fending off a flirting lady who is trying so hard to catch his eye. Cannon, however, prefers a lady with a touch of gray or wrinkles, who wants a man, not a fool. There is nice use of horns on this along along with his crisply played guitar. The humorous "Midlife Crisis" is another number that speaks to those of us who have put more than a few years (and it has a great line about hair on the chest turning grey). Perhaps this writer's favorite track is a wonderful slow blues, "When Will You Tell Him About Me?," with Toronzo complaining about being tired of the secrecy with which he and his woman must keep their affair.
As a songwriter, as well as a singer-guitarist, Toronzo Cannon brings grit and passion. His playing is varied ranging from blues-rock to jazzy flavored while his singing is robust resulting in the mostly compelling performances here. "The Chicago Way" is one of most striking recent new blues releases.
I received my review copy from Alligator. To give you a sample, here is a recent performance by Toronzo of "The Pain Around Me."
Not one member of the Boogie Woogie Trio (Albert Ammons, Meade Lux Lewis or Pete Johnson) is in the Blues Hall of Fame. The greatest boogie woogie pianists of all time. Here is Boogie Woogie Prayer.
I also add their mentor Jimmy Yancey is also not in nor is the great Cow Cow Davenport. Look at who has been recently inducted but these folk are not in. Here is Davenport, not doing the eponymously named boogie, but Texas Shout.
And here is Jimmy Yancey's almost poetical rendition of How Long Blues.
More on acts that should be in the Blues Hall of Fame in future posts. Look up these folks on google and give their music a listen on the net.
Willie Dixon's cliche "The Blues is the roots and everything else is the fruits" may have had some truth when he made it, but today so much of what is marketed as blues is the fruits as much as anything. When Dixon made the comment so many musical acts were redoing blues songs (country acts covered Jimmy Reed) and even the genius that was Gil Evans would rework a Dixon song like he does with Spoonful.
Or Jimmy Smith cover Muddy Waters' hit Got My Mojo Workin'.
Wednesday, February 17, 2016
Otis Rush
Double Trouble Live Cambridge 1973
Rock Beat
Joe’s Place in Cambridge, Massachusetts in the seventies must have been quite a place as Joe mentions Brownie McGhee and Sonny Terry along with Lowell Fulson as upcoming acts before he introduced Otis Rush for a night of blues. Rush that night was backed by Little Bo on tenor sax, Ernest Gatewood on bass and Bob Richey (not Richards as mistakenly spelled on the back cover) on drums.
Rush, until a severe stroke in 2004 curtailed his career, was one of the most revered blues artists bringing some of the strongest modern blues guitar playing which was matched by his angushed singing. This recording has some uneven sound quality (Little Bo is somehwat muffled on the opening "Watermelon Man"), but the brilliance of Rush's playing doesn't suffer in the mix. The program here includes several renditions of Rush's Cobra recordings including "It Takes Time," "I Can't Quit You Baby," Keep On Loving Me," and "Double Trouble," along with several numbers associated with B.B. King, including "Gambler's Blues" (which became identified with Otis), and "Why I Sing the Blues." In addition to the instrumental warm-up of "Watermelon Man," there are a couple James Brown numbers, an instrumental workout on "Popcorn" (as much a feature for Little Bo who is more audible here), and the closing "Please, Please, Please," and inspired playing on Rush's instrumental treatment of Ike and Tina Turner's "I Think It's Gonna Work Out Fine." This latter number has more saxophone from Little Bo, demonstrating why Rush described him as the little man with the big sound..
Frank Scott provides an overview of Rush's career and a brief description of the performance in the accompanying booklet.
I purchased this. Here is Otis' rendition of "Gambler's Blues" from this performance.
I’ve Been Out There: On the Road with Legends of Rock’n’Roll
Grady Gaines with Rod Evans
2015: Texas A&M Press (188 pages)
When the Blues Foundation announced only three selections for the Blues Hall of Fame for 2015, to accompany the opening of the actual Hall, this writer was upset (pun intended) that Little Richard was selected in part because his contributions were primarily as a rhythm and blues-rock’n’roll performer, and not as a blues man. It also struck me that they missed the opportunity to include the leader of Richard’s band the Upsetters, Grady Gaines, at the same time (Grady’s brother guitarist Roy also clearly deserves induction). Hopefully this will be rectified soon. In any event, with the assistance of Rod Evans, we have a chance to let Grady tell us his own story in this 2015 volume that is part of Texas A&M Press’ John and Robin Dickson Series In Texas Music.
Evans has put together Gaines’ recollections and life story intermixed with comments from those associated with Grady, including members of his family (brothers L.C. and Roy and son Grady Jr., among them), musicians and others who played significant roles in his band or life (like the Upsetters’ drummer Charles ‘Chuck’ Connor, guitarist Milton Hopkins, guitarist John Andrews, trombonist-vocalist Paul David Roberts, Hammond Scott of Black Top Records and Susan Criner his current booking agent). There are also inserts giving background on other persons and events such as Sam Cooke’s passing and Little Willie John’s murder conviction and death in prison. While Little Richard had been contacted and willing to talk about Grady’s contributions to his early career, his declining health prevented it. Also not able to contribute for health reasons was Grady’s lifelong friend, and bandmate, Clifford Burks.
Grady’s story starts while he was in his first band, The Blues Ramblers. Little Richard, who just had a smash hit with “Tutti Frutti,” called Grady to recruit him and fellow saxophonist Clifford Burks to join him. Grady recalled they had played with Richard in Houston and described how the Upsetters (which Richard started calling his band) added other musicians and toured heavily. Then the story backtracks to his beginning. Grady recollects how he and Roy, inspired by a grandfather, got into music. Grady grew up in a small Texas town, although experienced little of the Jim Crow issues of other communities, The family moved to Houston after his father got a job in a lumberyard. In Houston, Grady, inspired by an uncle, started working doing a paper route and playing music, describing the process in which he learned to play saxophone. A significant influence was Calvin Owens, a student teacher at his school who taught him a variety of things including the importance of professionalism.
While in High School, Grady started his first band, eventually creating the Blues Ramblers, which became one of Houston’s biggest bands. At the same time he was able to see so many legends like T-Bone Walker and B.B. King. The band got to be one of Don Robey’s studio bands and recorded behind Earl Forrest, Gatemouth Brown, Big Walter Price and even the Mighty Clouds of Joy. Mixing his recollections of playing, recording and developing his saxophone style, he recalls the vibrant nightlife in the Bayou City, and discusses when he was first playing with Little Richard before he became the sensation he was.
He spent three years with Little Richard, observing the incessant touring, with a few days off here and there. There would be mishaps like a driver dozing off and running off into a cotton field. Besides describing life on the road, he offers an overview of what a typical show was. Then there were the films including “The Girl Can’t Help It” with the famous scene of Grady jumping and soloing on the piano while Richard was pumping away. There were side benefits too, including, as described by Connors, women throwing their panties on stage, and Grady, being handsome and prominent as saxophonist and the band’s leader, had his share of after show encounters.
It was in 1957 in Australia that Little Richard told the band he was quitting the business to become a preacher. He had hinted at doing this previously, but Down Under he actually made the decision during a tour. Richard allowed Grady to continue using the name the Upsetters, and when back in the US they toured California with Dee Clark. The band next hooked up with Little Willie John who had a smash hit with “Fever.” Grady recalls that Little Willie John was a wonderful little guy, but kind of wild. They continued to tour with him until a California tour that included Sam Cooke. Cooke wanted the band as his own, so it became Sam Cooke’s band and it toured with him until his early death. Included among the many pictures illustrating Grady’s story is a poster from their early 60s tour of Jamaica.
After Cooke’s death in 1964, Grady Gaines and the Upsetters became the main backing band for Universal Attractions, playing behind the likes of Etta James, Ruth Brown, Bo Diddley, Solomon Burke, Gladys Knight and the Pips, the Crystals, the Supremes and “anybody that was somebody.” And the Upsetters worked hard at being entertaining. Grady himself would put a mic down the barrel of his horn, honk and walk the floor with a 150 foot cable including sometimes going outside and playing on the sidewalk. While Grady noted that he drank moderately, he stayed away from drugs and the Upsetters had few problems with alcohol or drugs.
Grady talks about disco coming in as among the things that led to decline of the Upsetters touring. The remainder of the book details him returning to Houston, playing primarily locally as well as taking employment outside of music. Grady’s Texas Upsetters became a versatile band, doing a revue type of show and playing not simply nightclubs but also private parties and other functions with their considerable versatility. It was at this time that Hammond Scott, and his late brother Nauman, heard Grady and recorded him for Black Top, and this led to some European travel. He also recorded an album "Jump Start,’ that unlike the mostly original material of the Black Top releases, had mostly older material reshaped by Grady and the Upsetters, and they continue to still perform. One thing that comes across throughout this book is the professionalism he conducted throughout his career, still seen today by the fact that he picks up all the band members up for their gigs in the Houston area.
Over his career Grady has backed 71 artists who are in the Rock and Roll Hall of Fame in Cleveland, likely more than anyone else. Evans is making a case for him being selected as a sideman. Certainly it would be worthy, as would be his induction into the Blues Foundation’ Blues Hall of Fame, as among those 71 artists are more than a handful of Blues Hall of Fame inductees. Additionally his own playing, and his recordings deserve recognition.
There are a couple of minor typos (Amos Milburn called Wilburn), and it might have suited Evans to have looked at the excellent biographies of Sam Cooke, Little Willie John and John Ace, as well as Preston Lauterbach’s book on “The Chitlin Circuit.” The authors do rely on Roger Wood’s marvelous “Down In Houston: Bayou City Blues,” and Charles White’s “The Life and Times of Little Richard” by Charles White. It is surprising that for a University Press book, a number of cites to allmusic.com (not completely reliable although I found no errors here), although most of the material is from Evans’ interviews. In any event, Grady certainly has been out there and this well illustrated volume tells his story in a highly readable and concise manner.
I purchased this. Here is one of Grady's recordings when leading the Upsetters.
For years, Harrison 'Slam' Allen could be seen fronting the James Cotton Band with his guitar and vocals. For a few years he played on a cruise line (nice work if you can get it). He has returned to the blues scene and has a new recording "Feel These Blues" (American Showplace Music). In addition to his guitar and vocals, Slam is backed by a rock solid band of John Ginty on keyboards, Jeff Andersen on bass guitar and Dan Fadel on drums for a program of 11 originals and a rendition of Prince's "Purple Rain."
There is nothing fancy about Slam Allen with his rocking, B.B. King influenced guitar and his strong vocals. His vocals strike me as his greatest strength although he is no slouch as a guitarist. The album opens with with the title track with its lament about being hard to find blues on the radio but he will keep laying down these blues playing guitar while chanting you got to feel these blues. The B.B. King flavored shuffle "The Blues Is Back," another song dealing with the blues as a genre, and is a highlight of this recording with some searing guitar. "All Because Of You" is a solid original whose melody evokes the Gladys Knight hit "My Imagination," while "In September," is a nice slice of country soul with a terrific vocal. There is a funk groove for "35 Miles Outside of Memphis," as Slam sings about about stressful things on his mind but one of them sure ain't his woman, and followed by the intense slow, B.B. King styled blues "World Don't Stop Turning." Another strong straight blues in this vein is "You're Wrong." "Can't Break Away from That Girl" is another solid southern flavored soul performance, similar to some of Johnny Rawls recent recordings.
"Feel These Blues" closes with a lengthy interpretation of "Purple Rain," and one suspects this may have been popular on the cruises fortunate enough to have Slam Allen as an entertainer. Having seen Slam Allen several times, I can attest how entertaining he is performing and this is captured to some extent on this solid recording.
I bought this from Slam but also received a review copy from the record company. Here is Slam Allen in performance
Singer-songwriter Robert Francis, has a new album "Valentine" where he covers the classic "Chet Baker Sings," which was the late Baker's first vocal recording. The origin for this session came from one night he came by a Wednesday jazz gig that Aeronaut's owner John Mastro organized and sang "a standard "My Funny Valentine" with the house band. A few weeks later he recorded this album with backing from Guitarist John Storie, bassist Tim Emmons, drummer Kenny Elliot and sax man Zane Musa (who are all members of Jeff Goldblum's band The Mildred Snitzer Orchestra). Saxophonist Musa passed away a few weeks after this was recorded.
Francis evokes Baker's low-key, whisky laced vocals without simply imitating Baker. The backing helps contribute to this with Guitarist Storie providing a nice setting and Elliot's adroit use of brushes contributing to the feel of the performances. Francis almost whispers "My Funny Valentine" until he cries "stay little valentine," while his more demonstrative singing on "Time After Time" is complemented by Musa's saxophone, both feathery and robust. Musa adds obligatos on "I Fall In Love Too Easily" and solos with some delightfully old school tenor. His robust tenor sets the plate for Francis' swinging "There Will Never Be Another You."
A particular highlight is "The Thrill Is Gone," with Francis' melancholy vocal echoed by Musa's sax. I have not heard Francis outside of this recording, and even if stylistically indebted to Baker here, the performances have their own charm. This charm, in part, results from the sympathetic backing, as well as Francis' own vocals, leading to focused, concise performances. This is available as a 10 inch vinyl album and as a digital download from the usual sources.
A publicist provided me with a download of this. Here is Robert performing "Time After Time."
A new self-produced recording by the Lew Tabackin Trio, "Soundscapes," is one that certainly merits plenty of attention. Tabackin, whose career spans decades, continues to display remarkable fluency on tenor sax and flute and construct some remarkable improvisations. Tabackin is joined by bassist Boris Kozlov and drummer Mark Taylor on this recording that was engineered by Jimmy Katz and mostly recorded at Steve Maxwell's Drum Shop, with the exception of one selection done at Tabackin's basement.
The opening performance, John Lewis' "Afternoon in Paris," immediately sets the tone with the authority and imagination of Tabackin's playing. The robustness of his playing along with the exemplary support by Kozlov and Taylor, and the trio's interplay, makes this and the entire album stand out. Particularly impressive selections include Tabackin's blues "Bb Where It's At" opening as a percussion supported duet between Tabackin and Kozlov that features the leader's marvelous improvisation with Taylor's accents on snare and cymbals adding to the performance's flair. Three selections feature Tabackin on flute of which his fat, wet playing on the standard "Yesterday's," stands out. Tabackin was a regular poll winner in the eighties and his playing on this and the rest of this recording illustrate why. Then there is a spellbinding interpretation of Billy Strayhorn's "Daydream."
When listening to a trio recording by a tenor saxophonist, one is reminded of legendary Sonny Rollins' "Live at the Village Vanguard." While not exclusively devoted to Tabackin on tenor, "Soundscapes" can stand the comparison and stands out as a superb hard bop trio recording.
I received a review copy from a publicist. Here is an extended excerpt of the Lew Tabackin Trio performing in Japan.
Brent Fischer has been busy preserving and perpetuating his father's legacy since the legendary Clare Fischer passed away in 2012. "Out of the Blue" is the latest Clavo Records release of previously unissued old and new recordings by the pianist, composer and arranger with his original keyboards supported by his son and producer Brent who provided arrangements and played Percussion Instruments and Bass; Peter Erskine or Mike Shapiro on drums, and Denise Donatelli & John Prolux -providing vocals for "Out of the Blue."
This recording contains several of Fischer's original compositions along with seven jazz and Brazilian standards. Son Brent's notes in the attached booklet provide a context for this posthumous release as well as details each of the selections. Listening to this a number of times one notices a stately elegant quality to Clare Fischer's piano on the opening "Love's Walk,' with Peter Erskine and Brent accompanying him. What also one notices is the articulation and the fascinating development of the musical themes. He employed an electric keyboard for "Tema Do Boneco De Palha (Theme Of The Straw Doll)," one of several Brazilian performances here, and he makes use of the instruments tonality in constructing the performance here and at the same time retain the relaxed, uncluttered feel of his piano.
"When You Wish Upon A Star / Someday My Prince Will Come" is a marvelous solo piano feature where he finds common threads between the two songs. "Starbright" is another fascinating performance with his electric keyboard suggesting a vibraphone at times. "Cascade Of The Seven Waterfalls," is another Brazilian delight, while the title track features the vocals of Donatelli and Prolux adding both horn-like lines and scatting against the trio backing. "Millbrae Walk," inspired by the late Cal Tjader, again has the leader evoking vibes on his keyboards on this lively performance which is followed by a haunting solo rendition of the Jobim-Gilbert-De Moraes penned "Amor Em Paz." Johnny Hodges' "Squatty Roo," is a delightful, sprightly duet between father and son and then followed by an introspective, poetical reading of Django Reinhardt's lovely "Nuages." Again it sounds like vibes being (along with piano) played on a highly energized performance of Fischer's "Novelho," with a bass solo and trading fours with the drummer followed by some lively piano. The closing medley of Brazilian classics "Carnaval / A Felicidade / Samba De Orpheu," further displays his ability to bring out an emotive quality of each note.
In the notes, Brent Fischer hints at more musical delights from his father. Certainly "Out of the Blue" will whet the musical appetite for these.
I received my review copy from a publicist. Here is some vintage Clare Fischer.
1- All Your Love; 2 - Rock Me Baby; 3 - I'll Take Care of You/ Lonely Avenue; 4 - Mighty Fine Boogie/ 5 - One More Mile/ 6 - Bad Boy/ 7 - Twenty-five Days/ 8- No More/ 9- Last Night/ 10 - New Vietnam Blues/ 11 - Marie/ 12 - Blue and Lonesome/ 13 -Looking Good. 68:17
Earl, g; Dave Maxwell, p (exc-13); Jimmy Mouradian, b (exc-3, 10, 13); Levon Helm, d (exc. -13); Luther 'Guitar Junior' Johnson, -1, 6 vcl, g; Kim Wilson, vcl, hca - 2, 5, 8, 9, 12; James Cotton, hca - 4, 5, 8; Irma Thomas, vcl -3, 10; Michael 'Mudcat' Ward, b -3, 10; Paul Marrochello, g -10; Tim 'Juice' O'Connor, g -10. Woodstock, NY. Oct. 30, 31 and Nov. 1, 2000.
This is an all star session led by guitarist Ronnie Earl on Telarc. Those heard on this include Luther’ Guitar Junior’ Johnson, Levon Helm, David Maxwell, Irma Thomas, James Cotton and Kim Wilson for a program of blues mostly performed in the Chicago blues vein. While several recent albums have displayed Earl’s very interesting fusion of jazz and blues, this album marks a return to a straight blues setting. Earl is joined by an excellent band that includes piano from Dave Maxwell and drums by Levon Helm of The Band. Vocals are shared by Kim Wilson, Luther ‘Guitar Junior’ Johnson and Irma Thomas. In addition to several tracks featuring both of their harmonicas, there is a harmonica duet by Wilson and Cotton.
Dave Maxwell strongly evokes the spirit of Otis Spann on his feature "Marie." Two instrumentals serve to spotlight Earl, one being the short closing rendition of Magic Sam’s "Lookin’ Good." Luther Johnson contributes a top notch version of Magic Sam’s "All Your Love." Irma Thomas does a wonderful rendition of Bobby Bland’s "I’ll Take Care of You," which segues into Ray Charles’ "Lonely Avenue." Her other vocal is "New Vietnam Blues," a updating of Junior Wells’ recording, "Viet Cong Blues," reflecting the social changes of the past three decades. Kim Wilson shines as a vocalist on "Rock Me Baby" and James Cotton’s "One More Mile," one of the titles that have both Cotton and Wilson on harmonica.
There is terrific playing throughout, whether the interplay between the harmonicas of Cotton and Wilson on "Mighty Fine Boogie," Earl’s evocation of Mel Brown and Buddy Guy on the Irma Thomas vocals, and Maxwell’s consistently solid piano. There are a couple places where Earl’s playing strikes one as a bit busy (particularly "All Your Love"), but his playing never overwhelms the vocal. And Earl quite capably plays the supportive role on the tracks with Cotton and Wilson, adding some nice fills. This is quite an enjoyable blues album.
This review was written for Cadence from who I wrote this review in 2001. I have inserted paragraph breaks. Here is Luther 'Guitar Jr." Johnson and Ronnie Earl performing together.
GENE AMMONS & SONNY STITT GOD BLESS JUG AND SONNY PRESTIGE PRCD-11019-2
1 - Blue ‘n’ Boogie/ 2 - Stringin’ the Jug/ 3 -God Bless the Child/ 4 - Autumn in New York/ 5 - Ugetsu/ 6 - Bye Bye Blackbird. 68:03.
Ammons, ts exc. 4 & 5; Stitt, ts -1, 2, 6, as -4; Cedar Walton, p; Sam Jones, b; Billy Higgins, d. Baltimore, MD. June 24, 1973.
This is a welcome addition to the available collaborations between Gene Ammons and Sonny Stitt. Recorded during a performance for The Left Bank Jazz Society, it features some good spirited tenor wailing by the pair who each also have a solo feature. For a location recording the sound is more than acceptable, especially for the time recorded although the rhythm section is a bit down in the mix. The terrific rhythm section of Walton, Jones and Higgins is featured on Walton’s “Ugetsu.” Ammons has some intonation problems opening on “Blue n Boogie” that dissipate as he warms up before Stitt takes his turn exhibiting a lighter tone and a bit less gut bucket in his solo before they start trading choruses and quoting pop tunes and blues. Zan Stewart notes that “Stringin’ the Jug” should be titled “String and the Jug” reflecting Ammons nickname for Stitt, and the performance is taken at a torrid tempo which provides little problem for the pair. Ammons has a bluesy reading of “God Bless The Child” that stays pretty true to the melody in contrast to Stitt’s reworking of the melody in “Autumn in New York,” with the alto accentuating the difference in his tone and attack on this day. After the trio’s superb performance of “Ugetsu”, Ammons and Stitt close out on a lengthy, medium tempoed, “Bye Bye Blackbird,” which provides a solid ending to a solid document of what surely was a terrific day to have been in Baltimore.
I likely received a review copy from Cadence for whom this review was written. While not from this album, here are Jug and Sonny doing "Blues Up and Down."
I live near Washington DC and like many on the East Coast from the DC area to New York City we got hit with a Snowzilla of a Blizzard.Still having Cabin Fever, I thought I might warm folks up with some Albert Collins, after all he did get the nickname "The Iceman," and known for his cool sound.
Here is Albert Collins with Duke Robillard and Debbie Davies doing Frosty
Here is Albert Collins Ice Pickin' live when A.C. Reed was in his band
There is something about Chris O'Leary's music that strikes the listener immediately and it is the authority that he brings to his songs, and his songs have a reality to them that make his vigorous singing sound so powerful. O'Leary served in the Marines for 7 years and played for six years as a member of Levon Helm’s Barnburners, and this is reflected in his superb new American Showcase Music CD "Gonna Die Trying." In addition to his vocals and strong harmonica playing, he is backed by Chris Vitarello on guitar, Andy Stahl and Chris Difrancesco on saxophones, Matt Raymond on bass and Jay Devlin on drums. In addition to his band, other players on this include Bruce Katz on piano & organ, Vinnie Nobile on trombone, and Willa Panvini McCarthy & Libby Cabello on background vocals. John Mooney is a special guest on one track.
One thing that strikes this listener from the first selection, "Can't Help Yourself," is his raspy, cleanly articulated, rapid-fire vocals. He commands our attention singing about going of the war and then returning home to find promises made before he served were empty; that jobs being exported overseas labor overseas with unions being blamed; and there being too little money for our war casualties today. Similarly powerful songs include "19¢ a Day," set against a crisp John Lee Hooker boogie groove, and the stark "Letters From Home," (opening with terrific guitar from Vitarello) where O'Leary sings of being terrified and lonesome in a dirty hole a thousand miles from home with desert winds chilling him to the bone in the god-forsaken combat zone. His vocal is compelling (his vocal dynamics is exemplary) and the backing is terrific. "One More Saturday Night," is a superb shuffle as he displays his formidable harmonica chops, on a song about about making it through the week, and needing one more Saturday night to let loose. The spirited "Harvest Time" has a New Orleans second-line groove with John Mooney adding slide guitar.
There is so much to like about Chris O'Leary and with excellent songs, and first-rate backing from his band and guests, O'Leary's "Gonna Die Trying" is sensational.
I received my review copy from the label. Here is he performing "Letters From Home."
Chester Burnett was well known as the Howlin’ Wolf, and The Chess Box is an excellent three compact disc boxed set which is a fine survey of his compelling recordings starting with a healthy dose of his early Memphis recordings for Sam Phillips with the great Willie Johnson on guitar through his classic Chicago recordings with the likes of Otis Spann and Hubert Sumlin. While some of his later recordings perhaps showed the wear from his health, the music remains as gripping, whether on his reworking of Charlie Patton’s Saddle My Pony, Smoke Stack Lightning, How Many More Years, I Asked For Water, Rocking Daddy, Spoonful, Who’s Been Talking, Back Door Man, Killing Floor and others. There is one recording from his London session album with a variety of rock superstars, a couple of solo acoustic selections recorded at the otherwise best forgotten psychedelic album and some brief excerpts from an interview. The booklet contains biographical information and a review of his music. Another classic boxed set reissue. One artist who diffused Robert Johnson’s music was Elmore James, whose most celebrated recording, Dust My Broom, married Johnson’s riff from Rambling on My Mind, with the lyrics for I’ll Believe
I’ll Dust My Broom. Elmore recycled this along with several other themes throughout his recordings career that spanned from 1951-1963. His last recordings (from 1959 to 1963 (with the exception of a 1960 Chess session) were made for Bobby Robinson’s Fire, Fury and Enjoy labels. Recently I noted a fine Relic collection Rollin’ and Tumblin’, that had most of his best recordings for Robinson. Poor Relic, insofar as Capricorn has just issued Elmore James, King of Slide Guitar, The Fire/Fury Recordings, that may represent all of the songs Elmore recorded for Bobby Robinson. There is a booklet that includes remembrances of Elmore by Sam Myers, Bobby Robinson and others, a biography, general appreciation and discographical information. Although I have heard this on a preview cassette, the sound (like the Relic) seemed particularly good. Unless you already have the Relic, this is a must buy, and it isn’t extravagantly priced.
This review originally appeared in the December 1992 Jazz & Blues Report
(Issue 177) (along with reviews of Lightnin' Hopkins box sets that was posted yesterday). I likely received review copies from the record
companies. Both sets are available as downloads and can be obtained as
used (although Collectables has also has a box set of the Elmore). While not perfect, a recent public domain reissue of Elmore James, The Ultimate Collection (Not Now) is a handy compilation surveying his recordings from the entire span of his recording career although includes a few accompaniments to others as well as his featured recordings).
EMI has a valuable reissue of Lightnin’ Hopkins’ earliest recordings in the two compact disc set, The Complete Aladdin Recordings. Containing 43 recordings over two compact discs, these recordings include Lightnin’s November 1946 recordings made with pianist Wilson “Thunder” Smith in Los Angeles including what would be such standard themes like Katie May and That Mean Old Twister. Hopkins’ second Aladdin session produced a couple of classics, his own Short Haired Woman (“I don’t want no woman who’s hair is shorter than mine.”), while Thunder Smith handled the vocal on Big Mama Jump, a theme that Hopkins would explore in later years. One of the real surprises of the early sessions is a raucous, rocking version of Tampa Red’s Let Me Play With Your Poodle. While the first thirteen selections pair Thunder and Lightnin’, the remaining 28 recordings (from November 1947 and February 1948 are solo performances which include some very distinctive treatments of other artists’ themes (although credited to Lightnin’ like You’re Not Goin’ to Worry My Life No More, adaptations of traditional Texas blues themes like J.T. Smith’s Howling Wolf, and his own unique guitar instrumentals like Lightnin’s Boogie. In part because of the duets with Thunder Smith, I found the first of the two discs to be the easiest to sit through. However, there can be little fault with any of the performances, and one of the valuable reissues of Hopkins’ early recordings.
Another Lightnin’ Hopkins compact disc of great note is The Complete Prestige/Bluesville Recordings. This is a seven compact disc set with a booklet by Sam Charters that collects 111 recordings on six discs along with a seventh disc containing eight spoken excerpts from an interview that Charters conducted in which Hopkins recalled his early days and his influences. Included are the contents of eleven albums and a previously unissued 1964 concert at Swarthmore College.
The earliest recordings here date from the same time as Lightnin’s Candid recordings, while the latest date from 1964, and the sessions find him in a range of settings including two solo concerts; a session with Sonny Terry, bassist Leonard Gaskin and drummer Belton Evans; sessions with longtime Houston associates Harpist Billy Bizor, barrelhouse pianist Buster Pickens, bassist Donald Cooks and drummer Spider Kirkpatrick; and sessions on which the rhythm section was overdub. There is a startling range of material here from Ain’t It Crazy (the same song as Mighty Crazy for Candid), Back to New Orleans and/or Baby Please Don’’t Go), Green Onion, Little Sister’s Boogie, Katie Mae, Take Me Back, You Is One Black Rat, My Babe, Mean Old Frisco, Me and Ray Charles, Rocky Mountain Blues, I was Standing on 75 Highway, Mojo Hand. Included are some of Lightnin’s songs where he conjured up material on current events like Happy Blues for John Glenn.
There are many very fine performances, although some of the recordings with a rhythm section sound somewhat ordinary, and I would be hard pressed to find many recordings that rank with the very best of his recordings. Yet the sheer breadth of the material here, all imbued with his personal stamp as a blues singer and guitarist, make this a most highly recommended boxed set that should hopefully still be in the better local record stores. They can always order it for you.
This review originally appeared in the December 1992 Jazz & Blues Report (Issue 177) and I likely received review copies from the record companies. Both sets are available as downloads and can be obtained as used.
Charles Brown
Just A Lucky So And So
Bullseye Blues
Brown’s new Bullseye Blues album adds to the fine body of his recent recordings. The centerpiece of the backing is his excellent band with Danny Caron’s guitar, with its echoes of Oscar Moore as well as T-Bone Walker, and Clifford Solomon’s tenor saxophone, whose solos here show him to be the strongest horn player working in this idiom, with his solo on the remake of Black Nights, being particularly notable.
The big band charts add considerable punch with Wardell Querzergue’s arrangement on Drifting Blues building upon embellishments found in Johnny Otis’ treatment of the song. Song For Christmas is one of several non-blues and the strings add to Brown’s description of holiday times and spirits. Querzergue’s charts are never stodgy nor syrupy. Gloomy Sunday suggests Billie Holiday’s influence in how Brown delivers the vocal, although this performance sounds a tad lethargic. The Quintet shines on Danger with its New Orleans rhythms and superb solos from Caron and Solomon. Brown continues to show his considerable piano talent here and throughout the record.
There is no claim that this is Charles Brown’s best recent recording, but the handsome production insures that this is not simply more of the same (although excellent) music found on his recent albums.
I am pretty sure I received my review copy from Rounder Records at the time. This review appeared in the April 1994 Jazz & Blues Report (Issue 190). Here is a love performance from Charles Brown and his band.
While busy as a sideman with the likes of Kris Bowers, Cory Henry and Jose James), guitarist Brad Allen Williams debuts as a leader on "Lamar (Allegro Music/Nail-Sojourn Records)." On this recording he is joined by organist Pat Bianchi and drummer Tyshawn Sorey for a solid collection of performances of originals along with some recognizable pop and soul tunes. Williams states that "This album is exclusively about creating and capturing a feeling …," and this is reflected not simply in how they play but also in recording this "with the three of us in one great-sounding room together using the best analog tape machines and a great analog engineer." This analog recording is available in vinyl.
This is is a lively varied organ trio with Williams up front starting with the lively interpretation of Joe Jackson's "Steppin' Out," with Williams' fluid runs and Bianchi's greasy B-3. Williams blues, "201 Poplar," is a superb blues performance with an after hours feel with Bianchi helping color the leader's solo as Sorey deftly adds his accents. On renditions of the Glen Campbell hit "Galveston" and The Stylistics' "Betcha By Golly Wow," Williams employs a vocalized approach in his playing centered around the songs lyrics, with Bianchi and Sorey adding light support. "Euclid and Lamar" is a briskly played Williams original that showcases all three players and followed by a lovely rendition of the classic ballad "Stairway to the Stars."
After the loping groove of a bluesy shuffle "Culver Viaduct Rehabilitation Project" by the trio, Williams closes "Lamar" with a solo rendition of "More Than You Know." It is an exquisite close to a highly entertaining, excellent jazz guitar and organ trio recording.
I received my review copy from a publicist. This review appeared in the January-February Jazz & Blues Report (Issue 364). Here is "More Than You Know" from the recording.
Calvin Frazier
This Old World’s In A Tangle
Laurie
This disc is is Laurie Records’ second reissue of Library of Congress field recordings that Alan Lomax recorded in Detroit in the late thirties. Containing all of the blues Calvin Frazier recorded that are still extant on fragile acetate discs, it does not include his religious songs, upon the producer’s belief that they would not appeal to blues fans. This may be a miscalculation, given this disc’s unavoidable rough sound and the short playing time.
Frazier was a cousin of the late Johnny Shines, and was associated with Robert Johnson. Johnson’s influence pervades a good portion of the music here. The title track (heard in a fragment and a full version); I’m in the Highway, Man; She’s a Double Crossing Woman, and Highway 51 Blues, echo Johnson’s Kind Hearted Women, Terraplane Blues, and Dust My Broom. Frazier also sings with a Johnson-like falsetto. Other tracks include Frazier’s Lily Mae, that he later recorded commercially, and versions of The Dirty Dozens and Pinetop Smith’s Boogie Woogie. There are two short interview fragments included as well. Calvin Frazier would be a part of the post-war Detroit blues scene, although his recordings in a combo setting are far different from these country blues recordings.
Like the previous Laurie reissue of Sampson Pittman’s Library of Congress recordings, this is accompanied by a wonderful 40 page booklet with extensive information on Frazier, and full lyric transcriptions. The sound may deter casual listeners, and the playing time is somewhat scanty. Despite these shortcomings, this will be an essential purchase for country blues devotees.
This review originally appeared in the March 1994 Jazz & Blues Report (Issue 189) and I likely received my review copy from the record company. This is out-of-print but well worth checking for used copies of it. Here is Frazier's rendition of "Double Crossing Woman."
The Canadian duo of Dalannah and Owen is likely to raise comparisons to the jazz duo of Tuck and Patti, with the pairing of a vocalist against a string instrumentalist. In this case, the classically and jazz trained bassist and composer Owen Owen Owen backs the dusky tones of Dalannah Gail Bowen. Bowen, who was born of African-Canadian / Cherokee heritage, has been a part of the Canadian blues, rock and soul scene for almost 50 years. This British Columbia duo made it to the finals of the International Blues Challenge and their Quest Records debut as a duo "Been Around A While." provides an indication of what makes their unique take on blues so appealing.
With the austere, sometimes stark backing of Owen, Dalannah is a most expressive singer whose nearly five decades of performing is reflected in the manner in which she wrings new meaning of such familiar numbers as Louis Jordan's forties hit "Early in the Morning," as well as her take on Robert Johnson's "Come On In My Kitchen." She has lived things and seen both the good and bad as she tells us in the opening title track with Owen displaying considerable virtuosity with a guitar-ish sounding solo (sounding overdubbed), nor does she put up with what her man is trying to do on "That Ain't It."
The way Dalannah stretches the lyrics along with her smoky voice can really grab one's attention on "Blues, Mother Of Sin." as well as get seductive on the slow, dirty dancing "Queen Bee." Of note are the renditions of Marvin Gaye's "Inner City Blues," and B.B. King's "Why I Sing The Blues," where Dalannah's compelling voice remind us of the continuing relevance of the songs.
"Been Around A While" is fascinating, often spellbinding, with Dalannah's moving, evocative vocals and Owen's simple, backing.
I received my review copy from a publicist. This review appeared in the January-February 2016 Jazz & Blues Report (Issue 364). Here they are performing "Come On In My Kitchen."
Thursday, January 14, 2016
Pinetop Perkins Portrait Of A Delta Bluesman
Omega
While there hasn’t been a shortage of Pinetop Perkins albums in recent months, this new album is of particular interest as it is Pinetop playing solo. Intermixed with his music performances are his recollections, so this comes off as a musical autobiography.
Pinetop himself prefers playing with a band, yet his performances of such blues as Come Back Baby, Big fat Mama, Chains of Love, Grindin’ Man, Forty Four, Caldonia, Pinetop’s Boogie Woogie, and other songs here are played in a relaxed fashion that is still full of plenty of feeling. While most of these songs will be familiar from other band recordings, Walter Davis’ Come Back Baby is a particularly pleasing performance.
He discusses his influences, growing up, playing around the delta (He was with the King Biscuit Show) and joining Muddy Waters. An elder statesman of the delta and Chicago blues piano traditions, this unpretentious collage of music and recollections is a fascinating portrait of the blues piano legend and his music. Highly recommended.
This review originally appeared in the January-February 1994 Jazz & Blues Report (issue 188). I may have received my review copy from a publicist, the record company or the publication. This may be hard to find as a CD, but should be available as a download.
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