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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)
|
 Corey
Harris & Henry Butler: Vu-Du Menz (Alligator)
Fresh on the heels of last
year's dazzling Greens From The Garden comes Vu-Du Menz
which finds Harris continuing to evolve and stretch out in new and surprising
ways. This time around New Orleans pianist Henry Butler teams up with
Harris and the two mesh seamlessly stirring up a mighty musical gumbo.
Both Harris and Butler come to this collaboration boasting successful
and critically acclaimed careers. Butler has six records under his
belt encompassing both jazz and blues. Harris is best known for being
one of the finest of the younger generation of acoustic blues players.
Butler joined Harris on two cuts from last year's critically acclaimed
Greens From The Garden and it's obvious on this record that the
two share a remarkable chemistry.
Vu-Du Menz is a very different record the genre crossing
Greens From The Garden. In some ways this is a step back to
Harris' first two records evoking the classic blues of the 20's and
30' including strains of ragtime and hokum especially on the wonderful
good time feel of "If You Let a man Kick You Once" and
"Shake What Your Mama Gave You." The interplay between
Harris and Butler is astonishing evoking famous guitar/piano duos of
the past like Leroy Carr and Scrapper Blackwell or Tampa Red and
Georgia Tom. Make no mistake though, this is vital exuberant music
that sounds totally up to date. Butler's playing infuses the music
with a classic New Orleans sound firmly in the tradition of
Professor Longhair and James Booker. On this intimate set of mostly
originals highlights include the stomping opener "Let 'Em
Roll" the jaunty "If I Was Your Man" and the
unflinching "Mulberry Row" about the affair between Thomas
Jefferson and his mistress Sally Hemmings. Also worth mentioning is
Butler's stunning, soulful "There's No Substitute For Love"
that finds him in a solo setting. Adding an extra layer of
authenticity is that fact that these men can really sing and
have deep, soulful voices that perfectly compliment one another. In
fact if there's one compliant it's that the two men don't blend there
voices enough with either one or the other handling the vocal chores.
A minor point in an otherwise wonderful record.
The great
thing about both of these artists is that they're constantly evolving
and and totally committed to their craft. If you want proof just slap
on Vu-Du Menz and sit back and
enjoy.
(Jeff Harris)
|
|
 Big
Jack Johnson: Roots
Stew
(M.C.
Records)
In Big Jack's capable hands the delta blues
are alive and well. Like fine wine Big Jack seems get better with age
and just when you think he can't possibly top his last record he once
again he raises the bar. Roots Stew is a satisfying romp
through the back country encompassing the history of delta blues both
past and present.
One listen to this latest offering and it's obvious that Big Jack's
roots come from a deep wellspring of experience. This man's lived the
blues plain and simple. Big Jack's dad was a local musician and before
long he was playing in his Dad's band. His real apprenticeship came
when he hooked up with delta legends Sam Carr and Frank Frost. The
trio went on to form the famous Jelly Roll Kings who's intensity and
almost telepathic interplay was legendary. Roots Stew is his
third for M.C. Records and there hasn't been an ounce of let up in
creativity and sheer blues power.
Roots
Stew is a monster of a record,
filled with great songs and unbridled, earth-shaking playing with rock
solid support from The Oilers. Big Jack’s guitar drips with delta
sweat and his voice is pure passion. Things get off to a high octane
start with “Jump for Joy” with Big Jack singing about his baby’s
brand new car and the rumbling “Hummingbird” that sounds like a
dead ringer for the late Howlin’ Wolf. “Too Many Rats” is
another lowdown delta stomp with some slashing slide and good dose of
sly humor. Besides his instrumental prowess he has a knack for writing
memorable songs. Just check out his descriptive “Beale Street” and
the moving “So Long Frank Frost” a tribute to his partner and good
friend and is also the song he played at Frank’s funeral. The icing
on the cake is a couple of first rate instrumentals including the
after hours feel of “Late Night With Jack” and the stunning slide
drenched “Since I Met You Baby” which totally reinvents the Ivory
Joe Hunter classic. Just when you think Big Jack’s out of surprises
comes “Cherry Tree” played with some wonderful country mandolin
reminiscent of the late Yank Rachell.
With Roots Stew Big Jack manages to stay down home while
staying totally up to date. This is the real blues, the deep blues
played with passion and honesty that is far too rare among the current
crop of contemporary blues slingers. If you’ve been searching for
the real deal than look no further.
(Jeff
Harris)
|
|
 Jay
McShann:
What A Wonderful World (Groovenote)
With those immortal opening lines "I've been to Kansas
City" Jay McShann adds another chapter to his remarkable seven
decade career. If you close your eyes the music will carry you back in
time to Kansas City's famous 18th and Vine where all down the street
the joints were jumping with blues and jazz.
McShann's name will
be forever linked to Kansas City and of course to an alto sax player
by the name of Charlie Parker. McShann made his first recordings way
back in 1941 with Parker and the great blues singer Walter Brown. His
music not only swung hard but was also firmly rooted in the blues.
It's a sound that has served McShann well and as he says in a recent
interview he always thought jazz and blues went together anyway.
Nearly sixty years after his first recordings that philosophy still
holds true. What a
Wonderful World is an absolute pleasure to listen to as McShann
winds his way down memory lane revisiting a number of his classics as
well as some lesser known gems. McShann has a signature spare piano
style with just the right amount of bluesy flourishes and a charming
laid back vocal delivery. Things open up with the wonderfully laid
back "Piney Brown Blues" and this from a man who knew the
real Piney Brown (legendary Kansas City club owner and friend to
musicians). McShann tackles classics like the gently swinging
"Cherry Red", and intimate version of "Gee Baby Ain't I
Good to You" and "Lonely Boy Blues" a song he cut back
in 1941 with Walter Brown. "Rain is Such a Lonesome Sound"
is a lowdown blues that lets McShann really stretch out on the ivories
and is another highlight among many. Special mention goes to the backing
band who are nothing short of superb particularly guitarist
Sonny Kenner who's playing is spectacular and is someone who deserves
to be much better known.
While the set list may hark
back to McShann's early years there's certainly nothing dated here and
at 83 years old he sounds as vital as ever. McShann's recordings are
true treasures so sit back and enjoy this one and let's hope there's
many more to come. (Make sure to check out the two most recent
issues of Living Blues magazine which feature a lengthy two part
interview with McSahnn. Issue #149 is a special kansas City issue.)
(Jeff Harris) |
|
 Little
Brother Montgomery: No Special Rider (Adelphi/Genes)
Once again the Genes label continues
it's examination of the Adelphi catalog in it's excellent Blues
Vault Series. The sides on No Special Rider come from a 1969
session and find Little Brother in fine form laying down some wonderful
barrelhouse piano that hark back to era long past.
Like many pianists of his era
Little Brother honed his chops in the juke joints and lumber camps of the
deep South. Montgomery made his first sides in 1930 cutting his signature
tunes "Vicksburg Blues" and "No Special Rider" both
reprised on this collection. He also recorded more prolifically for
Bluebird in 1935-36. Unlike many pre-war blues artists Montgomery career
remained active. During the 50's he stayed current lending support to to
such Chicago up and comers as Otis Rush, Magic Sam and Buddy Guy who
turned Montgomery's "First Time I Met the Blues" into a modern
classic.
No Special Rider finds
Montgomery in a relaxed setting rolling through a set of classic tunes
like "Cow Cow Blues" and Leroy Carr's "Prison
Bound." Montgomery's sound is in the classic barrelhouse mold of
pianists like Roosevelt Sykes and Cow Cow Davenport but with a melodic, idiosyncratic
style all his own. He's at his best revisiting his own songs including a
marvelous version of "No Special Rider" that sounds virtually
unchanged from the original and his "New Vicksburg Blues"
featuring singer Jeanne Carroll. Carroll is a powerful singer, if not a
great blues singer, sounding best on a jaunty version of the pop classic
"You Got To See Your Mama Every Night." Another highlight is
"Little Brother's Early Pieces and History" a fascinating
interview that has Montgomery reminiscing about his early years and
influences.
No Special Rider is an
important document that sheds light on an era of blues history that is
sadly gone. In an age when the guitar is revered above all else it's
releases like this that show how
much we've lost.
(Jeff Harris)
|
|
Mighty Sam McClain:
Blues For The Soul (Telarc)
As
far as contemporary soul singers go no one has had a better winning streak
in the past few years than Mighty Sam McClain. Starting with 1992's Give
It Up To Love and the four that followed, Mighty Sam has made sure
Southern soul is alive and well. Blues From The Soul finds the
Mighty One on a new label but the groove is as good as ever.
McClain's ascendancy to the top ranks of soul and blues singers was a
rocky one. In the 60's and early 70's he a cut a few singles for Malaco,
Atlantic and Muscle Shoals before leaving the music scene for a long
stretch. It wasn't until the late 80's that he regrouped and started
touring again. He would have to wait until he was 50 before he recorded
his first full length record and he's hasn't looked backed since. The
Mighty One's fame has grown exponentially ever since and with releases
like this it's not hard to see why.
Mighty Sam McClain sings soul
and blues with incredible power investing each song with an emotional
wallop. Backed by a full horn section, piano, organ and an all original
set list the Mighty One sings about love and redemption with absolute
authority. Underlying it all is a deep spirituality and a belief that love
can save the day on songs like "All We Need Is Love" and the
storming "Battlefield Of Love." In Mighty Sam's songs blues and
religion freely mix particularly on the smoldering "Jesus Got The
Blues." Straight up blues cane be found on the impassioned "Sing
Me Some Blues" and the absolutely joyous "Going Back To New
Orleans" that finds The Mighty One singing about his former hometown.
Above all it's Mighty Sam's unflinching honesty and deep faith that make
these songs really shine.
Blues From The Soul is
an appropriate title for Mighty Sam's music comes from someplace deep
inside. If your ready to make the emotional investment than take a ride
with the Mighty One and feel the full redemptive power of the blues
.
(Jeff Harris)
| |  Son
Seals: Lettin' Go (Telarc)
"I'm a bad luck child," Son Seals growls
on his first studio album in six years, and seldom has a bluesman
spoken truer words. Even in the hard luck world of his genre, Chicago
based Son Seals has had a difficult go of it. His
wife shot him in the face necessitating reconstructive surgery, and he
lost part of his leg to diabetes last year. All these bad times have
only added to his intensity as a musician, and Lettin' Go, his ninth
release, proves that the rough times haven't dulled his edge. Quite
the opposite; Seals burns on these 14 tracks with the passion of a man
who's lived the harsh life he sings about.
With pros like Al Kooper on Hammond B-3, a
sharp four-piece horn section, and members of Conan O'Brien's band
backing him up, Seals unleashes a tough, Chicago blues storm. Seals'
steely, gruff, sometimes guttural vocals add the perfect tone to these
snappy, slightly funky hard luck blues tales. One of
the most distinctive voices in the genre, Seals sounds fervent and
committed throughout, attacking these tunes like he's got something to
prove.
The guitarist deviates from the straight blues
format by rewriting
"Jailhouse Rock" as a ham fisted, plodding "Osceola
Rock." But Seals takes a more successful detour into unplugged
territory with the heartfelt ballad "Dear Son," a tearjerker
which features a searing electric solo over a lightly strumming
acoustic guitar with sympathetic B-3 accompaniment from Kooper.
Members of Phish join in for an album closing,
double time remake of his own "Funky Bitch," a song they
have covered, tightening the grip on a fabulous comeback from one of
the toughest bad luck child survivors of the
blues.
(Hal Horowitz) |
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