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 CD Review  Book Review
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Page 1 of
2 of Reviews
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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. In addition you'll find
a real audio clip from each record we review located on the bottom left. 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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Furry Lewis: On The Road
Again (Genes)
David "Honeyboy"
Edwards: Don't Mistreat A Fool
R.L. Burnside: My
Black Name A-Ringin'
Henry Townsend: Cairo Blues
In the
last few years the Genes label has been providing a great service to country
blues fans by digging deep into the Adelphi Records catalog unearthing
music that hasn't seen the light of day in decades. The latest foray
in their "Blues Vault Series" brings to light four great
recordings cut between 1969-74 by six artists who have attained blues
legend status.
Today, at 85 years old, Honeyboy Edwards is considered one of
the grand old men of the blues and one of the last living links to
legends like Robert Johnson and Charlie Patton. Back when these
recordings were made Honeyboy wasn't as well know and despite playing
with everyone had only cut a few sides under his own name. Some
of these sides were previously released on the anthology Really
Chicago Blues but the rest have languished in the can for nearly
thirty years. The sides on Don't Mistreat A Fool find Honeyboy
at the height of his powers laying down pure delta blues played by a
man who's been there from the beginning. Also helping out are Big Joe
Williams, Walter Horton and Johnny Shines.
Another one who's still with us is 90 year old Henry Townsend
considered the dean of the St. Louis blues scene. Townsend cut a
handful of brilliant sides under his own name in the 20's and 30's but
never attained star status. He cut many more records as as an
accompanist playing with Sonny Boy Williamson, Big Joe Williams,
Roosevelt Sykes and many others. Cairo Blues contains
sessions cut between 1969-74 and show him to be a man of many talents:
an excellent guitar player and pianist and a sharp insightful
songwriter and first rate singer. Also worth mentioning is Townsend's
old St. Louis buddy Henry Brown who lays down some stomping piano on
the classic "Deep Morgan Stomp."
The
music on My Black Name A Ringin' catches R.L. Burnside as a relatively
young man and is only his second session dating from 1969. This is the
first time these sessions are seeing the light of day and make an
interesting contrast to his Fat Possum records of the 90's. Burnside
plays stripped down acoustic blues in his trademark hypnotic style
playing traditional numbers like "Goin' Down South",
"Poor Boy" along with delta classics "Catfish
Blues" and Muddy's "Two Trains Runnin'."
Unfortunately
Furry Lewis, Bukka White and Gus Cannon who make up the recordings on On
The Road Again have all passed on. This 1969 date is a
relaxed affair finding all in good form with Lewis on the bulk of the
tracks. Highlights include Furry's wonderful "On The Road
Again" a remake of his 1927 classic "Kassie Jones."
Even in his 70's his guitar playing is still nimble particularly on
"Furry's Worried Blues" and his vocals utterly charming.
Bukka White is in fine form battering out some great slide out of his
old National steel and for contrast listen to Gus Cannon's two tracks
playing his uniquely tuned banjo.
Fans of
traditional blues can do no wrong grabbing any of these fine releases.
Stayed tuned as the series unfolds with upcoming releases by Little
Brother Montgomery, Skip James, Johnny shines and more.
(Jeff Harris)
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The Johnny Otis Rhythm & Blues Caravan: The Complete Savoy
Recordings (Savoy)
It's
unfortunate, but perhaps not surprising, that when the name Johnny
Otis comes up it's associated with that one monster hit, "Willie
and the Hand Jive" that rode the charts back in 1958. Those in
the know of course know better and the proof of his genius can be
found in the three CD's that make up Rhythm & Blues Caravan-
The Complete Savoy Recordings.
Between 1945 and 1952 Johnny's band landed 15 songs in the R&B top
ten and led a shifting cast of incredible talent that would be the
envy of any bandleader. All this for a man born to Greek immigrants
who adopted the black culture as his own.
Johnny got his start as a drummer even backing such heavyweights as
Charles Brown and Wynonie Harris before launching his own band in 1945
with a remake of "Harlem Nocturne" which starts out this
set. Johnny's first sides were firmly in the big band vein even
sporting the great Jimmy Rushing on a couple of early sides both
included here. In 1948 Johnny opened a club called The Barrelhouse in
Watts which focused strictly on R&B acts. Surrounded by great
talent he fell in love with the music and the club in turn acted as a
breeding ground for much of the talent that passed through his band.
And
what talent it was! For starters Johnny's band was never at a loss for
great singers and this collection spotlights great forgotten names
such as Bobby Nunn with his group The Robins, the ultra smooth vocals of
Mel Walker and Redd Lyte among many others. As for woman singers it
was Little Esther who was tops and despite starting in the band at
thirteen belted the blues like like she'd been singing them all her
life. Esther helped Johnny hit big on blues rockers like "Cupid's
Boogie" and "Wedding Boogie" along with slow burners
like "Double Crossing Blues." Perhaps the hidden star is
guitarist Pete Lewis whose lowdown, dirty axe work absolutely sizzles.
Just check out "Midnight In The Barrelhouse" or
"Freight Train Boogie" and you'll realize that Lewis has
been sadly neglected. And let's not forget the man himself acting as
arranger, bandleader and a solid vibe player in his own right.
Not
only does this set prove that Johnny Otis was a true pioneer but more
importantly this set is a swinging blast from start to finish. With
his caravan of talented singers and musicians Johnny created a
vital music that has truly stood the test of time.
(Jeff
Harris)
|
 Central
Avenue Sounds: Jazz
in Los Angeles (1921-1956) Book (University of California Press Music) 4 CD
Box-Set (Rhino Records)
In the first half of this century several
mitigating factors that created the birth of the mega-city Los Angeles
also acted as an incubator for today’s modern jazz and R&B
scene. The University of California Press and Rhino records have
combined their talents to create both a written word and audio history
of one of the most fabled streets in American music history: Central
Avenue.
In writing Central Avenue Sounds the author, Steve Isoardi,
utilized an oral history approach, that is, he spoke to several
musicians that played on Central Avenue during its heyday and recorded
there memories. Clora Bryant, Lee Young, Cecil “Big Jay” McNeely,
Art Farmer and Melba Liston are a just few that recollect the good and
bad times on Central Avenue (a total of 19 musicians are interviewed).
In presenting the accompanying musical partner to the book, Rhino
Records spanned the entire history of music on Central Avenue. From
the earliest jazz influences of Kid Ory’s Creole Jazz band and Jelly
Roll Morton to straight ahead jazz playing of Dexter Gordon, Charles
Mingus and Art Tatum to the swingin’ R&B riffs of Big Jay
McNeely, Roy Milton and Jimmy Liggins & his Drops of Joy. These
four CD’s reflect what a night on the town must have been like,
during the Avenue’s hey day.
In the late 20’s to early 50’s a series of events, some good, some
bad, but all interlinking, shaped an environment that created one of
the richest pools of musical talent ever. Restrictive covenant housing
laws, the ability of people selling their house to put in the purchase
title that the new owner could not sell the property to any other race
but whites, outstanding high school music programs and teachers, the
flowing of money into the area during WWII and the glamorous Hollywood
scene, all combined to make Central Avenue the breading ground for
musical genius.
Each musician recants their early days of being raised in an
environment that nurtured musical talent. Whether coming from a
musical family or being integrated into the local high school musical
program, each musician ultimately honed their chops in one of several
smoky juke joints or honky-tonks on the avenue. Places like Ivie’s
Chicken Shack, the Downbeat Room, and the Mocombo club hosted daily
“cutting contests” where only the fittest survived. For most, the
“Avenue” served as the minor leagues, with the touring big bands
being the majors. Count Basie, Duke Ellington, Les Hite and Lionel
Hampton all used their visits to the strip to recruit new musical
talent for their band.
Due to segregation and the restrictive housing rules, the availability
of hotels to touring African-American musician was extremely limited
to the upscale venues on Central Avenue. As dehumanizing as it may
have seemed to the musicians, it was a blessing to the residents of
the community that lived along the avenue. Almost each musician
interviewed for Central Avenue Sounds mentioned the importance
of seeing there musical heroes walking the streets or practicing
before gigs. They were able to touch, talk, and interface with a hero,
during a time when black heroes were rarely celebrated.
Finally,
the musicians on the “Avenue” played an important role in
reversing discrimination in the musical unions. The musical unions of
Los Angeles, much like the rest of America at that time, were
segregated into two separate organizations, the white local (47) and
the black local (767). Central Avenue Sounds, the book, focuses
on the importance of local 767 and the role it played in nurturing
local talent. During the early 1950’s there was a concentrated
effort to combine these two unions into one.
Ultimately the hope was equal access to all the work that was
available in both Los Angles and the lucrative gigs on the sound
stages of Hollywood. When the final amalgamation of the two unions
occurred there were several outcomes. First, a trend was started that
led other major cities to consolidate their musical unions and
secondly an unforeseen consequence. Local 767 (located near Central
Avenue) not only nurtured the local talent but also acted as the local
hangout for both the traveling and stationary musicians. This mutual
hangout allowed the “big” name musicians to impart their wisdom
and skills to the next generation of musicians. With the amalgamation
local 767’s building was closed and the joint unions activities was
moved to local 47. The amalgamation was a victory for the human race
but lose to the “musical race”.
Although the book Central Avenue
Sounds Jazz in Los Angeles (1921-1956) focuses more on the
development of the jazz scene, Rhino has chosen to focus equally on
both the jazz and the R&B scene. Artists that are synonymous with the West Coast R&B scene
are amply heard in this box set. Pee Wee Crayton, T-Bone Walker,
Charles Brown, Johnny Otis and Camille Howard & Her Boyfriends are
dispersed equally between The Nat King Cole Trio, Charles Mingus,
Charlie Parker and Lionel Hampton & His Orchestra.
For those that prefer a synopsis of
the events on Central Avenue the Rhino Box set comes with a great
booklet that captures the flavor of the trials and tribulations of
Central Avenue during its heyday. In fact there is a picture in the
rather extensive liner notes that shows Big Jay on his back honking on
his horn. The picture is taken from behind Big Jay and also focus on
the kids right in front of the stage. The expression of their faces as
they experience the pure joy of early rock-n-roll is priceless.
Between the book Central Avenue Sounds Jazz in Los Angeles
(1921-1956) and Rhino’s box set all that’s missing is a DVD
with classic footage of these musicians setting the “Avenue” on
fire.
(Dave Moskal)
|
|
The Blue Horizon Story (Columbia)
The Blue Horizon Story is a fascinating three CD set
tracing the history of this influential UK label. The story's told
over the course of 70 tracks, including many rarities, and a
detailed sixty page booklet written by Mike Vernon the label's
founder.
The story of Blue Horizon is also the story of the
British blues boom. Blue Horizon's birth in 1965 came at a time when
British music fans and especially musicians were discovering American
blues in a big way. The label was a natural outgrowth of Mike Vernon's
R&B Monthly fanzine which he started in 1964. In 1965 the label
was officially launched with a lone 45 by Hubert Sumlin which kicks
off disc one. For serious blues fans and collectors it's
these early sides that are the most interesting. Due to a purchase tax
for lots of records over a hundred, which the fledgling label could
not afford, they only pressed 99 copies of each record ensuring a
future collectables market. Among some of the gems on the first disc
are great sides by J.B. Lenore, Drifting Slim, Jimmy McCracklin, Eddie
Boyd and Hound Dog Taylor. Also to be found are the very first
sides by The Bluesbreakers featuring John Mayall and Eric
Clapton and the first single by the newly formed Savoy Brown Blues
Band.
As we move into the second and third discs we find Blue
Horizon hitting the big time going into business with CBS. The label
also struck gold by signing a young band called Fleetwood Mac who
became the label's biggest seller. "I Believe My Time Ain't
Long", Fleetwood Mac's first single, kicks off disc two with some
fabulous slide by Peter Green. There are a couple of other fine early
Fleetwood Mac cuts including backing the great Otis Spann on "Tempeture
Is Rising." Other fine sides include a pair of lost Bobby Parker
cuts that absolutely sizzle, excellent tracks by Champion Jack Dupree
plus a couple of totally wild numbers by great under recorded NYC
guitarist Jimmy Spruill. Adding to the diversity is some first rate
country blues by Bukka White, Furry Lewis and Honeyboy Edwards.
As the the British blues boom wound down so did the fortunes
of Blue Horizon who folded in 1971. The Blue Horizon Story
stands as a testament to a pioneering label and more importantly makes
for great listening. Available only as an import this one's worth
tracking down.
(Jeff Harris) |
|
 Eddie
C. Campbell: Everything Gonna Be Alright (Icehouse)
It's been nearly
five years since we've heard Eddie C. Campbell's stinging brand of
West Side Chicago blues. Eddie was last heard on 1994's excellent
Blind Pig release and I'm glad to say that Gonna Be Alright reaches
the same high standard as it's predecessor.
Like many of his generation
Campbell left Mississippi for the bright lights of Chicago and quickly
fell in with some of the city's young turks. Eddie honed his chops
playing on the West side with Magic Sam and Luther Allison developing
a ringing guitar style that has the indelible Chicago sound stamped
all over it. Eddie's apprenticeship found him working with everyone
from Howlin' Wolf and Little Walter to Little Johnnie Taylor
Gonna
Be Alright finds Campell
putting down a rock solid Chicago groove backed by a fine band that
includes excellent harmonica work from Johnnie Mars, tasty piano from
ex-Roomful Al Copley and a tight horn section. Campbell's playing and
singing is dynamite whether on the infectious instrumental "The
Bug", the romping "Head Clear" or slow burners like
"Life Is Like A Game" and "You Worry Me." In
addition campbell's a fine songwriter getting credit on eleven of the
sixteen tracks. All in all certainly one of the best Chicago blues
records to come out in at least the past year.
Eddie C. Campbell may not be
a household name among blues fans but as this record proves it's not
for lack of talent.
(Jeff Harris)
|
|  B.B.
King: Let The Good Times Roll (MCA)
On Let The Good
Times Roll B.B. King pays homage to his idol, the great Louis Jordan.
From 1942 to 1951, Jordan scored an astonishing 57 R&B chart hits.
Jordan was a big
influence on King and countless others fronting a swinging band that
virtually drew the blueprint for R&B and later rock & roll. Most
of all it was Jordan's infectious personality with his humorous jive laden
songs that really connected with audiences.
On Let The Good
Times Roll King selects 18 tracks from Jordan's catalog including well
worn cuts like "Choo Choo Ch'Boogie", "Saturday Night Fish
Fry" plus lesser known numbers like "Rusty Dusty Blues" and
"Sure Had A Wonderful Time Last Night." Backing King is an
impeccable band including Dr. John on piano, Earl Palmer on drums and Hank
Crawford and David "Fathead" Newman on sax. On the surface it
seems all the ingredients are in place for a great record but
unfortunately things never seem to catch fire.
It's hard to
pinpoint the exact problem as King is still in fine form. Just check out
last year's Blues On The Bayou for proof. Certainly one of the
problems is that King's guitar playing stays in the background far too
often only really shining on an inspired version of "Caldonia".
There seems to a certain amount of passion missing plus I think it's hard
for anyone, even B.B., to convey the hip good-natured fun that made
listening to Jordan so pleasurable. Still there are a few nice moments
like the vocal duet with Dr. John on "Is You Is, Or Is You Ain't"
or the lowdown version of "Somebody Done Changed The Lock On My
Door" and a solid version of "Buzz Me" which is one of a
number of tunes on this disc that B.B. has covered before.
Approaching 75 years
B.B. King is still an ageless wonder and still deserving of the title King
of the blues. While Let The Good Times Roll may not be one of his
better efforts I think a couple of misfires are allowed in the course of a
brilliant fifty year career.
(Jeff Harris) | |  Silver
Jubilee: The Best Of Zachary Richard (Rhino)
Zachary Richard's been serving up his unique blend of
traditional cajun, zydeco, rock and New Orleans blues since the early
'70s though he's still far from a household name. If there's any
justice Silver Jubilee: The Best Of Zachary Richard, culled
from 14 albums, will bring him to the attention of a wider audience.
In the 70's as a member of "The Bayou Drifter Band" he
fused Cajun and rock into a new genre called "swamp rock."
The new style didn't catch on in Louisiana, but it was extremely
popular in Canada. With socially conscious lyrics penned and performed
in French, Richard's music found particular favor in politically
charged Quebec. He remained in Canada through the early '80s and
during that time earned several gold records. He returned to Louisiana
around 1981 and suddenly found that Cajun culture and music had become
a national fad. He went on to cut records with Rounder and A&M. Silver
Jubilee: The Best Of Zachary Richard distills his 14 albums down
to 19 tracks spanning his entire career. This is an amazingly diverse
record as Richard sings and writes in both French and English,
two-steps like a rocker, and is equally comfortable on accordion and
guitar. He covers traditional themes like a rocking version of Fats
Domino's "Hello Joesephine", "Filet Gumbo",
"Bon Temps Rouler" and the second line shuffle of
"Crawfish." Richard tackles meatier topics like the
politically charged "Cap Enrage" and "Ma Louisianne"
both sung in French. Making guest appearances are friends like Dr.
John, Michael Doucet, The Dirty Dozen Brass Band and Sonny Landreth.
Silver Jubilee: The
Best Of Zachary Richard showcases a true American original and one
that demands wider recognition.
(Jeff Harris) | |  Walter
Wolfman Washington: Blue
Moon Risin' (Artelier
Music)
Walter Wolfman Washington
is a tremendous and versatile musician and I can attest to the power of
his live show having gotten to see him a couple of times in his hometown
of New Orleans. That's why it's always puzzled me that his records have
been so inconsistent. Blue Moon Risin' was recorded in Europe in
1994 and now that it's finally being distributed in the States I can
safely say this is his best work yet.
Washington was born and bred in New Orleans and spent his formative
years steeped in that city's musical traditions. His first big break
came with vocalist Johnny Adams in the 50's followed by stints with Lee
Dorsey and later Irma Thomas. In the mid 60's he formed his own band
with his popularity steadily growing though the 70's. It wasn't until
the 80's that he began his recording career cutting a number of records
for Rounder plus single records on Pointblank and Bullseye. Washington
could never be pigeonholed as simply a blues musician and on this record
melds elements of funk, R&B and blues into a stunning mix. Above all
it's Washington's soulful, gospel soaked vocals, showing very much the
influence of Johnny Adams, that really set this one apart. In particular
listen to the beautiful "Blue Moon Risin'" and the smoldering
eight plus minutes of "Drown" a cover of Brother
Ray's "Drown In My Own Tears." His guitar work is equally
exceptional and in addition to great
backing by his band The Roadmasters he's also backed by the J.B.
Horns (Maceo Parker, Fred Wesley and Pee Wee Ellis). There's some solid
funk to be found on "Stop & Think" and
"Glasshouse" plus some great bluesy material
like the chugging "Can't Stop Loving You" and "Blues Has
Got To Go." Blue
Moon Risin' is the record I always knew Washington had in him and
displays all he remarkable talents. And
remember if you happen to be in the Big Easy the Wolfman's live gig is a
must. (Jeff Harris) |
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