Jon Cleary And The Absolute Monster Gentlemen
(Basin Street)

 Jon Cleary & his Monster Gentleman are widely regarded as one of the hottest bands in New Orleans, mighty impressive in a town loaded with talent, and his marathon gigs at the Maple Leaf bar have become the stuff of legend. While that live aura may be impossible to recreate in the studio, this self titled record comes pretty close, unleashing a sizzling mix of New Orleans funk, blues and soul.

 A quick listen to Cleary and it's obvious he's fully absorbed the multitude of strains that make New Orleans music so special. Cleary, a Londoner by birth, learned his lessons sitting at the piano stool of the famous Maple Leaf bar as well as sitting in with folks like Smokey Johnson, George Porter and Walter "Wolfman" Washington. Cleary's talents have gotten him some high profile work of late working with B.B. King, Taj Mahal and Bonnie Raitt. He formed the the Absolute Monster Gentlemen in 1994. Jon Cleary And The Absolute Monster Gentlemen is his third record with the band and follows the excellent Moonburn which came out in 1999.

 New Orleans has always been known for funk and Cleary and the band can really pour it on. Describing the band Cleary says "they sing like angels with the sweetest harmonies, and they can play the filthiest funk like absolute monsters." Cleary and the band have a sound all their own by certainly owe a strong debt to New Orleans monsters like The Neville Brothers, The Meters, Lee Dorsey and Dr. John. Cleary's main instrument is piano although he also tackles bass, dobro, mandolin, organ in addition to taking the vocal chores. In additional to the Gentleman the sound is fattened up with additional percussion, horns and high profile guest Bonnie Raitt on a pair of cuts. This is a hard hitting, and always funky, set of blues and soul as Cleary and the band create a mighty groove on the infectious "Cheating On You", the dead on Meter's vibe of "More Hipper" as Cleary rattles off a litany of great new Orleans musicians, The Neville Brothers' slinky "Just Kissed My Baby", the stomping piano blues of "Take My Love" and pure funk on "So Damn Good" and the instrumental "Too Damn Hot." There's an almost telepathic interplay between band members that bring to mind the remarkable playing of The Meters at their peak and the fact that there's some really good songs is icing on the cake.

 If you can't make it to the Maple Leaf for one of their sweaty all night jams this record is the next best thing. Crank it up loud!

-Check out these related websites:
www.joncleary.com
www.offbeat.com (Jon Cleary on cover)

Archie Edwards: The Toronto Sessions
(Northernblues Music)

 Archie Edwards' scant discography is a shame and in no way reflects his status a masterful country blues player. The Toronto Sessions was recorded in 1986 and is a beautifully recorded set capturing Edwards' at the height of his powers.

 Edwards was born in Union Hall, Virginia in 1918 and his guitar is rooted in the gentle fingerpicking tradition associated with Piedmont style of blues. His early influences included his father who played harmonica, guitar and banjo and who often hosted local musicians who were glad to give the youngster some lessons. He also learned diligently from the records of Blind Boy Fuller and Blind Lemon Jefferson among others. It wasn't until Edwards moved to Washington in the 50's and opened a barber shop that opportunities really opened up for him. The shop became a magnet for blues players including Mississippi John Hurt, Skip James and a host of younger musicians looking to learn the blues right from the source. Edwards played frequently around D.C. and in the 80's toured the U.S., Canada and Europe. Despite his growing stature he recorded very little which makes The Toronto Sessions all the more valuable.

 With just his Gretsch steel guitar Edwards laid down several dozen tracks of mostly traditional blues numbers plus a few originals. Edwards rolls expertly through these songs in a warm, laid back style and breathes a freshness and vitality into these songs that totally engages the listener. Edwards displays some marvelous and inventive fingerpicking throughout and has a warm and engaging vocal style. Among the many highlights include a moving version of "One Thin Dime Blues" that he learned from a Blind Lemon Jefferson record and that is rarely covered anymore, the Mississippi Hurt inspired "I'm Down Today", the gently propulsive "That Won't Do" a song he took off an old 78 heard back in 1934, "I Called My Baby Long Distance" featuring some slashing slide guitar and the original "Poor Me" with a not too flattering reference to the Reagan administration. Special mention should go Serge Sloimovits who did a wonderful job recording this session which gives this recording a crispness and clarity that leaps right out of the speakers.

 Edwards apparently recorded enough material for a second volume and hopefully that will be issued in the not to distant future. In the meantime we are lucky to have this marvelous country blues document whch marks a fitting epitaph to the artistry of Archie Edwards who passed away in 1998. An added bonus are the very informative notes provided by Barry Lee Pearson with plenty of personal recollections by Edwards himself.

(Jeff Harris)

R.L. Burnside & The Sound Machine: Raw Electric
1979-1980 (Inside Sounds)

 Due to in large part to the savvy marketing of Fat Possum Records, R.L. Burnside is an unlikely but genuine blues star. Purists may balk at R.L's recent records which mix hip-hop and techno beats with his raw Delta blues but the results have opened up a whole new audience that look upon Burnside as some sort of proto-punk blues oracle. The music on Raw Electric 1979-1980, however, probably more accurately reflects his musical vision and provides us a side of Burnside's music that has been rarely recorded.

 If the electronic wizardry that have graced his recent records doesn't really reflect Burnside's music equally false, as producer David Evans states, is the view of Burnside as a solo acoustic country bluesman. When folklorist George Mitchell first captured Burnside in 1967 he was playing electric guitar but played acoustic on the resulting sides simply because there was not an electric guitar handy. This often pigeonholed Burnside as an acoustic bluesman when in in fact it represented what Burnside was playing perhaps 15 to 20 earlier. Raw Electric 1979-1980 captures Burnside live fronting his band The Sound Machine, making music on his own terms as they barrel through some of the toughest, rawest Delta blues you're likely to hear without actually having to go down to Mississippi yourself.

 The bulk of these recordings were recorded live at Burnside's home near Independence, Mississippi with the rest taped at the Center for Southern Folklore and The University of Memphis. The band usually featured Burnside's sons Joseph on electric guitar, Daniel on bass, son-in-law Calvin Jackson on drums and occasionally some of the younger children such as Dwayne who would fill in on drums. The music is loud, raw and unrelentingly tough dominated by an almost hypnotic groove that is probably the trademark of the North Mississippi sound. Sound quality is surprisingly good capturing a fly-on-the wall feel that's the closest thing to actually being in the audience. The repertoire is wide ranging including a number of of R.L.'s signature tunes like "Going Down South", "Rolling And Tumbling" and "Jumper Hanging Out On The Line." The band exudes a loose but powerful vibe particularly on a fine slide driven "Dust My Broom", Little Walter's "Last Night" and the original "Searching For My Baby."

 Now in his mid-70's Burnside has reached the upper echelons of blues stardom playing all over the world and recording just about whenever he wants. While there's no shortage of Burnside recordings those only familiar with his more recent work would do well to check this CD out which provides a snapshot of delta blues recorded right at the source. The CD contains a thorough 15 page booklet written by David Evans and includes some wonderful black & white photos of the band.

(Jeff Harris)

Isaac Freeman & The Bluebloods: Beautiful Stars
(Lost highway)

 Beautiful Stars marks the debut solo recording of Isaac Freeman the great bass singer of the world renowned gospel group The Fairfield Four. Backed by Nashville's Bluebloods the result is a gorgeous, uplifting gospel record that puts Freeman's amazing vocals in the spotlight were they belong.

 Freeman joined the Fairfield Four in 1948 when the group was at the height of their popularity cutting records, touring all over the country and broadcasting daily on a nationally syndicated radio show. Many consider this lineup the greatest of all the Fairfield groups. A long time fan vividly recalls hearing Freeman for the first time on the radio: "...when he starts popping that bass, the radio was visibly jumping up and down." Freeman along with other members left the group to form the Skylarks in 1950. In the early 80's The Fairfield Four reunited to great success. Now at 74 years old Freeman's magnificent voice still makes the speakers rattle on this glorious program of gospel classics.

 Freeman's voice literally fills the room radiating a warm soothing power. The Bluebloods provide tasteful support featuring fine guitar work from Mike Henderson and excellent piano from either Matt Rollings or John Jarvis. Backing vocals are beautifully provided by Regina and Ann McCrary daughters of Fairfield Four founder Reverend Sam McCrary. The program consists of mainly traditional songs either learned as a child or important to Freeman during his career with many given spoken introductions that add a personal connection to these moving songs. The entire record connects on deeply personal level and it's impossible not be moved as these songs unfold. Among the high points are the lead off cut "Standing On The Highway" which evolves from a spoken introduction to just Freeman's voice backed by organ and builds to a rousing gospel finish. "Lord I Want You To Help Me" is a storming gospel number sure to get you on your feet, "Jesus Is On The Mainline" is a masterful version of this standard, "Beautiful Stars" is a gorgeous ballad he learned from his mother, "Don't Take Everybody To Be Your Friend" stomps along backed by some rollicking piano and "I've Got Heaven On My Mind" opens with spoken introduction on the passing of many of his Fairfield Four friends and becomes a moving meditation on his own mortality.

 Beautiful Stars is one of the most beautiful and moving records I've heard in sometime and a record that should strike a deep chord even for those one don't consider themselves gospel fans. Expect to see this record on many best of lists and I wouldn't be surprised if it garners some awards as well. Find out more about Isaac Freeman at his website: www.isaacfreeman.com.