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 John Hammond: Push Comes To Shove (Back Porch)

 John Hammond was there at the beginning of the blues revival of the early 60’s and 40 years down the road he’s still going strong, if anything, sounding more inspired than ever. On "Push Comes To Shove" Hammond is still mining classic blues territory as well as throwing in plenty of new twists and turns that keep the music sounding fresh and vital.

 The blues revival hadn’t gathered full steam when Hammond cut his self titled debut in 1962; still waiting to be rediscovered, all within a couple of years, were Skip James, Mississippi John Hurt, Son House and Bukka White. Alas, Hammond’s primary inspiration, Robert Johnson, had been dead for a couple of decades by the time Hammond hit the scene. Down through the years Hammond has been one of the foremost interpreters of vintage blues songs not only on album but also as a tireless live performer whose shows are not to be missed. Hammond has recorded prolifically through the years not only as a solo blues troubadour but also as a very capable bandleader and electric guitarist. On "Push Comes To Shove" Hammond sounds invigorated on a batch fine covers and original material, mixing both traditional blues with a bit of blues experimentation for a fresh take on his signature sound.

 Those checking the credits may be put off seeing hip-hip/bluesman G. Love listed as producer and collaborator. Long time fans shouldn’t worry as G. Love is respectful of Hammond’s sound and in most respects the album captures Hammond at his best. Hammond plays both acoustic and electric guitar backed by a veteran band that includes Bruce Katz on organ, Marty Ballou on bass and Stephen Hodges on drums. In the last few years Hammond has begun writing some original material and has written five of the twelve cuts here. Hammond comes out swinging with the lean, raunchy title cut and bold electric cover of "I'm Tore Down" with G. Love adding some subtle but effective vocals for a very modern take of this chestnut. Hammond always sounds passionate but at heart he’s a traditionalist, sounding most at home on classic covers like the slinky, brooding vibe of Jr. Wells' "Come On In This House" and a rumbling full band version of Little Walter's "Everything Gonna Be Alright" both sporting some terrific amplified harmonica. Also in a traditional vein are the chugging Lightnin’ Slim number "Mean Ol’ Lonesome Train" and the masterful country blues originals "Heartache Blues", backed just by Katz' sensitive piano work, a number that sounds straight out of the Robert Johnson songbook, and the full band romp of "You Know That's Cold" as Hammond plays some blistering national steel.

 At this point Hammond could just coast on his reputation but with each new release he finds something new to say and remains unwavering in his passion for the classic blues.

-Check out these related links:
John Hammond Website

(Jeff Harris)

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John Németh: Magic Touch (Blind Pig)  

 No John Németh is not well known in blues circles but pick up his latest record and you can brag to everyone you that heard him before he was famous. Németh’s big label debut, "Magic Touch", showcases a knockout blues vocalist and a supremely talented harmonica player – in other words a major talent.

 Németh didn’t come out of nowhere, and in fact was a featured artist with The Junior Watson Band in 2002 and with Anson Funderburgh and the Rockets in 2005 and 2006. Németh has also cut a couple of independent records, first with "The Jack of Harps" and 2004’s "Come And Get It" with The Junior Watson Band. He’s now inked a multi-record recording deal with Blind Pig Records. As label head Jerry Del Giudice noted: "In our nearly 30 years in the business we have never before offered a new artist a recording contract on the strength of one performance." "Magic Touch" is the rare record that actually lives up to the hype, a thoroughly impressive outing from start to finish.

 The first thing that jumps out upon listening is that Németh is a naturally gifted singer, with a sweet, soulful voice that has a distinct 50’s era sensibility. He’s also a gifted harp blower although in this regard he’s rather under utilized. Németh’s traditional vocal style finds the perfect foil in his talented band featuring The Texas Horns with Mark Kazinoff, a guest shot from Anson Funderburgh (who's also the producer) and the big toned guitar of Junior Watson who nearly steals the show on a few numbers. Backed by the gently riffing Texas Horns, Németh soars on the vintage R&B of the infectious "Blues Broadway", the plaintive 50’s styled "You’re An Angel" and "Let Me Hold You" the latter two with some meaty Johnny "Guitar" Watson licks from Junior and the storming "Magic Touch" featuring stomping piano from John Calhoun Street who sparkles throughout. Németh really should have showed more of his harp skills as he simply cooks when he gets the chance as on a romping cover of Jr. Well's "Blues Hit Big Town" with some powerhouse blowing and "She did Not Show" evoking the late Sonny Boy Williamson II. Németh draws inspiration from all over the map – a little 60's soul, 50's blues ballads, a bit of New Orleans, West Coast style and of course some Chicago blues.

 Németh's sensational vocals are suitable for just about any blues style he attempts and he cuts a wide stylistic swath on his hugely entertaining big label breakout. Expertly produced by Anson Funderburgh, and backed by a flawless band, "Magic Touch" heralds a fully formed major talent.

-Check out these links:
Blind Pig Website

(Jeff Harris)

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Mighty Day -25 Gospel Greats (Document)  

 Pre-war blues fans, collectors and scholars are well acquainted with the treasures to be found in the vast Document Records catalogue. Document has accomplished it’s original mission which was to reissue every pre-war blues and gospel side recorded; it’s the place to find, say, the completed chronological recordings of familiar artists like Tampa Red and Lonnie Johnson to the utterly obscure like Gene Campbell or Monkey Joe. Early blues seems to attract a more devoted, obsessive audience than gospel from the same period but Document’s gospel holdings are equally deep and impressive. "Mighty Day -25 Gospel Greats" is a superb, eclectic survey of the label’s gospel delights, well suited as an entry point for blues fans looking to get a little religion.

 "Mighty Day -25 Gospel Greats" covers a wide stylistic swath, spanning from 1928 to the early 60's with all tracks taken from other Document albums. The focus here is mostly lesser knowns, sprinkled with more familiar names such as Thomas Dorsey, Golden Gate Quartet and Sister Rosetta Tharpe. Blues fans will find some cross pollination as on a pair of tracks by powerhouse singer Sister Goldia Hayes featuring blues artists Gene Phillips on guitar and Joe Liggins on piano, the latter delivering some stomping barrelhouse on the soul rattling "The Truth In Gospel." There’s of course Sister Rosetta Tharpe who waxed some bluesy gospel and straight blues, sounding magnificent on the moving "My Journey to the sky" duetting with the great Marie Knight and backed by the Sammy Price trio. Tharpe was hugely influential as evidenced by the incredible Sister O.M. Terrell who cut amazing Tharpe inspired sides in 1953 for Columbia including "I'm Going To That City" spotlighting Terrell’s formidable guitar work. Clearly Sister Lottie Peavey was inspired by Tharpe as evidenced on "Nobody’s Fault But Mine" backed by a Dixieland outfit featuring the legendary Bunk Johnson no less. In a similar vein is the jazzy inflected pop of the The Blue Chips" who’s "Stay On the Right Side of the Road" doesn’t sound much like gospel but is certainly entertaining.

 The men are featured in both group and solo setting, including a pair by The Golden Gate Quartet, certainly one of the most famous quartets all. Fine lesser known groups share the spotlight including a pair by The Wright Brothers, The Bessemer Sunset Four on the remarkable acapella title cut and the captivating call and response of the Cornfed Four's "Let The Church Roll On." Blues fans will find common territory with individual artists like Rev. A. Johnson's stunning electric slide on the hilarious and outspoken "God Don’t Like It" in which he truly does "speak his soulful mind" and needs to be heard to be believed. Speaking of electric guitar, Rev. Utah Smith's incendiary, way over the top distorted guitar work on 1944's on "Two Wings" is jaw dropping and at least ten years ahead of his time. Apparently he fronted the Two wings ministry and played this number walking down the aisle trailed by a long guitar chord and donning a pair of wings! Also crossing musical styles is the Elder Charles Beck and His Religion In Rhythm who delivers a jivey, hipster version of "Didn't It Rain" sporting an unknown but fleet fingered electric guitarist. Also worth noting in a more modern style is the terrific lead of Anthony Butler on a pair of 1955 cuts very much in the 50's mold of more famous groups like The Five Blind Boys and The Swan Silvertones.

 All in all "Mighty Day -25 Gospel Greats" is a thoroughly entertaining survey of roughly thirty years of remarkable gospel recordings. Those looking to dip their feet in the early gospel waters could do no better than picking up this uplifting and well chosen collection.

-Check out these links:
Document Records Website

(Jeff Harris)

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Drink House To Church House Vol. 1 (Music Maker)  

 The Music Maker Relief Foundation has been issuing eclectic, fascinating down-home blues and gospel recordings for years by musicians totally ignored by the mainstream. The recordings are just a small part of the foundation’s mission which in their words is "dedicated to helping the true pioneers and forgotten heroes of Southern musical traditions." Many of the musicians are in extreme poverty so they get help with basics like food, shelter and medical. Music Maker seems to have been amazingly successful in this pursuit. Their latest project is the ambitious "Drink House To Church House Vol. 1" the first in a four volume series each containing a CD and DVD. The series will culminate in a full length documentary film on the foundation.

 On the CD half we get eleven fine and varied performances. John Dee Holeman kicks of with electric ramshackle version of "John Henry" in front of a live audience and is joined by Kenny Wayne Shepard and Cool John Ferguson on the chugging acoustic blues of "Can't See Why." Holeman has two records on Music Maker including the excellent "Bull Durham Blues." Other fine blues comes from Captain Luke and guitar partner Cool John Ferguson who deliver a lovely version of "Careless Love" featuring Luke's magnificent baritone vocals, Macavine Hayes who turns in the stomping acoustic romp of "Snatch That Thing" while Little Freddie King turns in some passionate, incredibly low down blues on the somber "I Don't Know What To Do." There's some first rate gospel as well particularly the two by Bishop Dready Manning who plays harp and guitar on the propulsive "Gospel Train" and delivers a stunning blues hybrid on "What Was I Doing, When the Saints of God Found Me?" The highlight of the disc goes to Alabama Slim who's stark and brooding "The Mighty Flood" is a moving description from a man who was in New Orleans when the water rose. Backed by his cousin Little Freddie King, it's a haunting, vivid account told from Slim's personal viewpoint and musically based on John Lee Hooker's classic flood song "Tupelo."

 The DVD is a gem featuring interviews and performances by Captain Luke with Cool John, Macavine Hayes and Haskell Thompson; Bishop Manning & Family; Little Freddie King & Alabama Slim; John Dee Holeman. This is a wonderful, intimate portrait of a vanishing musical world, miles removed from the slick, mass produced music that pervades our culture. Captain Luke's soothing, mellow baritone is a thing of beauty highlighted by a gorgeous rendition of "Rainy Night In Georgia." Bishop Dready Manning's resides over St. Mark Holiness Church in North Carolina. In his early days, he was a blues musician and he was "out of hand," according to his wife Marie, who is a key part of his church. A big change came when he suffered a mysterious hemorrhage in 1962 and was saved both physically and spiritually when some neighbors came to pray over him. Bishop Manning & Family create an infectious, percussive brand of gospel with Marie taking the vocals on the moving "Something On The Inside" and the Bishop takes over on "Joy That I Have." Both Freddie King and Alabama Slim rode out hurricane Katrina on the fourth floor of the Monteleone Hotel. The duo create some powerful country blues on traditional numbers like "Baby Please Don't Go" and reprise the spellbinding "The Mighty Flood." John Dee Holeman wraps things up with a trio of traditional numbers, playing some amazing solo electric guitar on "One Black Rat", "When Things Go Wrong" and takes it acoustic on "John Henry."

 Music Maker has opened up a vibrant musical world most have us never new existed and the "Drink House To Church House" series is amazing widow into this hidden world. As founder Tim Duffy notes: "These artists have held dear to older musical traditions. Many of them have never been recorded or filmed, their music and stories heard only in their communities. Their art has been hidden & unseen. They have held onto archaic musical styles, yet when they perform their music remains fresh & new. Their art truly stems from the roots of America."

-Check out these links:
Music Maker Website

(Jeff Harris)

-Check out these related links:
Broke & Hungry Website
Jimmy "Duck" Holmes Review