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 CD
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Book Review
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Page 2
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Every month Bad Dog Blues takes a look at the best new
blues releases and offers our opinions, criticism and general ramblings. We'll also take a
look at noteworthy reissues and blues related books. If you happen to disagree, fine, drop
us an e-mail and we'll file it appropriately. Now on to this months reviews:
"And we played it on the
sofa, and we played it side the wall
And we played it on the sofa, and we played it side the wall
But boys, my needles have got rusty, and it will not play at
all"
(Robert Johnson, Phonograph Blues)
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 Cajun
And Creole Music Makers By Barry Jean Ancelet And Elemore
Morgan (University Press of Mississippi)
Cajun
and Creole Music Makers is an updated edition of "The
Makers of Cajun Music", published in 1984 by the University
of Texas Press. A new forward by Ralph Rinzler and a closing
chapter (Epilogue, 1999) by the author Mr. Ancelet are the
major additions to this outstanding release.
The
first thing that strikes you upon cracking the first page
is that this book is written in two languages. The even pages
are written in English, while the odd have been translated
to the Cajun language of French. Although the title states
Cajun and Creole music makers, this book concentrates mostly
on the Cajun side of things. Indeed this is a book that captured
and presents the Cajun culture as reflected by the preservation
of "old tyme" Cajun music. The authors interview and photograph
several Cajun musicians that have keep the music true to its
Cajun roots. Some are known, most are not (at least to this
reviewer). Musicians such as Dennis McGhee, Inez Catalon,
Varise Connor and Nathan Abshire are the more obscure while
Zachary Richard, D. L. Mernard and Michael Doucet from Beausoleil
are the more recognizable names. Whether worldly traveled
or down-home famous all recollect their musical start and
their passion to preserve their proud culture through their
music. The photographs of Mr. Morgan lovingly capture the
tradition and the simple lifestyles of the interviewed musicians.
Many are photographed at house parties, tiny clubs (Morris's
Cowboy Club, Bearcat Lounge, Mulattes Restaurant) or back
then, relatively small festival setting. These photographs
emphasize the laid back, music for love not money, atmosphere
that many of the musicians thrived on.
Fifteen years after the first publications of this book many
of the interviewed musicians have sadly passed away. In every
musical genre there are pioneers that create, preserve and
present their music to the masses. Some go on to become enshrined
cultural icons, while others simply fade away and become footnotes
in music history books. Cajun and Creole Music Makers
refreshes or in some cases introduces us to a group of musicians
that deserves the recognition that they so richly deserve.
(Dave Moskal)
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Taj Mahal:
Taj Mahal (Sony/Columbia)
Taj
Mahal: The Real Thing (Sony/Columbia)
Taj
Mahal: The Natch'l Blues (Sony/Columbia)
Taj Mahal has always been a
hard man to pin down. Since the 60's he's been a torchbearer
for classic blues but at the same time his career has been
highly eclectic dabbling in world music, jazz and whatever
else has tickled his fancy. Because of this he often gets
dismissed by blues fans but now that Sony/Columbia has reissued
his first three records it's a good time to view his music
in a fresh light.
Sony/Columbia has done an excellent job repackaging these
early records with two of the three containing some valuable
bonus tracks. Taj Mahal, his 1967 debut, is a powerful
statement which finds Taj reworking classic blues tunes
like Blind Willie McTell's "Statesboro Blues" and Sleepy
John Estes "Diving Duck Blues" into a fiery modern style.
The music has that distinct 60's blues-rock feel and while
it may sound a bit dated the music is played with plenty
of intensity and feeling aided immeasurably by guitarists
Ry Cooder and Jesse Davis. The record wraps with the nearly
nine minute "The Celebrated Walkin' Blues" a nice down-home
delta blues featuring exceptional harmonica from Taj.
In 1968 Taj released The Natch'l Blues a much more
traditional sounding record and not surprisingly this is
the one that holds up best. This record finds Taj playing
national steel on a set of classic blues like "Corinna"
and "She Caught The Katy And Left Me A Mule To Ride" both
of which get a wonderful updated arrangements. If there's
one thing Taj does exceptionally well is how he takes even
the oldest songs and makes them sound fresh and modern again.
I suspect it's this ability which is the reason so many
blues fans came to the blues through the music of Taj Mahal.
The Natch'l Blues was one of the first blues records
I ever bought and I've been hooked ever since. Rounding
out this reissue is one alternate take plus two excellent
bonus tracks including "New Stranger Blues" a great find
that features some nice slide.
The Real
Thing from 1971 finds Taj stretching out and incorporating
elements of jazz and world music into the mix. Recorded
live at the famed Fillmore East with a large band that includes
a four piece tuba section, the music has a loose experimental
feel that only manages to gel on a couple of tracks. Highlights
include good versions of "Fishin' Blues" and "Goin' To Move
Up To the Country and Paint My Mailbox Blue" songs that
he originally recorded on his studio albums. Despite an
unrehearsed feel this is still a fun record with the tubas
adding a raucous freewheeling feel to the whole affair.
While I suppose blues purists will never quite been sold
on the eclectic approach Taj brings to the blues these early
records are filled with moving, intelligent music and are
a lot of fun to listen to.
(Jeff Harris)
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Otis
Spann: Good Morning Mr. Blues (APO)
Sonny Boy Williamson: Portrait Of A Blues Man
There's not much that hasn't
already been written about Sonny Boy Williamson and Otis
Spann, two giants of the blues. As part of their Audiophile
series, APO has been reissuing classic blues recordings
with the purpose of bringing out the best possible sound.
If your interested in audiophile details the notes contain
a lengthy list of mastering equipment but the bottom line
is these classics sound simply phenomenal and the music
is absolutely top shelf.
Both records were
cut in Denmark in 1963 for the Storyville label. Sonny
Boy was on his first tour of Europe while Spann was touring
with the Muddy Waters band. Lucky for us both men were
caught at their peak and the intimate surroundings of
these recordings is almost like sitting in the living
room with a pair of blues legends.
Good Morning
Mr. Blues is a particularly important snapshot of
Spann at the peak of his powers playing solo piano which
I believe is the first time he's been caught without a
backing band. While there have been many great Chicago
piano players such as Big Maceo, Sunnyland Slim and Johnny
Jones, Spann is arguably the greatest whether on his own
sessions or anchoring the Muddy Waters band for nearly
fifteen years. The depth and subtle power of his playing
is absolutely commanding whether on his own compositions
like the marvelous "Love, Love, Love", "Good Morning Mr.
Blues" or blues standards like "T.B. Blues" and a stunning
version of "Goin' Down Slow." If you're looking for a
clinic on blues piano this warm, intimate recording will
do nicely.
Portrait Of A
Blues Man, like the Spann recording, is also an intimate
sounding affair. Sonny Boy is in typically brilliant form
accompanied by Matt Murphy on guitar and Memphis Slim
on piano. This set is filled with trademark Sonny Boy-
wonderful inventive harmonica blowing, a sly mischievous
wit and some first rate songs. The set kicks off with
the full band on the rocking "Lttle Girl" before moving
into the solo improvised "Movin' Down The Rhine" and the
wonderful half spoken half sung "The Story Of Sonny Boy
Williamson." Other highlights go to the driving instrumental
"Chicago Bounce" where everyone gets to stretch out and
"Copenhagen Woman" featuring the mighty vocals of Memphis
Slim.
Both these records are
absolute classics and the sound is the best your likely
to hear. What more could you ask for?
(Jeff Harris)
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 Roy
Hawkins: The Thrill Is Gone (Ace)
If your looking for
first rate blues reissues Ace Records ranks as one of the
best putting out impeccably crafted collections of both
the well known and the neglected. Roy Hawkins sadly falls
into the former category. The music that makes up The
Thrill Is Gone however, should go a long way to raise
his stature as one of the finest West Coast piano players
and singers to emerge on the scene in the 40's and 50's.
Little is known
of Hawkins and the details of his life remain shrouded in
mystery. Hawkins was discovered in Oakland in 1948 by legendary
producer Bob Geddins. Geddins operated a number of small
labels which is were he first recorded Hawkins before leasing
them to bigger labels like Modern. Hawkins was very successful
landing a number of records on the R&B charts between 1949
and 1951 including his original version of "The Thrill Is
Gone." Despite this success and the fact that his songs
were covered by the likes of B.B. King , James Brown and
Memphis Slim, Hawkins was a forgotten figure when he died
in Los Angeles in 1974.
The 24 tracks that make up The Thrill Is Gone should
restore Hawkins' reputation as one of the finest bluesman
in the West Coast blues style. Hawkins music fits solidly
in the West Coast tradition of smokey, after hours piano
players and ballad singers like Charles Brown but he he
also led a combo that could jump like Roy Milton and Amos
Milburn. Hawkins was also a wonderful dramatic singer which
fit perfectly with such downtrodden songs as "Why Do Everything
Happen To Me" which hit #3 on the R&B charts, the mournful
"I Walk Alone", the ominous sounding "My Temper Is Rising"
and the poignant "Gloom And Misery All Around." It wasn't
all doom and gloom and Hawkins could jump with the best
of them. Roy and the band cook on up-tempo numbers like
"Wine Drinkin' Woman", "On My Way" and shuffles like "Trouble
Makin' Woman" and "Albania" all featuring wonderful riffing
horns, exceptional piano work from Hawkins and excellent
arrangements by legendary arranger Maxwell Davis. Special
mention should be given to guitarist Ulysses James who's
tremendous playing ensures him true unsung hero status.
As usual for Ace packaging, notes and sound are superb.
Hawkins has long been
a footnote in blues history as the man who composed "The
Thrill Is Gone" but this collection proves that was a brilliant
bluesman in his own right and should do much to enhance
his reputation to a larger audience.
(Jeff Harris)
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Willie Nelson: Milk Cow Blues (Island)
Blues fans
may be skeptical of Milk Cow Blues which is touted
as Willie Nelson's first blues record. To those who know
Nelson it really shouldn't be that surprising. In his
long career he's never been the typical Nashville country
star and has always followed his own muse. Milk Cow
Blues succeeds on all counts and the mix of Willie's
distinctive sound with a set of mostly traditional blues
tunes works perfectly.
While fans of country or blues may be unsure of
this record the blues/country crossover is really nothing
new. Ask some of the older bluesman what they listened
to growing up and it's a good bet they'll mention the
Grand Ole Opry. Take a listen to guys like Hank Williams
or Jimmie Rodgers and it's obvious there's a strong blues
feel to their music. From the evidence on of Milk Cow
Blues it's obvious Willie is very comfortable singing
the blues.
Producer and guitarist Derek O'Brien has
done a wonderful job creating the perfect laid-back mood
on this collection of blues standards and originals. The
record is studded with guest stars and there's a real
chemistry as everyone plays with the utmost taste. B.B.
King is on board as he and Willie tackle a funky "The
Thrill Is Gone" and an absolutely great version of "Night
Life" a tune originally penned by Willie but one that
King has adopted as his own. Singer Francine Reed is a
great blues singer and sounds wonderful on duets of "Milk
Cow Blues" and especially on the melancholy "Funny How
Time Slips Away" which alone is worth the price of this
disc. Other highlights go to the low down blues of "Black
Night" and "Fool's Paradise" featuring piano and vocals
by Dr. John who always sounds right on no matter what
he's playing. I was a little worried about the presence
of Susan Tedeschi, Kenny Wayne Shepard and Johnny Lang
who despite racking up impressive sales figures don't
do much for me musically. I'm sure their inclusion had
more to do with marketing than anything else but they
redeem themselves with some nice restrained playing. The
nearly nine minute "Texas Flood" is the set's closer and
while Shepard gets a lot of solo space his playing is
very tasteful and a great way to wrap up a very enjoyable
record. A lot of credit should go to the veteran band
who sound excellent with some particularly fine playing
by Riley Osbourn on organ and piano.
Milk Cow Blues is a wonderfully relaxed
blues session that works on all counts. Hang your preconceptions
at the door and pick this one up- you won't be disappointed.
(Jeff Harris) |
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 Peter
Green With Nigel Watson Splinter Group: Hot Foot Powder
(Artisian)
I
have to admit that I had more than a few reservations
about this tribute to Robert Johnson. As a long time
blues fan, particularly country blues, I've grown tired
of all the hype and mythology surrounding Robert Johnson.
There's no doubt that Johnson was of the greats but
the endless talk about him often obscures the fact that
there were numerous bluesman of the same era who were
musically his equal but never get there due. That being
said Hot Foot Powder is a beautifully played record
that totally won me over.
Unbeknownst to me
at the time this is actually the group's second record
dedicated to Johnson. In 1998 they released The Robert
Johnson Notebook which won a Handy Award for comeback
album of the year. On Hot Foot Powder the band
tackles the remaining 13 Johnson songs (he only recorded
29 sides). There's always been plenty of speculation
as to what Johnson would have sounded like if he lived
long enough to see his music evolve. Peter Green and
the group handle this question with some wonderful arrangements
of Johnson's songs and the music is played with surprising
restraint and a quiet dignity. If your expecting guitar
fireworks you may be disappointed but this approach
really lets Johnson's compositions shine and even after
all these years the songs sound absolutely timeless.
Rounding out the
band is a number of excellent guest stars including
Dr. John, Buddy Guy, Otis Rush, Joe Louis Walker and
Honey Boy Edwards who's one of the few musicians still
alive to have actually played with Johnson. Two of my
favorite tracks feature the wonderful piano of Dr. John
including a beautiful version of "From Four Until Late"
and the jaunty "They're Red Hot" which sounds great
in a full band setting. Other tracks of note are the
chugging "I'm A Steady Rollin' Man" featuring fine playing
from Otis Rush, "Dead Shrimp Blues" featuring Hubert
Sumlin and the propulsive "Traveling Riverside Blues"
spotlighting the duel guitar work of Honey Boy Edwards
and Joe Louis Walker. Peter Green shines throughout
laying down some subtle but powerful guitar licks, well
placed harmonica blasts and a husky laid-back vocal
style that suites the music extremely well. The rhythm
section is the glue that holds it all together with
Peter Stroud on upright bass, Larry Tolfree on drums
including some fine brush work and Roger Cotton on guitar
and piano.
Tribute
records rarely live up to their promise but Hot Foot
Powder delivers on all counts not only respectfully
preserving Robert Johnson's legacy but also managing
to add something new to these familiar tunes.
(Jeff Harris) |
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