January/February 2005 Issue 272 Free
30th Anniversary Year www.jazz-blues.com
SonSon SealsSeals 1942-2004
INSIDE... CD REVIEWS FROM THE VAULT January/February 2005 • Issue 272 Son Seals 1942-2004
The blues world lost another star Son’s 1973 debut recording, “The when W.C. Handy Award-winning and Published by Martin Wahl Son Seals Blues Band,” on the fledging Communications Grammy-nominated master Chicago Alligator Records label, established him bluesman Son Seals, 62, died Mon- as a blazing, original blues performer and Editor & Founder Bill Wahl day, December 20 in Chicago, IL of composer. Son’s audience base grew as comlications with diabetes. The criti- he toured extensively, playing colleges, Layout & Design Bill Wahl cally acclaimed, younger generation clubs and festivals throughout the coun- guitarist, vocalist and songwriter – try. The New York Times called him “the Operations Jim Martin credited with redefining Chicago blues most exciting young blues guitarist and Pilar Martin for a new audience in the 1970s – was singer in years.” His 1977 follow-up, Contributors known for his intense, razor-sharp gui- “Midnight Son,” received widespread ac- Michael Braxton, Mark Cole, tar work, gruff singing style and his claim from every major music publica- Chris Hovan, Nancy Ann Lee, charismatic stage presence. Accord- tion. Rolling Stone called it ~one of the David McPherson, Tim Murrett, ing to Guitar World, most significant blues Peanuts, Mark Smith, Duane “Seals carves guitar albums of the decade.” Verh and Ron Weinstock. licks like a chain On the strength of saw through solid “Midnight Son,” Seals Check out our new, updated web oak and sings like began touring Europe page. Now you can search for CD a grainy-voiced Reviews by artists, Titles, Record regularly, and even ap- avenging angel.” Labels or JBR Writers. Twelve years peared in an Olympia of reviews are up and we’ll be going Seals released 11 beer commercial. A all the way back to 1974! albums during his strong series of six more 30-year recording Address all Correspondence to.... successful Alligator re- career and toured Jazz & Blues Report leases followed through 19885 Detroit Road # 320 worldwide. Over the the 1980s and 1990s Rocky River, Ohio 44116 course of his career, (Seals also recorded Main Office ...... 216.651.0626 Seals was hailed as two albums for other la- Editor's Desk ... 440.331.1930 one of Chicago’s great bluesmen and bels during this time), growing Seals’ au- one of the city’s most powerful live per- [email protected] dience all over the world. Seals shared Web ...... www.jazz-blues.com formers. Musician stated, “Seals de- stages with a wide variety of blues stars, livers performances of the most pro- Copyright © 2005 Martin-Wahl Communications Inc. including B.B. King and Johnny Winter. found emotion – one of the genre’s Even the popular rock band Phish rec- No portion of this publication may be most soulful exorcists.” His most re- ognized Seals’ talent and power, cover- reproduced without written permission cent recording was an Alligator ing his song “Funky Bitch” on record and from the publisher. All rights Reserved. Records career retrospective, “Deluxe inviting Seals to join them on stage at Jazz Report was founded in Buffalo New Edition,” in 2002. Among his many many of their tour dates. York in March of 1974 and began in Cleve- accolades, Seals won three W.C. Handy Seals played his last live perfor- land in April of 1978. We are subsidized Blues Awards, one each in 1985, 1987 mances in October 2004 in California. solely through advertisement and ask that and 2001, and was nominated for a Survivors include a sister, Katherine Sims
you support our advertisers. Grammy Award in 1980 for his partici- of Chicago, and 14 children. a W division of pation in the live compilation, “Blues artin-Wahl c o m m u n i c a t i o n s Deluxe.” Son Seals Discography: Frank “Son” Seals was born in The Son Seals Blues Band (1973) Alliga- Osceola, Arkansas on August 14, tor 1942. He became an accomplished Midnight Son (1976) Alligator "Buffalonious" drummer by the time he was 13. By Live And Burning (1978) Alligator the age of 18, Son had put down the Chicago Fire (1980) Alligator Original mascot from drumsticks and was leading his own Bad Axe (1984) Alligator the band as a guitarist. He moved to Chi- Living In The Danger Zone (1991) Alliga- Buffalo Jazz Report cago in 1971 and began playing regu- tor days – mid '70s lar weekend gigs at The Expressway Nothing But The Truth (1994) Alligator Created by Lounge and other clubs on Chicago’s Live-Spontaneous Combustion (1996) Al- Christine Engla Eber South Side, regularly jamming with leg- ligator ends like Hound Dog Taylor, Junior Watch for new t-shirts bearing his image–coming soon! Deluxe Edition (2002) Alligator Wells and Buddy Guy. Lettin’ Go (2002) Telarc PAGE TWO January/February 2005 • Issue 272 CJO Plays Kenny Wheeler’s Wilbert’s Celebrates Mardi Music for Large Ensembles Gras during February The Cleveland Jazz Orchestra, Cajun Music and Cajun Food Cleveland’s highly-acclaimed big band, Highlight the Month performs composer Kenny Wheeler’s cre- Wilbert’s Food and Music in ative and challenging Music for Large En- downtown Cleveland announced that sembles Saturday night, January 29, at 8 it will be celebrating Mardi Gras dur- p.m. at the Fairmount Temple Auditorium, ing the month of February with New 23737 Fairmount Boulevard, Beachwood. By Mark Smith Orleans style music, as well as menu It will be the fourth concert in the CJO’s specials. 2004-2005 World Class subscription se- Happy New Year!!!.... Here’s a few Nathan and the Zydeco Cha Chas ries. new discs to start out your year. kick things off on February 3, followed Born in Toronto 75 years ago, Wheeler New Release blues... Hubert Sumlin by Lil Brian and the Zydeco Travelers has been composing and playing in En- ( with special guests including Eric on February 10 and C.J. Chenier and gland for the past 52 years. His composi- Clapton, Keith Richards, David Johansen, his Red Hot Louisiana Band on Febru- tions, which some critics have hailed as James Cotton, Bob Margolin,, Levon ary 11. “amazing,” feature complex harmonies, Hlem , Paul Oscher, David Maxwell)- About the Food: changing times and rhythms, and vary in About Them Shoes; Sean Costello- Sean The daily menu specials through- style from straight-head swing to totally Costello; Precious Bryant- The Truth; out the entire month are: free. As a trumpeter, Wheeler has recorded Junior Kimbrough-Sunday Nights: The Monday-smotheredpork chops w/ with such artists as Anthony Braxton, Dave Songs of Junior Kimbrough; Roscoe red beans and rice, Tuesday-cajun Holland, George Russell, Keith Jarrett and Gordon- No Dark in America; John shepherd’s Pie,Wednesday-jambalaya, Michael Breeker. As both a performer and Hammond- In Your Arms Again; The Thursday-chicken and andouille a composer, his work has been described Bluerunners- Honey Slides; Downchild- gumbo, and Friday-shrimpetouffee. as “unpredictable and dynamic.” Come On In; Roomful of Blues- Stand- About the Music: The CJO will play compositions from ing Room Only; Corky Siegel- Traveling Thurs., Feb 3: Nathan & the Zydeco Wheeler’s 1990 recording Music for Large Chamber Blues; Sonny Landreth- Grant Cha Chas - $10/$12, 8:30 p.m.-Nathan Ensembles. Featuring nuance, depth and Street; The Five Blind Boys from Ala- Williams is different. While the rest of color, Wheeler’s music is not the traditional bama-The Legacy; Elmore James- Best the Zydeco nation wrestles over who big band sound of Count Basie and Woody of the Modern Years; Etta James- Best of will be crowned the next king— or Herman; it is more closely related to the the Modern Years; Johnny “Guitar” prince or duke — of Zydeco, Nathan pioneering works of Gil Evans and Maria Watson- Best of the Modern Years; T- has given himself the decidedly un- Schneider. The concert is part of what Bone Walker- Best of the Black & White royal sounding moniker, “The Zydeco Cleveland Jazz Orchestra Music Director Years; Ann Rabson (Saffire, the Uppity Hog,” and continued to focus on the Jack Schantz calls the CJO’s efforts to Blueswomen)- In a Family Way: Willie music for which he is renowned. “present the entire spectrum of the big King- Jukin’ At Betty’s... New Pig Thurs., Feb 10: Lil Brian & the band idiom.” Blues.... Blind Pig Records has an- Zydeco Traveler - $10, 9 p.m. - “Lil’ On March 26 the CJO will perform nounced the signing of its first interna- Brian — a trailblazer in the spirit of George Russell’s New York, New York and tional artist, Australian harmonica vir- Clifton Chenier and BuckwheatZydeco “Jazz for the Space Age. On May 14 the tuoso/didgeridoo performer/singer — revs up his mighty sound on FUNKY Cleveland band plays Bob Curnow’s big Harper. The first CD under the three NATION. This is great music, hard- band arrangements of the music of Pat record pact is scheduled to be released driving and irresistible.” — Michael Metheny and Lyle Mays. Both concerts will in May, 2005. The multi-award winning Tisserand, author of The Kingdom of also be at the Fairmount Temple Audito- artist plans to re-locate to Michigan in Zydeco and Editor of New Orleans rium early 2005 and begin a six month tour of Gambit Weekly Tickets for individual concerts are the US after the release of the new al- Fri., Feb. 11: C. J. Chenier and the available by phone at (440) 9429525, bum. Harper is currently recording his Red Hot Louisiana Band-$12, 9:30 online at www.ClevelandJazz.org, and by new CD in Melbourne, Australia. Accord- p.m. - “Whether he and his band of mail at Cleveland Jazz Orchestra, P.O. Box ing to Blinds Pig’s press release, Harper red hots burn on rocking contempo- 810, Willoughby, Ohio 44096. Tickets at has been the recipient of a number of rary or simmer on -traditional coun- the door are $28 for adults, $25 for se- awards recently, including “Male Vocalist try waltzes, C. J. Chenier is poised to niors and $5 for students. There is a $2 of the Year” and “Song of the Year” from be Zydeco’s new torch bearer.”—Blues discount for tickets purchased prior to the the 2004 Australian Blues Music Awards. Revue concert. He also received an Australian College All shows are all ages, and doors The Cleveland Jazz Orchestra re- Campus award for “Acoustic Act of the open two hours before showtime. ceives financial support from the Ohio Arts Year.” He won three awards from the lead- Dinnerreservations are suggested after Council, the George Gund Foundation, the ing American harmonica magazine, tickets have been purchased. Kulas Foundation, McDonald Hopkins Co., Guide to The Best of The Blues Harmoni- and many individuals, plus promotional For more information or to pur- cas & Beyond: “Album of the Year” for support from WCPN/90.3 and WKHR/ chase tickets, please visit his 2003 release Way Down Deep Inside, 91.5. www.wilbertsmusic.com. “The Sweet Harmonica Award” and “The January/February 2005 • Issue 272 PAGE THREE Nasty Harmonica Award.” .... KBA month on a sad note with the report of the ended by the two weekends of JazzFest blues.... In other Pig related news, The passing of legendary guitarist Son Seals so thousands of music fans will fill the Blues Foundation has announced that on Monday, December 20th in Chicago, Ill Crescent City. Blind Pig Records will receive the 2005 at the age of 62. The critically acclaimed, This year’s lineup represents Ponde- Keeping the Blues Alive Award in the younger generation guitarist, vocalist and rosa Stomp’s most ambitious assemblage record label category. The Keeping the songwriter - credited with redefining Chi- of American roots legends yet. Scheduled Blues Alive (KBA) awards honor the men, cago blues for a new audience in the 1970s to appear are The Bad Roads, Classie women and organizations who preserve, — was known for his intense, razor-sharp Ballou, Archie Bell, Eddie Bo, Blowfly, celebrate and support blues music. Pre- guitar work, gruff singing style and his Lonnie Brooks as Guitar Junior, The Carter sented in 17 categories, the KBAs are charismatic stage presence. According to Brothers, Jay Chevalier, Joe Clay, Larry awarded to non-performers strictly on the “Guitar World,” “Seals carves guitar licks De Riuex, Deke Dickerson & the basis of merit by a select panel of Blues like a chain saw through solid oak and Eccofonics, Skip Easterling, Nokie professionals. Noted educator, author, sings like a grainy-voiced avenging an- Edwards (of the Ventures), Johnny Farina journalist, and KBA Chairman Art Tipaldi gel.” Seals released 11 albums during his (of Santo & Johnny), H Bomb Ferguson, notes, “The KBA is awarded for the 30-year recording career and toured Henry Gray, Betty Harris, Dale Hawkins, recipient’s lifetime body of work; we don’t worldwide. His most recent recording was Roy Head, Al Johnson, Johnny Jones, view the recipient as the winner of a “best an Alligator Records career retrospective, Little Freddy King, Eddie Kirkland, Lady of the year” category.” Blind Pig Records, “Deluxe Edition,” in 2002. Among his Bo, Lazy Lester, Robert Jr. Lockwood, Matt one of the leading independent blues la- many accolades, Seals won three W.C. Lucas, Barbara Lynn, Mando & the Chili bels in the world, got its start in 1977 in Handy Blues Awards, one each in 1985, Peppers, Nathaniel Mayer, Scotty Moore, the basement blues club of the Blind Pig 1987 and 2001, and was nominated for a Phil Phillips, Freddie Roulette, Lil’ Buck Cafe in Ann Arbor, Michigan. The Blues Grammy Award in 1980 for his participa- Senegal & the Top Cats with Stanley Foundation said in its announcement of tion in the live compilation, “Blues De- “Buckwheat Zydeco” Dural on Hammond the award, “What co-founders Edward luxe.” Seals played his last live perfor- B3 organ, Ray Sharpe, Warren Storm, Chmelewski and Jerry Del Giudice began mances in October 2004 in California. Willie Tee, Travis Wammack, Barrence in 1977 has grown into one of the most Survivors include a sister, Katherine Sims Whitfield, Brenton Wood and Link Wray. well known blues labels in the world. From of Chicago, and 14 children.... Also of sad Ponderosa Stomp is presented by the the very first Blind Pig artist, Boogie note is the fact that Lyn Dykes, wife of Mystic Knights of the Mau-Mau, a group Woogie Red, to first generation blues men Omar “Kent” Dykes (Omar & The Howl- of rock’n’roll fanatics who are obsessed like Johnny Shines and Jimmy Rogers to ers)† passed away December 13, 2004 with celebrating the overlooked pioneers the most recent recordings by Rod Piazza at the Austin Hospice Christopher House.† of blues, country, swamp pop, jazz, soul and Magic Slim, consumers will never go The family requests, in lieu of flowers that and New Orleans r&b. In the past three wrong with any Blind Pig product.”The donations be made to the Jake Dykes trust years, the Mystic Knights have presented Keeping the Blues Alive (KBA) Awards fund c/o at any Bank One and the Lyn more than 40 shows featuring a combined ceremony will take place Saturday, Feb- Dykes Foundation to help defer the medi- roster of more than 200 musical legends ruary 5 in Memphis, Tennessee, held in cal expenses. That’s it for this month. See which reads like an impossible dream conjunction with the International Blues ya! lineup of American roots music. Challenge (IBC).....Handy Blues.... The Ponderosa Stom p Ponderosa Stomp has won numerous Blues Foundation has also recently an- citations in the media. The New York nounced this year’s W.C. Handy nominees. Root Romp is April 26-27 Times’ Jon Pareles wrote, “The Ponderosa The Handy awards — the most prestigious in New Orleans Stomp plunges into the obscure byways in the blues business — will be presented Unsung creators of rock’n’roll, r&b, of rock’n’roll past…regional hits and eclec- May 5 at the Cook Convention Center in rockabilly, blues and swamp pop — ones tic combinations…a dream!” Added Gam- Memphis. Blues Foundation members who made influential vintage recordings, bit magazine, “For roots aficionados, the vote on the winners The New York-bred perhaps scored a hit, and have been long Stomp was nirvana; you almost had to trio the Holmes Brothers lead the nomi- forgotten by today’s pop mainstream – will pinch yourself to make sure it wasn’t a nees for the 2005 Awards with six group be once again celebrated as Ponderosa dream.” And CNN, advancing the event, and individual nominations. Harmonica Stomp announces the lineup for its fourth proclaimed, “History will be in the mak- player Paul Oscher, a veteran of Muddy annual music festival. ing at the Stomp.” In addition, the festival Waters’ band, received four nominations. The two-night music festival, sched- has been covered by MSNBC, Associated Soul blues legend Bobby Rush, pianist uled for April 26-27, 2005, again will take Press, Mojo, Christian Science Monitor, Pinetop Perkins, singer-guitarist W.C. place on two stages at the legendary Mid Offbeat, Living Blues, High Times and Clark, harp players Rod Piazza, James City Rock’N’Bowl Lanes in New Orleans more. Harman, Kim Wilson and Charlie from 5 p.m. until 2 a.m. each night. Tick- Where else can you shake and groove Musselwhite and vocalist Mavis Staples ets sell for $35 per night through the for over 24 hours of pure rock’n’roll in- received three nominations each. Singer/ festival’s web site, http:// sanity in the land in rock’n’roll was born. guitarist B.B. King, Bobby Rush, Kim www.ponderosastomp.com
DEBBIE DAVIES GARY BURTON “Afro Blue,” a swaying take on “Body and Love the Game For Hamp, Red, Bags and Cal Soul,” and the perky “Joao.” With Malone SHANACHIE 2001 CONCORD 2001 and McBride, Burton races with precision Debbie Davies has certainly developed Introduced in the U.S. around 1916 through “Move” (a tune Norvo’s trio as a singer-guitarist since her days work- as a “steel marimba,” the vibraphone be- played), and Burton’s soft approach, ing with the late Albert Collins. The proof is come popular as a jazz instrument in the McBride’s arco playing and Malone’s on this album, which shows her to be a early 1930s after written accounts had chops make delightful fare of the swing- splendid guitarist, more than able to keep been documenting attempts to electrify a ing “Back Home Again In Indiana.” her on line with Coco Montoya and pro- xylophone as early as 1925. Thus, this Burton plays his way through the his- ducer Duke Robillard in the instrumental date by vibraphonist Gary Burton cel- tory of the vibraphone on this respectful, Fired Up. She has also developed into a ebrates roughly the 75th anniversary of varicolored tribute to his predecessors. strong, confident singer and is backed by the invention of the vibes and features This is a benchmark CD that shows how a brawny studio group that includes gui- tunes by some of Burton’s favorite play- well the vibes fit into any jazz style or group tarists Montoya and Robillard on several ers: Lionel Hampton, Red Norvo, Milt setting. Nancy Ann Lee tracks, and also Bruce Katz on keyboards, (“Bags”) Jackson and Cal Tjader. who plays superbly and really helps fill out Burton’s at his scintillating best on the JOHN WESTON the sound. Several tracks also include Sax 12 tracks, working with three different all- Beadle and Doug James on horns. star teams including a quartet with pianist I Tried To Hide From The Blues Comprised entirely of new material Mulgrew Miller, bassist Christian McBride FEDORA RECORDS 2001 penned by either Davies or drummer Dom and drummer Lewis Nash; a quintet with The simplicity of John Weston’s ap- proach to the blues is in his solo perfor- Castagno, the material runs the gamut of pianist Danilo Perez, bassist John lyrical themes ranging from “one should Patitucci, drummer Horatio Hernandez, mance. Sitting there ready to play his acoustic guitar, with the harmonica love life and live it that way” on the title and percussionist Luis Quintero; and an- track, to a cautionary lyric to the mistreat- other trio on three tracks with guitarist racked and hanging from his neck, is reminiscent of old Delta street perform- ing man that She’s Taking Notes. Was Ya Russell Malone and McBride. The final two Blue is an acoustic number with Katz tracks feature Burton and long-time as- ers. Weston was born in rural Arkansas, where he grew up in his grandmother’s pounding away on the piano, and Davies sociate, pianist Makoto Ozone. takes a nice short solo, with a melody line Burton’s versatility allows him to fully home listening to country, jazz, and big band music that was newly popular dur- slightly evocative of Key to the Highway, feature the instrument. Expressive at any and the full group gets into a New Orleans tempo, with two mallets or four, Burton’s ing his upbringing John watched and lis- tened as he grew to appreciate the mu- groove on Funky Little Teapot, with a silly artistry radiates through as he (and his lyric about finding this teapot and making crews) interpret all-time favorites. The sic of Memphis Minnie, Junior Parker, and Big Arthur Crudup. He traveled the acquaintance of Mr. Earl Gray. quartet polishes off a bluesy version of This disc shows Debbie Davies has cer- “Bag’s Groove,” a hard-swinging take on widely spending short stints in Califor- nia, Ohio, and Arizona, as well, before tainly matured as a performer becoming “Flying Home,” an uptempo “Django,” and more than a guitar slinger. Hamp’s “Midnight Sun.” The Latin-jazz settling in Chicago. Learning to play the blues in Chi- Ron Weinstock quintet makes easy work of the bluesy PAGE SIX January/February 2005 • Issue 272 cago, John soon returned to Arkansas and solo moments. harmonica blues or other classic blues. where he ran a small jute joint into the Pizzarelli’s boy-next-door style (and Mischio does a take of Sam Myers’ seventies when he joined a country tender Chet Baker vocal sound) graces Sleepin’ in the Ground, while Gary band. Soon thereafter he was concen- chestnuts such as “Everything Happens Smith handles Sonny Boy Williamson trating on harp accompaniment when To Me,” “Lulu’s Back In Town,” “Some- I’s Elevate Me Mama and Little Walter’s he was helped out by harpist Willie thing To Remember You By,” “The Rare You’re So Fine and Mark Hummel trans- Combs. Since then, Weston has been Delight of You,” “September In the Rain,” lates Buddy Johnson’s They Don’t Want charming audiences and record execs and more. His sense of swing has been Me to Rock into a harmonica blues. The with his own solitary retreat to the blues. documented on previous recordings but, repertoire of Rice Miller (Sonny Boy On this release John is joined by Dave with Shearing’s musicians, he outshines Williamson II) is mined by Branch (Eye- Riley on bass guitar, and Carla Robinson earlier sessions with soft, subtle expres- sight to the Blind), Rick Estrin (Work on the drums and vocals. John takes siveness that leaves plenty of space for With Me) and Kim Wilson (Don’t Lose on a myriad of chores as he covers the musician interplay. Your Eye). acoustic axe, harmonica, bass drum, Shearing’s quintet, an elegant swing- There are some strong vocals, par- and lead vocals. ing unit, makes delights of mid-tempo ticularly from Wilson, Harman and Weston’s smooth brand of blues swingers such as the catchy Bobby Hummel, and consistently strong har- draws its strength from the acoustic Troupe tune, “Lemon Twist” and Jay monica playing by all. The band swings Delta tradition, with active gospel, Ap- Leonhart’s “Problem” and brings out the and Watson gets plenty of space to palachian, and country music leanings. beauty of romantic ballads, making this showcase his chops. It is hard to con- Check out “Blinded Fool” and Big Bill an enjoyable, relaxed listen from start to sider any blues harp fan not digging this Broonzy’s “Key To The Highway” to finish. Nancy Ann Lee collection of performances. realize his church-filled childhood. He Ron Weinstock puts his subtle folk/blue hat on for tunes BLUES HARP MELTDOWN like “Monkey On My Back”, I’m Not MOUNTAIN TOP RECORDS 2001 ANDY NARELL Your Junkman”, and the late boogyin’ Mountain Top has issued this double Live In South Africa “A Man Down There”. You can addition- cd of performances from a tour of harp HEADS UP 2001 ally find John’s lyricism just as honestly players that Mark Hummel organizes Steel pan virtuoso Andy Narell has revealing on slabs like”You’re The each year. In addition to Hummel him- released several studio recordings that Same”, “Phony Woman”, and “Mama, I self, there are two or three performances establish his talents as performer and Love Her”. by RJ Mischio, Gary Smith, Billy Branch, composer, but quite none so appealing Thirteen tunes on this platter are James Harman, Rick Estrin and Kim as this two-disc (enhanced CD) set. penned by Weston, along with the afore- Wilson. They are provided with a solid Captured at his first ever live-recorded mentioned cover, you get a strong and backing group anchored by Jr. Watson performance, Narell collaborates with long set of slow and easy Weston blues. on guitar, with Wilson’s guitarist Kirk South African musicians at a two-night Weston blows a fine harp, portrays his Fletcher joining in on Wilson’s two tracks. Blues Room gig in Johannesburg dur- veteran vocals proudly, and is found Many of the performances are classic ing his second visit to South Africa in 18 here supported simply and superbly. ‘Less is more’ surely applies to the down-home avenue where you may find Limited Edition Jazz Collections! John Weston. His music comes forth without frills, electronic gadgetry, or REMASTERED TO THE HIGHEST STANDARDS commercialization; contained herein you’ll find little short of straight-forward Gerry Mulligan Concert Band, solid acoustic blues material. Sarah Vaughan, Django Reinhardt, Mark A. Cole Hank Mobley, Woody Herman and over 40 more Boxed Sets JOHN PIZZARELLI WITH “Since its founding in 1983, Mosaic THE GEORGE SHEARING Records has established a worldwide reputation among knowledgeable jazz fans QUINTET as the best reissue label in the business. The Rare Delight of You Mosaic’s limited edition boxed sets are collections of significant jazz recordings TELARC 2003 packaged in a way that shows Vocalist John Pizzarelli fronts the great respect for the music, historic-sounding George Shearing the musicians, and the music Quintet for a 15-tune mixture of mid- lover.”- Robert Derwae, tempo swingers and ballads. Pianist Cleveland Plain Dealer Shearing’s crew—Ted Piltzecker (vibra- phone), Reg Schwager (rhythm guitar), www.mosaicrecords.com Neil Swainson (bass) and Dennis Mackrel (drums)—tidily backs the Call For A Free Brochure: (203)327-7111 singer and contributes tip-top collective January/February 2005 • Issue 272 PAGE SEVEN months. Narell had initially thrilled a McClinton and the Black Crowes’ Chris ETTA JAMES mass of South African fans (estimated Robinson, Loomis can handle a broad Love Songs at between 60-80 thousand) in concert range of vocal material. His guitar chops MCA RECORDS 2001 at a September 1999 government-spon- are equally versatile evoking Santana Blues and R & B diva, Etta James; sored Arts Alive festival. one moment and Albert King the next. is well respected for the amassed hits On six lengthy tracks of each disc, As befitting his Texan roots, Loomis fol- under her career belts. She has and con- Narell delivers inspired, energetic per- lows Jimmie Vaughan’s less is more tinues to flatten audiences with her sul- formances exploring multi-cultural approach with economical fills and try, snappy, and self-respecting stage grooves heightened by his talented side leads. While his press kit is heavy with and vocal presences. While stacking musicians: guitarist Louis Malanga (Zim- raves about him being the next guitar volumes of works, she has also become babwe); keyboardist Andile Yenana god, I’m not sure there’s anything unique one of the most noted of romantic bal- (eastern Cape); bassist Denny Lalouette enough here to merit such accolades. lad singers. With work culled from early (island of Mauritius); drummer Rob That being said, this is nevertheless an Argo and Chess sides, and even later Watson (Bloemfontein); and percussion- enjoyable effort that deserves some at- work from the seventies; this compila- ist Basi Mahlasela (Soweto). Musicians tention. Mark Smith tion brings out her most well-known love have plenty of space to improvise on songs along with a lately, and hitherto, Narell’s attractive original melodies. released “Never My Love” from the re- Underpinned with lively rhythms, VARIOUS ARTISTS cently released Etta box set on the same best tunes on disc one include the funky, Norman Granz’s J.A.T.P./ label. upbeat “Out of the Blue,” a 10-minute Carnegie Hall, 1949 With the Riley Hampton Orchestra, tour-de-force. But there’s plenty of ear- PABLO 2001 Etta’s hits “At Last”, “A Sunday Kind Of appeal in the mid-tempo pretty melody From its start in 1946, Norman Love”, “My Dearest Darling”, “Trust In of “Coffee Street,” the briskly-paced Granz’s Jazz At The Philharmonic has Me”, “If I Can’t Have You”, Someone To percussive delight, “Hannibal’s Re- come to be revered for some of the best Watch Over Me”, “I Want To Be Loved venge,” and others. Disc two kicks off spontaneous live-recorded jazz and this (But Only By You)” are here. On a couple with the perky “Sugar Street,” followed previously unreleased collection cap- other selections, “How Do You Speak To by other tunes featuring popular South tures top innovators in characteristic An Angel” and “Again”, she was backed African rhythms and funky American concert-stage jam sessions. by the orchestra of Al Poskonka on. themes. Featured in eight colossal jams re- Under other producers and other studios Laced with attractive melodies, corded at New York City’s Carnegie Hall she also came up with “Lovin” Arms”, modern beats and comfortable, liberated on November 2, 1949 are two groups. “Lovin’ You More Every Day”, “The Love improvisations, Live In South Africa Group one includes alto saxophonists Of My Man”, and ‘t Must Be Your Love”. may be Narell’s best-to-date recording, Charlie Parker and Sonny Criss, tenor They don’t get any better; a compiler’s further expanding Narell’s global influ- saxophonist Flip Phillips, trumpeter Fats dream—you can’t go wrong! ence. Nancy Ann Lee Navarro, trombonist Tommy Turk, pia- Better have the table set, drinks nist Hank Jones, bassist Ray Brown and poured, and be ready for some lovin’ drummer Shelly Manne. Group two fea- after ploppin’ this down. There is nothin’ HAMILTON LOOMIS tures tenor saxophonist Coleman more intense, few singers so soothing, Kickin’ It Hawkins, Navarro, and the same rhythm and the literal wall-to-wall romance spill- BLIND PIG 2003 team. This is the only J.A.T.P. recording ing from this platter! Those with weak On his Blind Pig Records debut, gui- featuring Navarro and Manne. hearts may want to avoid this. tarist/vocalist Hamilton Loomis treads The Parker-Criss led group navi- Mark A. Cole between the twangy roadhouse blues of gates lengthy, fulfilling jams (11–15 min- Delbert McClinton and the blooze rock utes) on the Nat King Cole’s “Leap Here” of the Black Crowes with a pinch of and the classics “Indiana (Back Home OSCAR BROWN JR. Tower of Power thrown in for spice. The Again In),” and “Lover Come Back to Live Every Minute McClinton side of his personality shows Me.” To the quintet he fronts with MINOR MUSIC 2003 up on the sultry soul blues of Navarro, Coleman contributes two lively This may be one of the best releases Get My Blues On and No, No, No originals, “Rifftide” and “Stuffy.” Best for vocalist Oscar Brown Jr. (born 1926 while the Black Crowes side of things is tracks, however, are their ballad render- in Chicago) since the 1960s and 1970s evident in the harmonica fueled 99 Miles ings of Ellington’s “Sophisticated Lady” when he recorded several classic albums and the low key lament about tough featuring Coleman’s smoky solo, and the for Columbia and Atlantic. Backed here times and the hope of better days ahead, Styne-Cahn classic “The Things We Did by both the NDR-Big Band (arrange- Something’s Gonna Come My Way. Last Summer” spotlighting Navarro’s ments by Steve Gray) and smaller Elsewhere, Loomis digs into horn heavy elegant elliptical-toned melody head and groups, Brown proves he’s still in top funk blues, Be Mine Anyway and jazzy solo. form. grooves, Better Man and the biting Take With sound quality that’s been en- A dramatic singer-composer-lyricist a Number (stand in line) where he real- hanced by 24-bit technology, perfor- who can croon ballads (“It’s October,” izes that he’s not the first to get burned mances on this CD rank right up there “World Full of Gray”), sing baby talk by the woman who just gave him the kiss with previous J.A.T.P. recordings, mak- (“Dat Dere”) or deliver kicking, upbeat off. With a voice that often recalls ing you wish you’d been there. performances (“Mr. Kicks,” “The Tommy Castro as much as it does Nancy Ann Snake”), Brown is the everlasting enter- PAGE EIGHT LeeJanuary/February 2005 • Issue 272 tainer on this 11-tune session featuring are reminiscent of his exhilarating live driving long distances to gigs, and My illustrious guest artists Stanley concerts. A 12-page liner booklet in- Life Is Changing, a lowdown blues that Turrentine (tenor sax), Pee Wee Ellis cludes lyrics so you can see how clever is as mournful musically as it is opti- (tenor & soprano saxes), and Aaron are his words and social commentary. mistic in its sentiment. A solid disc. Graves (piano). His original “Haven’t I Nancy Ann Lee Mark Smith Loved You Somewhere,” given a nice samba treatment, gets high marks for STEVE FREUND RICHIE BEIRACH, romanticism and a style that brings to Ill Be Your Mule GREGOR HUEBNER, mind hints of Billy Eckstine and Joe DELMARK 2001 Williams. You should get a kick out his This follow up to his successful 1999 GEORGE MRAZ naughty (though hilarious) lyrics on the Delmark release, C For Chicago, finds Round About Monteverdi head-nodding, blues band number with guitarist Steve Freund working the same ACT MUSIC 2004 the big beat, “Hazel’s Hips” and his Chicago blues vein that yielded so many Pianist Richie Beirach, violinist equally risque interpretation of Charlie gems last time around. This is good old Gregor Huebner and bassist George Mraz Parker’s “Billie’s Bounce,” a tune en- fashioned Chicago blues with straight collaborate on music from the early Ba- hanced by Ellis’ creative tenor saxisms. forward shuffles and upbeat boogies that roque. Composer Claudio Monteverdi is Life has taken Brown in many di- give the musicians plenty of room to the main focus among the 13 pieces, but rections. In addition to his career as a throw their chops around. Which is a other composers are featured. This al- professional songwriter who’s written good thing when you have the likes of bum is part of the trio’s series that in- tunes recorded by others, Brown has Mr. B manning the piano, Bob Stroger cludes ACT albums “Round About written plays, acted on a regular network on bass, Kenny Smith on drums and a Bartok” and “Round About Federico radio soap opera, appeared as MC on host of horn players adding punch here Mompou.” the tv series Jazz Scene USA, and un- and there. Freund is a B.B. King style Both potent jazz expressionists, dertaken a wide variety of careers (real guitarist with an easy vocal delivery. Beirach and Mraz have frequently tee- estate, public relations and advertising). While a few covers found their way onto tered on the edge of European Classical He took a long hiatus from recording the disc, Freund wrote more than half of in their jazz recordings as leaders. between 1975 and 1994, when he re- the songs including You Were A Good Huebner shows talent but seems more turned with the Weasel release, “Then & Old Ride, a politically incorrect ode to entrenched in Classical. The trio takes Now.” high maintenance mates, A Dollar A each piece, usually states as originally His style and delivery on this disc Mile, a shuffle blues about the drag of written, then delivers jazz improvisations
January/February 2005 • Issue 272 PAGE NINE on the melody before returning to the main theme. One of the melody of Walking Blues, with Kay playing strong percussive jazzier tunes is the trio’s swinging interpretation of “Eja mater slide guitar with his lyric about all the meaningless things that fons amoris” from “Stabat Mater” by Giovanni Battista keep us waiting. Pergolesi. The Ice Age is another acoustic blues with Jimmy Hall There aren’t a lot of high points. While these musicians contributing some tasty harmonica behind Kay’s powerful lyric make pretty music together, the somber fare may not suit about the increasingly cold relationships in our daily lives. your tastes if you’re hankering for purely Third Stream or Kay sings about those who have been tossed aside by society straight-ahead jazz or even a better blend of the two genres. as the millworker who gets laid off or the dutiful wife who Many of the tunes are so similar in tone and tempo, you may yearns for a life of her own in the title track on the title track not notice when one ends and the next begins. Despite the about a woman who gave her teacher private lessons more appealing concept of improvisation on Baroque, there’s just than once and who men found amazing on the bluesy, She’s not enough jazz embraced to enliven things. It’s more likely Got The Goods. For the Women in My Life is a marvelous song this album would appeal to Contemporary Classical fans. (suggestive of some of John Mellancamp’s recordings) about Nancy Ann Lee how the women in his life made him a better man, even if he was not all he should have been for them. The closing The JOHN KAY Back Page, with some nicely played resophonic guitar, has a Heretics and Privateers wistful flavor reminiscent of Bob Dylan. The album grows on one with repeated listening. It is by CANNONBALL RECORDS 2001 no means a pure blues record, but Kay mixes in blues themes Known as the singer and leader of the sixties rock band and melodies along with other roots music with some very Steppenwolf, John Kay was actually a country blues performer telling and perceptive observations of the human condition before first running into some of the singer-songwriters of the today. His perspective is one that many will be able to identify time. Shortly thereafter he emerged with the popular rock with. Ron Weinstock band. His new Cannonball album in some sense marks his re- turn to his blues and folk roots. Kay may not be as extrava- ROSARIO GULIANI gant a singer as on his Steppenwolf recordings, but he still Luggage sings powerfully, with just a bit of rasp. More importantly, he DREYFUS JAZZ 2001 writes some very strong songs. Several make direct use of One of Italy’s hidden treasures, 34-year old alto saxo- country blues melodies like Don’t Waste My Time, set to the phonist Rosario Giuliani leads a vibrant quartet on Luggage, a CD that demonstrates his prowess on 10 tunes, half of them originals. Giuliani has done his woodshedding and is expres- sive at any tempo, even on ballads such as the standard “Por- trait of Jenny” and his original “Love for My Mother.” But he seems best at explosive pace on his bopping originals, such as “Luggage” and “Dear Tucci.” A versatile, lyrical player who’s been both sideman and leader on the stages and in the studios of Italy and has recorded previously for small labels, the inspired saxophonist is poised for widest exposure with this international release. Nancy Ann Lee
ERVIN CHARLES Greyhound Blues DIALTONE 2001 Those who have Alligator’s collaboration of Lonnie Brooks, Long John Hunter and Phillip Walker may be aware of two tracks with Ervin Charles, the longtime mentor of the Port Arthur, Texas blues scene. Charles passed away last year, but not after finally recording his only album, Greyhound Blues, on Dialtone. In addition to his gritty guitar playing Charles shares the vocal spotlight with Richard Earl whose more soul- inflected style contrasts with Charles’ somewhat raspy vocal styling. Nothing particularly fancy about the music here as the walking tempo shuffle, Jumpin’ With Ervin displays his controlled instrumental style with just a touch of tremolo as drummer Uncle John Turner keeps the nice groove going. So Mean to Me is a nice rendition of I Wonder Why, and Parl Orta adds some very nice harp here. Charles’ stinging guitar be- hind Earl’s pleading vocal on the My Love is Real is made more effective by his mixing bursts of notes with some breaks of silence. The title track is a nicely delivered slow blues with a bit of down home flavor. He reworks Everyday I Have the PAGE TEN January/February 2005 • Issue 272 Blues into the slow blues that the tune Leading his own trio here, Smith Joe Williams, Junior Wells, Eddie Tay- was when recorded by Memphis Slim shows off his versatility, inventiveness, lor, Boyd Gilmore, Muddy Waters and and Lowell Fulson, and Orta wails on his lyricism and pristine technique at any others who have taken Johnson’s songs solo before Charles’ crackling solo and tempo. Before proceeding his attack on and produced recordings that are more delivery of the final verse. A nice perfor- “Fools Rush In” with racing nimbleness, passionately and personally performed. mance and I guess someone else might his dreamy intro is characteristic of his Clapton is too reverent to these songs play it flashier or with more pyrotech- passion and depth. Irving Berlin’s “How and the lyrics, which is strange for an nics, but miss the feeling that Charles Deep Is the Ocean?” is given a mid- homage to Johnson Check out Leroy brings here and throughout the disc. tempo trio reading full of swinging sen- Carr’s “In the Evening” before listening Ervin Charles left his mark on a number sibility. Smith and crew also raise the to Robert Johnson’s “Love in Vain,” of blues artists, and fortunately was able notch with their classy takes on stan- which Clapton reworks here. Clapton’s to record this gem of an album that dards such as “On Green Dolphin rendition even suffers compared to the serves as his recorded legacy, which Street,” “Alone Together,” “Here’s That Stones’ cover of it three decades ago. probably only hints what he was capable Rainy Day,” “Let’s Fall In Love,” “Teach Both Junior Wells and Eddie Taylor had of. This will be available at better stores Me Tonight,” and more. Parrott freely standout recordings of “Stop Breakin’” or you might try the mail order places supports and imaginatively solos but it’s Down that makes Clapton’s rendition that specialize in blues. Ron Weinstock Ascione’s smartly crafted timekeeping here sound not very distinguished. that adds listener-appeal to this out- Call Clapton a rock guitar god all DEREK SMITH standing piano trio album. you want and a great popularizer of the HIGH ENERGY Nancy Ann Lee blues, but for those who have listened ARBORS JAZZ 2003 to not only Johnson’s music but also the London-born pianist Derek Smith ERIC CLAPTON other great bluesmen of the past fifty leads a sparkling trio set with bassist Me & Mr. Johnson years, one questions the qualifications Nicki Parrott and drummer Joe Ascione. WARNER BROS. 2004 of various rock writers who rave about Smith got his start in jazz with John With all the hoopla this CD has re- this disc as a ‘blues’ recording. Dankworth’s famed British big band and ceived, one is astonished by the abso- One other point was that I was not came to the USA in 1957 at age 26. Two lute nonsense of some of the rock crit- enamored by the studio band. There are weeks later he recorded with the Mod- ics who rave about it. Much of this col- some great players (and Mr. Portnoy is ern Jazz Quartet. After gigging around lection of performances of songs that a great harp player), but the rhythm New York awhile, he landed a spot with Robert Johnson recorded is on the level section does not swing and the band Doc Severinson’s Tonight Show band for of a bar band doing Robert Johnson. comes off as second-rate compared to seven years. Among many others, he’s None of Clapton’s renditions of these the classic Chicago bands of the sixties also performed, toured and recorded songs match those by Robert Lockwood, and seventies. with Benny Goodman. Johnny Shines, Honeyboy Edwards, Big Ron Weinstock
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January/February 2005 • Issue 272 PAGE ELEVEN JOE LOUIS WALKER mer Al Foster and bassist George Mraz. Toots Thielemans Ridin’ High—Live and others join the accordionist on the title tune from the al- bum Laurita. Various other players are featured on the re- HIGHTONE RECORDS 2003 maining 13 tunes extracted from seven albums, including tan- Joe Louis Walker is ridin’ high; a inter-generational blues gos, bossas, straight-ahead jazz, jazz waltzes and more. artist. He is too young to Muddy Waters generation, yet too Equally skilled as composer and performer, Galliano’s abun- old for Johnny Lang’s. dant musical gifts glitter on these tunes and his creativity, Walker and Bruce Bromberg produced the disc, which expressiveness, and technical virtuosity will make you want has three unpublished ballads; ‘Alligator’, Prove Your Love’, to search for and own his other recordings. Nancy Ann Lee and ‘Personal Baby’. Angela Strehli belts a duet on ‘Don’t Mess Up A Good Thing,’ and Huey Lewis blows the harp on ‘Bit By Bit (Little By Little)’. LOUISIANA RED The band is comprised of Walker (axe, slide axe, and vox), Driftin’ Carl Schumacher (piano, organ, and vocals), Henry Oden EARWIG MUSIC 2001 (bass), Paul Revelli (drums and vox), Tim Devine (alto & tenor This is the third release on the Earwig label for Louisiana sax, percussion, and vocals), and Jeff Lewis (trumpet, per- Red (Iverson Minter). His previous outings have been tremen- cussion, and vox). Walker is a devine songster and a dyna- dously successful following his casual repatriation to the mite six-stringer. American blues scene. Touring Europe while also living Eleven songs and blue cries to moan and bedazzle you. abroad, Red gained a huge international following, that is only This is a volume of the Heritage of the Blues series, put out by excited to hear of his new issue. By playing his solitaire brand Hightone Records. Mark A. Cole of acoustic blues at festivals and gigs here and there, Red became a hot commodity in the newly-found blues apprecia- tion that is so rampant today. On this release he reassembled RICHARD GALLIANO the cardinal cast of Chicago’s finest sidemen. Gallianissimo!: The Best of Richard Galliano Red is backed by the same band that supported his last DREYFUS JAZZ 2001 Earwig effort, Millennium Blues. Dave Jefferson is pounding On this compilation, accordionist Richard Galliano per- the skins, and Willie Kent is fingering the bass strings. Allen forms in the “new musette” style forged by Astor Piazzolla. Batts is working the ivories on the piano, and Willie ‘Big Eyes’ The album launches with “New York Tango” (from the album Smith turns in the harmonica chores. Brian Bisesi supports of the same name) featuring guitarist Bireli Lagrene, drum- on the rhythm axe chair, as Red weaves his lead guitar pat- terns and digs deeply for his vocal responses. Minter is a performer who relives his experiences in song. Tunes like “In The Garden”, “Getting Weaker By The Day”, Hard Hard Time”, and many of the others speak of Red’s life and times, and often of the injustices he has passed along the way. With his heads-up Chicago crew though, Red is much more concerned with the essences of his music as you hear from the opening title tune, “Driftin’”. Loaded with Chicago flavorings, Red still reaches within to pull out exemplary singin’ and stringin’. Get loaded on Red’s slide activity on “Hard Hard Time”, his economy on Lightnin’ Hopkins “Bring Me Some Water”, or his boogied attack on “Leaving Grandma”. “Pow- der Room Blues” can’t be beat, either! Whatever way you look at or listen to it, Louisiana Red measures up; with dues paid long ago. Red’s chameleonic understanding finds him at his electric, rockin’ best on “The Day I Met B.B. King”, championing work song remains in “Keep Your Hands On The Plow”, or issuing a reverent point on the traditional “He Will See You Through”. Louisiana Red’s body of work here is varied, versatile, and vibrant; check the movin’ “Chankity Chank Chank” with Red’s haunting guitar licks and seering vox. Hard finding anything to complain about here; well, suppose we jump up and down for more. Would that work? Mark A. Cole
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PAGE TWELVE January/February 2005 • Issue 272 Serving Delicious Food MARTIN SIMPSON HENRY GRAY Lunch & Dinner Righteousness & Humidity Plays Chicago Blues RED HOUSE RECORDS 2003 HIGHTONE 2001 Some musicians see each new re- Since he moved back to Louisiana cording as the opportunity to stake new a few decades ago, former Howlin’ Wolf stylistic ground. But Martin Simpson isn’t pianist Henry Gray has kept playing but interested in going further. His mission has never enjoyed the level of recogni- is to go deeper. tion that contemporaries, such as Although his musical vocabulary – Pinetop Perkins, have received. Besides whether finger-style or bottleneck, sa- being in Wolf’s band for an extended cred or secular, African-American or period, Gray did a fair amount of ses- Wilbert’s Celebrates Mardi Anglo-Irish – has been with him from the sion work, recording with Jimmy Rogers, Gras during February outset, the British-born guitarist has Little Walter, Billy Boy Arnold and Jimmy Cajun Music and Cajun Food sharpened his craft and vision to the Reed, as well as making his own record- Highlight the Month point where his music reaches an almost ing for Chess. The biggest influence on unbearable intensity. Righteousness & Gray’s style is Big Maceo, and like that Thursday, Feb. 3: Humidity is a jaw-dropping display of great master, he is a strong, two-handed NATHAN & THE ZYDECO chops, but this is the kind of virtuosity player and he certainly sings with a defi- CHA CHAS $10/$12 that laughs in the face of the countless nite sense of urgency. Gray did record Nathan Williams is different. While the slingers for whom the blues has become some swamp-blues flavored sides for an rest of the zydeco nation wrestles over a vehicle for pyrotechnics. Arhoolie anthology, and some singles for who will be crowned the next king— The controlled fury of “John Hardy,” small Louisiana labels, an album for or prince or duke — of zydeco, Nathan the taut resignation of “Georgie,” ancient Antone’s which I believe is long out-of- has given himself the decidedly un- melodies both, draw in equal measure print, and a live album for Lucky Cat. royal sounding moniker, “The Zydeco from Son House and Doc Boggs, yet His new Hightone CD has him Hog,” and continued to focus on the Simpson takes us way back. Though backed by guitarists Bob Margolin and music for which he is renowned. inspired by the plight of North-Ameri- Kid Ramos, fellow Wolf alumni Chico Thursday 10 can natives, his “Ghost in The Pines,” Chism on drums and Bob Corritore on LIL BRIAN & THE ZYDECO performed on banjo, evokes the legacy harmonica. My promo cd does not pro- TRAVELERS $10 9pm of Malian griots, an apt reminder of the vide any more detailed information, but “Lil’ Brian — a trailblazer in the spirit instrument’s African origins. these are from various sessions that of Clifton Chenier and Buckwheat By invoking the ghosts of the Delta Corritore produced over several years. Zydeco — revs up his mighty sound in the context of his own heritage, the It’s a nice mix of material including cov- on FUNKY NATION. This is great guitarist offers an idiosyncratic take on ers of classic Chicago blues including a music, hard-driving and irresistible.” Greil Marcus’ “old, weird America”. He’s couple of songs associated with Elmore — Michael Tisserand, author of The not the first to do so, of course, as the James, It Hurts Me Too and I Held My Kingdom of Zydeco and Editor of New success of O Brother, Where Art Thou? Baby Last Night, as well as Wolf’s How Orleans Gambit Weekly has sent many a musician on the quest Many More Years. The Maceo influence Friday 11 for ancestral truths. But there again, is quite evident on the slow moody C.J. CHENIER AND THE RED Simpson beats them to the punch. Trouble Blues and It Hurts Me Too, while HOT LOUISIANA BAND $12 “Maybe it’s the weather”, he muses in Henry’s Houserocker is a strong, rollick- “Whether he and his band of red hots the words of his friend Gallivan Burwell, ing instrumental. burn on rocking contemporary or “But the Devil is partial to the South”. It There is nothing fancy about this simmer on -traditional country waltzes, would be hard to find a better explana- music but it strikes this writer as the best C. J. Chenier is poised to be Zydeco’s tion for all the murder, mystery and currently available disc of Henry Gray’s new torch bearer.”—Blues Revue music that keep drawing us in its vor- music. Ron Weinstock Friday, Feb. 25 tex. Dominique Denis JIMMY THACKERY AND THE DON COVAY & FRIENDS DRIVERS W/SPECIAL GUEST AdLib NORMAN NARDINI - $12, 9pm start CANNONBALL RECORDS 1999 Singer, songwriter, and guitar Surely one of America’s premier virtuoso Jimmy Thackery has STOP! soulsters and songwriters, Don Covay carved an enviable niche for himself has enough real hits to be considered in the world of electric blues Readers who have interest in jazz a heavyweight in the songwriting busi- only may stop here. We had more ness. CALL FOR blues than jazz in this first batch Songs like “Long Tall Shorty”, ADDITIONAL DATES! from the vault. So our normal al- ternating blues and jazz reviews “Chain of Fools”, “Mercy Mercy”, has ended. For blues readers, and “Come Back & Take This Hurt Off Me” Weekend Shows 9:30; Weekdays 8:30 those into both...by all means con- and “Three Time Loser” punctuate his tinue on! career. On the cover testifying to the 216-902-4663 importance of Covay on their respec- 812 Huron Rd E.. • Cleveland January/February 2005 • Issue 272 PAGE THIRTEEN tive careers are Mick Jagger, Keith JOHNNY WINTER takes on a beautiful sculptured effect, Richards, Van Morrison, and Bonnie The Best of Johnny Winter much more noticeable with remastering Raitt. Teamed with friend, songwriter, found on this plate. Resounding horns COLUMBIA/LEGACY 2002 and producer of this disc, Jon Tiven, lay a firm bedrock response to Johnny’s This collection dates to Winter’s Covay has gathered a star-studded ar- cutting. All and all, it’s hard to find any material culled from his Columbia ray of friends to help him with this faults here; making this truly a best-of- Records and Blue Sky Records eras, re- now, well-regarded tribute to the songs collection. Johnny’s fretwork and finger spectively 1969-74 and 1974-79. You and songwriter. manipulations are always excitingly find early material with his trio format, Helping out is the bare-bones sup- fresh and reactive; and his scratchy vo- collaborations with Rick Derringer, and port of Jon Tiven on guitar and organ; cal character shines through as well. This recorded efforts including his brother Jon’s wife Sally Tiven on the bass; is power-packed music that never Edgar helping on various instruments. Paul Shaffer (Dave Letterman Show) sounded so clean and fresh; and it’s a This time represented Johnny’s mature on piano, organ, and synthesizer; and startling retake on the blues roots of a blues rooted evolution into the blues and the rockin’ Anton Fig on the drum kit. classic rocker. Mark A. Cole rock phenom that was and remains re- Guest instrumentalists are Simon spected across both genres. Johnny cut Kirke on electric piano and Robert five critical albums for Columbia; all are MICROWAVE DAVE ‘Butch’ Johnson sharing the axe on represented here. “Victims”; Lee Konitz and his alto sax Wouldn’t Lay My Guitar Down You’ll find Johnny blazing on all gui- helping out on “Chill Factory”; Mason DUCK TAPE 2001 tar tracks with overdubbing and some Casey on the harp for four tracks, Paul Taking a brief break from his gig as help from friends like Rick Derringer, Brown adding his Hammond B-3 lines band leader of the Nukes, Microwave who also co-produced some of this origi- to “Chain Of Fools” and Kim Dave Gallaher rips and slashes his way nal material. Tommy Shannon is here Simmonds offering to lay out the gui- through 12 cuts of high voltage electric laying down the fervent bass lines (be- tar action on “Don Covay Boogie blues. Even though he can slow things fore Double Trouble days) with some [Slight Reprise]”. Background vocal- down as evidenced by Bobby “Blue” exceptions, and Uncle John Turner ists are Kirke, Casey, Ptah Brown, Bland’s Soon As The Weather Breaks, handles most of the percussive duties, Audley Freed, Yuko Ichioka, Ellis this disc mostly features hot-wired elec- also with noticeable help all around. Hooks, and Julia Schell. tric guitar blues. Noted help comes from brother Edgar Guest vocalists include soul part- While many three piece blues bands Winter on the piano, organ, alto sax,and ner Wilson Pickett singing “Nine sweeten up their discs with horns and harpsichord. Jeremy Steig also provides Times A Man” and “Three Time keys, Dave lays down the same stuff in a daunting flute interaction with Johnny Loser”; Huey Lewis and Frederick the studio as he features in his show: gui- on Robert Johnson’s “Come On In My Knight teaming up on the newly com- tar, bass and drums plugged in and Kitchen”. A host of other musicians in- posed “Red Comb Song”; Paul locked into a tight groove. Avoiding the cluding numerous horn players helped Rodgers putting his vocal touch to easy temptation of blues-rock, Gallaher to give Johnny the tremendous breath “Mercy Mercy”; Ann Peebles putting sticks pretty close to the blues and of styles shown in this collection. it on “Chain Of Fools”, Syl Johnson doesn’t visit Stevie Ray Vaughan boule- Two fired up Derringer composi- chanting on “Victims”, Otis Clay giv- vard. tions, including the opening “Rock And ing up the soul-packed voice on “He With a sense of humor as evidenced R4oll, Hoochie Koo”, and the later vis- Don’t Know”, and Memphis songwriter by I Want My Rib Back mixed with a bit ited “Still Alive And Well” grace this set. Dan Penn with Shaffer adding a spo- of social commentary as reflected by The former sounds cleanly Johnny with ken intro to “Hall Of Fame”. Don’t Throw My Baby Away, and even blistering slide and lead guitar lines Few albums can boast such an il- a stab at the big band classic, Sentimen- dubbed atop each other. Edgar plays lustrious crew or such an impressive tal Journey, Gallaher mostly steers clear strong keyboard lines alongside songlist. Even the newer tunes co- of blues cliché land. Overall, an enjoy- Johnny’s axe on Chuck Berry’s “Johnny written with the likes of both Tivens, able disc. Mark Smith B. Goode” and the Ray Charles hit “I’ll Spooner Oldham, Pickett, and Ronnie Drown In My Own Tears” (written by Miler shine like new stars in Covay’s Henry Glover). The rippin’ delivery of STEVIE RAY VAUGHAN & firmament. Covay’s legendary pres- “Rollin’ And Tumblin’” additionally ence on the songwriting front contin- DOUBLE TROUBLE steams with an undaunting pace into ues as he strikes out on the way to Live At Montreaux 1982 & 1985 Dylan’s “Highway 61 Revisited”, a ver- mining more gold and/or platinum. EPIC RECORDS 2002 sion which still ranks high in rock his- Catch Don’s contemporary adlibs, Two career-building perfor- tory charts. his carved accultured vocal charac- mances at Switzerland’s renown With other choice cuts like Little ter, and his near-godly writing abili- Montreaux Jazz and International Music Richard’s “Miss Ann”, and B.B.’s “It’s My ties. His friends and band members Festival in 1982 and 1985 by Stevie Ray Own Fault” (the only live cut) and “Be surely also contribute to the talent Vaughan and Double Trouble are found Careful With A Fool”, allows Winter to pool on this release. on this double-CD release. Bits and set the blues alight with incendiary gui- Deep soul, rockin’ renditions, and pieces of this material have been previ- tar, be it fast or slow! His slide talents more involved compositions mark ously released, most notably five tracks abound throughout this platter, and the this obvious tribute compilation. from Live Alive , but there are eleven careful studio layering of axe tracks Mark A. Cole heretofore unreleased songs. The nine- PAGE FOURTEEN January/February 2005 • Issue 272 teen slabs here include the entire eight song 1982 set that was cals lift each composition into the soulful realm he’s after, and raucously booed by an under interested audience; and the re- his reserved guitar action helps to support such. He finds favor- maining eleven making up most of their victoriously sold-out ably-soulfilled company with his squeaky tight rhythm section and more appreciated return in ‘85. and the keyboard work of Pugh. Mark A. Cole Stevie’s incomparable rock-toned blues guitar was backed by Tommy Shannon on the bass and Chris Layton on the SAVOY BROWN drumkit. They played both sets, joined in 1985 by organist STRANGE DREAMS Reese Wynans. Johnny Copeland also joined Stevie at the ‘85 BLIND PIG 2003 show for the stroll down the thirteen-minute “Tin Pan Alley” On the thirty discs it has cut since it turned heads as a British (previously issued on Blues At Sunrise), with complementary blues band in the late 60s, Savoy Brown has covered everything guitar and his intriguing vocal profile. from acoustic blues to straight out rock and roll. With countless This set is fluent and complete in presenting comments changes in direction and personnel, the band has been able to from Layton and Shannon, along with timely quotes from Stevie keep things fresh without finding itself mired on the oldies circuit and David Bowie, who was amongst the audience and few ad- rehashing its dusty hits (and it has had plenty including I’m Tired, mirers at the ‘82 gig. The show led to Vaughan touring with Tell Mama, Street Corner Talking and All I Can do Is Cry) for glaze- Bowie and a recording opportunity at Jackson Browne’s (an- eyed fans looking to recapture youthful glory. other floored fan at the ‘82 show) studio later on. Photos and On this, its debut on the Blind Pig label, the band lays down a comments from Darrell Pitt (official festival photographer and 70s era blues-rock groove that focuses on atmosphere more than friend to SRV) are also included. pyrotechnics. Leader Kim Simmonds’ earthy vocals and light, From the SRV songbook are: “Rude Mood”, “Pride And almost jazzy, touch on the guitar keep the 10 cuts collected here Joy” (two versions), “Love Struck Baby”, Dirty Pool”, “Collins’ from straying too close to the blooze and boogie graveyard where Shuffle”, Scuttle Buttin’”,”Say What”, “Ain’t Gone N’ Give Up most blues rock tunes are mercifully buried. Think Robert Cray On Love”, “Life Without You”, and “Couldn’t Stand The on guitar and Dave Mason on vocals and you’ll be in the right Weather”. Others include Hendrix’ “Voodoo Child”, Buddy Guy’s ballpark as to how this sounds. The only real shortcoming with “Mary Had A Little Lamb”, Hound Dog Taylor’s “Give Me Back this disc is the pacing of the songs. With nearly all of the cuts My Wig”, and Stevie’s anthem “Texas Flood” (two versions locking into an unhurried, mid- tempo pace they tend to run to- also) written by Davis and Scott. gether over the course of the disc. A couple of real change ups in Mighty blues rock throughout this biscuit with exciting tempo or style would have made this a more compelling listen. rootsy digs into stone blues material. Vaughan and Double Overall, though, a solid effort. Mark Smith Trouble were on top of their free form amalgamation of the two genre, and that attitude is heard straight through these two performances.The gritty, gutsy phrasings and tones sound good on this remastered double-CD live retrospective; don’t miss this ultimately awesome SRV material. Mark A. Cole ROBERT CRAY Shoulda Been Home RYKODISC 2001 This release for R & B king Robert Cray comes in a decid- edly different feel. The overall musical sensibility here is soul balladry. In a manner much more reserved than his previous rockin’ R & B stylings, Cray and company exercise with an older Memphis and Motown heaviness and a deep blues fever. While there is little lack of his usual guitar emphasis, Robert Cray also decidedly works out a new vocal character for this release. The Robert Cray band is Robert Cray on vocals and guitars, Jim Pugh on the keyboards, Karl Severeid on bass, and Kevin Hayes on the drums. They are joined by guests Andrew Love on tenor sax, Jack Hale on trombone, and Ben Cauley on trumpet for two tracks each. Willie Weeks provides the bass on one track, and multi-instrumentalist Steve Jordan contributes on seven tunes playing guitar, drums, or percussion, and adds his back- ground vocals as well. Jordan can also be found at the produc- tion seat on this flight. Cray has self-penned five new tunes for this release. Pugh contributes two selections including the brilliant nine-minute plus “Out Of Eden”; and the band carries out blues justice with two covers from M.R. London: “Cry For Me Baby” (an Elmore James Stax classic) and “The 12 Year Old Boy”. Cray has been a very prolific writer, performer, and stylist. With this effort he takes a strong step into soul-based blues and establishes yet another facet of his multi-talented skills. His vo- January/February 2005 • Issue 272 PAGE FIFTEEN January/February 2005 • Issue 272