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Barrelhouse Chuck:
Slowdown Sundown (Viola) 
With
the recent loss of Detroit Jr. it becomes more acutely
aware than ever that the piano blues is a dying
art form. There's only a handful of old timers keeping
the tradition alive such as Pinetop Perkins, Big
Joe Duskin, Henry Gray and Ernest Lane. Barrelhouse
Chuck represents one of the few younger generation
pianists (he's 48) and has been well schooled in
the art as he demonstrates on the fabulous "Slowdown
Sundown."
Chuck has paid his dues the time honored
way by apprenticing with piano masters such as Sunnyland
Slim, Pinetop Perkins, Lafayette Leake and Little
Brother Montgomery. Chuck spent 10 years studying
with Sunnyland who he calls "the great-granddaddy
of all the blues piano players." He also formed
a special bond with piano legend Little Brother
Montgomery. He honed his craft working and recording
with a who's who of Chicago legends like Louis Myers,
Jimmy Rogers, Jimmy Dawkins, Billy Boy Arnold, Detroit
Jr. and Big Smokey Smothers and many, many others.
Along the way Chuck has released several fine recordings
under his own name such as 1999's fine "Salute
To Sunnyland Slim" and 2002's strong "Prescription
For The Blues." "Slowdown Sundown",
on his own Viola label, finds Chuck in peak form
playing both solo and with an all-star cast of Chicago
bluesmen.
Whether
playing solo or with a group Chuck is a terrific
two fisted piano player steeped in the Chicago tradition
of guys like Otis Spann, Little Johnny Jones, Big
Maceo and of course Sunnyland and Little Brother.
He also happens to be a very good vocalist. Chuck's
piano playing is best appreciated on solo numbers
like the wistful Little Brother number "Keep
On Drinking" where he sounds uncannily like
his former mentor both on piano and vocally, the
storming boogie-woogie of "Viola's Stomp"
just backed by fleet fingered Ben Andrews on guitar,
the heartfelt tin pan alley sounding original "Iza
Mae" and goes back to 1934 to revive Leroy
Carr's depression era classic "Ain't Got No
Money Now." For the band numbers a stellar
cast has been assembled for some great Chicago blues,
particularly the tough standout "Mt. St. Helens
Blues" featuring the powerhouse vocals of Robert
Hunter who equates his woman with the volcano ("If
she keep on blowing and swelling/People ain't no
telling when she might blow") and some hard
blowing from John Tanner on harmonica. Other highlights
include the chugging "Searching For My Baby"
featuring guitar and vocals from the under appreciated
Otis Smothers and pounding piano from Chuck, "What's
Wrong" has a raw "Dust My Broom"
feel with the booming vocals of Silas McClatcher
backed by Billy Flynn, Calvin Jones and Willie Smith
and "You Told Me Baby" with soulful vocals
from Willie Kent and tough guitar work from Johnny
B. Moore. An intriguing bonus is the addition of
a slew of answering machine message left for Chuck
by Sunnyland Slim, John Brim, Jimmy Rogers, Smokey
Smothers and others that makes for odd but fascinating
listening.
While
the great era of Chicago blues piano is past we
hear the ghosts of those greats in the marvelous
playing of Barrelhouse Chuck who keeps the flame
burning bright on the thoroughly satisfying "Slowdown
Sundown."
-Check
out these related links:
Barrelhouse
Chuck Website
8
Hands On 88 Keys Review (Features Barrelhose Chuck
and others)
(Jeff
Harris)
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Delbert McClinton: Cost
Of Living (New West)
Delbert
McClinton embodies the ambiguous term American roots
music, seamlessly blending country, rhythm
& blues, honky tonk, and Southern soul into a potent
brew. "Cost Of Living" continues a terrific
string of records that began in the mid-90's, although
in reality he's been pretty damn consistent since the
early 70's.
McClinton's
career began in the late '50s but he didn't started
recording under his own name until the early 70's. Critics
and peers have touted McClinton for years but his resurgence
in the 90's has seen his popularity soar. The accolades
came fast and furious in the 90's: his first Grammy
for Best Rock Vocal ("Good Man, Good Woman"
with Bonnie Raitt), hit the charts twice with "Every
Time I Roll the Dice" and "Tell Me About It"
a duet with Tanya Tucker, hit big with the album "One
Of The Fortunate Few" (selling 250,000 copies)
followed by "Nothing Personal" which proved
to be one of the most popular recordings of his career,
gaining substantial airplay on Americana radio and ending
up one of the year's biggest hits on Billboard's blues
chart; it also won him another Grammy for Best Contemporary
Blues Album. "Cost Of Living" is yet another
impressive outing that can only enhance his stature.
Unlike
"Nothing Personal" and "One of the Fortunate
Few" there's no guest stars on this and none needed
as McClinton is backed by his exceptional band. On board
are excellent piano/organ player Kevin McKendree, guitarists
Rob McNelley, Spencer Campbell on electric guitars,
Gary Nicholson on acoustic plus a number of other top
drawer musicians. As usual the album is filled out with
terrific originals and a wide variety of styles all
sung effortlessly with a loose, easy and ever soulful
groove. The title track is classic Delbert, a little
country, a little blues with it's sly, knowing and world
weary feel. Everything is sung with heart and soul including
the rollicking "Right To Be wrong", the swampy
R&B of "I'll Change My Style", the mellow
Southern soul of "Your Memory, Me, and the Blues",
the gorgeous country of "Midnight Communion"
with a bit of a late 60's Dylan feel and the lovely
cocktail ballad "Alright By Me" that finds
McClinton backed by just a trio. Other highlights include
the rocking "Dead Wrong" and the bluesy, humorous
"Hammerhead Stew."
Delbert
McClinton keeps rolling along and seems incapable of
making a less than compelling record. "Cost Of
Living" is every bit as good as it's predecessors
so let's hope he keeps them coming.
(Jeff Harris)
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The Campbell Brothers:
Can You Feel It?
(Ropeadope)
Sacred
Steel music has become a force to be reckoned with,
bursting out of the church just a few years ago to worldwide
acclaim. At the vanguard is the amazing Campbell Brothers
who've gone from Rochester, NY's best kept secret to
international stars. Joined by John Medeski, the Campbell's
have delivered their most ambitious record to date with
"Can You Feel It?"
The
sacred steel tradition has been going strong since the
30's but it wasn't until the 90's that the music leaked
out to the wider world. It was the amazing Willie Eason
who introduced the steel guitar to church services in
the late 1930's. His single string passages that imitated
the African-American singing and shouting voices remain
the main sound of the Keith Dominion steel guitar style.
Now a new generation has taken the music literally worldwide
led by the popularity of artists like guitar prodigy
Robert Randolph and the Campbell Brothers. Ever innovative
and willing to stretch boundaries, the Campbell Brothers
have delivered a genre bending record in "Can You
Feel It?" while still staying true to their roots.
"Can
You Feel It?" was produced by John Medeski who
also plays organ and clearly has a deep affection for
the music. In fact he had already created his own sacred
steel group, The Word, with transcendent steel wizard
Robert Randolph and the Mississippi All-Stars. The resulting
album was a tour-de-force and certainly good experience
for working with the Campbell's. What puts the Campbell
Brothers at the front of the pack is that they feature
three tremendously talented guitar players: Chuck on
pedal steel (awarded a 2004 National Heritage Fellowship
for his playing), Darrick on lap steel and Phil on rhythm
guitar. While the music here is deeply rooted in tradition
the Campbell's also roll in a good dose of jazz, R&B
and funk for good measure. The blistering "Frammin'"
kicks things off as all three bothers push this one
to the stratosphere and set the tone for what's to follow.
The Brothers keep the joy flowing with instrumentals
like the super funky "Good All The Time",
a mellow, heartfelt take on "Amazing Grace"
and Darrick delivers a gorgeous solo version of Sam
Cooke's "A Change Is Gonna Come." Longtime
Campbell's friend Denise Brown delivers uplifting vocals
on the galloping "The Judgment", the smoking
call and response of "Rally Time" and the
steamy blues soaked "Don't Let The Devil Ride"
always a highlight of any Campbell's concert. For his
part Medeski never overwhelms adding just the right
flourishes and textures.
"Can
You Feel It?" finds the Campbell Brothers stretching
out musically a bit more than their previous more traditional
albums but still playing with unrelenting passion and
innovation. As good as their records are the Campbell
Brothers need to be seen live so if you get the opportunity
don't miss it.
(Jeff Harris)
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