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Johnny Dyer: Rolling
Fork Revisited (Mountaintop)
Various Artists: Blues
Harp Meltdown Vol. 2 (Mountaintop)
The
rich West Coast blues scene (mainly California) is
loaded with great blues talent and continues to assert
itself on many fine records year after year. The current
West Coast blues sound isn't as identifiable as Chicago
but usually draws influences from that better known
blues town plus incorporates elements of swing, jazz
and bit of a retro jump. There's
no shortage of fine harp blowers on the scene like
Rick Estrin (Little Charlie & The Nitecats), Rod
Piazza and of course Johnny Dyer and Mark Hummel.
Since 1991 Hummel has been both producing & performing
at his annual Blues Harmonica Blowout which has been
captured on the two volumes of the exciting "Blues
Harp Meltdown" series. During the live recording
of "Blues Harp Meltdown" Dyer and Hummel
launched spontaneously into Muddy's "Blow Wind
Blow." The chemistry was so great that the two
teamed up on an album of Muddy tunes which resulted
in the inspired "Rolling Fork Revisited."
"Rolling
Fork Revisited" not only alludes to Muddy's birthplace
but is also where Dyer himself was born in 1938. Dyer
soaked up the records of Muddy, Howlin' Wolf, Sonny
Boy Williamson, Little Walter and others who were
regularly heard on the jukeboxes and radios all over
the south. Dyer headed to Los Angles in 1958 and fell
in with the vibrant blues scene befriending many local
bluesmen including key West Coast harmonica man "George
"Harmonica" Smith who was to take him under
his wing. In the late 60's he met young harp blower,
Rod Piazza, a protege of George Smith, who helped
him record his first album for Murray Brothers (reissued
on Blind Pig in 1995). Dyer has recorded relatively
little but his two Black Top records from the 90's
are very impressive and it's good to have him back
in the spotlight.
"Rolling
Fork Revisited" is an impeccably assembled project
featuring Dyer tackling the vocals on 16 vintage Muddy
tunes including some wonderful obscurities. Dyer's
backing is masterful including Hummel's forceful harmonica
work clearly inspired by Little Walter and James Cotton
plus Hummel's band The Blues Survivors featuring Rusty
Zinn on guitar and pianist Bob Welsh who summons up
the ghost of Otis Spann with some spot on playing.
To make things more authentic there's Muddy alumni
on board like Paul Oscher (1967-1971) who plays slide
guitar and rack harmonica and legendary drummer Francis
Clay (1957-1966). Dyer's rich vocals sound remarkably
like Muddy's and the ensemble work evokes those classic
Muddy bands that were so unbelievably good. The songs
choices are heavily slanted toward deep slide and
harp numbers like the romping "Young Fashioned
Ways", the brisk shuffle of "Can't Get No
Grinding" a great latter day Muddy gem plus seminal
Muddy numbers like "Gone To Main Street"
and "Forty Days And Forty Nights." Some
of the best cuts are the lesser known Muddy songs
like the low-down "Layaway Plan" and the
ripping "My Dog Can't Bark" (one of the
great forgotten Muddy numbers and a personal favorite)
featuring some brawny slide from Oscher. As Hummel
states in the notes, if you close your eyes "you'd
think you're in Chess Records' Studios in 1957."
A killer record from start to finish.
"Blues
Harp Meltdown Vol. 2" is a 2-CD set subtitled
East Meets West as West Coast harp blowers
RJ Mischo, Gary Smith, Frank Goldwasser, Mark Hummel,
Johnny Dyer and Gary Primich join the stage with the
East Coast duo of Paul Rishell & Annie Raines
for an incendiary harp blowout recorded live at Moe's
Alley in Santa Cruz. Each of the players is backed
by Mark Hummel's fine Blues survivors band. This is
an exciting, electrifying and adventurous set of harmonica
blues as all involved really cut loose in front of
an appreciative crowd. RJ Mischo sets the tone by
kicking things off on disc one with some intense,
big toned blowing on "Telephone Blues" followed
by numerous highlights including Gary Smith on the
insinuating "You Can't Hurt Me No More",
Mark Hummel's swinging "Seven Nights To Rock"
and torrid blowing on "Love Shock." Paul
and Annie kick start disc two as the normally acoustic
duo go electric on the romping and lyrically clever
"Even Good Women Have Bad Days" and the
blistering instrumental "Annie's Rocker."
Johnny Dyer is masterful on Little Walter's "Everything
Gonna Be All Right" and Muddy's "Long Distance
Call" is as deep as it gets. Gary Primich closes
things out getting the lion's share of time with six
songs including the bouncy "Real Gone Lover"
and the rocking, rockabilly vibe of "Playgirl"
both from the pen of Smiley Lewis and the jazzy, hipster
feel of "Ain't She Trouble."
Mountain
Top specializes in West Coast blues with an emphasis
on harmonica blowers and have really outdone themselves
on these two outstanding releases. Both come recommended
and are an absolute feast for blues blues fans and
especially harmonica lovers.
-Check
out these related links:
Mark
Hummel Website
Mountaintop
Records Website
(Jeff Harris)
|
The Blues Of Sooks
Eaglin & Boogie Bill Webb (Storyville)
The Blues Of Robert Lockwood
& Boogie Bill Webb (Storyville)
The Blues Of Henry Gray
& Cousin Joe (Storyville)
A
nice surprise from the Storyville label is a batch
of mid-80's recordings from Snooks Eaglin, Robert
Lockwood Jr., Henry Gray and the little recorded Boogie
Bill Webb. Recording details are a bit sketchy but
all these recording were taped live in New Orleans
and apparently initially issued on video and now released
as audio CD's. The original videos seem to be out
of print but the music here is well recorded and first
rate making it of major interest to blues fans
"The
Blues of Snooks Eaglin & Boogie Bill Webb"
is a welcome release as Snooks rarely records anymore
since the demise of the Black Top label in the 90's
and Boogie Bill only cut one full length album plus
a handful of singles. Snooks is caught in fine boisterous
form with a hot, funky combo that's unidentified but
that clearly includes the legendary George Porter
on bass. Snooks' music defies categorization as he
melds funk, blues, soul into a unique form that has
been dubbed New Orleans street music. Snooks' soulful
vocals are in fine form and his amazing, totally unique
guitar style is given ample room to stretch out. Snooks
rips through the old warhorse "Mustang Sally"
like you've never heard with a jaw dropping solo and
proceeds to blast through an eclectic set that includes
the Fats Domino classic "Let The Four Winds Blow",
the early Ray Charles gem "St. Pete Blues",
smoking covers of Freddie King's "San-Ho-Zay"
and "Hideaway" and a sizzling version of
J.B. Lenoir's "Talk to Your Daughter." Although
he lived in New Orleans most of his life, Webb was
never much a part of the New Orleans scene. Webb's
music grew out of the Jackson, Mississippi area where
he was born and influenced by men like Roosevelt Holts
and the legendary Tommy Johnson. The four songs included
here feature Webb with Harmonica Slim who takes the
vocal on three cuts. The men deliver a fine set of
rough hewn, down-home blues on numbers like the soulful
"You Got A Right" and a fine cover of "Early
In The Morning" with Webb on vocals.
More
of Webb and Harmonica Slim can be heard on "The
Blues of Robert Lockwood Jr. & Boogie Bill Webb."
Recorded around the same time as the above this sounds
like a different session. Again Webb and Slim make
a fine duo on a set of back porch blues like "One
Room Country Shack" and a particularly sensitive
cover of Little Walter's "Blues With A Feeling"
sung by Webb. By the way Webb's lone album, "Drinkin'
& Stinkin'", is well worth checking out if
you can find a copy. Singer/guitarist Robert Lockwood
Jr. learned the guitar first hand from the immortal
Robert Johnson and continues to this day to be a vital
and vigorous performer. This 1984 date finds Lockwood
in stellar form as he performs solo before an audience,
sticking to classic blues from Leroy Carr, Roosevelt
Sykes, Robert Johnson, his own "Take A Walk With
Me" and a marvelous jazzy version of "Exactly
Like You" featuring some dextrous fret work.
"The
Blues of Henry Gray & Cousin Joe" capture
live solo piano sets by both men recorded the same
day in 1984. Gray was a stalwart of the 1950's Chicago
blues scene playing behind Jimmy Reed, Little Walter,
Bo Diddley, Jimmy Rogers, Billy Boy Arnold, and Morris
Pejoe before joining the combo of the great Howlin'
Wolf where he stayed for a decade. Gray remains in
top form to this day steadily issuing fine records
but has rarely sounded as commanding as he does here.
Gray lays down some forceful, two handed piano and
powerful vocals on the stomping barrelhouse instrumentals
"Blues Dance" and "Boogie Woogie",
the moving "Cold Chills" and a rocking version
of "Bright Lights, Big City." Beloved New
Orleans musician Cousin Joe Pleasant made his most
noteworthy sides in the 40's and 50's for King, Gotham,
Philo, Savoy, and after returning to New Orleans in
1948, for DeLuxe and Imperial. Latter day records
for Black & Blue and Great Southern showed his
witty observations and humor still intact. Cousin
Joe is in charming form and this intimate and engaging
solo date delivering witty and hilarious tales like
the surreal "Everything That's Made Of Wood Once
Was A Tree", "Life Is A One Way Ticket"
and "I Wouldn't Give A Blind Sow An Acorn"
("She had on a 55 dollar hat sittin' on a nickel
head"). If you want to know where Dr. John got
his hipster style look no further than Cousin Joe.
All
three of these recordings are intimate and wonderful
recordings of four unique bluesman captured in peak
form. What more could you want? Highly recommended.
-Check out these related
links:
Storyville
Records Website
(Jeff Harris)
|
J.B. Hutto:
Stompin' At Mother Blues (Delmark)
Detroit Jr.: Blues
on The Internet (Delmark)
Dave Specter &
Steve Freund: Is What It Is (Delmark)
You've
got to hand it to Chicago institution Delmark
Records which still remians vital after 50+
years headed by the indefatigable Bob Koester.
The label continues year after year to release
first rate contemporay jazz and blues records
as well as reissuing vintage blues from their
catalog and great Chicago indie labels like
United, Apollo and Regal. The past and present
are both represented with terrific new releases
by veteran piano man Detroit Jr., a great first
time meeting between guitarists Dave Specter
& Steve Freund and a vintage set of blues
from slide master J.B. Hutto.
J.B.
Hutto's slash and burn slide attack and declamatory
vocals puts
in him the great tradition of post-Elmore James
inspired players like Hound Dog Taylor, Homesick
James and the unsung Joe Carter. Hutto, with
various incarnations of his Hawk's, played the
blues unflinchingly intense and rough always
leaving plenty of that grit and barroom feel
on his records. "Stompin' At Mother Blue"
isn't a live set but has all the tough, rough
charm of what you would expect Hutto would sound
like in one of the blues dives he held court
in around the windy city before moving to Boston
in the 70's. These recordings stem for a 1966
session recorded at the now defunct
Mother Blues
club and the 1972 session where Hutto's
2nd Delmark album came from, "Slidewinder."
Only two of the nineteen songs have ever been
issued. It's unknown why these blistering sides
remained in the can but Hutto, backed by two
different version of the Hawks, stomps through
tough fare like "Evening Train", "When
I Get Drunk", the rocking stop-time of
"Hip Shakin'" and the wild and chaotic
"Young Hawk's Crawl" with some almost
indecipherable spoken commentary from Hutto.
A great document from the wild and wooly days
of Chicago blues and a must for Hutto fans.
Detroit
Jr. has been a Chicago mainstay since the early
50's playing the joints with guys like Morris
Pejoe, Jimmy Reed, Eddie Taylor, Little Mack
Simmons and others. His most famous association
was a stint with Howlin' Wolf in the 70's staying
on until Wolf's passing in 1976. Detroit has
been recorded sparsely until recently but 60's
singles like "Money Tree" (Bea &
Baby), "Too Poor" Chess) and especially
the oft covered "Call My Job" (USA)
show off a witty and colorful character that's
still very much in evidence. Detroit has been
better served in recent years with a trio of
excellent records on the small Blue Suit outfit
and featured on the great piano anthology "8
Hands On 88 Keys" for The Sirens label.
Detroit is in magnificent form here surrounded
by a top notch band featuring big toned tenor
from Eric Scheider and trumpet from Sonny Cohn
plus stellar guitar from Chicago's best including
Lurrie Bell, Maurice John Vaughn and Jimmy Dawkins.
Detroit remains a wonderful songwriter as evidenced
on heartfelt topical numbers like the R&B
tinged "Less Violence, More Love"
and the poignant "Somebody Better Do Something"
as Detroit tells us "this country is in
a real bad fix" as he lays down some marvelous
down-in-the-alley piano. Other highlights include
the low down lament "Blues On The Internet"
("...the woman I love spend all her time
on the internet"), a sparkling remake of
his classic "Call My Job", the philosophical
"Weak Spot" and kicks it up a notch
on the rollicking "Rockin' After Midnight"
a great remake of Lafayette Thomas' sizzling
"Jumpin' In The Heart Of Town." Detroit
Jr's playing and singing have never sounded
better and the band really cooks. Added bonuses
are an informative interview and a video clip
of Detroit in action.
"Is
What It Is" is a tremendous meeting of
the minds as guitarists Dave Specter and Steve
Freund join forces for thier first record together.
Specter and Freund first got together 20 years
ago when Specter sought out Freund as a guitar
teacher. Both men have gone on to acclaimed
careers with Specter taking a jazzier path and
Freund sticking close to the classic Chicago
blues sound. Both have not suprisingly found
there way to Delmark with Specter cutting six
for the label and two for Freund. Their divergent
styles mesh beautifully on a set filled with
tough, swinging grooves as Specter's jazzy approach
contrasts marvelously with Freund's Chicago
blues style. Freund tackles all the vocals with
a soulful, clear, expressive voice backed by
a tight band featuring some killer B-3 from
veteran Rob Waters with guests Barrelhouse Chuck
taking the piano on two cuts and West Coast
harmonica ace Mark Hummel sitting in for one.The
set is chock full of choice covers and first
rate originals. Highlights among the originals
include the steamy opener "My Little Playhouse"
which locks into a rock solid groove as both
trade off some sizzling solos, the raw, minor
key "Hoverin' Hawk" has a tough, menacing
vibe and the shuffling instrumental "Riverside
Drive" has bit of Booker T. & The MG's
meets soul-jazz feel as the two engage in a
tasteful and hot guitar duel. There's a number
of choice covers like a gorgeous instrumental
version of "People Get Ready" that's
suffused with warmth and spirituality before
kicking into double-time as you can almost hear
the amens in the background, a raucous
take on the early Bobby Bland gem "Lend
A Helping Hand" as both men really cut
loose and a wonderful and surprising cover of
Otis Spann's "She Needs Some Loving"
which Spann cut with Fleetwood Mac on the underrated
"The Biggest Thing Since Colossus"
album. An epic meeting of the minds that will
hopefully spark a sequel.
Delmark
shows no signs of slowing down and the company
still has a great ear for talent as they prove
year after year. All three of these records
come reccomended and I wouldn't be suprised
if all show up on many year end "best of"
lists.
-Check
out these related reviews:
Delmark
Records Website
Dave
Specter Website
Steve
Freund Website
(Jeff
Harris)
|
Ike & Tina Turner:
Live In '71 (Eagle Vision)
The
best of Ike & Tina's records like "It's
Gonna Work Out Fine" and covers like "I
Want to Take You Higher" and "Proud Mary"
crackle with a raw excitement and sensuality that's
almost palpable. If you think they must have been
something live get ready to be blown away. "Live
'71" hits like a hurricane with Tina Turner
delivering a devastating performance that has to
be seen to be believed.
The 2 set
DVD/CD "Live '71" is more musical nirvana
from the folks at Reelin' In The Year Productions
who have brought fans the incredible "Amercian
Folk Blues" series and the historic "Soul
To Soul" concert among others. "Live
'71" captures Ike & Tina at their pinnacle
in a performance recorded by the Dutch broadcaster
VPRO in February 1971 in the Netherlands and aired
one week later as an hour long concert. The concert
has been captured beautifully for DVD and the audio
portion sounds great. The CD duplicates the DVD
with the addition of two tracks and the package
comes with a 14 page booklet written by soul historian
Rob Bowman.
By
1971 the Ike & Tina Revue were and incredibly
tight, well oiled machine having formed in 1960
and who burned up the highways all across North
America and eventually Europe for five shows a week
for eleven months a year. Ike ran a tight ship with
impeccably choreographed routines, costumes and
a ton of sex appeal. The entire show is a whirlwind
of motion and sexual energy as Tina and the Ikettes
gyrate wildly dressed in short sexy outfits that
almost leave you breathless just watching. Ike Turner's
Kings of Rhythm horn section take the stage first
with a super funky workout of "Them Changes"
before the announcer comes on to introduce the band
and ushers in "three very bold soul sisters",
The Ikettes, who launch into the rousing "Sweet
Inspiration." Introduced as "the hardest
working woman in show business today" Tina
comes on stage dancing trailed by the gyrating Ikettes
and from that point on the intensity level hits
the roof. Tina's powerhouse, husky gospel soaked
pipes are backed by the band's hard driving, funked-up
hybrid of soul and rock. By this period that were
doing several rock and popular covers all delivered
with a devastating dose of funk and soul showcased
here on blistering versions of "I Want To Take
You Higher", "Come Together", "Honky
Tonk Woman" and of course their massive smash
cover of "Proud Mary" which was currently
zooming up the charts. Tina transforms everyone
of these covers into a sweaty, dynamic performance
that are utterly soulful. Tina digs deep on the
lovely and intense "A Love Like Yours"
and the steamy blues of "I Smell Trouble"
as Ike cuts loose with stinging fret work.
While
the Ike & Tina story ended on a much publicized
and tragic note it can't be denied that the duo
made some incredible music together. "Live
'71" testifies to that and is one of the most
dynamic and riveting concerts you will ever have
the pleasure to witness.
-Check
out these related links:
Reelin'
In The Years Productions Website
(Jeff
Harris)
|
The
Mannish Boys: That Represent Man
(Delta Groove)
The
current West Coast blues scene is
rich in blues talent and there have
been some terrific records from West
Coast bluesman and blues ladies in
recent years. A good chunk of that
talent can been found in a West Coast
super group who calls themselves The
Mannish Boys and who have just issued
their debut, "That Represent
Man", which is hands down one
of the year's finest albums. The
term super group usually refers to
some top heavy, bloated rock aggregation
but the term is used in the best sense
here.
The Mannish Boys feature the absolute
cream of the crop of West Coast blues
veterans and young bloods. The core
group includes: Finis Tasby (vocals),
Kirk Fletcher (guitar), Frank Goldwasser
(guitar), Leon Blue (piano), Ronnie
Weber (bass) and June Core (drums).
The album also features special guest
appearances by: Roy Gaines (vocals
& guitar), Johnny Dyer (vocals
& harmonica), Mickey Champion
(vocals), Paul Oscher (guitar) and
Randy Chortkoff (harmonica).
Headlining
this talented group is the great Finis
Tasby, a guy who can flat out sing
the blues and who should have a much
higher profile.
Tasby's been at it since the early
60'swhere he moved from
Dallas to Los Angeles in the
early 70's forming a group that opened
for the likes of B.B. King, Percy
Mayfield and Big Mama Thornton. Tasby
recorded several singles in the 1970s
and '80s and cut his first full length
record in 1995 for Shanachie followed
by the excellent "Jump Children"
for Evidence in 1998. Tasby's profile
has got a boost recently turning in
fine vocals performances on records
by Kirk Fletcher and Enrico Crivellaro
and his most recent solo effort, "Blues
- A Tribute To John Lee Hooker",
which was one of last year's best
overlooked records. Tasby takes the
vocals on on the bulk of the cuts.
The other vocal chores are taken up
by powerful harp blower and vocalist
Johnny Dyer on two cuts plus one apiece
by legendary Texas guitarist Roy Gaines,
L.A. vocalist Mickey Champion and
veteran pianist Leon Blue. Blue has
done stints with Albert Collins, Ike
and Tina Turner Revue and numerous
others. Guitarist Kirk Fletcher is
one of the best of the younger generation
honing his chops in the bands of West
Coast veterans like Al Blake , Lynwood
Slim, Junior Watson, Jimmy Morello
and most recently with Kim Wilson.
Fletcher made his debut with 1999's
strong "I'm Here & I'm Gone"
for the JSP label and the even "Shades
Of Blue" released last year as
an import and just released domestically.
If
you're looking for real deal blues
this is it as the group tackles some
great lesser known tunes from diverse
artists like Smokey Smothers, Little
Walter, B.B. King plus West Coast
legends like Jimmy Nolan, Jimmy
Wilson and Johnny "Guitar"
Watson among others. Tasby is a soulful,
understated vocalist and great interpreter
as he tackles a wide range of material
including swamp blues on Jimmy Anderson's
loping, hilarious "Going Crazy
Over T.V.", Lazy Lester's equally
humorous "I'm A Lover Not A Fighter"
both featuring some fine Jimmy Reed
styled harp from Randy
Chortkoff, hard
edged Chicago blues on a tough cover
of Smokey Smothers' "Come On
Rock Little Girl", Freddie King's
lowdown classic "It's Too Bad"
plus a pair of dead on B.B. covers
including a marvelous "Partin'
Time' with impeccable B.B. toned guitar
from Kirk Fletcher. Other vocalists
are equally good including fabulous
pianist Leon Blue who sings wonderfully
on the jazzy West Coast
swing of Jimmy Nolan's "You Been
Goofin'" and Johnny Dyer
who nails Little Walter's "Temperature"
blowing some uncanny Walter like amplified
harp. My favorite, though, is wonderful
veteran L.A. singer Mickey Champion
who's version of Johnny Watson's "The
Eagle Is Back" is a stunner.
Champion has huge, booming voices
with plenty of sass, and grit that
bears a strong resemblance to the
great Esther Phillips. Champion, by
the way, put out a great record at
the tail end of 2002 called "What
You Want" that was one of the
year's best if overlooked blues recordings.
The Mannish Boys is an all-star
group in every sense and the whole
record comes off spectacularly. A
big hats off goes to Randy Chortkoff,
the mastermind behind this incredible
project. While all members of the
group have their own bands let's hope
they find time to get together now
again as this is too good to simply
be a one time event.
(Jeff
Harris)
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