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 [email protected] The One Entertainment Systems, P.O. Box 2044 Beverly Hills Ca 90213 [email protected] 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 [email protected] 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 [email protected] 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 [email protected] 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 [email protected] 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
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