Various Artists: The Land Where The Blues Began
(Rounder)

 "The Land Where The Blues Began" is a companion to Alan Lomax's book of the same name, orginally issued in 1992, and now reprinted by New Press in 2002. Both the book and the CD also serve as a fitting epitaph to Lomax who passed away in July of this year.

 The 28 selections on this CD were field recordings made by Lomax and others between 1933-1959. The bulk of these recordings were cut in Mississippi in 1941-1942 for the Library of Congress on a trip which has attained almost mythical status as they included the very first recordings by Muddy Waters and legendary performances by Son House and his band. While a good part of this CD is devoted to blues, Lomax was interested in all aspects of black music and this disc also includes work songs, field hollers, sermons, hymns, toasts and fife-and-drum music.

 Perhaps the most famous recording is "Country Blues" recorded at Stovall's Plantation in 1941 and issued by the Library of Congress the following year making it the first Muddy Waters record ever issued. Lomax caught up with Son House just a few days after recording Muddy resulting in some remarkable Delta blues but none greater than the nearly seven minute "Walking Blues." This is an epic recording featuring House backed by a rocking band including the fleet fingered Fiddlin' Joe Martin on mandolin, Willie Brown on guitar and Leroy Williams wailing away on harmonica. In the middle of it all was House literally preaching the blues- "possessed by the song, as Gypsies in Spain are possessed, gone blind with music and poetry" as Lomax writes. Other well known names include the first recordings by Mississippi Fred McDowell on his signature piece "Shake 'Em On Down", the first recordings by Honeyboy Edwards on "Wind Howling Blues" - a song improvised on the spot, Big Bill Broonzy's powerful protest song "Black, Brown And White" and then joined by Memphis Slim and Sonny Boy Williamson on Slim's original "Life Is Like That."

 The rest of the CD is filled with stark and powerful performances including fiery gospel sermons like "Hell Is a Place" by Reverend Ribbins, the rousing "I'm a Soldier In The Army of the Lord" by the Congregation of the Church of God in Christ complete with guitar and trombone and the spine chilling shout and response of "Satisfied" ("I ain't never been satisfied") by Florence Stamp and a group of girls- "the verses exploding like firecrackers on the Fourth" as Lomax vividly writes. Equally moving are some remarkable prison songs recorded at the notorious Parchman Farm Penitentiary in Mississippi and Central State Farm in Texas. The CD ends with a lively 1959 performance by Forrest City Joe and His Three Aces on "She Lived Her Life Too Fast" very much influenced by Sonny Boy Williamson. This band had a real chance for commercial success (although earlier recordings for Aristocrat went nowhere) but sadly Joe was killed the following year in a car wreck as his friend related in a letter to Lomax (reprinted in the booklet)- "the car flipped over throwing all five out-knocked Joe's brains out on the highway-killing him instantly."

  "The Land Where The Blues Began" is a fascinating document of the beauty, power and sorrow of black music recorded right at the source. Rounding out the package is a detailed booklet filled with Lomax's recollections, lyric transcriptions and photos.

Big Boy Henry: Beafort Blues (Music Maker)

 Richard "Big Boy" Henry was born in Beaufort, North Carolina in 1921 and has been called the patriarch of Carolina Blues. At 81 Henry remains a fine blues singer and wonderful storyteller making "Beaufort Blues" a charming, beautiful set of country blues.

 Henry has recorded little through the years making this set all the more valuable. He cut his first sides with Sonny Terry & Brownie McGhee in 1951 but these sides sat in the can only to be released decades later. Henry spent time away from music working on fishing and oystering crews, running a grocery store and doing a bit of preaching. He continued to play music and mentor younger bluesman and in 1995 the protest song "Mr. President," won him a W.C. Handy Award. In 1996 he released the fine "Poor Man's Blues" on the New Moon label. Although arthritis has hampered his guitar playing he's found sympathetic backing players and his singing remains superb making "Beaufort Blues" a true gem.

 The bulk of the songs are credited to Henry but also include a couple of traditional tunes and a cover of a Blind Boy Fuller tune. This is a gentle, relaxed set of down-home blues featuring exceptional guitar from long time partner Lightnin' Wells with additional guitar by label owner Tim Duffy. In addition to being a fine blues singer Henry is from the older generation of bluesman like Lightnin' Hopkins who really know how to tell a story. Just listen to Henry breathe new life into "John Henry" and "Old Bill" as well as first rate originals like "Mr. Ball's Warehouse" and especially the moving "Vellevina" one of the most touching love songs I've heard. Henry also turns in an inspired reading of the gospel song "Beautiful City" which sounds like it owes something to Reverend Gary Davis' rendition. Henry does play guitar on two cuts and when he's not playing he offers up lively encouragement to the band.

 Music Maker's ongoing mission is to help down and out musicians with basic necessities as well as encouraging them to play and record. The recordings have been uniformly excellent and "Beaufort Blues" is a fine addition to an impressive catalog. Find out how you can help by visiting the Music Maker website.

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(Jeff Harris)

West Side Horns: San Quilmas (Dialtone)

 The West Side Horns are San Antonio legends who have been playing together since the 60'. With "San Quilmas" the group has finally released an album under their own name. Powered by three saxes and a trumpet the Horns play punchy big band blues/jazz, the kind of good time music you rarely hear anymore.

 The original West Side Horns, Rocky Morales (tenor sax), Louie Bustos (tenor, baritone sax) and Charlie McBirney (trumpet), started working together in the '60s, before they had an official name. When McBirney left the group, trumpeter Al Gomez stepped in. While they worked various gigs, together and apart, the horns gained their moniker, and renown via their work with Doug Sahm. "San Quilmas" captures the veteran band locking into a rock solid groove as they sail through a catchy set of blues, jazz and funk with ease.

  Rounding out the brass is Arturo "Sauce" Gonzalez laying down some excellent piano and B3, Johnny Moeller adding some vintage guitar sounds and his brother Jay on drums. Like bands such as Booker T. & the MG's and the Memphis Horns, the West Side Horns encompass great musicianship with an unrelenting groove. Instrumentals like the hook laden "Rainbow Riot", the swinging "Funky Mama", the after hours feel of "Hit'n The Jug" and the 60's soul-jazz feel of Joe Zawinul's "Mercy, Mercy, Mercy" simply cook as everyone gets plenty of room to stretch out. Rocky Morales has got the slurred vocals down pat on a trio of Jimmy Reed songs including the rocking "You Got Me Dizzy", "You Don't Have To Go" featuring some blazing harmonica and "Sun Is Shining" with blistering guitar work from Moelller.

 The West Side Horns sure took their time getting this one out but it was worth the wait. This kind of sound is a rarity and it's great Dialtone captured this one for posterity.

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