Stevie Ray Vaughan & Double Trouble Live At Montreaux 1982 & 1985 Epic Records E2K-86151 Two career-building performances at Switzerland’s renown Montreaux Jazz and International Music Festival in 1982 and 1985 by Stevie Ray Vaughan and Double Trouble are found on this double-CD release. Bits and pieces of this material have been previously released, most notably five tracks from Live Alive , but there are eleven heretofore unreleased songs. The nineteen slabs here include the entire eight song 1982 set that was raucously booed by an under interested audience; and the remaining eleven making up most of their victoriously sold-out and more appreciated return in ‘85. Stevie’s incomparable rock-toned blues guitar was backed by Tommy Shannon on the bass and Chris Layton on the drumkit. They played both sets, joined in 1985 by organist Reese Wynans. Johnny Copeland also joined Stevie at the ‘85 show for the stroll down the thirteen-minute “Tin Pan Alley” (previously issued on Blues At Sunrise), with complementary guitar and his intriguing vocal profile. This set is fluent and complete in presenting comments from Layton and Shannon, along with timely quotes from Stevie and David Bowie, who was amongst the audience and few admirers at the ‘82 gig. The show led to Vaughan touring with Bowie and a recording opportunity at Jackson Browne’s (another floored fan at the ‘82 show) studio later on. Photos and comments from Darrell Pitt (official festival photographer and friend to SRV) are also included. From the SRV songbook are: “Rude Mood”, “Pride And Joy” (two versions), “Love Struck Baby”, Dirty Pool”, “Collins’ Shuffle”, Scuttle Buttin’”,”Say What”, “Ain’t Gone N’ Give Up On Love”, “Life Without You”, and “Couldn’t Stand The Weather”. Others include Hendrix’ “Voodoo Child”, Buddy Guy’s “Mary Had A Little Lamb”, Hound Dog Taylor’s “Give Me Back My Wig”, and Stevie’s anthem “Texas Flood” (two versions also) written by Davis and Scott. Mighty blues rock throughout this biscuit with exciting rootsy digs into stone blues material. Vaughan and Double Trouble were on top of their free form amalgamation of the two genre, and that attitude is heard straight through these two performances.The gritty, gutsy phrasings and tones sound good on this remastered double-CD live retrospective; don’t miss this ultimately awesome SRV material. Mark A. Cole Epic Records; c/ SONY/LEGACY; 550 Madison Ave.; New York, NY 10022-3211: or, www.epicrecords.com/srv , or. www.legacyrecordings.com Junior Wells Live Around the World: The Best Of Junior Wells Legacy Recordings CK 85675 The Chicago blues pedigree of Junior Wells is well established he needs little introduction. These recordings represent his last recorded efforts and the material comes from live shows around the world: Japan, Slovenia, France, Norway, England, Denmark, and Boulder Colorado. From 1996 and early 1997, these were the last authorized recordings prior to his late ‘97 cancer diagnosis and later January 1998 death. Showing his harp mastery throughout, Wells tromps through the selected eleven choice cuts on this disc. Born Amos Blakemore, Junior Wells is fondly remembered as the ‘Hoodoo Man’’. During his career he has backed the finest, and his band has always had the best talent. There same is true of the support musicians on these performances. Drummer Vern Taylor and bassists Willie Samuals and Johnny Bennie pound out the power-bottoms. The guitar chair rotates Stevie Lizard and Andy Wahllof, keyboardists Steve Utting and Johnny Iguana spice and fill the mix. Junior included a fine horn section who really work out too: trombonist Joe Burton, saxist Doug Fagen, and trumpeter Michael Barber From his pleading “Broke And Hungry”, through his anthemic “Hoodoo Man”, and into his respectful yet honkin’ “What My Mama Told Me”, Junior lays out a wide array of emotive delivery with tight execution. Completely standout material, you hear his own “Waitin’ On The Night Train”, “Little By Little”, and Chicago standards like “Little Red Rooster”, “Got My Mojo Working”, “Help Me”, and his adopted London tune “Messin’ With The Kid”. Sweet inclusions are Al Green’s “Sweet Sixteen” and Crutcher and Knight’s “Take Your Shoes Off”. This eleven song set carves a tenderloin swipe through the majesty of Junior’s illustrious career. Working his harp registers with brazen confidence and innovative ad libbing, Wells shows his integral royalty in the Mississippi saxophone hierarchy. New blues fans should look this up, old fans will lap it up for it’s Junior finest and final hour on disc. Mark A. Cole Legacy Recordings, c/o Sony Entertainment , Inc.; 550 Madison Ave.; New York, NY 10022-3211:or, www.legacyrecordings.com Johnny Winter The Best of Johnny Winter Columbia Records CK 85926 This collection dates to Winter’s material culled from his Columbia Records and Blue Sky Records eras, respectively 1969-74 and 1974-79. You find early material with his trio format, collaborations with Rick Derringer, and recorded efforts including his brother Edgar helping on various instruments. This time represented Johnny’s mature blues rooted evolution into the blues and rock phenom that was and remains respected across both genres. Johnny cut five critical albums for Columbia; all are represented here. You’ll find Johnny blazing on all guitar tracks with overdubbing and some help from friends like Rick Derringer, who also co-produced some of this original material. Tommy Shannon is here laying down the fervent bass lines (before Double Trouble days) with some exceptions, and Uncle John Turner handles most of the percussive duties, also with noticeable help all around. Noted help comes from brother Edgar Winter on the piano, organ, alto sax,and harpsichord. Jeremy Steig also provides a daunting flute interaction with Johnny on Robert Johnson’s “Come On In My Kitchen”. A host of other musicians including numerous horn players helped to give Johnny the tremendous breath of styles shown in this collection. Two fired up Derringer compositions, including the opening “Rock And Roll, Hoochie Koo”, and the later visited “Still Alive And Well” grace this set. The former sounds cleanly Johnny with blistering slide and lead guitar lines dubbed atop each other. Edgar plays strong keyboard lines alongside Johnny’s axe on Chuck Berry’s “Johnny B. Goode” and the Ray Charles hit “I’ll Drown In My Own Tears” (written by Henry Glover). The rippin’ delivery of “Rollin’ And Tumblin’” additionally steams with an undaunting pace into Dylan’s “Highway 61 Revisited”, a version which still ranks high in rock history charts. With other choice cuts like Little Richard’s “Miss Ann”, and B.B.’s “It’s My Own Fault” (the only live cut) and “Be Careful With A Fool”, allows Winter to set the blues alight with incendiary guitar, be it fast or slow! His slide talents abound throughout this platter, and the careful studio layering of axe tracks takes on a beautiful sculptured effect, much more noticeable with remastering found on this plate. Resounding horns lay a firm bedrock response to Johnny’s cutting. All and all, it’s hard to find any faults here; making this truly a best-of-collection. Johnny’s fretwork and finger manipulations are always excitingly fresh and reactive; and his scratchy vocal character shines through as well. This is power-packed music that never sounded so clean and fresh; and it’s a startling retake on the blues roots of a classic rocker. Mark A. Cole Columbia/Legacy; 550 Madison Ave.; New York, NY 10022-3211: or, www.legacyrecordings.com Jody Williams Return Of The Legend Evidence ECD 26120-2 The Alabama-born Joseph Leon (Jody) Williams had moved to Chicago at five and was playing blues and early rock with Ellas McDaniel (later Bo Diddley) by the time he was sixteen. He grew up working with names like Henry Gray, Morris Pejoe, Memphis Minnie, Billy Boy, and Otis Spann. He joined Howlin’ Wolf’s band, worked again with Bo Diddley and Billy Boy Arnold cuttin’ hits with all three. The innovative and in-demand sessionist is also heard on sides from Floyd Dixon, Jimmy Rogers, Jimmy Witherspoon, B.B. King, and Otis Rush. Rewards lacking, Williams grew ever more disillusioned and disgruntled with the music business, convincing him to leave it for three decades. This platter is his prodigal return to music. Williams seems to find a sweet musical solace in the tremendous support found on this biscuit. Ronnie Baker Brooks is playing rhythm guitar, and Allan Batts more than handles the piano and organ chores. The bottom here comes from bassist Harlan Terson and drummer Kenny Smith. Special friends guesting include Billy Boy Arnold with his harp and vocals; and three guitarists also helping with the vox: Tinsley Ellis, Sean Costello, and Rusty Zinn. The fabulous horn section heard heard is: Willie Henderson on the baritone sax, Hank Ford on the tenor sax, and Kenny Anderson blowin’ the trumpet. Williams’ lead-off “Lucky Lou” is one of his perennial hits cut for Chess in 1957; the sassy surf-toned instrumental has become a resplendent, yet controversial, standard to in-the-know guitarists everywhere. The following “Come Over To My House” moves with the groove of Billy Boy Arnold’s harp and Williams’ splendid axe lines.The moving’ up-tempoed “Lifetime Lover” shakes the beat right into the slower and bluesy “You May” which was the original flipside to the opening tune. Sporting notes strung for their very tonal essences, Williams plays off a great backdrop of Batts’ piano, intermittent horns, and smooth-as-silk rhythms. By the time you get to his “Moanin’ For Molasses”, the seeming instrumental parent of a thousand TV theme songs, you will be appreciating William’s diverse writing and playing stylization. The jazz-tinged “Monkey Business”, with driving drums, fast piano, and William’s electrifying fretwork will also have you infectiously tapping your toes. Without room to tell you about it all, Jody Williams may have comeback-awards incoming. This is a splendid group of thirteen tunes written by Williams alone. The biscuit clearly does reveal the long overdue ‘return of the legend’, Jody Williams. Mark A. Cole Evidence Music, Inc.; 110 E. Hector St., Suite 392; Conshohocken, PA 19428: or e-mail, EvidenceMusic@aol.com Big Jack Johnson & Kim Wilson The Memphis Barbecue Sessions MC Records MC-0045 The brainchild of label owner Mark Carpentieri, this all-acoustic release by Big Jack Johnson has been a long time coming. Johnson’s somewhat intensive touring kept it from happening. After some recent and needed R & R, Jack found himself with the time to go back to his roots. Looking to pair Jack with a harp player, Carpentieri rounded up the influential and willing Kim Wilson, of Fabulous Thunderbirds fame. A chance happening also allowed another Delta friend to help out. This album was to feature Sam Carr on drums along with his ex-Jelly Roll King band mate Big Jack. Schedules conflicted and that did not happen. The treat here however is Pinetop Perkins playing piano on a couple of slabs. Jack’s southern-drenched vocals and economic acoustic provides a fantastic platform for Wilson on harp and Pinetop at the keys. Jack’s lead is never fully relinquished and the outcome is magical. Carpentieri provides some sparse but effective drumwork on three tunes also. Big Jack begins his new affair with his vibrato-choked vocals pleading on his own “Oh Baby”. Wilson picks the solo apart with cupped notes and a squeezed sound. His “Humming Blues” is a similarly captured number. With nods to their mentors, Johnson and Wilson nail down Little Water’s “Don’t Care Nothing” and filet Howlin’ Wolf’s “Smokestack Lightning”. Like music from the front porch of a Mississippi juke, it’s raw and seemingly impromptu. Other sweet covers include Walter’s “My Babe”, Hooker’s “Blue Bird”, Jimmy Reed’s “Big Boss Man”, Elmore James’ “Dust My Broom”, and Eddie Jones’ “Things I Used To Do”. Jack does with aplomb his own “Humming Bird”, “Lonesome Road”, and “Going Out Walking”. Wilson’s harp work and complementary vocal work on one, hit the deep blues mark. Pinetop lays in some mighty fine piano work on two cuts also. This platter is worthy of award and praise. Tender and evocative playing by two players who really do complement each other. Pinetop raises the stakes and authenticity a notch, while the whole project is an obvious dream come true. Mark A. Cole M.C. Records; P.O. Box 1788; Huntington Station, NY 11746: or, www.mc-records.com Harry Manx Wise And Otherwise Northern Blues Music NBM0008 Toronto resident Harry Manx is a multi-instrumentalist who is known for his work on guitar, banjo, and harmonica. Manx was born on the Isle of Man in the United Kingdom, and he has worked for over two decades as a one-man touring band. Most recently he has studied in India and learned how to play the twenty-string Mohan Veena. Harry’s penchant for Near Eastern strings, traditional blues and folk, and his Celtic background combine on this set with a near-heavenly delight. With covers from Van Morrison, Jimi Hendrix, B.B. King, and songs of his own pen, Manx delivers an attractive, airy, and involved collection of tunes. In true islander style, Manx does it all himself playing the Mohan Veena, a six-string lap guitar, his banjo, with the harmonica, and all the vocal work too! The lamenting “Only The Will Your House be Blessed” opens with tender guitar and soft harp lines. The following “Death Have Mercy” comes across mysterious and cross-cultural with the veena as its only instrumentation. The deeply poetic lyricism of “Roses Given” has an equally reflective musical side. Like most of these tunes, a real emphasis has gone into a holistic approach without restraints. The intellectual com-bination of musical genres here comes with a seeming intuitiveness and aplomb. Like the melding medley of B.B.King and Eastern thought in “The Gist Of Madhuvanti/Thrill Is Gone”, Manx illuminates an almost enlightened approach. From the sympathetic social commentary of “A Coat Of Mail” or “A Little Cruel” to the upbeat loving and reminiscent “Don’t Forget To Miss Me”, Harry Manx takes his music to a higher personal level. The consummate musician has a intimate set delivered with class and elegance, and any real listener involvement is ultimately rewarding. For Manx this should be a hit, and for the listeners it is a great deal; all around it is fantastically innovative acoustic material. Hit the spiritual high note on the closing “Raga Nat Bhariav”, then replay! Mark A. Cole Northern Blues Music; 225 Sterling Road, Unit 19; Toronto, ON; Canada M6R 2B2: or, www.northernblues.com Don Wise Genuine Shake Horn O’Copia Recordings Don Wise steps back into solo blues shoes and delivers a taste of southern soul with the spice of good gumbo and the shake of a good mambo. Perhaps also recognizable as the sax man behind Delbert McClinton, Wise has put together another adventure-some biscuit looking for that exciting Louisiana eccentricity. This issue is co-produced by Wise and Wally Moyers, and it features some dynamic guest vocalists and backing. Wise’s vocals and explosive saxophone work are tempered with the help of drummer Lynn Washington and Steve Meador, and the thump of bassist George Hawkins Jr.. Guitarists Todd Sharp, Steve Williams, pianist Jay Lemon, B-3 man Nick Connolly and Kevin McKendree on the keys also support. Supplementary horns include trumpeter Terry Townson and saxist Jimmy Bowland. Background vox come from Wise, Hawkins, LaTronda Moyers, and Gary Bunton. Lead vocalists sharing the duties are Wise, Hawkins, Bunton, Steve Bassett, ‘Butler Phil’ Ayle, Teresa James, and Big Joe Maher. Wise chooses to open with the honkin’ Lloyd Jones’ tune “No Longer A Part Of Your Dreams”, with Hawkins at the vocal helm. The sultry and jazzed beat of Wise’s “Lots Of Flame” features the classy vocals of Maher and a Bowland Fluegelhorn solo. “Deeper Shade Of Blue” has the sultry sound of Teresa James rippin’ up the lead lines and hot sax from Wise.Complete with sea sounds the snappy beat of “Lonely Island” segues cleverly into the percussion driven “Louisiana Moon”. Leiber and Stoller’s “Shoppin’ For Clothes, four more originals from Wise (including the instrumental title song), and a tune from Mike Duke and Frank Biner close this disc out. Sweet southern sounds, stellar horns and horn arrangements, and great writing keeps Don Wise in a hotly contested game. He has strong formulae and is not afraid to try other material ... and he maintains a fresh sax at all times. Keep up the fine work down there in Knoxville! Mark A. Cole Horn O’Copia Recordings; c/o WAMCO Productions; P.O. Box 2772; Knoxville, TN 37901-2772: or, www.donwise.com The Motor City Rhythm & Blues Pioneers The Motor City Rhythm & Blues Pioneers Blues Suit Records BS-1170 The classic era of Detroit R & B predated the success of Motown Records in the sixties. It was the 1950s that names like Joe Weaver, Kenny Martin, and Stanley Mitchell were seen and recognized for their fluent vocals and musical escapades on vinyl and in the clubs. The three have recently been touring again backed by R J. Spangler’s Rhythm Rockers. Spangler has brought many of Detroit’s historic performers back into the limelights. This trio of vocalists is no joke, having decades of combined experience and individual contributions to the Deluxe, Fortune, Chess, Bumble Bee, Gone, Federal, Big Town, and the young Motown labels. Singularly they have worked with legends like John Lee Hooker, Sam Cooke, Dinah Washington, and Lionel Hampton. Bandleader R. J. Spangler also keeps the beat on the drum kit. The Rhythm Rockers are the unassuming guitarist Paul Carey and the versatile Keith Kaminski on the saxophones. The bottom is enlarged with Tim Marks on the bass guitar and Mark Thibodeau on the keyboards. Detroit Johnny Ogen supports with some excellent background vocals as well. This group steps from shuffle to funk and back with brilliant results and wonderful executions and timing. The opening tune written by Weaver, “Sugarlove Baby” comes out with phat horn lines and some pleaful crooning from Joe. The delicious doo-wopped backgrounds of “I’m Sorry” and Martin’s sweet lead delivery could come right from those golden 50s. Mitchell’s elegant tenor lead on the following “Make Up For Lost Time” completes the triple lead comparisons that are featured on the first three cuts. All three hit the lead chores on the Wilson Pickett tune, “I Found A Love” with a combined fever and subtle intensity. We could talk about them all here, but we might be getting redundant with the praise. These three vocalists are the real deal with sounds as rich and deeply tonal as ever. The advantages of experience and combined strengths make this biscuit a special treat. Get the three-for-one deal and win out with some of the smoothest backing sounds around. The Motor City Rhythm & Blues Pioneers could not be more aptly monikered. Mark A. Cole Blue Suit Records; PO. Box 35207; Toledo, OH 43625-2707: or www.blue-suit.com Robert ‘Bilbo’ Walker Rock The Night Rooster Blues Records ROB-CD-2643 Robert ‘Bilbo’ Walker knows how to draw a crowd in Clarksdale, Mississippi. A rollickin’ juke joint barnburner, Walker shares a dual residency in Bakersfield, California. His bar-brand blues is one made to entertain and get people moving to the dance floor. He’s known for his cascading note work and dynamic one-handed playing. This release captures that live club sound in an outstanding performance on February 4, 2000 at the Hideaway in Chicago. The show disappointed no one and was captured in multitrack yielding incredible sound. Walker’s famous stage antics are always an incredible involvement as Bilbo jumps, dances, and stretches his instrument to ache out the bluesy sound he is known for. Behind him on this rare occasion are ex-Jelly Roll King drummer Sam Carr, and Walker’s favored bass man, David ‘Pecan’ Porter. The ready groove established, Walker walks the line with fluent notation and bravely individualistic chording. Stabbing Texas school axe work inhabits the opening “Cut You Loose” by Mel London. Shuffling into Jimmy Reed’s “Found Love”, Walker struts atop a hearty beat with string-bending acrobatics. His warbling voice sets a southern drawl to note, and arrives with pleading involvement. Covering Jerry West’s “Rooster Blues”, Robert picks up a early Memphis rock leaning that fits nicely before the later Chuck Berry tune “Memphis”. Walker slides nicely from rompin’ blues to easy groovin’ rock beats. The illustrious rhythm section follows just as smoothly. Produced by Jim and Selina O’Neal, this plate captures the rough and tumble blues of Bilbo Walker. An electrifying guitarist in any sense of the word, Walker never ceases to enter his own world when playing; finding the essence in each note he tailors up for play. His characteristic rendition of Freddie King’s “Hideaway closes the set. He also blends together his rearranged take on Chuck Berry, “Johnny U. Goode” and the classic “Little Queenie” with tremendous flair. In the notes it explains he’s also closing the set with his one-handed axe showcase. Walker has the credentials to bring ‘em in. Don’t be misled, roadhouse blues and honkytonk rock are Robert Bilbo Walker’s game. Mark A. Cole Rooster Blues Records; a Division of Bottled Majic Music, Inc.: or, www.roosterblues.com Precious Bryant Fool Me Good Terminus Records 0201-2 The Georgia born Precious Bryant was delivered Precious Bussey and performed early in life in Baptist church surrounds with siblings as The Bussey Sisters. Raised with gospel, Piedmont, and fife/drum band family influences, Precious grew up with music encompassing her life. An avid singer and guitar player, she was first recorded by folklorist George Mitchell. A somewhat quiet career has kept her a relative regional secret, but this biscuit should go a long way toward giving her some valuable exposure. Ms. Bryant, is indeed a living national treasure carrying the torch of Georgia-Chatttahoochee Valley blues. The pleading opener, Willie McTell’s “Broke And Ain’t Got A Dime” sets a country blues slant that’s followed by the uptempoed “Black Rat Swing”. A Mississippi shake beat inhabits the traditional “Blues All Around My Bed” and the blues standard “Don’t Mess Up A Good Thing”. An East Appalachian folk style combines with her rhythmic attachment to Delta rural blues on most cuts. She is emphatically traditional and her repertoire includes rearranged standards like “Don’t Let The Devil Ride” and “When The Saints Go Marching In”. A true fusion of gospel, country blues, and early secular approaches is heard in Precious Bryant’s music including the tracks found here. Fresh, enlivened, and completely country blues, Precious Bryant is a blueswomen of immense integrity and authenticity. Seemingly unaffected by blues evolutions since the 1940’s, Ms. Bryant is indeed a treasure of national stature, and a living blues matriarch that needs to be heard by the legions of blues enthusiasts. Purists will delight at her reemergence and modernistic blues fans may just need a taste of primeval blues to appease their blues muse. If so, this is it! Mark A. Cole Terminus Records; 981 Ashby Street, Suite 102; Atlanta, GA 30318: or, www.terminusrecords.com back to BAS Journal next page -6-