MIDNITE BLUES PARTY VOLUME TWO (ELECTRO-FI 3378)
--by Gary Tate
Roots and classic r&b addicts, moved to tears of joy by Eddy B’s ‘Midnite Blues Party’, have been counting the days until volume two’s release. Sifting through those vintage 78’s and determining those that click with each other was a formidable task. But sharing his monumental collection with the listening public has always been Eddy’s paramount desire. With chapter two of this historical novel now available, salutes are owed to Eddy and Andy Galloway of Electro-Fi Records for their ongoing passion and dedication.
Volume Two culls a bushel load of tracks--28 to be exact--from an era extending from 1945 to the mid-fifties. It draws upon a totally different variety of styles from those on volume one. While that house party atmosphere is still prevalent, this collection swings more, and it’s also touched by a more sophisticated edge.
It alternates between the sparser instrumentation of early Jazz/R&B combos, and the more expansive approaches of the Big Band era. Interestingly, many of the cuts are listed in the Jazz Records discography-but they still sound totally bluesy.
This was a case of love at first listen. The enduring impression was the unswerving vitality of these unheralded artists: dramatic, engaging, and totally believable. Volume Two goes beyond being a mere collection of individual tunes, and comes across as a timeless sound canvas of the urban Black American experiences at the mid-century mark, with their lives woven into a fascinating songbook storyline. Full appreciation, therefore, goes to Eddy B for his astute grasp of that era’s musical legacy.
Full-barreled boogie ‘n’ blues, relentless rhythms, humorous ditties, suave piano charmers, and intense ballads, will provide all the ammunition needed to command your full attention.
The blues get unleashed in full fury on “Gal You Need A Whippin” (a Chicago release from 1953) on which Herbert Beard makes the chilling threat. On “Good Morning Judge”, sax man Buddy Tate and vocalist Charles Q. Price converge on the court to wail and plead their case. A side tour to Lafayette Louisiana provides some New Orleans-style merriment on “Feel The Same” by Bobby Webb and the Jets. “What’s It All About” features Little Leo, a cat who had a rockabilly heart and a rhythm ‘n’ blues soul.
There are oodles of female contributors too, such as a young Etta Jones emoting tastefully on “You Ain’t Nothin’ Daddy” with Horse Collar Williams and His Orchestra. It’s back to the swing era, as Wini Brown gives the gals the message on “He’s My Daddy”. West Coast-based Inez Newell seduces our ears on “Young Woman’s Advice”; while Lillie Mae and the House Rockers get earthy on “Loving Man Blues”. These talented ladies make one long for those good old days.
The Rock ‘n’ Roll era is presaged on such big beat items as Joe Dyson’s motoring “Merc-O-Matic Boogie”, Billy Langford’s groove-a-licious “Be-Bop-On-The-Boogie”, and George Zimmerman and the Thrills’ harmony-drenched jump “Ain’t Got The Money To Pay For This Drink”. There’s also lot’s of stop-start excitement on “Finance Man”, which features the sweet vocals of George Green and the sympathetic alto sax of Jimmy Binkley.
Check out Bobby Prince’s impressive testifying on “Tell Me Why, Why, Why”-much in the mode of Jackie Wilson. Jack Cooley locks into a groove-heavy excursion on “50 Dyna-Flow”, while “606 Blues” by Slim Tinsley simmers in your senses like frying onions on the stove.
While toe-tapping piano and wailing sax are the predominating instruments, the guitar flourishes are impeccable. John Fair abets Detroit great Jack Surrell via some slinky fretwork on “Detroit Boogie”, and everything is keep ultra-tasty a la T-Bone Walker on “Achin’ Hearted Boogie” with an unknown guitarist. Gene Phillips makes his guitar zing on “Big Bug Boogie”.
Midnite Blues Party Volume Two is a surfeit of riches, almost too good to be true. If you have Volume One, there’s no doubt this follow-up will knock you out as well. If you haven’t got either one, then beg, borrow, or steal---and get them!
ORDERING DETAILS:
www.electrofi.com
MIDNITE BLUES PARTY (ELECTRO-FI 3372)
--by Gary Tate
Eddy B (Brake), Canada's foremost blues collector and devotee, has spent the better part of four decades amassing a comprehensive library of vintage 45's and 78's, the bulk of which date from the fifties, sixties, and on to the early seventies. His collection is unique, not only in terms of its vastness and completeness, but also because Eddy loves sharing his passion with others--be they musicians or blues junkies.
So for the first time ever on a Canadian label, thanks to the benefits of modern recording and to the efforts of Eddy and Andrew Galloway of Electro-Fi, blues, roots, soul, and rhythm ‘n’ blues aficionados can regale in the hidden charms and treats of a humdinger of a musical era. This unheralded material is largely unknown, yet today it seems so amazingly fresh and vibrant that it reverberates with the same impact as it did fifty years ago.
Nearly 70 minutes in the company of such hair-raising blues and soul firepower is one heckuva way to spend an evening--or an entire month. Whether the intent is to party, or to simply enjoy your own company, remains irrelevant: the joy factor won't diminish one iota in either case. Every track sounds so spontaneous, so wildly energetic, so deliciously raw, and so juke joint-friendly, that it’s guaranteed to tantalize and delight you from beginning to end.
I loved them all, but here are some of my extra-special favourite tracks. Birmingham Junior's "You're Too Bad" is probably the closest straight-up blues number in the entire compilation, a superior shuffler with a Sonny Boy 2 feel to it.
You gotta absolutely swoon over Randy Hobb's seductive phrasings on "Slowly But Surely", a classic slow dance if I've ever heard one. On that soulful side of the blues/soul ledger, one discovers the equally intriguing "I'm Leaving You", a track released under the name of bandleader Bob Reed, but which actually features a very young Ted Taylor on vocals. Killer stuff!
"That's All" by Al Garris has a “get-down-and-boogie” groove certain to work you into a sweat. The gripping "I Had A Nightmare" is a tortured piece of demented blues performed by Don Hollinger. Its kind of frightening, but also a ton of fun!
Sonny Harper's "Lonely Stranger" is a highlight track in so many extraordinary ways. It has a swinging foundation, a well-crafted melody, yet it’s also anchored by a sense of rock ‘n’ roll tension. If Elvis had covered this one back in the fifties, it would have sold millions. Back then everything was so wonderfully accessible and "boundary-stretching", so you could also file this one under the heading of blues, rockers, or even bluesabilly, and still not be that far off the mark.
"The Buzzard and The Owl" showcases Jim Sweeney doing a novelty item remarkably similar to many of the rockin' sides from the likes of Johnny Otis, Big Joe Turner, Hank Ballard, and other 50’s icons. "Messin' With The Kid" by Baby Huey sounds every bit as down and dirty and convincing as Junior Wells' better-known version.
Rollie McGill's anthemic blues rocker "People Are Talking Pt.1 blew me away (and I thought I'd heard it all!). It's a textbook example of what can happen when a superior song, an excellent arrangement, a tight little combo, and a great performance all intersect. The gravel-throated Buddy Lamp rasps, pleads, cajoles, and testifies on “Have Mercy Baby”. It blasts off like a rocket ship to outer space!
I've never heard of Thomas East (who has?), but on the emotionally draining "You're What's Happening" his voice reminded me at times of both Magic Sam and Otis Rush. Yet another highlight! "Whoop It On Me" by Good Time Charlie can only be compared to a soul-expanding rush of adrenalin--a welcome respite from such over-played retreads as Mustang Sally.
The pleasures never cease, such as with the James Brown-influenced "Don't Leave Me" by Bobby Long, or the soulful rockin’ sound of "Let's Start A Romance" by Little Joe Hinton (he would soon drop the "Little"). That Willie Jones fella knocked me out too. Boy he really hit the nail on the head with "Where's My Money"! There's even a greasy' r&b instrumental as the curtain call: the hard-edged, saxophone-drenched, "Two Doors Down" by guitarist Roy Lee Johnson.
If you don't dig 'Midnite Blues Party', then you won't dig anything. It’s a fantasy compilation come true, a fail-safe bet as one of the best things you'll hear in years. I definitely intend to use all my powers of persuasion to convince my friend Eddy to deliver more follow-up servings of such aural delicacies.
'Midnite Blues Party' takes place in a very special place: It occupies that state of consciousness where the party never seems to end, the music never seems to stop, and the good times never cease. And the best part is that you can invite yourself to this grand celebration.
ORDERING DETAILS:
www.electrofi.com
JOHNNY MAX BAND: IN THE DOGHOUSE…AGAIN! (INDEPENDENT)
--by Gary Tate
Johnny Max is ‘In The Doghouse…Again!’--but there’s no need to toss him a bone. The Johnny Max Band is now a fixture on the Toronto and Southern Ontario blues scene. My crystal ball prophesied big things for the guys when they started out about three years ago, sensing they possessed all the tools required to make substantial waves: cool confident vocals, superior stage presence, substantial material, and supremely tasteful guitar work.
Kevin Higgins, a guitarist of astonishing abilities, understood the difficulty of translating the dynamism of what’s heard live, to the confines of a recording studio. Blues acts, in particular, have been especially intimidated by the recording experience. ‘ITDA’ managed to avoid these pitfalls by choosing a different tack altogether. It would result in a sound that is warm, friendly, and completely their own. Kevin recorded all the band’s tracks in his home basement, by renting a 16-track portable studio. It’s a decision I applaud. He also enlisted the services of a couple of heavy hitters for keyboards assistance: Electro-Fi recording star, Kenny “Blues Boss” Wayne, and long-time Downchild Blues Band member Michael Fonfara. This added layers of rhythmic shadings to the proceedings.
The title track is actually Johnny and Kevin’s first original composition (their debut CD ‘Long Gone Train’ consisted of all covers) and it’s already a perennial crowd favourite with its rumba-powered groove, and lowdown lyrics harried hubbies can identify with. Another entry that takes a humorous look at domestic turmoil is that old Chris Kenner classic, “Sick and Tired”. The sands of time have served it well, but you still can’t help being impressed by the way Johnny’s droll phrasings capture the excitement of its driving beat----while Kevin’s guitar positively smokes.
A soulfully dramatic interpretation of “Black Nights” captures the dark, brooding spirit of Lowell Fulson’s classic. Johnny’s uncanny vocals supplement Kevin’s hypnotizing guitar fills, adding the precise sense of tension. Give a listen to the medley “C.C. Rider/My Creole Belle”, and appreciate that justice has been given these acoustic blues standards.
Merle Haggard’s tome to the lunch bucket brigade, “Working Man’s Blues ”, is given a fine reading by Johnny, while Danny Brooks of the Rockin’ Revelators is brought on board for “Carolina Shine”. Brooks wrote it and lends his heartfelt voice to this gospel-influenced item, but Higgins’ virtuoso slide is also paramount to its success. “Highway 49”--the Big Joe Williams tune--features the assured vocals of Johnny, brilliantly counter-pointed by Kevin’s furious jaw-dropping leads. Aretha Franklin’s “Baby, Baby, Baby” was approached with trepidation by Johnny. But he pulled it off so well that it’s the standout cover.
The originals hold their own against the six covers, such as “3 Ex-wives” which is a hoot from beginning to end, a good-natured novelty item that sprung from Johnny’s quirky imagination. The piece de resistance has to be “Poor” (boy do I identify with this one!), a fully realized blues burner that the fellas are rightfully proud of.
Johnny, Kevin, bassist Bill Keeley, and drummer Bob Vespaziani have fashioned a release that can only enhance their well-deserved reputation. Frankly, after listening to ‘In The Doghouse…Again!’ I can safely predict that the Johnny Max band’s next set of lodgings will be in the penthouse.
ORDERING DETAILS::
www.johnnymaxband.com
TONI LYNN WASHINGTON: BEEN SO LONG
(NORTHERNBLUES 0016)
--by Gary Tate
The guiding motif on ‘Been So Long’ was to select those blues songs that honoured the female spirit. For Toni Lynn Washington, every one of the 13 tracks had a depth of meaning, either by evoking memories of a particular singer who inspired her artistry, or because the selection had a strong story line, or a really positive message to convey.
Not that all the songs were necessarily written from a female perspective. In fact, a couple are commonly associated with male singers, namely the soul magic of “Every Day Will Be Like A Holiday” (William Bell) and the jazz-tinged “Angel Eyes” (Little Jimmy Scott), but Toni Lynn revels in the knowledge that such timeless material could effortlessly be infused with her own indomitable spirit. .
Many selections go back to the fifties when a young Miss Washington was just starting out, so her liner-note recollections are infused with revealing vignettes from her musical upbringing.
This enterprise has been so lovingly put together and the results are so sublime to the ears, it is difficult to know where to start. One must, however, begin with the voice of this supreme chanteuse. It’s one that is alternately elegant and sassy, bold and sensitive, hard-edged and soft. When she sings you totally understand---and you quickly fall under her spell.
Behind her is a set of musicians that’s impeccable, including co-producer Duke Robillard---and guitarist supreme. “It’s Been A Long Time (Been So Long)” is a soul blaster, originally performed (but never recorded) by Toni in the seventies in the disco/soul style of Betty Everett. Another slice of positive energy is the feel-good vibe generated by “Are You Happy Now”. It’s blessed by a catchy story line and a knockout groove.
For sheer goose bumps, the delta blues of Bessie Smith’s “Back Water Blues” can’t be topped. It starts out with Duke playing a delta riff, and just builds from there. The keys lay the foundation, the horns come in perfectly, but the real storm and lightning appear when Toni pours her full range of emotions into the torrential mix. Another IOU was redeemed on behalf of Ruth Brown, as Washington’s soulful phrasings perfectly capture the seductive feel of “It’s Love Baby”.
“Shake Me” was especially written for Toni back in the 70’s, but never recorded until now. A sure-fire invitation for dirty dancing, Toni pulls out all the stops here, while at the same time reviving memories of Big Mama Thornton. The horn section gets prominently featured on a “Three Can Play This Game”---a delicious helping of New Orleans merriment. This Earl King chestnut is given the royal treatment by Our Lady of Soul.
Nina Simone provided the inspirational source for Toni’s version of “Willow Weep For Me”. It gets a gorgeous jazzy arrangement, with lots of space for romantic guitar and keyboard solos.
“Down In The Basement” closes out this grandiose tour of Afro-American music at its very best. It has nothing to do with broken affairs or heartfelt stories, only about how one brilliant singer can make you forget your troubles and just want to have a good time. Frankly I didn’t want it (or this entire CD) to end.
Toni Lynn Washington is an international musical treasure, and everyone associated with ‘Been So Long’ should be congratulated and praised.
ORDERING DETAILS:
www.tonilynnwashington.com
www.northernblues.com
THE BEBOP COWBOYS: SOME KIND OF FANTASY (INDEPENDENT)
---by Gary Tate
Since starting my heels a-tapping to their infectious thigh-slapping music, this lonesome stranger has become cozily familiar with the Bebop Cowboys. Masterful purveyors of classic western swing, the Bebop Cowboys have managed to stretch the boundaries of the genre while keeping traditionalists smiling. ‘Some Kind of Fantasy’ is a dreamy release, significantly more fulfilling and adventuresome than their respectable debut. While there’s the requisite helping of those classic swing nuggets, it’s the originals that stand out. Guitarist Steve Briggs--one of the most thoughtful and fluid players extant--now makes his mark as a quality composer too, and Howard Willett adds a couple of nifty contributions to the cause.
“Duncan Swings” raises the curtain, a galloping instrumental named after Steve’s three-year-old son, and there’s a distinct nod to the Benny Goodman/Charlie Christian classic “Air Mail Special”. Crazy Cowboy Jazz! That wild Spade Cooley gem, “Crazy Cause I Love You”, is handled with good-natured humor, with Howard Willett’s driving harp and vocals being notable on this old reliable.
Hank Garland’s enduring “Sugarfoot Rag” features the fellas engraving their distinctive brand on it. The gentle “Back Home In Indiana” is the embodiment of Americana, and Briggs re-invigorates it with some jazzy changes, while Willett’s relaxed and friendly vocals are as welcoming as a rocking chair to tired feet. Another distinguished item in the western swing catalogue, “New Texas Panhandle Rag”, is accorded a vivacious treatment here, full of optimistic spunk, crackling energy, and improvisational fervor.
But it’s the originals that’ll turn a lot of heads, especially the title track, an exotically tinged excursion to a mythic south Pacific where Hawaiian blue metal rules supreme. Kissed by a golden melody, colored with imagery-rich lyrics, and topped off by Burke Carroll’s glinting pedal steel shards, it’ll keep the boys in-demand on cruise ships for years to come.
Equally intriguing is “Ella May”, a heartfelt ballad written Steve and wife Kristin. Derived from the first names of Briggs’ grandmothers (seems it was also the first name of Spade Cooley’s wife…yikes!!!!), it conjures up memories of pastoral nostalgia, down-home memories, and a more carefree era. The grizzled Willett invests it with grandfatherly warmth awash in sunny sentimentality
Steve wrote another tune that has “classic” written all over it, “The Girl From Saskatoon”, a whimsical tribute to prairie gals everywhere. Imagine Speedy West and Jimmy Bryant (Carroll and Briggs) on a Chuck Berry session and you’ll get a taste of “Cowboy Girl”. It’s a rock ‘n’ roll hayride, and a barrel of fun too.
Throughout “Some Kind of Fantasy” the vocals are a prelude to the swirling instrumental solos, as classy country-infused guitar serves the baton to honky tonk-drenched pedal steel, and finally, sweet harmonica takes the flag across the finishing line. There’s a couple of instrumentals along the way, including “Almost to Tulsa”-the Buddy Charlton masterpiece-and the guys give it an absolutely soaring interpretation. The hip shaking instrumental finale, “Cadillac Boogie”, is a crackerjack box full of surprises--and a most fitting conclusion to this enticing release.
Drummer John Adames’ brushwork is the essence of understated tastiness, and a “tip of the hat” salute to Dennis Pinhorn, who, prior to joining the Bebop Cowboys also strummed stand-up bass in jazz, blues, and folk circles.
The Bebop Cowboys should warm the cockles of the most cynical. They convey a sense of a twilight journey to a knockdown place down the road apiece, at the edge of nowhere, where the tumbleweed rolls across an arid landscape and the moon is always full. And where timeless roots music gives a sense of completeness to it all.
ORDERING DETAILS:
www.bebopcowboys.com
DAVID ROTUNDO: BLUES IGNITED
(STONE PILLAR PRODUCTIONS 0005)
--by Gary Tate
Occasionally a CD arrives, whose very title reveals its content. ‘Blues Ignited’ by Dave Rotundo is the most recent example.
With a boundless reservoir of energy, the Toronto-based Rotundo takes to the spotlight like a fish to water. His harp playing is wonderful and never repetitive, with Sonny Boy Williamson 2 at the forefront of his multitude of influences. Rotundo is an intuitive artist with an uncanny knack for coming up with the precise phrasings to command your undivided attention. Moreover, his husky vocals are tailor-made for blues wailing, and on ‘Blues Ignited’ his compositional skills are displayed in full bloom.
This 14-track offering of rock-solid originals should knock the socks off any blues fancier. Backing up Dave is a tandem of lead/rhythm guitarists almost too good to be true: Pete Schmidt and Enrico Crivellaro, two wunderkinds on the six-strings, the latter often found backing up James Harman, Janiva Magness, and most recently Finis Tasby, while the former is one of the most in-demand Canadian blues guitarists.
‘Blues Ignited’ often alternates between boogie jumps and intense blues. “I Want To Get Lucky”, “Wiggle a Little Boogie” exemplify the former, while the latter gets showcased on “Can I Come in Your Kitchen” and “Worries & Troubles”. The grinding Chicago blues of “I’ve Got to Move” features Rotundo moaning like ‘Howlin’ Wolf and blowing harp like Little Walter. Completing the feel of déjà vu, Jack de Keyzer adds eerie Muddy Waters-like slide.
‘Blues Ignited’ has no week links. So it’ll come down to each listener’s mood, temperament, or personal taste. As far as favorites, this writer was drawn like a moth to a flame by “Talk to me”. Rotundo’s sweet, piercing, forlorn harmonica evoked the presence of Jimmy Reed, while the shimmering guitar work summoned up the spirit of Eddie Taylor. “Ball and Chain” made the top rung of my ladder too. Its opening bars projected the warm folksy charm of a Sonny and Brownie classic, but then abruptly morphed into a “blowin’ like hell” chromatic storm, in the vein of William Clarke (Rotundo has a God-given knack of stitching together various strands of the blues into a seamless garment).
The title track is a guitar-intensive, instrumental romp, topped off by the fat, chunky tones of Rotundo’s chromatic. Another instrumental “The Sway” is similarly convincing, as Crivellaro’s tough but sophisticated jazzy/blues solos set the stage for Dave’s soaring harp forays. “Sellout or Starve” left me spellbound, a straight-up blues confessional on which David Rotundo forcefully vows never submit to commercial pressures that might compromise his artistic vision.
“Lonely Nights” is a searing blues ballad that made a lasting impression. And while Julian Fauth’s wonderful piano stylings contributed to the melancholy mood, Rotundo’s gripping vocal delivery was singularly compelling.
‘Blues Ignited’ is a convincing display one man’s love for the blues. With a natural command of the idiom and a sense of passion that brims with honesty and realism, David Rotundo should quickly ascend into the front ranks of international blues artists.
ORDERING DETAILS:
www.davidrotundo.com
ROXANNE POTVIN CARESSES THE BLUES ON ‘CARELESS LOVING’
--by Gary Tate
Roxanne Potvin is a beguiling 21-year old from Ottawa who’s turning lots of heads with the ease and assurance of her polished vocals, along with her impeccable prowess on the telecaster. ‘Careless Loving’--her debut CD--displays a cool professionalism contrasting her youth, yet she’s already performed with, and earned raves from such heavyweights as Johnny Sansone, Ottawa compatriot JW-Jones, Junior Watson, and Mark Hummel.
You won’t need to dig hard to uncover Roxanne’s distaff musical roots on ‘Careless Loving’. “Wild Wild Young Men” was a slice of quintessential frenzied 50’s r&b from Ruth Brown, and Potvin rides that up-tempo groove like a seasoned pro. Another major influence would have to be Etta James, and though Potvin’s style is generally more relaxed, she trades vocals with harmonica player Frank Scanga on “If I Can’t Have You” in a way that compares favorably with the classic Etta James/Harvey Fuqua matchup.
Two more stately covers grace the 10-tracks, including Buddy Johnson’s “I Don’t Want Nobody”. But the piece de resistance is “Long Man Blues”, an insinuating scorcher originally popularized by Dinah Washington. It’s given a sparse backup (solo guitar by JW-Jones), and a shimmering treatment by Potvin that could cause male heatstroke.
But it’s those Potvin originals that yield conclusive proof that this gorgeous lady is more than just a passing comet. I found myself spellbound by “Ain’t It A Shame”, a funky piece of highly danceable blues, with raunchy sax from Steve Trecarten, hot-fried piano from Johnny Russell, and of course, Potvin’s spot-on guitar work. Mark this one down as a legitimate contender for best blues song of the year.
Her precocious abilities seem to arise from every direction, and she makes it seem so natural: a substantial hint that something important is afoot. There’s the relentless vibrancy of “Missing You”, the folksy country charms of the title track, and a rollicking serving of Chicago-style gutbucket blues on “Don’t Get Close to Me” that’ll have you hungering for more. The posh phrasing and sultry mood established on “My Book” is more evidence that this wunderkind is the real deal. There are absolutely no weak links on ‘Careless Loving’ to impede your enjoyment. This is something to trumpet!
Moreover, the entire production has an unpretentious intimacy to it. Unlike too many blues releases today, first instincts won’t cause you to turn down the volume. ‘Careless Loving’ is the most impressive blues debut CD I’ve heard in a long, long time-perhaps ever. Possessing taste, style, and class in abundance, I’m anticipating hearing a whole lot more from the very talented Roxanne Potvin in the very near future.
ORDERING DETAILS:
http://www.roxannepotvin.com/
SHOUT, SISTER, SHOUT!
--A TRIBUTE TO SISTER ROSETTA THARPE
(STONY PLAIN 1294)
--by Gary Tate
The late Sister Rosetta Tharpe is an abiding inspiration to three generation of artists. This generation redeems its debt on ‘Shout, Sister, Shout!’, by celebrating this blessedly gifted gospel singer with a God-given knack of uplifting audiences to the heights of spiritual ecstasy. A large swath of female blues, folk, and soul artists are gathered to testify and shout and sing in honor of the memory of Sister Rosetta.
Due to personal problems and the vicissitudes of public taste, this divine diva never gained the universal acclaim afforded such gospel-grounded icons as Mahalia Jackson, Sam Cooke, or Aretha Franklin. In contradistinction to Cooke and Franklin, Tharpe reverted backed to the straight-and-narrow path in the fifties after a string of commercial successes with the Benny Goodman, Lucky Millinder, and Sammy Price bands in the forties. Her strong suits included a highly developed rhythmic sense, sophisticated vocals, first-rate song writing proficiency (9 of the 18 tracks are her compositions), and a highly distinctive (and influential) country blues guitar-picking technique.
Four numbers feature the sturdy backup of the Holmes Brothers, including Joan Osborne on “Nobody’s Fault But Mine”---Sister Rosetta’s best-known number. The guys accompany Victoria Williams on “My Lord and I”, and they’re also behind the idiosyncratic Phoebe Snow, who spins an ethereal vibe on “Beams Of Heaven”. Yet the moment of utmost intensity belongs to the legendary Odetta, as she raises sacred sand on “Two Little Fishes and Five Loaves of Bread”.
Tharpe’s early success was ground-breaking insofar as her seamless blending of gospel, blues, and swing would presage the dawning of the rhythm ‘n’ blues and soul eras. Sister Rosetta’s forte wasn’t always exclusively gospel; she did some swinging secular numbers in the forties, including the raunchy “I Want A Tall Skinny Papa” and the boastful title track (which was written by Bill Doggett). Marcia Ball handles the former like she’s been singing it forever, while the latter brings together Ball, Maria Muldaur, Angela Strehli, and Tracy Nelson in a feisty salute to big band-style swing.
An extra-special treat is the inclusion of Marie Knight, who along with Tharpe formed a duo in 1948, leading to a fruitful 10-year association and gospel circuit headlining status. She does a powerful version of the testifying “Didn’t It Rain”, which also features some stellar piano from Floyd Waites. Maria Muldaur and Tracy Nelson perform the Tharpe/Knight breakout record “Up Above My Head” with zest and flair, while another Tharpe/Knight traditional, “My Journey to the Sky”, gets illuminated by Maria Muldaur.
There’s so much more, but I’d be remiss if I omitted Angela Strehli’s full-barreled “no-holds-barred” treatment of “That’s All”, featuring some sparkling guitar runs from Del Rey. Just some of the other uplifting tracks include “This Train” (Janis Ian), “Rock Me” (Toshi Reagon), and “Precious Memories” (Sweet Honey in the Rock). As a sublime postscript, the beloved “Down By The Riverside” (a selection that can only be heard through your computer) features Sister Rosetta herself.
Like a beacon of truth, ‘Shout, Sister, Shout!’ points us toward the rich legacy left us by Sister Rosetta Tharpe.
ORDERING DETAILS:
www.stonyplainrecords.com
KEVIN BREIT AND JOHN DICKIE: JOHN AND THE SISTERS (NORTHERNBLUES 0020)
--by Gary Tate
‘John and the Sisters’---the collaboration of guitarist Kevin Breit (along with his band Sisters Euclid) and blues belter John Dickie---is not recommended for those registered in Easy Listening 101. An excursion into the dark alleys of the urban landscape, fueled by the manic soul preaching of Dickie and compelling string wizardry of Breit, its constant sense of unpredictability rarely ceases to fascinate.
Breit’s reputation backing up chanteuses Norah Jones and Cassandra Wilson is further emblazoned in Toronto, where his genre-bending Monday night jams at the Orbit Room with Sisters Euclid (actually, bassist Ian Desouza, drummer/percussionist Gary Taylor, and keys man Rob Gusevs) are legendary. Eventually, kindred spirits cross paths; and the Breit/Dickie tandem realized that the twisted magic they brewed together could become the progenitor of a recording.
Michael Wrycraft (of NorthernBlues) acted as facilitator. Not surprising, given his involvement in the recent Breit/Harry Manx match-up, which yielded the sublime ‘Jubilee’ release. There is a touch of irony, insofar as Manx and Dickie are stylistic opposites: the former embodying introspection and sensitivity, the latter exuding extroversion and raw emotionalism. Yet Breit intuitively brings out the best in each. For example, marvel at the bristling intensity of the memorable “Gun”, with Dickie’s vocals projecting an ominous sense of foreboding, while Breit imparts precise shading by creating an illusion of police sirens. Spookily effective!
Check out the Chicano groove flowing through “L.A”, another urban-inflected track that tautly captures the barrio mood of the City of Angels. Muy peligroso! “Faithful”, a Dickie/Breit composition, is a rose in Spanish Harlem, a sublimely beautiful ballad that emerges surprisingly from the metropolitan jungle concrete. “Good Day” is an off-kilter, rumba-like, horn-heavy workout. It violates a lot of “rules”, but who cares? Its very weirdness will draw you in like a day at the carnival.
“Pralene” is reminiscent of Dickie’s recent work with the Prima Donnas. On their ‘My Regeneration’ cd, rock standards got a pure rock ‘n’ roll treatment. “Pralene” reflects that spirit, a frantic slice of Little Richard-indebted boogie, with Breit’s axe brilliantly augmenting the rhythmic fury with twitchy inventiveness. Dickie’s performance on “A Better Way” is epic, alternately powerful and restrained. And if Breit continues composing songs of this high caliber, it’s certain he’ll be doing lots of writing for Wilson and Jones as well. There’s much, much more, including several deliciously catchy instrumentals from Breit, especially “Treat Her Right”.
There are two missteps along the way. But even that’s excusable, given the inclination must have been to leave everything as is, and edit out as little as possible from this uniquely spontaneous outpouring. Anyhow, “Big Bomb” comes across as bombastic and self-indulgent, while “Love To Stay, Gotta Go” is too “off-the-wall”---at least for my tastes. That, however, cannot detract from the exceptionally positive ratio barometer--- noting that there are 17 selections.
It has a totally “live-off-the-floor sound”, so realistic that you’re constantly anticipating an invisible audience’s reactions. A raft of special musical guests made visits, including three talented members of the Breit family. Suzie Vinnick deserves a special plug (despite only three brief contributions), being especially potent on the five or six bars she sings on “Only One”.
‘John and the Sisters’ is a prime example of how a couple of fearless and creative innovators, when left to their own muses, can apply their improvisational skills to yield an exceptionally interesting modern blues/ “beyond-the-blues” release. At the top of my recommendation list!
ORDERING DETAILS:
www.northernblues.com
CD REVIEW GLAMOUR PUSS: WIRE & WOOD
(NORTHERNBLUES 0018)
--by Gary Tate
Glamour Puss is a 5-piece New Brunswick-based blues band, equally adept at blues-rock, electric blues, “get-down-and-funky” party tunes, along with some down-home music. ‘Wire and Wood’, their latest CD, was produced by the estimable Michael Jerome Browne. The choice of Browne was a very wise one, as ‘Wire and Wood’ is even more eclectically delightful than expected, constantly shifting gears and veering into unexpected directions.
Fourteen original tracks-- mainly from the pen of guitarist Travis Furlong-are highly listenable indeed, and there’s also a stampeding cover of John Lee Hooker’s “Boom Boom” for good measure. “Kitty Kitty” has a real strong hook, which combined with a playful set of lyrics and oodles of welcoming energy, make for a natural crowd pleaser. “You’re Rich & I’m Poor” is a catchy tune, and lyrically it makes a very intriguing case for penury. “I Don’t Know How To Win Your Love” qualifies as a stellar dance-floor friendly soul rocker--complete with a solid James Brown-style groove.
I’m surprised why blues artists don’t salute guitars more often in song; certainly the instrument is central to the genre. Eddie Clearwater’s “I Wouldn’t Lay My Guitar Down” was one such wild ‘n’ wooly tribute; whereas the title track here, “Wire and Wood”, is far subtler. Yet it too is equally effective in paying homage to the wonderment of the six strings. It’s also a piece of pure charm, with lots of drifting acoustic guitar springing from the expert fingertips of Michael Jerome Browne and Charlie A’Court.
Two well thought-out instrumentals also adorn the CD: The early rock ‘n’ roll era is beckoned on the honkin’ “Dancin’ Cin” (penned by saxist Don Rodgers), while “Blues For Sheila” is sheer acoustic poetry. “Million-Air” is a confessional look at the seamier side of life, and it burrows its way under your skin like all memorable deep blues must do.
The Acadian roots of Glamour Puss are also on display with “Maman Don’t Play No Zydeco”, featuring lots of old time fiddle from Jerome plus celebratory accordion from Roger Cormier. Cormier, who also handles keyboard and harmonica duties for the band, can also be heard on “Dangereux”. While sung in French, it’s got a 100 percent blues groove.
Glamour Puss is simply the best blues band from the Canadian Maritimes. ‘Wire and Wood’ should win them new legions of fans worldwide.
ORDERING DETAILS:
www.northernblues.com
CHRIS FLORY: BLUES IN MY HEART (STONY PLAIN 1288)
--By Gary Tate
Chris Flory first received international prominence as Swing guitarist with the Scott Campbell Quartet from 1976 to 1993. Hailing from the Providence Rhode Island area, the Scott Hamilton Quartet re-invigorated the New York City jazz scene with their mastery of the Swing idiom. By the mid-70’s, another Providence-based group Roomful of Blues--headed by guitarist/vocalist Duke Robillard--was also making its mark spreading the classic 40’s and 50’s blues ‘n’ boogie sounds to a new generation. ‘Blues In My Heart’ is the coming together of Flory and some components of Roomful of Blues.
Flory and Robillard have known each other since they were teenagers, and this musical “reunion” was virtually written in the stars, although both gentlemen took different paths toward self-fulfillment (Chris more in a jazzy direction and Duke in a more bluesy one). Their influences, however, remained remarkably similar: They each listened to everything, but it was the bluesy jazz guitarists such as Tiny Grimes, Billy Butler, and Bill Jennings that remained their common love.
Several items on ‘BIMH’ are evocative of the jump blues revival that made its mark in the mid-nineties, except that the level of musicianship here is superior by leaps and bounds. Flory, like most quality musicians, remains wary of employing all-encompassing labels, and prefers to typify his style as jazz returning to its swinging roots. Hipsters craving their dose of jive should bliss out on “Scam”-an obscure blues by Gene Ammons-and understand why Flory regards this piece as such a core part of his repertoire. I was immediately smitten by “Bernie’s Time”: a pattern of pure musical droplets descending from Swing Heaven, with each cascading array of crystalline notes producing a blossom of new ideas.
Sugar Ray Norcia, another alumnus of Roomful of Blues, guests on two of the three vocal tracks. The introspective reverie inherent in both “Willow Weep For Me” and “Please Send Me Someone To Love” gets impeccable treatment by the Sugar Man, but the solo excursions of Flory and Robillard elevate matters to an even more intense emotional level.
Scott Hamilton guests on “Shine” and “If Dreams Come True”--demonstrating anew why he’s considered one of jazz’s all-time great tenor players. “Shine” has a melodic and instantly recognizable tune, and you’ll appreciate how these two masters practically peer into each other’s minds--just like twins who finish the other’s sentences. The pulse of Rio is fully brought to musical life on ‘Blue Bossa’, a richly textured meringue of Latin grooves on which Flory overdubbed his own rhythm parts. I wonder if “Land Of A Thousand Dances” actually refers to Brazil?
“If Dreams Come True” and the title track-which also features Duke’s vocals-are wistfully beautiful and proof that swing and romanticism can go hand in hand. Relying throughout on a 1948 Gibson, Flory‘s command of the swing idiom is complete. You can trace Flory’s essential knowledge of swing guitar back to the great Charlie Christian, especially in his ability to combine fluid improvisational runs with a natural sense of swing. For those who feel that so much of recorded jazz today lacks that critical swing element, “Blues In My Heart” is just what the doctor ordered to counteract any prevailing wariness.
ORDERING DETAILS:
www.stonyplainrecords.com
DUKE ROBILLARD: EXALTED LOVER
(STONY PLAIN RECORDS 1293)
--by Gary Tate
With nothing left to prove as a blues man (or jazz man for that matter), Duke Robillard, at this stage in his career, as his current Cd ‘Exalted Lover’ verifies, can also be relied on to wield his formidable skills to enliven and elaborate upon material generally associated with the pop, modern r&b, and country fields.
‘Exalted Lover’ lacks the intensity of Duke’s more blues-charged releases, yet it succeeds as a vehicle that explores some other slices of the vast historical American music pie. So, when Pam Tillis blends her sultry vocals with Duke on a sumptuous version of that 50’s-era r&b hit “I’ll Never Be Free”, or when Duke sinks his chops into a festive arrangement of Wee Willie Wayne’s Louisianan treat “Travelin’ Mood”, the years slip away effortlessly.
Robillard’s own writing skills remain undiminished. “Down Home Country Girl” is an old-fashioned hard driving r&b tune with plenty of horn flourishes that harkens back to Duke’s early days with Roomful of Blues. Memories of T-Bone Walker and Albert Collins are awakened on a boisterous duet with Debbie Davies (“How Long Has It Been”), as each trade slash-and-burn guitar licks.
Maybe Pam Tillis convinced Duke that he could wander over to Moonshine Junction. But regardless of the reason, “Love Made A Liar Out of Me” is a rockin-style honky tonker that totally delights. “Double X Daddy” finds Duke in more familiar terrain, transporting us to a golden time when Louis Jordan, Wynonie Harris, and Jimmy Witherspoon were tearing up the charts.
“Real Live Wire” is a piece of unbridled excitement, and sparks also fly on “Tore Up”, while “Deep Inside” is a classic blues/soul ballad featuring some stellar keyboard from Matt McCabe, and, of course, the always brilliant guitar solos and fills from Duke.
The only dissonant note is the title track itself, a naughty piece of self-indulgence. But aside from this misstep, ‘Exalted Lover’ is an intriguing release that will only enhance Duke’s reputation.