James Cotton's mighty roar of a voice may be ravaged due to throat problems but he remains as powerful and inventive a harmonica player as ever. 35th Anniversary Jam celebrates the anniversary of the formation of the James Cotton Blues Band featuring a gang of blues superstars that kick the party into high gear.

 James Cotton went out on his own in 1966 and he was already a blues veteran at this point with a career stretching back to the early 50's. Cotton built a formidable reputation around Memphis in the 50's gigging with area notables such as Joe Willie Wilkins and Willie Nix. Like many Memphis bluesman Cotton's got his start cutting sides for the legendary Sun label. His big break came when Muddy Waters rolled through town and convinced him to join the band. It was Little Walter who appeared on the bulk of Waters' waxings until 1958, when Cotton blew behind Waters on "She's Nineteen Years Old" and "Close to You." Since going out on his own Cotton has cut stellar records for labels like Buddah, Verve, Vanguard, Capitol, Alligator and most recently for Telarc. While the 35th Anniversary Jam may not be the first Cotton record to pick up, long time fans will be pleased with this high energy set played with plenty of grit and fire.

 Cotton's blows a mighty head of steam on this record and is a constant joy to hear throwing in plenty of inventive and unpredictable licks. Cotton's core backing band is rock solid including the always fine Dave Maxwell laying down some rippling piano, Per Hanson on drums, Mike Williams on rhythm guitar and Noel Heal on bass. This is one of those rare guest laden records that actually work featuring fine performances from Kenny Neal, Koko Taylor, Lucky Peterson, Shemekia Copeland, Kim Wilson and many others. Everybody sounds like they're having a blast and the record exudes an infectious good time, jam feel. There's plenty of romping blues including a ripping version of Sonny Boy's "Don't Start Me To Talking", a steamy remake of Cotton's 1953 Sun classic "Cotton Crop Blues" with suitably tough guitar and vocals from Lucky Peterson and Maria Muldaur and Tab Benoit acquitting themselves nicely on the shuffling "All Walks Of Life." Also worth mentioning are the slinky "Fatuation" with vocals by Bobby Rush and a pair of great instrumentals in "The Creeper" and "Blues In My Sleep" which really let Cotton cut loose.

 All in all a fun celebration of Cotton's huge legacy and a jam session that truly works, giving plenty of space for the main man. Simply put- the man can still blow up a storm!

(Jeff Harris)

 Pianist Robert McCoy is far from a household name appearing on a handful of pre-war sessions and cutting a pair of ultra rare LP's in the early 60's. Bye Bye Baby collects both of these fine records on one CD plus several previously unreleased tracks.

 If it wasn't for the intervention of budding teenaged producer Patrick Cather, Robert McCoy would have likely been another one of the countless early bluesman to fade into total obscurity. McCoy was a minor bluesman who did a few sessions in 1937 backing artists such as Guitar Slim, James Sherell aka Peanut the Kidnapper and Charlie Campbell. Cather was a budding blues fan and pianist who encountered McCoy in the early 60's in Birmingham, Alabama. Despite a 40 year difference in age the two struck up a friendship that resulted in these recordings. Issued under the Vulcan label, the first LP had a print run of 400 copies while the second had a print run of about 100 copies making these records instant collectibles. Delmark has done a real service with this reissue spotlighting a fine barrelhouse piano player who even the most devoted blues enthusiast has likely never heard of.

 Bye Bye Baby is an absolute joy to listen to revealing a marvelous, sensitive barrelhouse piano player firmly rooted in the style of the 20's and 30's when the art form was at it's peak. It easy to see why McCoy was a favorite at dances and rent parties as he effortlessly rolls through a set of stomping barrelhouse blues and relaxed ballads played with utmost authority. He also proves himself a fine, expressive vocalist especially on slower blues. Except for drummer Clarence Curry on on four cuts the material finds McCoy in a solo setting. The choice of material shows off McCoy's influences particularly that of Leroy Carr & Scrapper Blackwell on the moving "Gone Mother Blues", "You Got To Reap What You Sow" and Scrapper Blackwell's own "Straight Alky Blues." Other influences are evident on a romping version of Pinetop Smith's "Jump Steady Blues", the good time feel of Piano Red's "Rockin' With Red" and "Pratt City Special" credited to McCoy but obviously inspired from Jabo Williams' "Pratt City Blues." In addition to reissuing McCoy's two LP's in their entirety there's also a pair of 1958 recordings as well as some mid-60's recordings that unfortunately suffer form poor sound. Still it's nice to have all this material in one place.

 An added bonus is the personal liner notes written by Cather which shed light on the unlikely circumstances that led to these recordings. Robert McCoy passed away in 1983 never getting an opportunity to record again which makes this wonderful set of piano blues all the more precious.

(Jeff Harris)

 After living in Germany since 1982 Louisiana Red made a triumphant return to the States in 1998 and has been on a tear ever since, playing and recording at the peak of his powers. A Different Shade Of Red is another impassioned outing filled with deeply personal recollections and stunning playing.

 Red's profile has been soaring in the past few years but for most of his fifty year career he's been vastly overlooked. Red made his first recording as Rocky Fuller back in 1949 and has recorded for numerous labels since. His most recent records starting with Millennium Blues in 1999 and Driftin' in 2001 have been some of his most focused efforts and that streak continues with A Different Shade Of Red a recording which captures Red playing as good as ever.

 When Louisiana Red's in full cry there's few bluesman who can touch him for sheer intensity as he wrings every last emotion out of his deeply personal songs. By his own admission Red's had a tough life losing his mother a week after he was born and his father purportedly was killed by the Ku-Klux-Klan which left him in orphanages most of his early life. Themes of loss and loneliness are common in his music but unlike prior efforts there's good dose of upbeat sentiment as well.

 In addition to the upbeat nature of some of the songs what gives this record a different sound is an first rate band adding some extra punch to Red's highly personal stories. The record was recorded in Woodstock, NY at the studio of drummer Levon Helm of The Band fame featuring Helm on drums, Jimmy Vivino on guitar, Steve Gomes on bass, Dave Maxwell on piano and organ and Garth Hudson (also from The Band) adding organ on a couple of songs plus a full horn section on a few cuts. Red burns through a mix of acoustic and full band cuts delivering some bone chilling slide work and some of his most passionate singing to date. Things get off to a rocking start with the thumping "Take Your Time" and the swinging, horn driven "Lou Jean" where everyone really cuts loose. "Alabama Train" has a guitar heavy ominous feel backed by a pulsing horn section that gives this tune an irresistible groove, the shuffling "I Had A Dream" features Red's stellar steel guitar work as does the emotionally wracked "Where's My friends?" featuring some unbearably tough slide work on this variation of the classic "Nobody knows You When You're Down And Out" theme. Other highlights include the late night feel of "Blue Evening", the beautiful acoustic love song "Phillipa" and "Sleep Little Robert" a heartfelt blues lullaby.

 A Different Shade Of Red is one of Louisiana Red's finest efforts in a lengthy career that finds this 70 year old bluesman getting better and better with age. This is one not to be missed.

-Check out these related reviews:
Millennium Blues
Live In Montreux
Driftin'

(Jeff Harris)