March, 2012 Issue 341 jazz

& report now in our 38th year

Doheny Blues Festival

March 2012 • Issue 341 Guitar Shorty Doheny Blues Festival

The 15th Annual Doheny BluesFestival Editor & Founder Bill Wahl May 19 & 20 at Doheny State Beach

Layout & Design Bill Wahl Operations Jim Martin Pilar Martin Contributors Michael Braxton, Mark Cole, Dewey Forward, Nancy Ann Lee, Peanuts, Wanda Simpson, Mark Smith, Duane Dana Point, CA – Celebrating the , Let Your Hair Down, a set of Verh, Emily Wahl and Ron Wein- 15th year of Blues On The Beach in blues covers featuring the last record- stock. Southern California, Omega Events is ings of harmonica virtuoso Norton proud to announce that Greg Allman Buffalo, his “partner in harmony” for Check out our constantly updated and The Steve Miller Band will headline 33 years. website. Now you can search for the Doheny Blues Festival on May 19 & “Year 15 is a proud milestone for CD Reviews by artists, titles, record 20. The festival takes place at Doheny thePhoto festival, by Martinso we Philbey wanted to deliver a labels, keyword or JBR Writers. 15 State Beach, 25300 Dana Point Harbor legendary, eclectic lineup for the Dohe- years of reviews are up and we’ll be Drive, Dana Point, CA. Hours are 10:30 ny fans,” says promoter Rich Sherman. going all the way back to 1974. a.m. - 9:00 p.m. daily “ rarely performs on the

Comments...billwahl@ jazz-blues.com As founding member & vocalist West Coast, and Steve Miller’s influ- Web www.jazz-blues.com for pioneering Southern rockers The ence on blues-rock music cannot be un- Allman Brothers Band, Greg Allman derstated. Plus, both Allman and Miller Copyright © 2012 Jazz & Blues Report ’s soulful voice is one of the defining have recorded blues this year… sounds in American music history. Long so the timing is perfect. This is our way No portion of this publication may be re- considered an interpreter of blues mu- of saying thanks to the loyal supporters produced without written permission from sic, Allman released Low Country Blues of our independent festival.” the publisher. All rights Reserved. this year, his seventh solo recording Joining Gregg Allman and The Founded in Buffalo New York in March of and first in more than 13 years, earning Steve Miller Band are Blues 1974; began in Cleveland edition in April of 1978. Now this global e-zine edition is a GRAMMY Nomination in the category Legend , Texican rockers posted online monthlyat www.jazz-blues. of Best Blues Album. In addition, The Los Lonely Boys, Trombone Shorty & com Recording Academy will be honoring Orleans Avenue from NOLA, roots artist with its and conservationist Tab Benoit, Lifetime Achievement Award during the Blues guitarist Johnny Winter and Irish- GRAMMY Awards on February 12. born vocalist Imelda May. Many more One of rock music’s all-time greats, artists will be announced in the coming The Steve Miller Band have sold more weeks. than 30 million records in a career Various attractions are located www.jazz-blues.com spanning 40 years. Miller’s trademark throughout the festival grounds in- blues-rock sound has made him a cluding: The Kidz EcoFest, Interna- staple of classic rock radio, but it was tional Food Court; eclectic Vendor Vil- “Buffalonious” his first band - the Goldberg Miller Blues lage; Bike Valet and Blackstone Wine Our original Band - where he fostered his love for Lounge. The Backporch, a third stage mascot from the Blues music, learning alongside Muddy of music, is a tree-lined setting where very early Waters and Paul Butterfield, amongst fans can enjoy intimate sets of music Buffalo Jazz Report others. And Miller shows no signs of and microbrewed beers. days – mid ‘70s. slowing down; following the 2010 re- New for 2012, the Doheny Blues He is older now, lease of the #1 Blues album, Bingo!, Festival will utilize The EventBand Sys- but global & Miller sold out London’s Royal Albert tem, a smart wristband that serves as still very cool! Hall, his first concert in England in 25 both your festival ticket and electronic years, and released Bingo’s companion wallet. As in previous years, Doheny at- Page Two March 2012 • Issue 341 tendees are required to wear a wristband during the event, but ticket buyers can now have their EventBand shipped to Anthony Braxton’s Tri-Centric them in advance, which means no waiting in the morning Foundation Launches its lines. In addition, the EventBand will be used as an elec- tronic wallet for the purchase of all food & drinks inside the Website Version 2.0 event; attendees can load value onto their EventBand at New York, NY – Anthony Braxton’s Tri-Centric Foun- the time they purchase their tickets. dation has launched the new and improved version of the “We’re proud to be one of the first music festivals in organization’s website. North America to utilize RFID wristband technology for both Active since March 2011, www.tricentricfoundation.org admissions and concessions,” notes Rich Sherman. “This has been recognized as one of the most comprehensive technology advance is an added benefit for fans… just order websites for any living American composer. New Braxton your tickets on-line and leave your wallet at home.” House Records, the online of the Tri-Centric Foundation, has released 24 new album-length downloads in addition to offering a free career sampler of Braxton’s music, free historic bootleg recordings, and its one physical product, the epic 4-CD box set Trillium E (the first studio recording of one of Braxton’s operas). In its first year, the site has had roughly 30,000 visits from over 90 countries, with nearly 8,000 albums and bootlegs downloaded. The new version of the website increases the user- friendliness and functionality of the operation. Visitors can still download free materials, purchase albums on an ala- carte basis, or choose to become TCF members for 7.99 a month; membership benefits include one free album-length download every month, discounts on all back catalog items, and other surprise bonuses. In celebration of the new site, TCF is offering its second batch of free historic bootlegs, 13 rare concert recordings between 1975 and 1989 ranging from solo to orchestra. This month’s New Braxton House release is the first vol- ume documenting Braxton’s 2007 four-night run at New York’s Iridium; the follow-up engagement to the concerts Buddy Guy that produced the critically acclaimed 10-disc box set 9 Compositions (Iridium) 2006. Upcoming releases include the Weekend Passes are available for purchase, while first studio recordings of Braxton’s Falling River and Echo supplies last. Single-Day tickets will go on-sale in mid- Echo Mirror House Musics, the rediscovered tapes of the March, and General Admission tickets will be available at 1997 Lennie Tristano project (with Braxton on ), and local ticket outlets beginning in April. selections from the Tri-Centric Foundation’s 4-day festival at For tickets and additional info, visit www.omegaevents. Roulette in 2010. Within the next year, New Braxton House com or call (949) 360-7800. will also be delivering its second limited edition physical About Doheny Blues Festival: Recognized as one of release, a DVD concert video of Braxton’s 2010 duo per- the top blues music festivals in the nation, The Doheny formance with Taylor Ho Bynum in Amherst, MA. Blues Festival features 24 sets of music on three alternat- The Tri-Centric Foundation is a not-for-profit organiza- ing stages, plus tasty food, microbrew sampling, eclectic tion that supports the ongoing work and legacy of Anthony vendors and family fun. The festival is held at Doheny Braxton, while also cultivating and inspiring the next gen- State Beach, a 62-acre California State Park, with sandy eration of creative artists to pursue their own visions with beaches, overnight camping and a spacious, waterfront the kind of idealism and integrity Braxton has demonstrated grass park. Two main stages are placed at opposite ends throughout his career. For more information, visit www. of the grass field, with a third stage, The Backporch, in its tricentricfoundation.org. own tree-lined bowl, which offers intimate sets of music during the weekend. For the last seventeen years, Omega Events has been LIVE BLUES ON a leader in live entertainment, bringing world-class musi- cians and their fans together at a variety of music festivals, THE HIGH SEAS winery concerts and special events. Omega Events’ team specializes in every aspect of event production, including Read The Review talent buying, sponsorship, marketing, beverage sales, click the Notable’ button vendor relations, cash-management and concert produc- jazz-blues.com tion. Pa g e Th r e e March 2012 • Issue 341 Archive when restoration and cataloging is complete. These Archive will include Lomax’s 1954–55 Italian and 1985 Louisiana The Alan Lomax Archive and the Association for Cultural expeditions and several of his collections made under the Equity (ACE) is pleased to announce the launch of the ACE auspices of the Library of Congress; among them his 1937 Online Archive — the fulfillment of over a decade of the Haiti and Eastern Kentucky collections. restoration, digitization, and cataloging of Alan ACE Online Archive homepage: Lomax’s life’s work. Considered America’s foremost http://research.culturalequity.org/ folklorist, Lomax devoted seven decades to documentation, Sound Collection Guide: research, and advocating for cause of cultural equity, which http://research.culturalequity.org/audio-guide.jsp he defined as “the right of every culture to express and Photograph Collection Guide: develop its distinctive heritage.” The ACE Online Archive http://research.culturalequity.org/photo-guide.jsp includes nearly 17,000 full-streaming audio field-recordings, Alan Lomax Archive and the Association for Cultural totaling over eight hundred hours, collected by Lomax be- Equity tween 1946 and 1991; scans of 5,000 photographic prints http://www.culturalequity.org/ and negatives; sixteen hours of vintage radio transcriptions; and ninety hours of interviews, discussions, and lectures LA Music Academy Announces by Alan Lomax and his colleagues. Each media collection can be browsed as well as searched, and is accompanied Two More Open House Dates by detailed descriptions. Live Auditions, Campus Tours; Opportunity to Meet Faculty Materials from the sound, photograph and video collec- Pasadena, CA – January 19, 2012 – Los Angeles tions have been used in film, television, and print; Martin Music Academy College of Music (www.lamusicacademy. Scorsese and the Coen brothers are among the filmmak- edu) opens its doors to prospective students with two open ers who have utilized them. Alan Lomax’s field recordings houses on April 28 and October 13, 2012; each at 2:00pm. have been used as samples in many modern compositions, LA Music Academy, accredited by the National Association including ’s “Natural Blues,” from the album Play, and of Schools of Music (NASM), offers AA degrees in music in the new Bruce Springsteen album Wrecking Ball, which performance (drums, bass, guitar and vocals) and music features samples from Lomax’s archive on two of the songs, production. Celebrating its 15th year anniversary, LA Music “Death to My Hometown” and “Rocky Ground.” Academy has graduated 1,500 domestic and international Additional sessions will be added to the ACE Online students since opening its doors. “Our students are willing to do what it takes for a suc- cessful career as professional musicians, , LIKE JAZZ & BLUES PHOTOS? performers, producers and engineers,” says Tom Aylesbury, president of LA Music Academy. “We have assembled an internationally known faculty ready to teach students who are willing to meet the demands of our comprehensive cur- riculum. We encourage all interested music students to drop by for a tour and live audition.” A typical open house begins with school orientation and student performances. After an overview of LA Music Academy by Dean, Dave Pozzi, “students are escorted on a tour of the campus followed by orientation geared towards their music major of interest. The open house concludes with live auditions and an opportunity to discuss financial aid and scholarship opportunities with our staff,” says Aylesbury. Students must schedule an appointment for a live audition. For more information, contact admissions at 626-568-8850 or email [email protected]. LA Music Academy (www.lamusicacademy.edu) is located at 370 S. Fair Oaks Ave., Pasadena, CA 91105. Fa- cebook: www.facebook.com/LAmusicacademy. Follow the school on Twitter: @LAmusicacademy. LA Music Academy is on YouTube: www.YouTube.com/LAmusicacademy. This photo of Gary Bartz captured by Ron Weinstock at the 2008 Duke Ellington Jazz Festival is just one of hundreds of Ron’s photos you can view online at www.flickr.com/photos/novaron jazz-blues.com

March 2012 • Issue 341 Pa g e Fo u r Pa g e Fi v e March 2012 • Issue 341 ings of her songs by others, with “At Last” becoming a wedding standard. Prior to her death, Universal released on its Hip-O- Select label, the four-CD “Heart & Soul: A Retrospec- tive,” that in its four CDs surveys her recordings from her debut as The Wallflower doing “Roll With Me Henry” for Modern Records to the previously unissued 2007 We only bring you recording of Rodney Crowell’s “Ashes By Now.” The the Cream of the Crop! first disc opens with 9 recordings from Modern includ- ing “Roll With Me Henry,” and her jump blues “Good Rocking Daddy.” The bulk of this compilation derive from her stay at Chess starting from “All I Could Do Is Cry,” her duet with Harvey Fuqua of Willie Dixon’s “Spoonful,” the standards “At Last” and “Sunday King of Love,” duets with Sugar Pie DeSanto and her visits to Muscle Shoals which produced “Tell Mama,” “I’d Rather Go Blind,” and Otis Redding’s “Security.” Before she left Chess they experimented with other producers turning in renditions of “St. Louis Blues,” Tracy Nelson’s “Down So Low,” and Randy Newman’s “Sail Away.” After her tenure at Chess she produced a moving Etta James version of Alice Cooper’s “Only Women Bleed” for Heart & Soul: A Retrospective Warner Brothers (although I prefer the rare Ike and Hip-O-Select 4-CD Set Tina Turner rendition) and was caught live with Eddie I never had the pleasure of seeing Etta James per- ‘Cleanhead’ Vinson for Fantasy represented here on form. Several times I attended events she was supposed Percy Mayfield’s “Please Send Me Someone To Love.” to perform at, but each time she withdrew shortly be- She joined Island and produced a stirring “Damn Your fore the performance. I can only remember her by her Eyes,” that today perhaps only a Bettye LaVette could body of recordings as well as television appearances do equal justice to. Not everything is top level. Her she made. I remember the memorable episode of the duet with B.B. King on Big Jay McNeely’s “There Is original PBS “Soundstage” program where she sang a Something on Your Mind” is a nice track but not as duet with Dr. John on “I’d Rather Go Blind.” powerful as the original with Little Sonny Warner on the The first albums of Etta James I purchased in- vocal or Bobby Marchand’s two-part reworking which cluded the double-CD compilation of her Essential is the source for the King-James interpretation here. Chess Recordings and one of her albums on Island, Blues remained a core of her music whether on “The which included a stormy rendition of “Standin’ On Blues Is My Business” or the acoustic blues rendition Shaky Ground,” and the classic Otis Redding number of Elmore James’ “The Sky Is Crying.” “’I’ve Got Dreams To Remember.” What was striking The four-discs of this compilation of her work are about her was her husky earthiness, yet the ability to housed in a hardback book with a superb, lengthy caress a ballad so that her signature song was a song overview by Bill Dahl that outlines her life as well as written in the forties, “At Last.” She could be a force the music included. It is lavishly illustrated and includes of nature and yet caress a ballad. Few could handle full discographical information. Hip-O-Select releases the range of material she did with the same conviction are generally limited releases so I might suggest that and authority. There was the church rooted style of you get a hold of this while you can. She is simply one “Something Got a Hold on Me” or “I’d Rather Go Blind” of the greatest blues and rhythm singers of the past and the romanticism of “At Last” as well as her latter six decades and this reissue showcases her musical day recordings of standards. legacy with some of the finest music of those years. While influenced by the recordings she listened Ron Weinstock to by Billie Holiday and Dinah Washington, one of the most important influences on her singing was Issues, Special Issues, her dear friend, Johnny ‘Guitar’ Watson. Some, who Back Issues and were not aware, may have called Watson, “the female Thousands of Etta James” but if she was asked she would correct them and state she was the female John Watson. This CD & DVD Reviews might be evident if one mixed some of Watson’s slow & More Cool Stuff In The Works! recordings like “Cuttin’ In” or “Embraceable You,” with James’ ballads or her Billie Holiday Tribute, “Mystery www.jazz-blues.com Lady.” Her impact can be seen in the number of record- March 2012 • Issue 341 Pa g e Six her pain. Darling’s production provides focuses support that leaves space for her vocals to thrive. It is easy listening to on “Stronger For It,’ to understand why she has been so highly re- garded and honored by her peers and fans. This is a stunning recording. Ron Weinstock

Janiva Magness Stronger For It Alligator Records One of the finest new voices to emerge in blues over the past several years, Janiva Magness has a new Alligator album “Stronger For It.” Produced by David Darling, this release is described in press materials as “Janiva’s declaration of independence. Having recently come through an intensely difficult period in her life, Evan Christopher Magness has found new strength in her music. On these Remembering Song performances, she lays her soul bare, singing of loss and Arbors Records recovery, pain and redemption, hurt and healing, looking One of two new albums, clarinetist Evan Christo- back and moving forward.” On the booklet she herself pher had issued in 2010, “Remembering Song” (Ar- states that “This CD is dedicated to some of my deepest bors) is another exploration in following the clarinet losses and earlier crossroads … teaching me lessons I road he has been embarking on the last two decades never wanted to learn. Which it turns out — begat some or so. A 2011 jazz Journalist finalist for clarinet, and of the greatest gifts of my life … Yeah, go figure.” a favorite of Nat Hentoff and the late Ahmet Ertegun, In addition to producer Darling, musicians on this Christopher is joined by a fine quartet with legendary recording include drummer Matt Teco, guitarist Zach Bucky Pizzarelli on acoustic guitar, James Chirillo on Zunis, bassist Gary Davenport, keyboardist Jim Alfred- electric guitar and bassist Greg Cohen. As quoted in son, and Keyboardist Arlan Oscar. There are three songs Larry Blumenfeld’s notes, Christopher observes, “By that Janiva co-wrote with Darling, along with songs not using drums, the texture is more introspective, from Tom Waits, Shelby Lynne, Ike Turner, Matthew more subtle.” Sweet and others – songs that Janiva Magness turns After a brief introduction of “The Remembering her considerable interpretative skills to. Song,” the group launches into Christopher’s original It may a rather unusual mix of songs with very “The Wrath of Grapes,” inspired by a wine shop-cum- contrasting moods from the stark opening “There It Is,” performance space in the Bywater area which has ferociously singing about having enough of this man embedded within a quote from Louis Prima’s “Sing as any woman could stand, she is tired of his excuses Sing Sing.” It’s a lively performance with Christopher’s and while she never thought she’d ever want to hurt a warm, fluid swooping tone complemented by the band man, eyes wide open, I’d shove that knife right in.” The and Chirillo takes a nice horn like solo. “Way Down in backing is crisp and edgy. The mood shifts on “I Won’t New Orleans” starts at a languid, dreamy tempo with Cry,” with more restraint in her vocal and the backing as the interplay between Christopher’s warm woody tone she sings that she might cut, she might bleed but won’t accented by Chirillo’s single note responses, before the cry. There is a solid solo here that adds to the tone of performance to a tango section in the original sheet this performance and her moving vocal. music before transitioning back to the dreamy mood Her vocals certainly leave their stamp on the mate- for the lovely close. Christopher’s “The River By the rial, whether the emphatic rendition of Tom Waits’ “Make Road” is inspired by a quote from Sidney Bechet’s It Rain”; the soulful yearning about not being able to autobiography with bassist Cohen taking a solo on a get over a relationship in “Whistlin’ In The Dark”: the performance that conjures up a picnic on a delightful reflectiveness of Grace Potter’s “Ragged Company”; spring day. trying and striving to remain faithful on “I Don’t Want Tommy Ladnier is somewhat forgotten figure these to Do Wrong,” from the Gladys Knight and The Pips days but he had a close association with Sidney Bechet, songbook; and the jubilant Ray Wylie Hubbard gospel and his “Mojo Blues” is a lovely minor key tune with a tune “Whoop and Holler.” She is able to caress a lyric bluesy mood and wonderful solos from all four. Bechet as naturally as she shouts her strength, and overcoming is inspiration for “You Gotta Treat it Gentle” another March 2012 • Issue 341 Pa g e Se v e n lovely melody that Christopher develops and caresses. Roosevelt Sykes as evident on his vigorous rendition The quartet take what Blumenfeld describes as a de- of “Early in the Morning,” that some might be more fa- liberate tempo on the rarely performed Jelly Roll Mor- miliar with from Junior Wells’ recordings of this Walter ton ruminative composition, “My Home Is a Southern Roland number. I am surprised that a rendition of “The Town” followed by the delightfully lazy “Serenade.” Dirty Dozens” by Speckled Red was not included, but “The Remembering Song” heard in a full rendition, this barrelhouse player is heard on a solid “How Long” is an original that sounds so familiar yet new and the attributed by Red to St. Louis pianist Walter Davis. Red’s performance particularly sings. rendition of “Pinetop’s Boogie Woogie” follows the more Evan Christopher is a thoughtful person who con- ragtime-tinged rendition by Little Brother Montgomery, tinues to mine what some would consider traditional and the contrasts in style is fascinating. Little Brother is byways of jazz, yet brings a contemporary approach good here and on his own “No Special Rider Blues,” but along with substantial lyricism and soulfulness to his this listener has heard stronger recordings by him. music. “Remembering Song” is simply amongst the Champion Jack Dupree’s “Black Wolf Blues” is a Eu- latest recordings of his sublime playing and music. ropean small group recording of Texas guitarist-vocalist, Ron Weinstock J.T. ‘Funny Paper’ Smith’s ”Howling Wolf.” Big Chief El- lis (he was part Black Creek Indian) originally recorded “Dices Blues” for a small New York label, and reprised it here displaying the influence of the afore-mentioned Walter Davis in his bittersweet approach. Lead Belly’s “Big Fat Woman” is more interesting for his mix of tra- ditional lyrics as for his unusual piano style. Sam Price’s “Parlour Blues” is another performance from the Folk Masters series and captures the famed pianist and talent scout in one of his last performances. While the booklet credits this to a performance at the Barns of Wolf Trap, I wonder if this was from the first season of Folk masters which I believe was at Carnegie Hall. “Little Drops of Water” bring together the Deep Mor- gan St. Louis piano of Henry Brown with vocalist Edith Smithsonian/Folkways Johnson, both of whom recorded in the heyday of blues Classic Piano Blues recordings in the twenties. Another St. Louis pianist is Smithsonian/Folkways Henry Townsend who does a sober rendition of Roosevelt Smithsonian Institution’s acquisition of the legend- Sykes’ “All My Money Gone,” in an approach that suggest ary Folkways catalog served music lovers well by pre- Walter Davis’ influence (Townsend played guitar on many serving and keeping available the rich trove of music of Davis’ recordings). Sykes is represented by a solo that label had recorded. It also has served as a vehicle version of “Sweet Old Chicago” which he had recorded for the Smithsonian to issue new recordings of diverse in New Orleans for Imperial. This is a variant of “Sweet musical traditions from around the world, including live Home Chicago,” but in any case Robert Johnson’s re- performances recorded at Smithsonian Folklife Festivals cording itself is derived from “Kokomo Blues” and Sykes and programs. Included is the production of compila- includes a verse not in Johnson’s recording. Sykes takes tions drawn from the thousands of recordings in their a boogie solo here, unlike his Imperial recording that catalog and in their archive. One such compilation is featured a hot guitar solo. Stride pianist James P. John- “Classic Piano Blues” that brings together recordings by son is heard with a small group for “Hesitation Blues” as Memphis Slim, Speckled Red, Victoria Spivey, Meade well as backing Katherine Handy Lewis on her father’s Lux Lewis, Roosevelt Sykes, Little Brother Montgomery, “Yellow Dog Blues,” where she wonders where her “easy Lead Belly and James P. Johnson from Folkways albums rider has gone.” These are fine performances, although with efforts by Booker T. Laury from the 1990s “Folk I am not sure they are classic piano blues. Masters” series of concerts and radio broadcasts and As indicated, this serves as an introduction of the a 1976 Folklife Festival performance of “Dices, Dices” piano blues to be heard on Smithsonian Folkways. There by Big ‘Chief’ Ellis (with John Cephas and Phil Wiggins is some marvelous music here and even what I might con- accompanying him). sider curious selections are entertaining. It comes with a Jeff Place has compiled an interesting mix of material booklet that includes Jeff Place’s overview on piano blues that is a credible introduction to the piano blues tradi- and a discussion of the tracks as well as a biography and tion, although some might suggest that there are some a list of pertinent Smithsonian piano blues releases. You curious choices of material. The opening Memphis Slim can access the Smithsonian/Folkways catalog through “Tribute to Pete Johnson” is a rousing boogie woogie as the Smithsonian’s website, www.si.edu. The Folkways is Meade Lux Lewis’ “Medium Blues,” a strong medium link is http://www.folkways.si.edu/index.aspx, and you tempo variation on “Yancey Special,” with a strong left can order or purchase as downloads there. hand bass. Booker T. Laury was heavily influenced by Ron Weinstock March 2012 • Issue 341 Pa g e Ei g h t growth has led to this release. She’s supported by a number of musicians includ- ing Jerry Jones-Haskins on drums, Bruce Evans, Tyree, Rev Charles Jones and Deacon Jones on organ, Jimmy Z on harmonica, and Ray Bailey. What is impressive is her husky vocals and her direct guitar playing that starts up on “Cheatin’ On Me,” and followed by the title track. There are a few covers, one being ’s “All Your Love (I Miss Loving),” where her playing has a fuzzy sound. “Pay Day Loan” is an intriguing topical song about waiting in a long line and the lady behind the counter giving her a hard time with a chugging rhythm and some thoughtful, yet biting, guitar. TIM BERNE On the rendition of Ray Bailey’s “Musts Been Gone Snakeoil 2 Long,” it sounds like Suzanne’s vocal is recorded ECM over a scratchy recording. It ends up sounding like a Compelling chamber jazz, marked by extended curious experiment. Ray Bailey provides the acoustic themes, decidedly angular harmonics and frequent guitar intro on her fascinating talking blues, “Dusty 6 ensemble subdivisions, is the fare on Snakeoil. Alto String Box,” with BR Millon’s guitar accompanying her saxophonist Berne’s “heads” are bold, occasionally as she weaves her tale about her mom telling her about frenetic affairs, consistently of a length that seems her father who comes out of the fields like he owned the to take them around corners, tracing convoluted dirt he worked on, not knowing whether he was man pathways. These routes typically lead to solo or duo or angel or soldier of the devil himself. “Poor Man’s breakdowns, contrasting with the melodies by their Dream” is a solid funky blues, while “Set Me Free” is contemplative character. a down-in-the alley slow blues with overdubbed and The ensemble is not short on personality- Berne’s contrasting guitar leads and vocal parts. tonal brashness is balanced by bass clarinetist/clari- The closing “Mr. Bailey’s Blues,” has lyrical ref- netist Oscar Noriega’s warm, woody presence. Absent erences to the crossroads and Robert Johnson and a bass partner, percussionist Ches Smith contributes much of the music’s “spatial” sense, with pianist Matt Mitchell ultimately sketching out its parameters. A most engaging set. Duane Verh

Suzanne & The Blues Church The Cost of Love Gorgeous Tone Music A debut album by Suzanne (Thomas) & the Blues Church, “The Cost of Love” (Gorgeous Tone Music) is a mix of promise and experience. A Korean Amerasian, she was raised by an African-American couple and had rich musical experience growing up including being tutored by Jimmy Smith on organ at the age of six and recently playing bass and guitar with “A Taste of Honey.” Despite a varied body of musical experiences, blues has become her musical home and her musical Pa g e Ni n e March 2012 • Issue 341 wanting to play like Ray Bailey. With slashing guitar, injects the blues. I’m hoping he’ll discover what really it closes this recording with Suzanne singing against excites him. I’m not sure that it is just purely jazz. a choppy shuffle groove. “The Cost of Love” is a Nancy Ann Lee solid blues album. Except for the over-the-top guitar on Buddy Guy’s “Damn Right (I Got the Blues),” her playing is solid, idiomatic modern blues guitar and she comes across as a straightforward, heartfelt vocalist. She is an emerging talent to keep an eye on. Ron Weinstock

Joe Louis Walker Hellfire Alligator recently joined Alligator’s roster of artists and his first album for that label, “Hellfire,” Alan Leatherman has just been released. It is produced by Tom Ham- Detour Ahead bridge, who produced Buddy Guy’s recent recordings. AJL Music Hambridge also plays drums and contributes songs Vocalist Alan Leatherman delivers 11 tunes by to this release. Of the supporting personnel, the only Duke Ellington, Billy Strayhorn, Cole Porter, and names I recognize are pianist and organist Reese Wyn- other composers, with backing from Rick Germanson ans as well The Jordanaires, who contribute backing (piano), Gerald Cannon (bass) and Steve Williams vocals on a couple of tracks. Hambridge had a hand (drums). in the first five tracks here, while Walker himself added Houston native Leatherman shows smooth el- five new songs as well. Having been listening to Walker egance in his vocals that could cause one to label since his first release in 1986, “Cold Is The Night,” he him a “crooner” in the style of Sinatra, Bennett, Harry has produced a number of the best blues albums of the Connick, Jr. and similar singers. The best tracks come last quarter century. He certainly is passionate here, a near the end of the studio set with Leatherman and crew term Bruce Iglauer uses in his liner notes, and there is delivering bluesy expressive renditions of the Charlie much to enjoy, although not everything is perfect. Parker/King Pleasure standard “Parker’s Mood” and The album starts with the title track, a gospel-laced Ellington’s “I Ain’t Got Nothin’ But the Blues.” song with an impassioned, gritty vocal about avoiding His sidemen contribute greatly to the album’s the Devil’s lure. He plays a blues-rock guitar solo with success: Cannon has worked with McCoy Tyner; Wil- a nasty distorted tone that is unpleasant to listen to liams was Shirley Horn’s long-time drummer and the and undermines the appeal of the impassioned per- ultra-talented Germanson is a mainstay on the New formance. The second track, “I Won’t Do That,” is a York City scene. nice original with Walker singing about being faithful Inspired as a youngster by recorded music of The and that he won’t cheat or let his woman down. Walker Spinners, Stevie Wonder and Nancy Wilson and, later, adds a searing solo here. “Ride All Night” sounds like Hip Hop and Neo Soul, Leatherman began performing a Rolling Stones inspired rocker on which Walker con- in local venues as a high school student and continued vincingly sings and plays. throughout college during which he was awarded by the Walker picks up the harmonica for a rocking National Foundation for Advancement in Arts. Ignoring shuffle, “I’m On To You.” The lyric is about knowing his natural talent, Leatherman studied Economics and about the bad things his woman is doing. In addition Political Science at Syracuse University, after which he to doubling on the harmonica here, he plays a crisp briefly entered the corporate world before returning to guitar solo. “What’s It Worth” has a nice lyric although music and studying at Juilliard’s evening division and it would have benefited from toning down the hard rock New York University as a Masters candidate in Vocal edges heard during the song’s choruses. Performance. Leatherman met Germanson soon after “Soldier For Jesus” is the first of Walker’s originals, and established an ongoing working collaboration. and has a fervent vocal with the Jordanaires providing Leatherman has a pleasant voice and remains true support. Walker brings a soulful edge to “I Know Why” to the lyrics. Yet, he seems to lack the swinging verve a lovely blues-ballad. “Too Drunk to Drive” is an amus- and dramatic feeling of famous jazz crooners until he ing and delightful excursion into “rock and roll,” with Pa g e Te n March 2012 • Issue 341 rollicking piano and driving guitar. The lively “Don’t Cuban rhythms greet the duos opening guitar fig- Cry” is another performance with a spiritual message ures for “San Domingo,” with Wilson’s piano helping on which he sings that instead of saving his money he establish the mood as the horns and strings add to the is now saving his soul. The disc closes with a cover of heat and Gabriela experiments with a wah wah pedal. Hank Snow’s country classic, “I’m Movin’ On,” played Samuel Formell Alfonso, of the great band Los Van with a boogie groove that Walker places his personal Van, is guest drummer on this exhilarating ride. stamp on. “Hanuman” was a composition inspired by Carlos Walker has more of a presence on this record- Santana and on this reworking Rodrigo added some ing than on some of his other recent ones. Hambridge’s electric guitar to his flamenco playing on a number that production must be credited, although as noted at a certainly evokes the great guitarist set against some few places the playing gets a little over-the-top. Even horns and violin in the arrangement with some interest- if uneven, “Hellfire” is still a significant addition to ing flute from Jorge Liliebre Sorzano. The drumming Walker’s body of recordings. Ron Weinstock of John Tempesta (of White Zombie fame) adds to the rock flavor over the hot afro-Cuban grooves. An undeniable factor to the duo’s success is their unique mix of various traditions and style. On “Ix- tapa,” after Wilson’s sedate opening is followed by the acoustic guitar lead to state the theme, there is a brief segment featuring percussion before a new move- ment brings in Anoushka Shankar on sitar who takes an extended, intensive solo followed by the vibrant flamenco styled guitars of the leaders on a mesmer- izing performance. Carles Benavent guests on bass (with Noa on sec- ond bass) and Carlota Teresa Polledo Noriega guests on vocal for “11:11,” with its mercurial tempo and Rodrigo Y Gabriela and C.U.B.A. more exquisite playing from the two (including a solo Area 52 by Rodrigo on a Fender lap steel guitar) driven along ATO Records by the brilliant rhythm section. Until listening to “Area 52” by Rodrigo Y Gabriela Noriega takes her vocal during the closing mo- and C.U.B.A. (ATO Records) I was not familiar with ments with C.U.B.A. chanting in chorus as the perfor- the acoustic guitar duo Rodrigo Y Gabriela. Listening mance fades. Other highlights include “Master Maqui,” to this disc I discovered that they initially were playing on which the Le Trio Joubran add ouds to the mix of in a thrash metal band in their native Mexico. Going percussion and horn, and “Diablo Rojo, with the fiery to Europe, they busked as an acoustic guitar duo, rhythms and stunning flamenco accents of the guitars rooted in flamenco style and playing a wide range of of Rodrigo & Gabriela as the horns add their brassy material that included covers of metal and Led Zep- counterpoint. pelin, although I must admit I have not heard their In addition to the nine performances on the CD, prior recordings. this comes with a DVD containing a fascinating docu- This album, produced by Peter Asher, has them with mentary discussing the recording of this album. This by jazz pianist Alan Wilson who had a decade ago given recording has been a revelation and this writer has them a jazz salsa recording with Latin rhythms. Along already ordered one of their earlier recordings being with Wilson, they engaged some Cuban musicians to impressed by this release. lend their rhythmic feel to this project. These musicians Also, Rodrigo Y Gabriela will be touring North are the Cuba Universal Band Association from which America this spring (http://www.rodgab.com/tour- C.U.B.A. derives. Prominent among these musicians dates.html) including dates at Massey Hall in Toronto, Feliciano Arango Noa on bass and the percussion of Radio City Music Hall in NYC, Warner Theatre in Otto Santana Selis. Washington DC and the New Orleans Jazz & Heritage The intent was to redo songs from their two prior Festival. If I was going to be at JazzFest this year, they recordings However, after recording in Cuba, they felt would be my must see act no matter what act might be they could add more guitars and also added some rock on at the same time. Ron Weinstock flavor to get away from a strictly traditional Cuban, and Latin sound. They also brought in some guest collabo- rators for this purpose as well which had pre-production and production in several countries. It is this fabulous mix of material, artists and per- formances that immediately captured my attention jazz-blues.com and led to my enthusiasm about the many pleasures to be heard here.

March 2012 • Issue 341 Pa g e El e v e n SUSAN WYLDE Dan Blake In The Light The Aquarian Suite Sun, Moon and Stars BJU Records While many blues fans keep their geographic gaze Saxophonist and composer Dan Blake has a new fixed on Chicago and points south, top notch blues release on BJU (Brooklyn Jazz Underground) Records, have always sprung from points well north of there “The Aquarian Suite,” where he leads a piano-less quartet with countless acts from Canada such as Jeff Healey, with Jason Palmer on trumpet, Jorge Roeder on bass and the Downchild Blues Band and King Biscuit Boy con- Richie Barshay on drums. Blake has quite a background tributing mightily to the genre. having performed with such artists as Esperanza Spald- Canadian singer/keyboard player Susan Wylde ing, Anthony Braxton, Kenny Werner, Danilo Perez, and stakes her claim to a blues legacy on this disc. Joined Ricardo Gallo. by Jack deKeyzer on guitar and a large band including Listening to Blake’s compositions and the perfor- sax, trumpet, harmonica and keys, this diverse col- mances here, one musical point of reference is the classic lection includes everything from her nod to Healey’s Ornette Coleman Quartet and bands such as Old Dreams late career side-trips into Dixieland style jazz, Lovely and New Dreams. While perhaps having a bit less overt Push-Up Bra and the Bessie Smith staple, Nobody blues-flavor, Blake and his quartet play marvelously. The Knows You When You’re Down and Out, to the jazz/ horns display quite a bite along with their very expressive blues showstopper made famous by Etta James, At soloing, at times floating over the foundation provided by Last, to jump blues, That’s What You Do To Me and Roeder and Barshay. straight blues on the self-penned One Real Man, B.B. But this duo enlivens the tempo for the horns who King’s The Thrill Is Gone and on Johnny Guitar Watson’s engage in an intriguing dialogue on “Mister Who,” fluidly classic, Three Hours Past Midnight. While most of the negotiating mood and tempo changes. The mood changes material moves at a mid to up-tempo pace allowing on the lament, “The Best of Intentions,” with the two horns Wylde to power through the material in the comfort- interweaving their lines. “How’s It Done” starts with the able upper register of her voice, the real nuances in rhythm section, especially Roeder, setting the mood before her wondrous voice are revealed on the slower tunes Blake takes a torrid tenor sax solo followed by Palmer who such as the Hoagy Carmichael standard, Georgia on starts in a relaxed vein but builds heat as his solo goes on. My Mind and the heartfelt homage to the crescent city, Barshay also takes a crisp drum break here. I Can’t Tell New Orleans Goodbye. The press release accompanying for “The Aquarian Even though most of the covers are played pretty Suite” notes that many of the performances here reference straight and don’t reinvent the originals in a way to masters of the bebop era so that “Mister Who” takes cues make them her own, Wylde’s self-penned originals from Monk’s “Skippy,“ while ”How’s It Done” was an effort and expansive vocals as well as the crack band’s solid to evoke the classic Clifford Brown and Max Roach Quin- charts make this an enjoyable listen. Mark Smith tet. The composition “Aquarian” is dedicated to Anthony Braxton whom Blake refers to as an icon of creative music. While it might have been helpful if Blake’s comments on Issues, Special Issues, his music had been included, the performances more than stand without explanation. Back Issues and The mix of Blake’s stimulating writing with the high Thousands of level of the performances, both in terms of the intelligent CD & DVD Reviews and spirited solo, and high level of the ensemble playing & More Cool Stuff In The Works! result in this excellent release. It is available from Amazon, Brooklyn Jazz Under- www.jazz-blues.com ground Records (http://www.bjurecords.com/), Dan Blake (http://danielblake.net/index.htm), cdbaby.com and other retailers. Ron Weinstock

Pa g e Tw e l v e March 2012 • Issue 341 mances that may not break any new ground, but certainly introduces us to a spirited and impressive performer who will delight fans of contemporary West Coast and harmonica blues. Ron Weinstock

Big Pete Choice Cuts Delta Groove Productions Pieter ‘Big Pete’ van der Plujim is from the Nether- lands and was musically inspired by the mix of classic Chicago style blues and punk attitude that the late CHLOE BRISSON Lester Butler displayed before immersing himself in a whole range of blues. This singer and harmonica Blame It On My Youth player was heard by Randy Chortkorff who signed him CHLOEBRISSON.COM Choosing “Blame It On My Youth” for the title is the to Delta Groove, which has released “Choice Cuts,” a ideal sort of tongue-in-cheekery with which to cast the strong release that might be described as “West Coast spotlight on one of the youngest faces in the increas- Blues’ in the vein of Williams Clarke, ingly youthful (think Esperanza) and near-exclusively and the like. woman’s (think the past decade) world that is jazz On “Choice Cuts,” Big Pete is backed by a splendid vocals in this young century. band including Alex Schultz on guitar, Willie J. Camp- This disc, the 17-year old Ms. Brisson’s sophomore bell on bass and Jimi Bott on drums with guest appear- effort, finds her backed by a veteran cast, includ- ances by, among others, , Al Blake, Kim ing trumpeter Marvin Stamm and guest co-vocalist Wilson, Paul Oscher, , Shawn Pittman, Kid Shiela Jordan. Her presence in such company sounds Ramos, and Rob Rio. He comes across as an engaging unforced and confident. And if her youthful pipes singer (and one would be hard-pressed to detect that provide the delicate timbre to her readings of works he was not a native English speaker) and harmonica by Gershwin, Sammy Cahn, Cole Porter or Antonio player throughout this collection. Carlos Jobim, the listener is left to speculate where The songs are ‘covers,’ but are not overly familiar her remarkably mature sense of phrasing comes from. and Big Pete turns in driving, engaging performances. The future of vocal jazz looks bright indeed. The tone is established with the tough rendition of Les- Duane Verh ter Butler’s “Driftin’” and followed by a lesser known Albert King number “Can’t You See What You’re Do- ing To Me.” plays harmonica for the solid rendition of ’ “Act Like You Love Me,” while Kirk Fletcher provides some striking guitar to the covers of a ’ classic “Just To Be With You,” and “Hey Lawdy Mama.” Alex Schultz gets a nice spot on Slim Harpo’s “Don’t Start Me Crying Now.” The rendition of the Billy Boy Arnold Vee-Jay re- cording “I Was Fooled” is taken at a bit slower tempo than the original, with the band pushing the groove along. channels Willie Johnson on his lead guitar on the rendition of Howlin’ Wolf “Rockin’ Daddy,” with Rob Rio laying down some boogie-woogie piano. Johnny Dyer takes the vocal on Jimmy Rogers’ “You Heritage Blues Orchestra Left Me With A Broken Heart,” with fine harp from Big And Still I Rise Pete and some great piano from Rob Rio. Big Pete’s Raisin’ Music fat harmonica tone is displayed on Little Walter’s At the last Pocono Blues Festival, one of the acts “Just Your Fool,” while William Clarke’s “Chromatic was Bill Sims Jr. and his daughter Chaney doing a Crumbs” showcases Pete’s swinging facility on that variety of material rooted in deep acoustic blues, spiri- type of harmonica. tuals and field hollers. Sims was a fantastic guitarist This is a fine collection of spirited blues perfor- and vocalist and his daughter sang marvelously as March 2012 • Issue 341 Pa g e Th i r t e e n well. It was to my delight that a new recording by a new group, Heritage Blues Orchestra, “And Still I Rise (Raisin’ Music) featured them along with Junior Mack in a collection of blues, hollers and spirituals that bring a sophistication to them while preserving the rawness of the source material. This album by “H.B.O.” is produced by Larry Skoller and also includes the harmonica of Vincent Bucher (Matthew Skoller on one track), the drums and percussion of Kenny ‘Beedy Eyes’ Smith, and a horn section led by Bruno Wilhelm, which provide fresh settings for some of these songs. With Smith emphatically laying down the rhythm, JC Stylles Bucher wails on harmonica, and Mack and Sims of- Exhilaration & Other States fering a delta-flavored guitar accompaniment, Mack Motéma Music delivers a strong vocal on Son House’s “Clarksdale Winning a contest on one of the jazz websites, my Moan,” with horns added during the performance. prize was the Motéma CD by Australian guitarist JC Chaney takes a vocal on “C-Line Woman” with Mack Stylles, “Exhilaration and Other States.” I was com- and Sims providing a response as Kenny Smith pro- pletely unfamiliar with Stylles prior to this contest, but vides the second-line rhythms and Clark Gayton offers this organ trio album with organist Pat Bianchi and a bass line on his sousaphone/tuba. I believe it is Mack drummer Lawrence Leathers has quickly become a that handles the vocal on “Big Legged Woman,” with personal favorite. the horn section adding musical coloring. Exhilarating is the feeling from the album as the The horns are more prominent as is Bucher’s ener- band comes out smoking on Eddie Marshall’s “Knuck- getic harmonica on a hot shuffle rendition of “Catfish lebean,” a feverish blues that illustrates the empathy Blues,” with Bill Sims strongly delivering the lyrics between the three. Stevie Wonder’s “I Can’t Help” has with some interesting interplay between harmonica a slightly slower tempo, but Stylles continues with his and the horns. The interplay between the vocals and fleet, driving attack. The temperature drops for the horns marks Leadbelly’s “Go Down Hannah,” with a lovely Billy Eckstine ballad “I Want To Talk About You,” lovely vocal on this dirge by Chaney Sims. I believe with Stylles cleanly articulating each note and employ- it is Junior Mack that plays the driving slide guitar ing judicious use of sustain for a lovely performance. behind the three-part harmonies on the spiritual “Get Stylles confesses a love for ballads that is also reflected Right Church,” as Smith emphatically lays down the in a moody and haunting rendition of Billie Holiday’s groove. “Don’t Explain.” The remainder of this release is equally stirring Cole Porter’s “Love For Sale” is handled energeti- and moving. The playing by Sims, Mack, Bucher and cally as Stylles again dazzles with his deft and imagina- Smith is terrific throughout. Smith’s ability to play in tive playing set against his terrific bandmates. Other very contrasting and different rhythmic styles is note- numbers in the eclectic group of songs include Wayne worthy. The horns certainly are interesting, adding Shorter’s “Pinocchio,” with its unusual structure that rhythmic punch to these recordings even if not always the trio readily handles, and R. Kelly’s “It Seems Your seamlessly integrated into the performances. The horns Ready,” which provides a nice late feel contrasting with do stand out during “In the Morning” and the closing the fire of the Shorter number. “Hard Times.” Stylles original, “Samba Steps,” is based on the The latter traditional blues is transformed into a chord progression of Coltrane’s “Giant Steps,” but three-movement performance, opening with a stirring handled with a Samba feel, and provides a rousing fin- vocal by Chaney that hints at Skip James, followed by ish to one of the best organ-guitar recordings of r