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BLUES REVIEWS
BIG CITY
Rhy thm &
CLARENCE FOUNTAIN
AND SAM BUTLER
“Stepping Up and
Stepping Out”
The One Entertainment Systems
“Stepping Up and Stepping Out”
marks the triumphant return of Clarence
Fountain to recording. His remarkable
legacy began in1939 as confounder of
the original Blind Boys of Alabama and
recently he
was presented a
lifetime
achievement award
to go with
their four
Grammies.
In his first
release since leaving the Blind Boys in
2006 for health reasons, he’s aided by
longtime friend and former Blind Boy,
Sam Butler. Mr. Butler’s father was the
guitar player for the Mississippi Blind
Boys, and the two groups toured together
from their inception. Sam Butler grew up
with the Blind Boys, played his first gig
with them at age 11, and developed into
their musical director. Under the guidance
of Solomon Burke, Sam and Clarence
have produced this CD along with veteran
producer Jim Tullio.
“Stepping Up and Stepping Out” has
these gospel veterans stepping out of the
box and creating a sound that will appeal
to a wider audience young and old, sinners and saints. Guest players Donald
Fagen from Steely Dan, studio ace Jim
Weider, harmonica wizard Corky Siegel
and on back up vocals Tracy Pierce and
Caleb Butler of the Blind Boys of
Alabama, help create a sound that is
modern and goes beyond classic gospel.
Clarence and Sam trade off lead vocals
through out this CD, with Sam Butler’s
numbers having a blues edge and
Clarence’s sound fresh and dynamic
while retaining that Blind Boys flavor.
Sam’s guitar starts things off with
some funky country tinged picking; his
vocals take us “Down to the River”, as the
guitar cries and moans over the backup
singers. Clarence leads the way on “I
Know Where I’m Going,” a more traditional Blind Boys sound but with an easy
swing and bluesy backup. The blues is
back with Sam’s “It’s a Different World
Now” featuring Donald Fagen on melodica; look for this on Big City Rhythm &
38 Big City Blues • April-May 2009
Blues Sampler # 4. Clarence steps to the
front singing a gentle balled “Between
Darkness and the Light of Day” with Sam
assisting on vocals and guitar. The traditional “Don’t Let the Devil Ride” is a
delight, with Clarence and Sam trading
off verses on this funky organ driven
cover. The topping on this chunk of funk
is the blues harmonica of Corky Siegel
wailing in reply to the two vocalists and
Clarence keeps up the pace with a
Gospel work out on “Me And Jesus”.
Clarence takes a breather with a slow
mellow version of “Stand By Me.” His
deep resonant vocals bring new meaning
to this pop classic while Sam’s arrangements make that voice stand out even
more. Sam and Clarence trade leads on
the traditional gospel number “I Shall Not
Be Moved,” giving it a reggae beat that
offers a contemporary appeal. Sam Butler
sings from the bottom of his heart and
pours soul into “The Birth of Jesus” featuring just himself, another keyboard player
and Donald Fagen on melodica. After
that all Clarence can do is “Do What The
Lord Say Do” with a driving beat to get
that work done. They both slow it down for
the heart felt “I Commit” probably the closest thing to straight up gospel on the CD.
Some feel that blues or r&b is the
devils music and that gospel music
should be kept in church. Clarence and
Sam disprove that philosophy. This CD
flows with passion and positive energy
that is uplifting and meaningful and their
mission to spread it to the world.
Clarence Fountain has spent his life
singing the gospel and has brought his
message to churches, concert halls, and
festivals worldwide and now he helps
bring along the next generation. “Stepping
Up and Stepping Out” is Clarence
Fountain and Sam Butler spreading a
positive message that will touch any and
everyone who listens.—Roger &
Margaret White bluestime@sbcglobal.net
The One Entertainment Systems,
P.O. Box 2044 Beverly Hills Ca 90213
theoneentertainmentsystems@gmail.com
myspace.com/Clarence Fountain & Sam
Butler
SHEMEKIA COPELAND
“Never Going Back”
Telarc International www.telarc.com
In the decade-long recording career
of Shemekia Copeland, each of her CDs
have been different and her new Never
Going Back brings her to another turning
point. As the daughter of Texas blues
legend Johnny Copeland she grew up
with blues in her blood, but blues singing
isn’t this young woman’s only talent .
Here, Shemekia has stretched her wings
and there are no limits to where she may
go. Dropping the horns and big names,
she’s scaled down to a small band led by
producer-guitarist Oliver Wood of the
roots rocking Wood Brothers. The core
band also includes Ted Pecchio on bass
and background
vocals,
Tyler
Greenwell
on drums,
and fills by
various guitarists and
keyboard
players. Oliver Wood wrote most of the
songs, with an assist on some from
Shemekia’s manager John Hahn.
The title tune “Never Going Back to
Memphis,” is a dark film noir-short story
with the moody biting guitars of Oliver
and Mark Ribot, featuring Chris Wood on
bass. Every line paints an image of tough
guys, police and a girl on the run, and
Shemekia breaths each one full of life
over the relentless attack of the guitars.
With its funky rhythm, Shemekia states
that her heart ain’t no “Limousine” or
garbage can or easy chair, driving her
point home with self confidence and powerful vocals. Kofi Burbridge adds electric
piano with Mark Ribot joining the band as
second guitarist on “Born a Penny” (I ain’t
gonna be no dime). Shemekia says this is
an almost autobiographical number and
she’s going to be just who she is; but if
she’s a penny, its a lucky one that shines
just as bright as those dimes. In these
times of economic troubles Shemekia
sings the blues with conviction, declaring
independence to “Rise Up” when things
get tough; take control of your life. With
the power in her voice you know she’ll
make it.
Ms. Copeland helped write “Sounds
Like the Devil” with a slide guitar’s mournful minimalist drone over the drums and
the B3 of Ike Stubblefield adding a
churchy groove to this tale of televangelist preachers lining their own pockets.
Almost as a answer, the toe-tapping,
thigh-slapping beat of a down-home
gospel revival meeting in ”Big Brand New
Religion” features Chris Wood and Mark
Ribot, and Shemekia is ready to testify to
a brighter future ahead by taking control.
The reworking of Joni Mitchell’s “Black
Crow” shows Shemekia’s vocal range
transforming her from blues shouter to a
cool jazz diva. In the moving number,
“Broken World” with John Medeski on the
B3 Shemekia sings in a gentle voice
almost as if praying: “Speeding down a
dangerous road and its getting worse, I
wish I could fix just a small part of this
broken world.” The final number on the
CD is a tribute to her father’s song
“Circumstances.” Ms. Copeland pours
her heart out on this acoustic back porch
tune with slide guitar accompaniment that
reminds you just how deep her roots go.
Shemekia Copeland carries on the
blues legacy of her father, but she will not
be limited by labels. She doesn’t need all
the bells and whistles to sing her blues,
she wants the blues to grow with her as a
living breathing organism not a dusty
museum piece. As she continues to grow
we have yet to see just how far this
young woman will take us all. — Roger &
Margaret White bluestime@sbcglobal.net
www.shemekiacopeland.com
www.myspace.com/shemekiacopeland
CYRIL NEVILLE
Brand New Blues
M.C. Records-0064
The first release in eight years by
the youngest Neville brother Cyril is an
incredible compilation of true blues from
the singer and percussionist. His friend
Tab Benoit told him to “go blue” five
years ago,
and he finally took his
advice. Not
that Cyril is
a stranger
to the blues;
after all he
was raised
in New
Orleans’ 13th ward, and has been performing professionally with his brothers
since 1967. Cyril released his first 45
single nearly 40 years ago, and has performed since in many mediums with
many great performers in the rock, pop
and New Orleans tradition
The Nevilles have always been true
to New Orleans and the indigenous
music of that great city’s cultural past.
But here Cyril stays true to the blues,
rendering an abundance of ballads and
heartfelt lyrics about the destruction of
his city after the flood of the century.
Opening with a peppy Jimmy Reed
tune entitled “I Found Joy,” he simplifies
his message of his love for a good
woman. The strange chord arrangement
of the title track reveals the singer’s troubles before another woman came into
his life and brought him a “Brand New
Blues.” The Crescent City’s African
rhythms can be heard on the shuffling
tune “Shake Your Gumbo,” while the slow
and airy blues of the Bobby Blue Bland
standard “I’ll Take Care of You” reveals a
creepy tempo and eerie tone.
A jazzy little blues comes forth on
“Cream Them Beans,” with the harmonica skills of Jumpin Johnny Sansone and
metaphorically sporadic vocals that put
the singer in the kitchen of a good
cookin’ woman. Another slow tune by
Jimmy Reed that Cyril pulls off well is
“Blue Blue Water,” with the feel and purity of the Mississippi Delta. A refreshing
blues with a staggering melody and
gospel tinge is featured on “Don’t Move
My Mountain.” The last track says it all
as Cyril delves into an old Jamaican
blues by Bob Marley called “Slave
Driver.” This one is just under nine minutes long, and renders a deep blues with
lyrics that reflect not only the evil and
guilt of slavery, but also ruminate about
the displacement of the poorest citizens
of New Orleans, and that city’s neglect
in bringing these people back home from
their refugee status.
The liner notes were written by poet
John Sinclair, while the musically talented Brian J. produced the CD and played
most of the instruments heard here.
Other special guests include Tab Benoit
on guitar, Art & Ivan Neville’s streaming
organ, Waylon Thibodeaux on washboard and Hagar Ben Ari on bass. A
new era has dawned for Cyril Neville,
and he has put the blues on the front
burner. —Dirk Wissbaum
TRAMPLED UNDER FOOT
“May I Be Excused”
Blue Edge Records www.blueedgerecords.com
www.trampledunderfootkc.com
“May I Be Excused” is the fourth CD
for Trampled Under Foot, and after listening you’ll wonder why it’s taken this
long to discover this remarkable band.
They won the 2008 International Blues
Challenge, plus the 2008 Albert King
Award for most promising guitarist. Also
know as TUF the name fits this family
act from Kansas City, with Nick
Schnebelen on vocals and guitar, brother Kris on drums and vocals and little
sis Danielle on bass and vocals.
Danielle has sung with other bands; she
learned to play bass to play with her
brothers and she’s earned her place
with the big boys. These siblings have
the blues in their blood. Mom & Dad
played in a popular K. C. band Little Eva
& the Works which Mom still sings with
40 Big City Blues • April-May 2009
to this day. Granddad was a traveling
musician.
All 12 songs on “May I Be Excused”
are originals, as was their set list for the
International Blues Challenge. Every
song is a winner. Starting with the throbbing bass and screaming guitar of “Fog,”
the powerhouse vocals of Danielle’s
cuts through grabs you by the heart and
you feel every word. Her voice has such
power and raw emotion, her performance will
knock you
out and
leave you
breathlessly
wanting
more.
Brother Nick
steps to the
front on
vocals with the seasoned toughness of
a veteran blues man on “Jonny Cheat”
with guitar licks to match. They follow
with the swing of “Love My Baby” with
the boys add backing vocals and the hot
jumping guitar drives it along. Sliding
into a gentle acoustic number “You’re
Too Big to Carry” they recall their
youth: “Momma in the kitchen, kids are
in the yard, daddy on the front porch
playing his guitar,” with the slide guitar
crying. The title song “May I Be
Excused” is a real show stopper,
Danielle’s heartfelt vocals pleading as
Nick’s stirring leads helping to carry her
through. “Waiting on the Line” features a
vocal duet that flows together like blood
sweat the tears over a jazzy guitar. The
hard blues of a woman in an abusive
relationship blaming herself are felt in
“My Fault to Stay;” Danielle’s powerful
vocals and the strong guitar licks lend
strength and the promises of hope for a
better day. The shoe’s on the other foot
as Nick sings the burning number “Hot
Headed Woman:” “She’s got flames for
a tongue... coals in her eyes... that
woman is the devil in disguise.” His guitar is as hot as his girl.
Without skipping a beat they slide
into “You Call That Love,” for a trilogy of
bad-love songs as drums rumble and
the guitar tears at your heart strings.
After a CD full great songs “Mississippi
River” is a real tour de force for everyone in the band. Danielle pours it out
over Nick’s guitar. Let’s not neglect
brother Kris on drums; the band is so
good you may not notice that rock solid
support he provides but without Kris
they’re not TUF. To finish, “Comin’ Home
to You” starts as an easy shuffle where
all three trade off vocals before kicking
into high gear.
You can expect to hear more from
this family that plays together, listen till
the last minute of the CD they’re having
such fun you can’t help but enjoy it. —
Roger & Margaret White
bluestime@sbcglobal.net
PRESTON SHANNON
Be With Me Tonight
The latest CD out on the Title Tunes
label by soul crooner Preston Shannon is
a wide array of different musical mediums, with the conventional soul and
rhythm and blues, and some lowdown
blues thrown in for good measure. As I
looked closer at the band roster, I noticed
an astonishing amount of musicians who
play on tthis CD. With Preston on guitar &
vocals, there are 23 other performers that
make up the rhythm section as well as a
full horn set of trombone, trumpet and
saxophone. This is also the reason for the
CD’s dynamic and diversified sound.
Mostly intertwined with love themes in an
R & B category, the CD also strategically
places a taste of blues and electrified
jams that keep the listener intrigued.
The opener “I Might Be
Your
Husband,” was
written by
Stacy
Mitchhart, and
shows how
tight the rest
of the CD is going to be. The title track
features a great concept lyrically as the
singer serenades a lovely young lady
down in front of the bandstand. An opportunity he must find himself in nightly, and
what a way to swoon a pretty girl. The big
band sound of “The Fools Way Out” ruptures a nerve dynamically, but gently disperses the country guitar runs of the
Delta. The big city romp “If Ten Is Gonna
Kill Me,” keeps the coffee perking, and
the brooding, back alley beat of “Love’s
Gonna Get You,” renders a chilling lyric
with talented background singers. “Not
Tonight, Cause Honey I Got the Blues,” is
self-explanatory, but what a great title
(and excuse to give her.) “Goin Back to
Memphis” is another tune teeming with
the blues. “G Man” is a gesture of love in
an inconspicuous way lyrically, and throbs
with a seasoned rock & roll sound, while
“No More War” has a poignant yet sad
message of protest. Keyboardist Ronnie
Godfrey co-wrote nine of the 12 tracks
here. If you’ve seen Preston live, then you
know how this smooth operator works. A
powerful sound with unsuspecting guitar
riffs and charismatic style. This new CD is
an invitation for the ladies to enjoy, and
for the mens to respect. —Dirk
Wissbaum
THE SOUL
Black John
OF
JOHN BLACK
Electro Groove CD 504
Wildly adventurous guitarist and
singer/songwriter John Black, aka John
“JB” Bigham, has an impressive resume,
having played and/or recorded with Miles
Davis, Bruce Hornsby, Fishbone, Everlast
and Dr. Dre. This recent Electro Groove
project is a wide-ranging celebration of
the African-American musical heritage,
incorporating not only soul, gospel, blues
and folk elements, but also folding in the
more contemporary urban rhythms of oldschool funk, R&B and rootsy hip-hop.
He’s backed by notable musicians: keyboardist Adam McDougal (Black Crowes,
Macy Gray), bassist Shawn Davis (Beck,
Nikka
Costa),
bowed
cymbalist
Satnam
Ramgotra,
percussionist Davey
Chegwidden (Rhythm Roots All Stars)
and a trio of expressive drummers (Jake
Najor, Scott Seiver and Oliver Charles).
Black not only nods appreciatively to
bygone legends such as John Lee
Hooker, Leadbelly and Muddy Waters, but
assertively crosses into new sonic and
aural territories with a musical vision that
ought to shake the contemporary blues
scene up, like his contemporary Popa
Chubby.
Black writes some great, pretty much
cliché-free, songs. Picks include the
mean streets set, engaging title tune,
inspired by the 1976 cult film “J.D.’s
Revenge,” along with the languorously
atmospheric “Holiday Inn,” written from
the point of view of a fellow waiting for his
“running late” girl friend at a hotel bar; a
slide-guitar fraught, exorcistic “Better
Babe” with equal parts anguish and hope;
and the hypnotic, sun-filled “White Dress,
with stunning, smeary organ sequences
by McDougal and a wonderfully intonated
vocal arrangement. Also raising the eyebrow are the gospel-tinged topical commentary “I Knew a Lady,” a slow blues
with clever lyrics called “Forever,” and an
imagistic portrait, “Betty Jean.”
Risk-takingly soulful blues for a whole
new generation. Once again, big-eared
Electro Groove honcho Randy Chortkoff
has come up with a winner.—Gary von
Tersch
BOBBY JONES
Comin’ Back Hard
Delta Groove DGPCD—129
In early 2007, Delta Groove’s
Mannish Boys aggregation were beginning production on their third album “Big
Plans” in a small North Hollywood studio,
with pianist Leon Blue driving in from his
Las Vegas home. Accompanying Blues
was a longtime friend rumored to be able
to emulate the vocal chops of B.B. King,
Bobby “Blue” Bland and Howlin’ Wolf. As
the Boys began working, Blue’s guest
quietly remained in the background,
patiently waiting for the chance to show
his stuff. Hours later, when legendary
Chicago blues guitarist Jody Williams
arrived at the studio he smiled broadly
and exclaimed “Bobby Jones!” immediately recognizing his old Windy City pal.
Needless to say, Jones was soon singing
with the Boys and mapping out his debut
project for
Delta
Groove.
In fact,
most of the
material on
the aptly
titled “Comin’
Back Hard”
was recorded during the sessions for the Boys’
fourth “Lowdown Feeling” album—only
this time the focus was on Jones.
Accompanied by a large contingent of the
Boys (including producer Randy
Chortkoff, Kirk “Eli” Fletcher, Kid Ramos,
Ronnie James Weber and Richard “Big
Foot” Innes) as well as guest spots by
Junior Watson (with a stinging guitar solo
on a gritty revival of Ike Turner’s “Get
Over It Baby”), Al Blake (tasty harp on a
redo of George Smith’s moody classic “I
Don’t Know”) and keyboardist Fred
Kaplan, who sparkles on most of the
tracks.
In the 1960s and 1970s, Jones
recorded singles for a variety of Chicago
labels, including Vee-Jay, USA, Capri and
Expo, and decades later had some success on the Southern Soul market but he
never sounded as inspired and committed
as here. Plus, he makes it sound so easy
and relaxed—from an opening workout
on Hank Ballard’s “She’s the One” to the
CD closing weeper “How Long Will It
Last” (another Turner composition) with
room along the way for stunners like a
deep-grooved version of B.B. King’s
“Tired of Your Jive” and a rousing recasting of Mel London’s rocking “Cry for Me
Baby,” the bespectacled Jones and his
gospel accented, pulse quickening pipes,
equal parts adroitness and restraint, convince immediately. Hats off to Leon Blue
and Delta Groove for giving the seasoned
veteran a well deserved career revival.
Recommended.—Gary von Tersch
BRAD VICKERS & HIS
VESTAPOLITANS
‘Le Blues Hot’
ManHatTone1050 vestapolitans@aol.com
myspace.com/Vestapolitans
At one time blues and jazz were synonymous, Brad Vickers & his
Vestapolitans reunite them with a debt to
early jazz, swing, acoustic blues and ragtime, creating a sound that is fresh,
swinging and hot.
Brad Vickers is a
well regarded bassist who’s played with
everyone from Chuck Berry and Bo
Diddley to Jimmy Rogers and Johnny
Copeland, and currently backs up Bobby
Radcliff. Here Brad takes up acoustic guitar in the open “Vestapol” tuning, giving
this New York City band its name and distinctive sound. With the addition of
42 Big City Blues • April-May 2009
Margey Peters on bass and violin, Jim
Davis on clarinet and sax and Berry
Harrison on drums, the Vestapolitans
have a style all their own. The 20 tunes
on this CD are a mix of originals, classic
blues, and jazz standards that give it a
timeless quality. His originals on Le Blues
Hot blend with the covers so well, you’d
have to check the liner notes just to be
sure.
The original county blues number
“Freight Car” starts off this journey with
slide guitar leads and clarinet where
you’d expect a harmonica. It’s a real
delight to
hear clarinet and
violin swing
the blues;
these standard instruments of
early jazz
and ethnic
bands are rarely used today. Here they’re
not just an occasional lead but are used
as accompaniment, playing off each and
filling out the songs. This gives the music
a fresh yet familiar feel. Using clarinet is a
nice turnaround, taking back those parts
from the Mississippi saxophone imitating
horns. Brad’s vocals are nice in a homey
way, but the real pleasure comes from the
subtle interplay of these simple arrangements. The violin starts off an instrumental version of “Baby Please Don’t Go” with
a driving beat carrying the load as Brad
Vickers’ slide work shuffles on out.
Rounding out the compilation are traditional numbers like the Rev. Gary Davis’
“Hesitation Blues,”, Jimmy Reed’s “It’s
Gonna Be Me (There’ll Be a Day)” and
“On the Sunny Side of the Street”.
Interspaced with these are instrumentals
blending traditional numbers like “Up from
the Bottom” and “Give It Up Buddy,” with
originals “Hudson Stomp” and “‘A’ Rag”.
Margey Peters sings on Jay McShann’s
“Hands Off.” With an edge, her pleading
vocals fit this leave-my-man-alone tale.
On a more rockin’ side you’ll find “I’m
Homesick” with its slide guitar and sax.
The title may come from Homesick
James, but could just as well be Elmore.
They keep on rockin’ with “Gonna Quit
You” and “Woogie on Down,” featuring a
hard rockin’ clarinet and greasy slide guitar while “Boogie for Jimmy Reed” is driven by a sly high hat. With so many great
numbers, the standout track may be
“Mississippi Shadows,” an instrumental
giving the swampy feel, like sliding on
snake oil down some dark back road.
This CD, listened to as a whole, may be a
progression from country blues in the
beginning, swing in the midsection and
rock towards the end moves along on a
steady roll. Finishing off this voyage
through various musical styles, “Raisin’
Praise” takes on the feel of a Sacred
Steel church revival played on acoustic
slide guitar leaving you with a sanctified
feeling.
Brad Vickers & His Vestapolitans are
like nothing else you’ll find today, and
only similar to music you may have
remembered from the past. — Roger &
Margaret White
bluestime@sbcglobal.net
CHRIS JAMES AND PATRICK
RYNN
Stop and Think About It
Earwig Music 4957
Now based in balmy San Diego,
deep-grained vocalist and SRV-influenced
lead guitarist Chris James along with
utterly rhythmic bassist Patrick Rynn first
cut their teeth in the early 1990s on the
still pretty lively Chicago blues scene,
growing particularly close to Sam Lay
and Dave Myers. In fact, drummer Lay
picked them to anchor his band for nearly
five years, touring widely and recording
all the while. In the late 1990s, the duo
linked up with budding harmonica player
Rob Stone,
forming the
C-Notes
band which,
with Sam
Lay on
drums,
made the
cut in Martin
Scorsese’s
PBS blues documentary series. Lately,
the pair has recorded with the likes of
Dennis Binder, Chicago guitar legend
Jody Williams, San Diego blues survivor
Tomcat Courtney as well as touring
Europe and the states with Bob
Corritore’s Rhythm Room All Stars. For
this release, their debut CD project, they
are joined by a host of blues luminaries,
including not only Lay (heard to great
advantage on most of the in-the-vein
James/Rynn originals), the fore-mentioned Stone (on maracas on a barnburning revival of Bo Diddley’s classic
“Mona”) and Corritore, blues pianist virtuoso David Maxwell and saxists Jonny
Viau, Allen Ortiz and Carla Brownlee—
who mellows affairs out nicely on tenor
on an extended revival of Jay McShann’s
big hit “Confessin’ the Blues.”
All the while, James and Rynn do a
brilliant job of channeling one of their
early blues influences—the widely celebrated, Delta-drenched Chicago slide guitarist Elmore James. His big hit, the elemental “Dust My Blues” is not here, but
vivid covers of four of Elmore’s best originals are—highlighted by a fiery, stringbending version of his keynote instrumental “Hawaiian Boogie” (with Julien
Brunetaud nicely keeping the fervid pace
on the ivories) and the harsh advisory
“You Got to Move.” Choice cuts by the
pair begin with the romping and stomping
title song and include a nifty, doubleentendre laden shuffle called “Mister
Coffee” (with Corritore on tasty harp), the
dynamic, image-rich smolderer “I’d Like to
Write a Letter” (more red-meat blowing by
Corritore) and a sharp-toned, tremolo-rich
instrumental a la Elmore, natch, titled
“Relaxin’ at the Clarendon” with more
nifty Brunetaud piano and reverberative
slide-work. Recommended, as are all
Earwigs.—Gary von Tersch
THE BLUES BOX
Famous American Blues
Artists
Storyville Records – 108 8604
New for 2009 is this extraordinary box
set of 29 legendary postwar blues artists
from the European Union’s Storyville
Records. Packed with an astonishing
seven CDs, plus a bonus DVD, this set is
a steal. None here are alive today, which
puts the importance of this historic box
set into perspective. A large 40 page
booklet contains the entire contents of
the set, plus many great photographs of
the performers. These songs are not the
original recordings from these performers; they are in actuality recordings from
tours of Europe by each individual artist.
Recorded in Copenhagen, Denmark and
Switzerland, these tracks range from
early Big Bill
Broonzy
performances from
1956
through the
1960’s and
finishing off
as late as
1977 with
songs by
Jay
McShann.
Although the
play list
does not follow any certain time criteria, the songs here mostly
range through the 1960s, when many of
these men played the American Folk
Blues Festival in Europe.
Storyville is one of the oldest surviving jazz labels in the world. It started in
1952 as American music fanatic Karl Emil
Knudsen of Copenhagen saw fit to record
these incredible blues artists during their
visit overseas. The release of this box set
will hopefully motivate most traditional
blues lovers with a new sense of curiosity
and adventure, as we listen to recordings
possibly never heard before by an
American audience.
Each CD features two to four performers playing together or solo, so you
get to hear many songs by these musicians instead of just one or two like other
compilations. Among many of the 29 performers are artists that were obscure to
most blues lovers of the day. People like
Billie Stepney, John Henry Barbee, Eddie
Boyd, Speckled Red, Cousin Joe, Boogie
Bill Webb and James Caroll Booker the
third. Other well know names in this set
include Sonny Boy Williamson, Louisiana
Red, Champion Jack Dupree, Henry
Gray, Lonnie Johnson, Sleepy John &
Hammie Nixon, Sonny Terry & Brownie
McGhee, Matt Murphy and Sippie
Wallace, who is the only female singer
here. Several others are included as well.
Among these seven CD’s lie an incredible
153 tracks that prove this box set might
be the blues hit of the century.
Among the staggering number of
songs lie much of the popular blues of
the day, as well as lesser-known, ambiguous tunes. Because these men were performing mostly for white European
crowds, the songs here range from the
deepest blues to the barrel house dance
music popular in those days. Also, much
of what you hear might have been made
on the spot, or improvised in ways that
are not reflected on many of these musicians’ American recordings. After all they
were in Europe being treated like kings,
having fun with the people they met and
the music they were making. They were
being paid well for their time, but could be
much less serious knowing these folks
wouldn’t mind or even notice.
Besides the play lists for each
CD, the 40 page booklet includes a short
history of the performers. The bonus DVD
includes excerpts from eight performances made during the same European tour,
with 19 individual songs. Rare it must be
to see Cousin Joe, Henry Gray, Boogie
Bill Webb & Harmonica Slim, James
Booker, Champion Jack, Robert
Lockwood, and Sonny Boy Williamson—
all in the prime of their performing, live on
your television set. With a total running
time of 77 minutes, the DVD is a worthwhile extra perk. So check out this incredible box set of great blues songs by performers we have come to love and
respect. They may be gone, but because
of men like Knudsen the music will live on
for generations, perhaps centuries. —
Dirk Wissbaum
SAFFIRE—THE UPPITY
BLUES WOMEN
Havin’ the Last Word
Alligator 4927
It’s been 25 years since Ann Rabson
(piano, guitar, vocals) and Gaye
Adegbalola (slide guitar, harmonica,
vocals) began performing as Saffire—The
Uppity Blues Women, and 16years since
Andra Faye (mandolin, fiddle, upright
bass, guitar, vocals) joined, replacing
original member Earlene Lewis. During
that time, the acoustic trio’s toured worldwide, earning many devoted fans and
releasing seven previous Alligator
albums. As the title indicates, this is their
final Gator project, as each woman has
become increasingly committed full-time
to her solo career.
Recorded at Wally Cleaver’s
Recording Studio in their Fredericksburg,
44 Big City Blues • April-May 2009
Virginia hometown, it features a bevy of
sharp-witted, often provocative band originals along with alternating feisty and joyful covers of
songs:
Bessie
Smith’s
bawdy
“Kitchen
Man,”
Deanna
Bogart’s
saucy slice
of philosophy on aging, “I’m Growing
Older,” Gina DeLuca, Carla Daruda and
one R. Bruce Richardson with his unadulteratingly sassy, outspoken ode to “Too
Much Butt.” More uppity unforgettables
encompass a pair by Rabson (the lowdown boogie “Since You Been Gone” and
the mandolin-adorned “Haste Makes
Waste”) as well as Faye’s vibrant “Walkin’
Home to You” and the utterly lonesome
“Blue Lullaby.”
My favorite Adegbalola’s tunes
include the slide guitar-salacious “Bald
Eagle” (the hilarious follow-up to her classic “Silver Beaver”) and the gospelrimmed social commentary “I Can Do
Bad All By Myself.” Also noted are a pair
co-authored by EG Kight, Tom Horner
and Rabson—the gravity-defying, fiddletipsy “Travelin’ at the Speed of Love” and
a melancholy, plain-spoken examination
of “The Bad Times.” As Alligator founder
Bruce Iglauer puts it: “Though this will be
Saffire’s last album, it’s not a requiem—
it’s a celebration.” Indeed.—Gary von
Tersch
TORONZO CANNON & THE
CANNONBALL EXPRESS
My Woman
This new name on the Chicago blues
circuit has lit a spark for a fresh style of
big city blues. In good faith with keeping
the blues alive, Toronzo Cannon brings
forth an authentic vocal and urban guitar
style that’s worth the listen. Equally
steady is his lyrical content ,with fabled
blues anecdotes and testimonies to the
worthiness of the singer’s experience in
the blues. His band has been together
eight years,and he’s finally released this
new CD on his own label TA Records.
His modern sound is both dynamic and
funky, which when mixed together creates a genuine blues true to the
ambiance of the big city. He has played
the Chicago Blues Fest on the Gibson
stage, and regularly tours Indiana, Iowa,
Michigan, Kentucky and even California,
as well as playing the famous clubs of
Chicago like the House of Blues, Buddy
Guys & Kingston Mines and others.
Starting off with the title track, and
careening into the jam “Toronzo Shuffle,”
he manages to create a beautiful tonality
on guitar that has a hearty, robust flavor.
A distant organ fills the room on
“Cannonball (Just Messin’ Around,”) as
this rambunctious blues hits a chord, and
the rollicking bass lines and quick beat
fashions this instrumental into a foot tappin’ good time. The slide style of Elmore
James opens the track “Ain’t No Stranger
(Revisited,”) where Toronzo originates
some heavy lyrical involvement with the
dark side of the blues.
A medium tempo blues with a
smooth
sideline
comes on
“No Good
Man,” where
the slow
organ
chords and
wellrehearsed
background singers fill the track with the
right stuff. Besides some funky blues
tossed in here and there, several slow
numbers appear as well. Tracks like the
supine shuffle of “Young a Little While
(But Old a Long Time,”) with its becalmed reverb, and the airy piano
stylings and meaningful guitar solos of
“Earnestine” give folks a chance for a
slow dance.
Toronzo’s band includes Jack Jerozal
Jr. and Dave Forte playing drums and
bass respectively, and Matthew James
on rhythm guitar. Among special guests
are Brian James, who gives us the organ
and piano through his keyboards, and
Russ Green who plays a little harp. Other
guitarists are on the lineup as well. I’m
sure this songwriter will start to show his
face on the festival circuit soon, as My
Woman preps the blues scene. — Dirk
Wissbaum
JIMMY CARPENTER
Toiling in Obscurity
l
Louisiana-based saxophonist Jimmy
Carpenter has been on the road since
1979, beginning with a spell with the
renegade blues band, the Alka-Phonics.
In the late 1980s he moved to
Charlottesville, Virginia to join the bluesy
pop group Charlie Pastorfield and the
Believers, touring the mid-Atlantic area
extensively and releasing three albums
of original material. Sojourns with blues
guitarists Tinsley Ellis and Jimmy
Thackery followed—Carpenter appears
on four Thackery albums. Moving back
home to the Crescent City, “the last bastion of horn players in the guitar universe,” in 2004 he’s been working on this
nine track project since then, “with little
matters like employment and a hurricane
getting in the way.”
The result pays allegiance to each
phase of his lengthy career. He pulls it
off nicely with the deep-grooved assistance of drummer Wayne Maureau, keyboardist Papa John Gros, guitarist John
Fohl and bassist Casandra Faulconer,
along with special guests like Walter
“Wolfman” Washington, Big Chief Monk
Boudreaux and ace percussionist Alfred
“Uganda” Roberts. Guitarist Washington
shines on the two tracks he appears on:
the contemplative Carpenter original,
“Common Man,” which has well-crafted
lyrics and distinctive, jazz-tinged vocals;
and a melodically vibrant instrumental
revival of the Russ Columbo/James
Brown chestnut, “Prisoner of Love.”
Boudreaux, likewise, adds his magical
gris-gris to the set’s longest track, another
Carpenter
composition, “Don’t
Believe It.”
This cautionary
tale soulfully comments on
the Hurricane Katrina travesty and
beyond.
Other must-comment-ons: A deft
arrangement of the Rolling Stones classic “Shine a Light” boasts a Joe Cockerlike energy and some scintillating guitar
work by Fohl. A second-line framed take
on Dr. John’s rocking “Back by the River”
(add trombone, trumpet and Matt
Perrine’s sousaphone to the smoky
stew). Add a funky pair of Carpenter
instrumentals-a moody, late-night “Sinner
Street,” co-composed by Thackery, and
the aptly titled closing number “Upswing.”
Hopefully, Carpenter will no longer be
toiling in obscurity after this distinctive
album. I’m certainly sold, and the
Wheelchair Man is spinning wildly, talking about a Mardi Gras hullabaloo.
Here’s the soundtrack for your party!
Contact Carpenter at
www.myspace.com/jconsax.-Gary von
Tersch
MICKEY CHAMPION
Bam-A-Lam—The R&B
Recordings 1950—1962
Ace CDCHD—1192
Still active at 82, powerhouse
R&B/jump blues vocalist Champion
began singing as a five-year-old gospel
sensation at her local St. Charles,
Louisiana CME Church but by 1945
found herself in the midst of Los
Angeles’ thriving Central Avenue club
scene—that featured major artists like
Count Basie, Duke Ellington and Billie
Holiday (a strong influence on
Champion) as well as West Coasters
Charles Brown, Johnny Otis, the Liggins
Brothers and Little Esther Phillips.
Champion, at one point, even went on
tour as a substitute for the under-age
Phillips.
In 1950 she married local R&B band
leader Roy Milton. Her recording career
began then, with two side taped live at
Bull and Norman’s inaugural Blues &
Blues Astrology
By Nancy Kossman
Aries
March 21-April 20: Your relationships get easier
to navigate after April 17th when Venus turns
direct in Pisces. A past love may re-surface.
Communications get dicey when Mercury retrogrades in Gemini
from May 7th
through 30th. Take
the usual precautions. On April 15th,
Mars conjoins
Uranus in your 12th
house, so expect the
unexpected, drive carefully and avoid DIY electrical projects, especially in the basement.
3/22/32 – Juke Boy Bonner, Bellville, TX
3/23/26 – Louisiana Red, Vicksburg, MS
3/23/51 – Lee McBee, Kansas City, MO
3/25/1906 – Curly Weaver, Covington, GA
3/27/15 – Robert Lockwood, Jr., Marvel, AR
3/27/32 – Junior Parker, Clarksdale, MS
3/27/1905 – Leroy Carr, Nashville, TN
3/30/14 – Sonny Boy Williamson I, Jackson, TN
3/31/13 – Etta Baker, Caldwell County, NC
3/31/1905 – Maceo Merriweather, Atlanta, GA
4/1/1895 – Alberta Hunter, Memphis, TN
4/1/27 – Amos Milburn, Houston, TX
4/1/1897 – Lucille Bogan, Amory, MS
4/4/15 – Muddy Waters, Rolling Fork, MS
4/4/13 – Cecil Grant, Nashville, TN
4/6/17 – Big Walter H orton, Horn Lake, MS
4/7/15 – Billie Holiday, Philadelphia, PA
4/7/32 – Mr. Bo, Indianola, MS
4/8/1908 – Tommy McClennan, Yazoo City, MS
4/9/1895 – Mance Lipscomb, Navasota, TX
4/10/22 – John Brim, Hopkinsville, KY
4/11/35 – Johnnie Billington, Crowder, MS
4/12/45 – Ann Rabson, New York, NY
4/14/48 – Robert Jr. Whitall, Philadelphia, PA
4/15/1894 – Bessie Smith, Chattanooga, TN
4/15/36 – Frank Frost, Auvergne, AR
4/15/31 – Little Sonny Jones, New Orleans, LA
4/15/55 – Tommy Castro, San Jose, CA
4/16/31 – Johnny Littlejohn, Lake, MS
4/17/26 – Sam Carr, Friar’s Point, MS
4/18/24 – Clarence “Gatemouth” Brown, Vinton,
LA
Taurus
April 20 – May 20: Venus will turn back around
on April 17th and life will get back to normal
for you, at least until May 7th when
Mercury goes retrograde in Gemini until
May 30th, when he
turns direct in
your sign.
During this time it
will be hard for you to
make yourself understood, especially about
money. Count your change, twice. On April 21st
Mars conjoins Venus in your 11th house and you
will be both attractive and attracted. Enjoy yourself, a wish could come true.
4/21/38 – Eddie King, Talladega, AL
4/24/1885 – Lillyn Brown, Atlanta, GA
4/24/44 – Manual Arrington, Collins, MS
4/26/1886 – Gertrude “Ma” Rainey, Columbus,
GA
46 Big City Blues • April-May 2009
4/27/1919 – Hop Wilson, Grapeland, TX
4/29/34 – Otis Rush, Philadelphia, MS
4/30/1896 – Reverend Gary Davis, Laurens, SC
4/30/1915 – Mabel Scott, Richmond, VA
5/1/30 – Little Walter Jacobs, Marksville, LA
5/1/24 – Big Maybelle Smith, Jackson, TN
5/1/1889 – Ada Brown, Kansas City, KS
5/1/1926 – Cora Mae Bryant, Oxford, GA
5/1/37 – Lucky Evans, Estabuchie, MS
5/5/1901 – Blind Willie McTell, Thomson, GA
5/7/1905 - “Bumble Bee Slim” Easton, Bruswick,
GA
5/9/49 – Bob Margolin, Brookline, MA
5/10/1909 – Ted Bogan, Spartanburg, SC
5/11/1905 – Joe “Kansas” McCoy, Raymond, MS
5/12/1919 – Leroy “Lefty” Bates, Pelahatchie, MS
5/17/42 – Taj Mahal, Harlem, NY
Gemini
May 21 – June 21: Venus turns direct in your
10th house on April 17th, opening up opportunities in your professional
life, both material and
romantic. Mercury's
retrograde from May
7th to the 30th
affects you more
strongly than most,
because Mercury is your
ruling planet and it happens in your sign.
However, use it as a time for reflection and think
twice before you speak or hit the send button and
you'll be fine. Beware the 20th of May when
Mercury squares both Neptune and Jupiter. You
won't be able to fool anyone then, no matter how
you try.
5/21/38 – Lee “Shot” Williams, Lexington, MS
5/21/1920 – Little Willie Anderson, West
Memphis, AR
5/26/1883 – Mamie Smith, Cincinnati, OH
5/28/1910 - T-Bone Walker, Linden, TX
5/30/39 – King Ernest Baker, Natchez, MS
6/2/1907 – Othar Turner, Rankin County, MS
6/4/1916 - Lafayette Leake, Winona, MS
6/2/1917 -Baby Doo Caston, Sumrall, MS
6/3/24 - Jimmy Rogers, Ruleville, MS
6/3/42 - Curtis Mayfield, Chicago, IL
6/3/1897 - Memphis Minnie, Algiers, LA
6/4/57 - Tinsley Ellis, Atlanta, GA
6/5/1900 - Washboard Slim, Marshall, TX
6/6/30 – S.P. Leary, Carthage, TX
6/6/36 - Raful Neal, Baton Rouge, LA
6/6/54 - Sugar Ray Norica, Westerly, RI
6/8/46 - James Harman, Anniston, AL
6/8/53 – Lady Bianca, Kansas City, MO
6/9/1902 - Skip James, Bentonia, MS
6/9/27 - Cedell Davis, Helena, AR
6/9/30 - Jerry McCain, Gladsden, AL
6/10/10 - Howlin’ Wolf, West Point, MS
6/10/1904 – Clarence “Juny Boy” Brown, New
Orleans, LA
6/10/1895 – Hattie McDaniel, Wichita, KS
6/10/40 – Clarence Brown, New Orleans, LA
6/11/31 – Bonnie Lee, Bunkie, LA
6/13/29 - Earl Hooker, Clarksdale, MS
6/15/22 – Willie Mae Buckner, Atlanta, GA
6/16/40 – Nolan Struck, Dunson, LA
6/19/68 - Harvell Thomas, Vance, MS
6/20/33 - Lazy Lester Johnson, Torras, LA
Rhythm show at LA’s Shrine
Auditorium—a jumping, sax honking
“He’s a Mean Man” and the salaciously
laid-back “Lovin’ Jim.” A wealth of sides
soon followed on RPM and Modern,
including a team-up with Jimmy
Witherspoon on the assertive “There
Ain’t Nothing Better” and a Christmas
season coupling with the Nic Nacs (the
Robins) on the Little Esther-styled
“Found Me a Sugar Daddy” and “Gonna
Have a Merry Xmas.”
Other RPM era sides are the easyrolling “Good for Nothin’ Man,” the Dinah
Washington-like (another influence) “I’ve
Got It Bad” and the over-the-edge ballad
“Everybody Knew It But Me.” Four unissued efforts from an audition tape flesh
out her RPM period; the atmospheric “It’s
Raining a Long Way From Home” and a
similarly moody plea “Won’t Somebody
Please Tell
Me What to
Do” are
particularly
noteworthy.
1952
saw one
session for
Aladdin,
teamed
with Maxwell Davis & His All Stars; I like
the finger-wagging “Two Faced Daddy”
and the ruminative “What Have You Got.”
The year1955 found Milton and
Champion in the Dootone Records studio
for the out-front, declarative “I’m a
Woman” (covered by Peggy Lee) and the
rocking “Bam-a-Lam” which echoes Little
Richard in intensity. The duo next signed
with King Records, where Champion
recorded duets with Milton. A stellar,
properly bouncy revival of Huey Smith’s
“Rockin’ Pneumonia & the Boogie
Woogie Flu” and a remake of Milton’s
signature “RM Blues” are here, along
with Champion’s own “You’re Gonna
Suffer Baby” and a stomping redo of
“Bam-a-Lam.”
According to liners author Opal Louis
Nations, Champion can still be heard
most Mondays at Cozy’s Bar & Grill in
Sherman Oaks and on Tuesdays at
downtown’s Little Pedro’s Cantina at First
and Vignes Streets. She also has a couple of recently recorded CDs available at
www.mickeychampion.net. One of them,
“What You Want,” garnered her a
Grammy nomination for Best Female
Traditional Vocalist and Best Comeback
Artist. Long live Mickey!—Gary von
Tersch
JOE TEX
Get Way Back: The 1950s
Recordings
Ace Records CDCHD—1197
The late Joe “The New Boss” Tex
became one of the most successful soul
singers of the 1960s, beginning with
1965’s Top 5 Southern Soul masterpiece
“Hold What You Got” and continuing with
a string of philosophical storybook charters such as “A Woman Can Change a
Man,” “The Love You Save” and “A Sweet
Woman Like You.” And that’s not to overlook such gems as “Skinny Legs and All,”
“Men Are Getting Scarce” and “A Sweet
Woman Like
You.”
However,
what was little known to
most record
buyers at the
time was
that, outside
of the
Southern ‘chitlin circuit’ arena, Tex had
been hustling his mostly original music
for over a decade before his ‘overnight
success.’
The material here, all recorded for
King (1955-57) and Ace (1958-60)
Records, is his very earliest, and features all of the deeply loved Rock ‘N’ Roll
Cowboy’s great seminal 45s for the first
time all in one place. From the opening
phenomenon blues “Davy, You Upset My
Home” (coon-skin capped Davy Crockett,
naturally) to 1957’s panoramic, supple
ballad “I Want To Have a Talk with You,”
with stops along the way for knockouts
like the Little Richard-influenced “You
Little Baby Faced Thing,” the Coasterslike “Charlie Brown Got Expelled” and the
stormy R&B jiver “Right Back to My
Arms,” Tex displays his versatile, fully
developed talent early. He easily shifts
from derivative rock, country and R&B to
rural rap, soul and witty novelties.
Along with creative producers Andy
Gibson (ex-Lionel Hampton band) and
Johnny Vincent and top-shelf session
players like guitarist Mickey Baker, drummer Specs Powell and Cosimo Matassa’s
famed New Orleans session legends (on
the Ace sides), Tex tried and tried for that
breakthrough hit. Genius in progress, so
to speak.
After a run of 20 self-authored hot
sellers, not to mention nearly 100 singles
and upwards of 40 albums, Tex became
tired of life on the road; his athletic stage
shows are still talked about. In 1972, he
retired back home to Navasoto, Texas,
adopted the Muslim name Joseph
Hazziez and became a farmer. He briefly
resurfaced in the mid-1970s disco era
with the concupiscent funk of “I Gotcha”
and the weighty “Ain’t Gonna Bump No
More (With No Big Fat Woman)” and
then retreated to the soil once more. He
died of a heart attack, barely 49 years
old, in 1982. These 27 sides are a fitting
tribute to his multi-dimensional talent.
Ace Records (UK) also has four other
Tex CDs available, each exploring various later phases of his way too short
career. All are also highly recommended.—Gary von Tersch