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Floyd Dixon: Fine!
Fine! Thing! (High John)
Old
blues singers don't fade away judging from recent
comebacks by old timers like Jimmy "T-99"
Nelson, Crown Prince Waterford and Tommy Brown to
name just a few. Add to the list the indomitable Floyd
Dixon who's engaging "Fine! Fine! Thing!"
marks a second comeback for this wonderful West Coast
pianist.
Texas
transplant Dixon came to prominence in the fertile
California blues scene of late 40's. It was a particularly
vibrant scene with many aspiring bluesman influenced
by the massive success of Charles Brown who inspired
a slew of fine honey voiced piano players like Amos
Milburn, Little Willie Littlefield, Roy Hawkins and
of course Floyd Dixon. Dixon had an earthier sound
than Brown but could croon the blues like his idol
and also rock the house with some blazing jump blues.
Dixon's glory years in the charts were between 1949-1952
when he scored a string of hits for labels including
Peacock and Aladdin before the rise of rock &
roll derailed his career. Dixon returned in terrific
fashion in 1997 with "Wake Up And Live!"
which garnered him a well deserved W.C. Handy award
for Comeback Album Of The Year. After keeping
a low profile Dixon proves he's not done yet with
the excellent "Fine! Fine! Thing!"
Dixon
has lost little since since his initial comeback although
his voice is a bit more weathered. Dixon's classy
piano work remains intact as does his knack for writing
witty songs. Backing Dixon is a first rate band including
the tasteful guitar work of Tony Mathews, good B3
organ from Hense Powell, the fine Ebony Horns on half
the tracks plus guest vocalist Candye Kane on two
cuts. "Fine! Fine! Thing!" finds Dixon and
his younger cohorts updating his signature brand of
West Coast blues with a contemporary edge but still
retaining that vintage vibe. The opener "Love
Oh Love", a classy mid-tempo ballad sets the
mood as Dixon stretches out on piano backed by the
gently surging horns. "Everything's Alright"
locks into a fine good time groove with Dixon's piano
right to the fore, "Fine! Fine! Thing!"
treads similar territory, "Lil Boy Blue"
is a jumping horn driven rocker while Dixon takes
us down in the alley as he tells us what the blues
is all about on the impassioned "The Blues",
one of the disc's finest performances. Other highlights
include a pair of instrumentals in the catchy "Cottontail"
and the after hours mood of "Floyd's Groove"
that finds Dixon really stretching out on the ivories.
"Fine!
Fine! Thing!" is a classy, well produced comeback
that provides Floyd Dixon with ample room to display
his many talents. Dixon may have been overshadowed
by others during his career, most noticeably Charles
Brown, but he's set down a stellar body of work and
this new album is just the latest chapter. Those who
want to check out Dixon's great early recordings should
pick up "Marshall Texas Is My Home" (Specialty)
and "Complete Aladdin Recordings" (Capitol)
both of which come highly recommended.
-Check
out these related links:
Highjohn
Records Website
(Jeff Harris)
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Paul Oscher: Down
In The Delta (Blues Fidelity)
Boldly
displayed in the sleevnote is the proclamation "All
Tracks Recorded Live 'The Old School Way' No Overdubs"
which should tell you something right there. Paul
Oscher is a traditionalist who plays those deep blues
he learned so well from his former boss Muddy Waters.
"Down In The Delta" finds Oscher in masterful
form giving his unique stamp on a set of mostly vintagel
material.
Oscher
first came to prominence as Muddy Waters' harmonica
player (1967 -1972) following in the footsteps of
Little Walter, Junior Wells, James Cotton, George
"Harmonica" Smith and Big Walter Horton.
Pretty heavy company! After leaving Muddy he worked
with a who's who of blue luminaries including Big
Joe Turner, Doc Pomus, Victoria Spivey, Big Walter
Horton, Johnny Young and Johnny Copeland among many
others. Oscher didn't cut his first full length album
until 1996's "The Deep Blues of Paul Oscher."
His most recent was 2004's "Alone with the Blues"
for the Electro-Fi label which was nominated for the
WC Handy Award Acoustic Blues Album of the Year,
winning in several other categories as well. "Down
In The Delta" is another superb outing that can
only enhance Oscher's lofty reputation.
Multi-instrumentalist
Oscher is best known for his harmonica playing and
serves up some tremendously inventive harp work here,
coaxing out a truly great tone from his necked racked
harmonica. The bulk of the tracks feature just Oscher
as he takes the vocals as well as playing guitar,
piano and even the melodica (whatever that is?) on
one track. Oscher is a gritty, soulful vocalist and
plays some very fine Muddy inspired slide guitar.
It's Muddy's deep blues spirit that hovers over this
project and Oscher even enlists former Muddy alumni
Calvin Jones and Willie "Big Eyes" Smith
on a couple of tracks. Also helping out are bassists
Mudcat Ward and Ronnie James, former Band drummer
Levon Helm and the great David Maxwell on piano. The
stark, atmospheric "Driftin' Blues" kicks
things off as Oscher gives this Charles Brown classic
the delta blues treatment laying down some tasty harp
and stinging slide accompanied by bassist Ronnie James.
Oscher takes it solo on the ominous "Blues And
Trouble" accompanying himself on just piano,
and delivers fine updates of Robert Johnson's timeless
"32-20 Blues" and Robert Lockwood's classic
"Take A Little Walk With Me." Oscher is
joined by Maxwell, Jones and Smith on a sensitive
reading of "Blues Before Sunrise" and a
heartfelt R&B tinged cover of Chick Willis' "You're
Still My Baby." Other highlights include a pair
of instrumentals including a cover of the traditional
"What A Friend We Have In Jesus" with some
Rev. Gary styled guitar work and a lovely take on
"Georgia" featuring some exceptional slide
and big toned harmonica.
Paul
Oscher plays those deep, heavy blues on "Down
In The Delta" with utter conviction and authenticity.
As he says himself "...I put my own stamp on
it. And I always keep that lowdown and lonesome feelin'
I learned in Muddy Waters' band -- I keep it real
and in the moment." I couldn't have said it better
-Check
out these related links:
Paul
Oscher Website
(Jeff Harris)
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Johnny Nicholas:
Livin' With The Blues 2005 (Top Cat)
Johnny
Nicholas reminds me of another bluesman we reviewed
this month, Paul Oscher. Both are versatile multi-instrumentalists,
both have spent time learning from the blues greats,
both play deeply traditional blues and both have
been under-recorded. "Livin' With The Blues
2005" is another set of superbly played down-home
blues that finds Nicholas in top form backed by
terrific supporting cast.
Nicholas has been playing the blues since
the mid-sixties and has spent a good deal of time
in a supporting role which may be why he isn't
as well known as he should. Nicholas has a handful
of albums under his own including 1974's "Too
Many Bad Habits", 1994's "Thrill On
The Hill" (reissued by Top Cat in 2005) and
2001's knockout "Rockin' My Blues to Sleep."
Along the way he's worked with Walter Horton,
Roomful Of Blues, Asleep At The Wheel, The Fabulous
Thunderbirds, Long John Hunter, Snooky Pryor,
Johnny Shines and others. Nicholas takes his time
putting out records but the results are always
worthwhile and "Livin' With The Blues 2005"
is no exception.
Nicholas
plays deeply traditional blues rooted in both
the Chicago and Texas sound, not surprisingly
since he spent a few years in the prior town (working
with Big Walter Horton, Boogie Woogie Red and
Robert Jr. Lockwood) and now calls Texas his home.
There's also a general American roots feel as
Nicholas draws in not only blues but strains of
country, rock and R&B. Nicholas is a fine
soulful vocalist who sings on all the tracks as
well as playing guitar and piano. Backing Nicholas
is a killer crew including Greg Piccolo and Kaz
Kazanoff on tenor sax, Marcia Ball on piano/vocals,
Cindy Cashdollar on lap steel, Riley Osbourn on
piano/B-3 organ plus a slew of other top drawer
musicians. Nicholas tackles a wide variety of
material including choice covers of Roosevelt
Sykes' wise and witty "You Can't Be Lucky
All The Time" featuring the stellar 88's
of Riley Osbourn, a soul drenched, low-down reading
of Howlin' Wolf's classic "I'll Be Around"
and the bouncy "Livin With The Blues"
originally done by Brownie McGhee. The rest of
the record features some first rate originals
including the jazzy, catchy instrumental "Hill
Top" with some fabulous interplay between
Nicholas' guitar and Cashdollar's wonderful lap
steel playing, the ominous vibe of "Dirty
People" ("Can't deny there's a force
of evil/Watch out for them dirty people")
featuring some down and dirty tenor from Greg
Piccolo and the after hours feel of "Teardrops
On My Windowpane" done in that world weary
Percy Mayfield style. Other highlights include
"Need Your Love So Bad", a soulful duet
between Nicholas and Ball, the gently swinging
"Honeydrippin' Baby" and the jumping
and jivey "I'm From Texas." A nice personal
touch is that Nicolas provides notes about each
song.
"Livin' With The Blues
2005" is another blast of stellar blues and
roots music from a guy who deserves a much higher
profile. As his previous records, this one comes
highly recommended.
-Check
out these related links:
Top
Cat Records Website
Rockin'
My Blues To Sleep Review
Thrill
On The Hill Review
(Jeff
Harris)
|
Otis Spann:
the Blues Of Otis Spann/Cracked Spanner Head
(BGO)
Otis
Spann never made it past his 40th birthday
but in a relatively short time he established
himself as perhaps the finest blues pianist
of his generation. Spann remained in the
Muddy Waters band until his death but thankfully
stepped out for a number of exceptional
recordings under his own name. "The
Blues of Otis Spann/Cracked Spanner Head"
was cut in Britain in 1964 and captures
Spann at the peak of his considerable powers.
Spann
had recorded prolifically as a session pianist
up to the time of this recording but surprisingly
had yet to receive much recognition. He
had recorded on just about all of Muddy's
records beginning in 1952 as well as playing
behind Jimmy Rogers, Howlin' Wolf, Little
Walter, Bo Diddley, Sonny Boy Williamson
and others. Spann's solo career hadn't taken
off yet with just a few sessions cut under
his own name for Chess (remained unissued
for years), Candid and a solo album for
Storyville cut in Europe in 1963. "The
Blues of Otis Spann" was recorded while
Spann was in Britain touring with the "American
Folk Blues And Gospel Caravan." Spann
is expertly captured by famed producer Mike
Vernon with a superb rhythm section that
included "Brother" on guitar (Muddy
Waters), Ransom Knowling on bass and Little
Willie Smith on drums who I'm assuming is
Willie "Big Eyes' Smith. As Mike Leadbitter
raved in the October 1963 issue of Blues
Unlimited: "Otis is brilliant on his
own as he showed us on Storyville, and now
we have him with a rhythm section that couldn't
be bettered." The second CD in this
set, "Cracked Spanner Head", is
essentially the same album but augmented
with horn and guitar overdubs and some remixing.
Spann
is absolutely commanding on this warm, intimate
recording which, as Neil Slaven wrote in
the original notes, makes one feel "...almost
like an eavesdropper who, unseen and unheard,
accidentally catches the true message of
the blues." Spann gets plenty of opportunity
to stretch out on piano, reeling out long
rolling, inventive passages backed by the
rock solid rhythm section with particularly
sympathetic playing from Muddy. Spann's
rich, slurred vocals are alternately relaxed
and powerful as he rolls though a selection
of originals and puts his unique stamp on
a few choice covers. There's a deepness
to Spann's blues that really comes across
on slow, thoughtful numbers like the autobiographical
"I Came From Clarksdale" featuring
some sensitive slide by Muddy and the world
weary and wistful "Lost Sheep In The
Fold." Spann picks up the tempo on
the shuffling, humorous "Keep Your
Hand Out Of My Pocket" laying down
some pounding two-fisted piano before really
cutting loose on the blazing "Spann's
Boogie." Other highlights include more
ruminative numbers like "Sarah Street"
and "I Got A Feeling."
Not
surprisingly the second disc, "Cracked
Spanner Head", with the unnecessary
and heavy handed use of overdubbing is a
travesty. This crime was committed in 1968
and the colorful pop-art cover tells you
that this was shamelessly geared to attract
the hippy crowd (I doubt it worked). The
final four tracks come from the same session
but were first issued on a compilation called
"Raw Blues." Eric Clapton plays
garish overdubbed guitar on "Pretty
Girls Everywhere" but thankfully Muddy
plays on the other three cuts. These are
much better including the intense "You're
Gonna Need My Help" which features
some robust slide and singing from Muddy
although the mixing sounds a bit odd.
Otis
Spann fans who don't own this material will
need to pick this one up as, at least the
first disc, which captures Spann at this
best. Collectors will at least want to give
a listen to "Cracked Spanner Head"
at least as a cautionary tale on how to
ruin a great record.
(Jeff
Harris)
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