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Cleveland Fats:
The Way Things Go 
What do Howlin’
Wolf, Captain Beefheart, Tom Waits and Cleveland
Fats all have in common? Why it would be that trademark
gravelly voice, the kind that sounds like it’s been
road-tested with whiskey and cigarettes. But the
voice provides authority on hard times and rough
days. Cleveland Fats is no exception and his new
offering "The Way Things Go" provides a veteran
perspective on life ala the Blues.
Fats
has some Top Cats on this record (sorry about the
rhyme – couldn’t resist) including Robert Jr. Lockwood,
Billy Branch and a supporting cast of some of the
top Bluesmen in the business including Aron Burton
(bassist for the Iceman Albert Collins), Aaron Moore
(pianist for Little Walter, Howlin’ Wolf and Muddy
Waters), Ariyo (pianist for Otis Rush, Lockwood
and Billy Branch), Vince Willis (organist for Big
Jack Johnson and the late Bonnie Lee), Dave Jefferson
(drummer with Albert Lee and Willie Kent and the
Gents), and saxophonist Doc Thomas. Michael Frank,
Earwig Records proprietor, produced the record –
which to Michael’s style provides a very true perspective
of the band with few production gimmicks involved.
Straight
ahead songs are flavored with humor and pathos and
heavily Robert Lockwood Jr.-influenced, especially
"Blues Time", an original by Fats. Although
Fats grew up in Ohio, Chicago is written all over
this album – especially since it is infiltrated
with Chicago musicians. Lockwood’s music is one
of sophistication and I personally prefer Fats’
renditions in that style as it provides a good contrast
to his otherwise gruff approach. There are several
instrumentals that grace the record, and they’re
each a great showcase for Fats and his supporting
cast. "You’ll Love Again" is a fine ballad
that again butts Fat’s tough-sounding vocals against
a soft love song and is successful for that reason
– plus it’s a well-written ballad.
Things
get off to a good start with the swinging "Stay
Away Baby" that showcases Fats guitar work
and emphasizes Aaron Moore’s piano. "Don’t
Call Me", a rollin’ Blues number is one of
those, "you cheated on me, and now I don’t
know you" – very clever lyrics on this song
that features some nice harp work of Billy Branch.
Things slow down with "Invisible Man",
with a gliding slide guitar that gives a melancholy
edge to a "ya don’t wanna see me no more"
love song. "Cheaters Never Win", a Chicago
Blues romp, really showcases the band. "Long
Gone" has a Kansas City feel to it, and that
Chicago sound is back thanks to Billy Branch and
Co. in "It Ain’t Right". Slowing it down
is "Blues Time" with the trademark Lockwood
sound, and then right back up with the swinging
"Bakin’ Fats", an instrumental. "Cell
Phone Blues" brings Captain Beefheart back
to the forefront, "You’ll Love Again"
is mentioned above as a highlight on this CD, and
"Dead or Alive", a Robert Johnson-style
diddy, preceding the closer the tin pan alley swing
song "That’s the Way Things Go".
Fat’s
is where it’s at on this offering, take a listen
and sit back and enjoy. Warning: This CD is better
if played at loud volumes and taken with whiskey
and cigarettes.
(Dave
Glynn)
About
the author: Dave Glynn is the front man for the
Empty Can Band found on the Web at www.emptycanband.com.
Dave writes reviews for MNBlues.com and Baddogblues.com.
|
William
Clarke: My Last Goodbye (Watch Dog) 
After years of working the Los Angeles blues
scene and cutting albums for a slew of tiny labels,
William Clarke became a sensation in blues circles
during the late '80s and early '90s, helped immeasurably
by his joining the Alligator roster in 1990. He
cut four well received, innovative records for
the label, won a batch of awards and toured widely
before his untimely death at age 45 in 1996. Thankfully
his wife Jeanette has kept the torch burning by
forming Watch Dog Records a label devoted to issuing
previously unreleased material from her late husband.
She's released several well received records including
"The Early Years Vol. 1 & 2", "Live
In Germany" and "Now That You're Gone"
recordings Clarke had in the can and was planning
on releasing at the time of his death. Now Jeanette
has has issued the DVD "My Last Goodbye"
featuring some fabulous live footage of Clarke
and reminisces by friends and associates.
Fans
of William Clarke will want this DVD for the generous
amount of live footage included but should be
warned that this far from a professional product.
The DVD is a low-budget affair filled with too
many clunky fades, shakey camera work and a lack
of narrative flow. Prior to the live footage we
get still photos of Clarke with his mentors such
as Shakey Jake, George Smith, Johnny Dyer, Phillip
Walker and Charlie Musselwhite. Narration is provided
by Jeanette along with Bruce Iglaur and Dick Shurman,
although it's heard to be clear who's talking
as there are no visual cues.
The
narration makes clear that Clarke was very much
rooted in tradition, intially influenced by Chicago
players like Sonny Boy, James Cotton, Jr. Wells
and Big Walter, and later indebted to West Coast
players, particularly George Smith. Clarke called
Smith the "greatest harp player I was ever
around" with the two becoming very close
and playing together extensively between 1977
and 1983. It Was Smith who taught him to play
chromatic harmonica. Intercut between the narration
and still photos we get some interesting interviews
with Clarke who talks much more about his mentors
than his own playing. The heart of the DVD, and
the main reason to grab this, is the lengthy live
footage; we get fine, generally well shot performances
from Rosa's in Chicago, Lamar's Records in Long
Beach (25 min.), Larry Blakes' club in Berkeley
(35 min.) and Starboard Attitude in Renando Beach
(30 min.). Clarke was an exciting performer and
blows some tremendously inventive harp work backed
by some great combos that unfortunately go unnamed.
"My
Last Goodbye" will be of great interest to
William Clarke fans chiefly for the live footage
and on those merits is well worth investigating.
In fairness Watch Dog Record is a one woman operation
and Clarke's wife has done and admirable job keep
his legacy alive.
-Check
out these related links:
Watch
Dog Records Ebay Store
(Jeff
Harris)
|
The Holmes
Brothers: State Of Grace (Alligator)
While
the amazing vocal prowess of the Holmes
Brothers is exceptionally well suited to
blues and gospel, the group are really terrific
interpreters, able to transform any type
of song into something truly special. Just
listen to "State of Grace" as they reinvent
and transform a wide swath of material,
effortlessly tackling an eclectic mix of
blues, gospel, rock and country songs.
The
Holmes Brothers (bassist/vocalist Sherman
Holmes, guitarist/pianist/vocalist Wendell
Holmes, drummer/vocalist Popsy Dixon) have
come a long way since their debut back in
1990. The group cut five acclaimed records
for Rounder before jumping over to Alligator
in 2001. Along the way the group has become
a major attraction, touring incessantly along
the festival and club circuit across the U.S.
and Europe. "State of Grace" finds
the group in typically fine form aided by
some long time friends and stretching out
musically in some surprising ways.
"State
of Grace" was produced by Craig Street
who also produced their last outing, "Simple
Truths." Joined by long time admirers
like Joan Osborne (She produced 2001's "Speaking
in Tongues"), Levon Helm and Rosanne
Cash, the Holmes Brothers
beautifully reinvent songs by writers as diverse
as John Fogerty, Cheap Trick, Hank Williams,
Sr, Nick Lowe and Lyle Lovett. At its core,
it’s the Holmes Brothers’ amazing vocal harmonies
that really put the album across. Country
music (real country music that is) is just
blues across the tracks so it’s not surprising
that they tackle the music passionately on
cuts like the Hank Williams classic "I
Can’t Help It If I’m Still In Love With You"
as Wendell trades verses with Rosanne Cash
and transform George Jones' "Standing
In The Need of Love" into a smoldering
blues soaked tour-de-force. The Holmes Brothers
make their mark even on the most familiar
material, delivering a gorgeous, heartfelt
reading of Nick Lowe’s "(What’s So Funny
'Bout) Peace, Love and Understanding?"
and deliver a sprightly waltz styled version
of John Fogerty’s "Bad Moon Rising"
backed by some lively accordion and fiddle.
Blues and gospel is still a prime ingredient
as heard on numbers like the funky, soulful
originals "Gasoline Drawers" and
"Smiling Face Hiding A Weeping Heart"
plus the soaring bluesy gospel of "Standing
In The Need of Love" featuring Joan Osborne.
Also worth noting is a lovely, tender cover
of Cheap Trick’s "I Want You To Want
Me" a spotlight for the Holmes Brother’s
matchless vocal harmonies.
The
Holmes Brothers continue to make sublime music
together, transcending genres to encompass
the entire breadth of American music. "State
of Grace" is a terrific showcase for
the group’s unbounded talent and show why
they are one of the best roots based touring
groups currently active.
(Jeff
Harris)
|
Mark Hummel:
Ain't Easy No More (Electro-Fi)
Harmonica
ace Mark Hummel has diligently absorbed the
lessons of the harmonica giants who’ve come
before to emerge as one of the best harp blowers
on the contemporary blues scene. Hummel’s deep
sense of tradition and inventive playing has
rarely been presented better than on the consistently
inspired "Ain’t Easy No More."
Hummel
began playing harmonica in his teens, studying
the styles of the Chicago innovators like James
Cotton, Sonny Boy Williamson, Big Walter Horton
and Little Walter. Hummel moved to California
in the early 70’s honing his chops with local
bluesmen. After graduating high school, he hitchhiked
around the country making stops in New Orleans,
Boston and Chicago to learn from those cities'
top players. He eventually formed his own band,
began recording for small labels in the 80’s
before graduating to bigger labels and more
recognition for labels like Flying Fish, Tone-Cool
and now cutting his third for the Electro-Fi
imprint.
Backed
by his long running, super tight combo the Blues
Survivors, Hummel melds a jazzy, swinging West
Coast style with more well known Chicago tradition
for a powerful, hard charging sound deeply rooted
in tradition. Hummel coaxes a huge, propulsive
sound out of his harp, creating a big sound
reminiscent of Big Walter and George Smith and
blowing intricate, jazzy lines in the best Little
Walter tradition. Hummel possesses a big expressive
voice and knack fro writing some solid material.
On this outing Hummel leans more towards covers,
with some interesting choices, opening with
the swinging Ray Charles number "Get On
The Right Track", dips into vintage Chicago
blues territory on Muddy’s tough "She’s
Got It" and uncannily conjures up a spot
on recreation of Sonny Boy’s piercing sound
on the marvelous "Stop Now." There’s
also fine covers of Eddie Boyd, Jimmy McCracklin
the pure jump blues of B.B. King’s "Jump
with You Baby." There’s a bunch of top
drawer originals including the romping, insistent
groove of "I Didn’t Need Another Heartache",
the shuffling "So Glad" featuring
some vintage, big toned guitar work from Charles
Wheal and Hummel really goes to town on the
chugging instrumental "Harpoventilating."
"Ain’t
Easy No More" is a highly entertaining outing
showcasing Hummel’s seasoned, endlessly inventive
harmonica work backed by superb ensemble playing
from his veteran band. All the elements click
to mark this as one Hummel’s most inspired efforts.
Hummel also tirelessly tours the country and
puts out a live show that’s not to be missed.
-Check
out these links:
Electro-Fi
Website
(Jeff
Harris)
|
Otis Rush: Live
...And In Concert From San Francisco
(Blues Express)
The
sheer intensity of Otis Rush’s blues has been
a hallmark ever since cutting those immortal
Cobra sides some 50 years ago. That intensity
may have faltered here and there through the
years, but it surfaced often enough, even as
recently as few years back, to amaze fans and
fellow musicians alike. His live performances,
particularly, were greeted with anticipation
and awe which probably accounts for the staggering
number of them. Still when they’re as good as
"Live …And In Concert From San Francisco"
it would be a crime not to release it.
Sadly
Rush’s stroke a few years back virtually silenced
him and new studio recordings or even live performances
seem unlikely. The Cobra recordings are landmarks,
almost overshadowing everything else. True his
studio work was often uneven and there were
long gaps when he battled his personal demons,
but when everything clicked there were few better.
There were post-Cobra gems like "So Many
Roads", "Homework" and in the
album era fine efforts like "Right Place,
Wrong Time" and his last outing, 1997’s
superb "Anyplace I’m Going." Then,
of course, there were an avalanche of live records
like "Tops", "Live & Awesome",
"Live At The Wise Fool’s Pub" plus
numerous bootlegs. In fact the live albums may
now outnumber the studio recordings. Still "Live
…And In Concert From San Francisco", released
on CD and DVD, is an important release, beautifully
capturing Rush at the peak of his powers.
Rush
was in an expansive mood on this gorgeously
recorded 1999 date, stretching out seven songs
in just under an hour. In addition to the rhythm
section Rush is backed by a full horn section
arranged by the great Willie Henderson. They
add a swinging, muscular punch that make these
timeless songs leap out of the speakers. For
his part, Rush is magnificent, playing those
impossibly long, rippling leads wedded to those
powerhouse vocals, creating a level of intensity
few bluesman could muster. Rush digs deeply
into his signature classics including a dramatic
"All Your Love (I Miss Loving)" with
it’s heart stopping minor key opening, really
benefiting from the swinging horn section and
a majestic update of "I Can’t Quit You
Baby", a showcase for some truly jaw dropping
guitar work. Equally potent are the funky, instrumental
jam of "717" (in honor of his wife’s
July 17th birthday), an epic version of B.B.'s
"It’s My Own Fault" and a rousing
"I Got My Mojo Working" featuring
Bay area guitarist Bobby Murray who played on
the aforementioned "Tops."
Yes
the shelves are crowded with live Otis Rush
recordings but if you’re a fan you should find
room for this one – believe me you won’t be
disappointed.
-Check
out these links:
Blues
Express Website
(Jeff
Harris)
|
Drink House
To Church House Vol. 1 (Music Maker)
The
Music Maker Relief Foundation has been issuing
eclectic, fascinating down-home blues and gospel
recordings for years by musicians totally ignored
by the mainstream. The recordings are just a
small part of the foundation’s mission which
in their words is "dedicated to helping the
true pioneers and forgotten heroes of Southern
musical traditions." Many of the musicians are
in extreme poverty so they get help with basics
like food, shelter and medical. Music Maker
seems to have been amazingly successful in this
pursuit. Their latest project is the ambitious
"Drink House To Church House Vol. 1" the first
in a four volume series each containing a CD
and DVD. The series will culminate in a full
length documentary film on the foundation.
On
the CD half we get eleven fine and varied performances.
John Dee Holeman kicks of with electric ramshackle
version of "John Henry" in front of
a live audience and is joined by Kenny Wayne
Shepard and Cool John Ferguson on the chugging
acoustic blues of "Can't See Why."
Holeman has two records on Music Maker including
the excellent "Bull Durham Blues."
Other fine blues comes from Captain Luke and
guitar partner Cool John Ferguson who deliver
a lovely version of "Careless Love"
featuring Luke's magnificent baritone vocals,
Macavine Hayes who turns in the stomping acoustic
romp of "Snatch That Thing" while
Little Freddie King turns in some passionate,
incredibly low down blues on the somber "I
Don't Know What To Do." There's some first
rate gospel as well particularly the two by
Bishop Dready Manning who plays harp and guitar
on the propulsive "Gospel Train" and
delivers a stunning blues hybrid on "What
Was I Doing, When the Saints of God Found Me?"
The highlight of the disc goes to Alabama Slim
who's stark and brooding "The Mighty Flood"
is a moving description from a man who was in
New Orleans when the water rose. Backed by his
cousin Little Freddie King, it's a haunting,
vivid account told from Slim's personal viewpoint
and musically based on John Lee Hooker's classic
flood song "Tupelo."
The
DVD is a gem featuring interviews and performances
by Captain Luke with Cool John, Macavine Hayes
and Haskell Thompson; Bishop Manning & Family;
Little Freddie King & Alabama Slim; John
Dee Holeman. This is a wonderful, intimate portrait
of a vanishing musical world, miles removed
from the slick, mass produced music that pervades
our culture. Captain Luke's soothing, mellow
baritone is a thing of beauty highlighted by
a gorgeous rendition of "Rainy Night In
Georgia." Bishop Dready Manning's resides
over St. Mark Holiness Church in North Carolina.
In his early days, he was a blues musician and
he was "out of hand," according to
his wife Marie, who is a key part of his church.
A big change came when he suffered a mysterious
hemorrhage in 1962 and was saved both physically
and spiritually when some neighbors came to
pray over him. Bishop Manning & Family create
an infectious, percussive brand of gospel with
Marie taking the vocals on the moving "Something
On The Inside" and the Bishop takes over
on "Joy That I Have." Both Freddie
King and Alabama Slim rode out hurricane Katrina
on the fourth floor of the Monteleone Hotel.
The duo create some powerful country blues on
traditional numbers like "Baby Please Don't
Go" and reprise the spellbinding "The
Mighty Flood." John Dee Holeman wraps things
up with a trio of traditional numbers, playing
some amazing solo electric guitar on "One
Black Rat", "When Things Go Wrong"
and takes it acoustic on "John Henry."
Music
Maker has opened up a vibrant musical world
most have us never new existed and the "Drink
House To Church House" series is amazing
widow into this hidden world. As founder Tim
Duffy notes: "These artists have held dear
to older musical traditions. Many of them have
never been recorded or filmed, their music and
stories heard only in their communities. Their
art has been hidden & unseen. They have
held onto archaic musical styles, yet when they
perform their music remains fresh & new.
Their art truly stems from the roots of America."
-Check
out these links:
Music
Maker Website
(Jeff
Harris)
|
Odell Harris:
Searching For Odell Harris
(Broke & Hungry)
There
are those blues labels, usually one man operations,
who have a singular mission, unerring good taste
and time after time deliver the goods; labels
like Dialtone out of Austin who put out great
unsung Texas blues records or The Sirens out of
Chicago who put out terrific piano blues records.
The fledgling Broke & Hungry looks to be in
that mold, first issuing a down-home gem with
Jimmy "Duck" Holmes' "Back to Bentonia"
and quickly following that up with Odell Harris
who delivers a fine blast of amped up country
blues on his debut, "Searching For Odell
Harris."
Broke
& Hungry’s blueprint really seems to come
from Fat Possum who have been delivering down-home
Mississippi blues for years, making household
names of Junior Kimbrough and R.L. Burnside, although
lately that seem to have put blues on the back
burner. 66-year-old singer/guitarist Odell Harris
hails from the hills of North Mississippi and
shares the thumping, hypnotic groove that Kimbrough
and Burnside made famous. As the title suggests,
Harris is a notoriously elusive character, rarely
performing in public and often disappearing for
long stretches of time. Jeff Konkel’s notes play
up the mystery much the way Fat Possum sought
to market their artists as dangerous or mysterious:
"I saw him once" Konkel writes – "on
the night the music on this disc was recorded.
I haven’t seen him since, and I’m not sure I will
again. …This disc may be the only way you ever
have a chance to hear Odell. But if you do happen
to see him, ask him to call me. We need to do
this again sometime." Judging from the results
they most certainly do.
As
unreliable and elusive as Harris is he was also,
not surprisingly, rather difficult and the recording
conditions didn’t help. Set up at a makeshift
studio at a local club that was supposed to close
early, the patrons never really left and were
anything but sympathetic. "Searching for
Odell Harris" was recorded during at an arduous
all-night recording session with Harris every
bit as difficult as the crowd. The 12 distilled
tracks are a raw but cohesive brand of North Mississippi
Hill music but often displaying a more delicate
touch then what Burnside and Kimbrough delivered.
Backing is lean with just Bill Abel on second
guitar and Lightnin’ Malcom on drums. The sound
is ragged but right as Malcom succinctly noted:
"Some of it wasn’t even in tune, but it was,
like, better than in tune." Harris can certainly
stomp it out as he proves on a thumping juke joint
version of Junior Parker’s "Train I Ride"
and instrumentals like "Daylight Romp"
and "Hill Funk" featuring a pulsing
groove and Harris’ sharp, jagged electric guitar
licks. He’s equally adept at more thoughtful tempos,
singing soulfully on "Before You Accuse Me",
Jimmy Reed’s "Can’t Stand To See You Go"
and the traditional "Someday Baby."
Harris delivers two gorgeous solo performances
in ".44 Blues" with a falsetto that
reminds me a bit of Skip James and the languid
"Laughing To Keep From Crying" which
brings to mind the underrated Joe Callicott who
used to sing this number.
Broke
& Hungry has hit the ground running with two
superb country blues records this year, and from
two virtual unknowns to boot. What are the odds?
Let’s hope both men get back into the studio soon
and if you see Odell Harris tell him we’d like
to hear more from him soon. In the meantime I
look forward to see what else this little label
turns up.
(Jeff
Harris)
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