Blind Lemon Jefferson: His Life, His Death, And His Legacy By Robert Uzzel (Eakin Press)

 Despite a recording career that spanned just a few years Blind Lemon Jefferson was one of the most popular bluesman of the 20's and the first truly commercially successful male blues performer. His success paved the way for countless other country bluesman to be recorded. He was one of the founders of the rich Texas tradition whose influence was vast echoing down the years in the music of Lightning Hopkins, the electrified blues of T-Bone Walker and countless others. For all his popularity and influence his life remains shrouded in mystery with only the bare outline of life known. Thus Blind Lemon's life is ripe for some new detective work and in "Blind Lemon Jefferson: His Life, His Death, And His Legacy" Robert Uzzel takes up the task.

 Jefferson has been written about extensively by blues researchers starting back in the 50's with pioneering writing of Samual Charters, in the 60's by Paul Oliver and more recent research by Texas blues historian Alan Govenar. The most extensive writing on Jefferson seems to be Bob Groom's 13 part Jefferson series for the long defunct Blues World magazine back in 1970. While Uzzel can claim to have written the first "book" on Jefferson, not including the appendix and endnotes, his book is only 70 pages long. Uzzel weaves his story drawing heavily on the aforementioned writers. Those hoping for new revelations on Jefferson will likely be disappointed. There is little in the way of new material outside of some of eyewitness accounts of Jefferson performing by some older Texas residents. To be fair some of these are quite interesting and it's obvious that Jefferson's playing had quite an impact on those who witnessed him despite the passage of time.

 The book chronologically follows the arc of Jefferson's life with the first chapter succinctly discussing the origins of the blues and providing an historical context for Jefferson's music. The chapter "Central Texas Years" describes Jefferson's early years up until 1912 when he was singing for picnics and parties: "He wandered the streets of Wortham, Grosebeck, Marlin and Kosse, playing his guitar and soliciting contributions with his tin cup..." This chapter is rather sketchy but the following chapter "Dallas Years" is much better detailed and the book's most interesting section. Jefferson worked the area of Dallas known as "Deep Ellum" which was "marked by clusters of pawnshops, tailors, secondhand clothing stores, shoeshine parlors, cafes and sporting houses." Dallas had a thriving blues scene during this period and Jefferson came in contact with many musicians including Leadbelly who he ran with for some time as well as young guides such as Lightning Hopkins and
T-bone Walker. The chapter ends with Jefferson making his first recordings for Paramount in the rug department of a local record store.

  The chapter "Chicago Years" begins with Jefferson's arrival in the windy city circa late 1925 or early 1926. Jefferson began recording prolifically during this period recording close to one hundred sides up until 1929. Like the earlier chapter on Central Texas, Jefferson's activities in Chicago are rather sketchy and it would have been interesting to have more background on the Chicago scene during this period. Also Uzzel states that many of Jefferson's records were prominently displayed in the black newspaper the Chicago Defender and it would have been nice if some of these were reprinted. Jefferson apparently traveled extensively during this period and Uzzel does a better job documenting his trips to Memphis, Mississippi, Alabama and other places where he came across many musicians which undoubtedly spread his influence well outside of Texas.

  One of the great Jefferson mysteries is how exactly did he die in December of 1929? Did he really freeze to death on the streets of Chicago as the common story goes? The answer is probably but Uzzel offers no new information. The final chapter "Legacy Of Blind Lemon Jefferson" is one of the better ones as the author documents many artists who drew directly from Jefferson's music, a diverse list including such artists as Melvin "'Lil Son" Jackson, Leadbelly, T-bone Walker, Lowell Fulson, Son House, B.B. King and numerous others. The book wraps up with an appendix that includes John Lomax's 1967 dedication of an historical marker for Jefferson, endnotes and a bibliography.

  For those who are new to the music of Blind Lemon Jefferson and crave some background on this mysterious figure Uzzel's book will make a good introduction as it weaves together just about all the research we have on Jefferson. However, those looking for something new will be disappointed. There's more to the Blind Lemon Jefferson story than has been told and perhaps one day someone will be able unlock more of the mystery. Luckily all those amazing recordings have been reissued to dazzle and intrigue a whole new generation of listeners.

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Deep Ellum And Central Track
The Best of Blind Lemon Jefferson

Jorma Kaukonen: Blue Country Heart (Columbia)

 Jorma Kaukonen is best known as one of the founding members of Jefferson Airplane and for the spinoff group Hot Tuna that became his main musical outlet after the Airplane broke up in 1973. While Kaukonen fiddled around with roots music in both bands he lets it all pour out on "Blue Country Heart" a perfectly realized set of old time bluesy country music.

 The cynical may say that Kaukonen merely jumped on the "O Brother" bandwagon but he's obviously had a longtime love of this music and this project has been bubbling under his subconscious for some time. It seems that all the old guys return to roots music, whether blues or country, once they get old. Regardless of the motivation "Blue Country Heart" is beautifully played set of old-timey standards circa the 1920's & 30's with Kaukonen backed by a first class cast of pickers.

 The music has a laid back casual feel as if a bunch of buddies were jamming on their front porch on a warm, lazy summer day. The album is filled out with covers by legendary performers like Jimmy Rodgers, Jimmy Davis, Gene Autry, and the Delmore Brothers. The band features the talent of acoustic luminaries such as Sam Bush on mandolin, Jerry Douglas on dobro, bassist Byron House, and Béla Fleck on banjo backing Kaukonen's agile finger picking and warm engaging vocals. The playing is superb and concise never getting tangled up in pointless jamming as Jorma and the band run their way through depression era tales of trains, chain gangs and booze. There's nary a bum note struck on gems like "Just Because", The Delmore Brothers classic "Blues Stay Away from Me" and Jimmie Rodgers' timeless "Waiting For A Train." The music evokes a period when country and blues were across-the-tracks cousins as evidenced in such blues drenched numbers like "Bread Line Blues", "Big River Blues" and "Prohibition Blues." Blues fans with open ears as well as country fans will find plenty of music that appeals to them.

 "Blue Country Heart" is beautifully played and effortlessly evokes everything that makes the old-time music so timeless. Anyone who listens to this record will surely agree with Kaukonen who states in the liner notes: "When I listen to the finished songs with my eyes closed... it fills my blue country heart."

(Jeff Harris)

T-Model Ford: Bad Man (Fat Possum)

 Like the rest of the Fat Possum stable T-Model Ford plays unvarnished, rough and tumble juke joint blues. Somehow Ford sounds even scruffier than his labelmates and "Bad Man" is yet another uncompromising slab of gritty blues.

 Like his his fellow Fat Possum artists such as Junior Kimbrough, Robert Belfour and Cedell Davis, Ford came to recording late in life and like those artists likely would have remained in obscurity playing Mississippi juke joints if it weren't for the Fat Possum label. Ford was born in Greenville, Mississippi and didn't even pick up the guitar until he was 58. "Bad Man" is Ford's fourth record for the label and is yet another thumping, lowdown slice of blues all the more remarkable for a man in his early 80's!

  "I'm a bad man, I'm a hellraiser" Ford announces on the album's title cut and after a listen to this record there's no reason to doubt him. Once again Ford is backed by his drummer and partner Spam on a pounding, boogie driven set of blues that's about as lowdown and visceral as it gets. While there's a definite delta blues vibe Ford also draws on the blues of Howlin' Wolf, John Lee Hooker and Lightnin' Hopkins for inspiration. Ford's playing isn't pretty, laying down shimmering, dissonant guitar riffs, and gravely vocals but there's a deep soulfulness and honesty that makes the music so compelling. Ford tackles mostly covers but gives them his own unique twist whether covering Howlin' Wolf on "Ask Her For Water" or "Backdoor Man" or bashing out "Yes, I'm Standing" his version of the standard "Mean Old Frisco." The rest of the album is equally potent including "Bad Man" with it's lurching, hypnotic groove featuring some wobbly slide from Jim Mize, "Let The Church Roll On" is a sly, rocking gospel fueled number backed by the Tate County Singers, the ferocious "Black Nanny" rocks hard with Ford bellowing up a storm and "The Duke" is an infectious instrumental filled out with rollicking piano and organ.

 While Fat possum often plays up their bluesman as dangerous and wild in the case of T-Model Ford he comes across as a real hellraiser. Without an ounce of pretense or slickness Ford once again manages deliver one hell of a racket.

Eddie "Cleanhead" Vinson & Cannonball Adderley: Cleanhead & Cannonball (Milestone)

 For those who think blues is always downbeat you should give a listen to the music of Eddie "Cleanhead" Vinson and if you don't get a chuckle from his nickname his good natured music will surely bring a smile to your face. "Cleanhead & Cannonball" is a superb meeting of the minds mixing blues and jazz evenly on this classic 1961 date originally issued on the Riverside label.

 Throughout his career Vinson kept one foot in blues and the other in jazz. Vinson kicked off his career as a member of big bands like Milton Larkin's Orchestra and Cootie Williams Orchestra before striking out on his own in the mid-40's. He hit the charts frequently in the 40's for Mercury and King and rarely seemed to be out of work and continued to tour the States and Europe up until his death in 1988. While blues fans may know him best for his vocal talents he was also a hard swinging bop alto player who could more than hold his own in a straight jazz setting. "Cleanhead & Cannonball" is the perfect vehicle for Vinson showcasing both his blues and jazz sides aided by the always soulful Cannonball Adderley and his excellent quintet.

 The material on "Cleanhead & Cannonball" was reissued by Landmark in 1988 and five of the ten selections were previously unissued altogether until then. Altoist Cannoball Adderley's band was riding high during this period as leading proponents of the "soul-jazz" movement and the band is first class consisting of cornetist Nat Adderley, pianist Joe Zawinul, bassist Sam Jones and drummer Louis Hayes. On the vocal numbers Vinson's playful style, with that distinctive catch in his voice, is in top form on his signature "Kidney Stew", "Back Door Blues", "Person To Person" and "Just a Dream." Vinson shows of his impressive alto chops on hard driving, bopish numbers particularly the cooking "Arriving Soon." Unfortunately Cannonball sits out on the instrumentals which seems like a lost opportunity to hear the two trade off.

 Both blues and jazz finds will find plenty to enjoy on "Cleanhead & Cannonball", a classic date in every sense. Fantasy continues to do a fine job with their catalog and this reissue boasts excellent sound and informative liner notes from original producer Orrin Keepnews.

Little Milton: Guitar Man (Malaco)

 Little Milton is one of those guys who seemingly defies the hands of time continuing to remain at the top of his game and managing to sound contemporary at the same time. While "Guitar Man" isn't his finest record, on the best tunes Milton proves he hasn't last a step despite a recording career that stretches back to the early 50's.

 Milton has found a good home at the Jackson, Mississippi based Malaco Records which has sustained the careers of many old-school soul and blues artists. "Guitar Man" is Milton's sixteenth album for Malaco since joining the label in 1984. His track record for the label has been remarkably consistent releasing a solid body of contemporary soul-blues. Last year's "Feel It" certainly ranked as one of his better outings filled with first rate material. On "Guitar Man" the results are mixed. Milton's talents haven't declined it's the material that lets him down this time.

 "Guitar Man" has all the earmarks of a winner with first class production from Malaco's crack house band and complete with a fine horn section that's always an essential ingredient to a good soul outing. Milton's rich, soulful vocals have rarely sounded better and his lean guitar work as good as ever although it would be nice if he got to stretch out a bit more. Things kick off in classic fashion with four first rate tunes including the funky, autobiographical "Guitar Man" and a pair of stellar blues numbers in the loping "Still Some Meat Left On This Bone", probably the album's best cut, and the down-in-the-alley "Blues Tune-Up." The other notable tunes including the catchy, horn driven "You Were On The Right Street" and "Mr. & Mrs. Untrue" a fine cheating ballad with Milton dueting with Karen Brown. Unfortunately the rest of the record is filled with mostly rather luke warm ballads culminating in the final track, a cover of "My Way", that even Milton's considerable vocals can't revive.

 On balance what you get on "Guitar Man" is half a classic album from Little Milton and one that had the earmarks of a really good session. Not the first Malaco album to pick up by Milton but by no means a bad one and I'll still eagerly await each new record he puts out.

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Feel It

(Jeff Harris)