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02 / 2006
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MISSISSIPPI HEAT Glad You’re Mine Crosscut CCD11085 By six years-of-age, Israel-born Pierre Lacocque had lived in three countries. Radio introduced him to African-American music and forced him to leave his serious studying of Existentialism and Theology behind. He left Belgium for good in 1969 and, with his family, relocated to Chicago at age 16. Disillusioned with the music scene, he hit the books in 1976 and eventually received a doctorate designation from Northwestern University. That couldn’t fill the void left from not playing the blues. He founded Mississippi Heat in 1991. Ten years later, South Side lady Inetta Visor blessed the group with her vocals. Other members include Steve Doyle and Chris Winters guitars, Chris Cameron keyboards, Spurling Banks bass, and Kenneth Smith drums. Although steeped in tradition, the CD’s 12 songs – including nine Lacocque originals – are not hard core blues or 12 bar blues. However, on each song Mississippi Heat performs closer to the genre’s roots than many of today’s so called “blues” bands. Glad You’re Mine is filled with unabashed music, straight from Chicago’s smoky blues bars. The painful lyrics of Dirty Deal are blown away by Lacocque’s harp. Here, guest guitarist Carl Weathersby (a dear friend of the band) delivers an excellent and unmistakable solo. On this and Where Were You, he proves he can still be a supportive sideman. Heartless Fool reflects Lacocque’s intellectual side. Using lyrics like (“man is a heartless fool and is tearing this world apart”); he attacks current socio-economic issues head on. He pleads for government to use money wisely, e.g., they send spaceships to the moon, but what about kids who go hungry in our streets. She Ain’t Your Toy is musically based on Cream’s rendition of Crossroads and contains foolproof ideas (from a female perspective) regarding how to treat a lady. During the swampy title track, the vocals are a cross between Katie Webster and Marcia Ball. The song’s message is about unconditional love – the kind most associated between spouses and family members. Vocally, shades of a young Tina Turner emerge on Cool Twist. I’m A Woman deals with woman’s natural want to please her man and her rich talent of multi-tasking. Here, Steve Doyle plays wicked slide guitar without just making loud, screeching noises. Take My Hand is what Booker T. & The M.G.’s would have sounded like if they added harp into their mix. On it, and a few others, Cameron displays a supremely gifted keyboard talent. Jamaican Night pushes the blues out of its perceived rut via funky keys, amazing harp, and a reggae rhythm that transports you to the Caribbean. Immediately you will be engrossed with these songs. When the focus isn’t on Visor’s natural Larynx-busting vocals or the captivating grooves, it is on Lacocque’s incredible and magical harp, which is a cross between Sugar Blue and the Sonny Boys. Undoubtedly, Lacocque is one of the best harp players on today’s scene. You can hear the past in some of his playing (Little Walter and Big Walter Horton were huge influences), but Lacocque uniquely stands out among today’s harp wailers. Likewise, Visor pours her very being into every note. Her vocals range from lovely to tense to curt. While they may not make her the next queen of the blues, they are as playful as a princess. Mississippi may have heat, but this band has ardor. Tim Holek |
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“Sir” OLIVER MALLY Love Is A Devil ATS-Records CD-0594 www.sir-oliver.com www.ats-records.com Frontman for the band Blues Distillery, occasionally half of a piano/ guitar duo, and sometimes one third of a trio, for this acoustic based set this Austrian singer/ guitarist is the whole package, a solo artist totally alone except for a washboard on one track and a piano on another, and with ten of the eleven tracks being self compositions, there is nowhere to hide. Not that Sir Oliver needs it. His talent is such that he carries it off with ease, his voice is authentic and convincing, his guitar playing accomplished and appropriate, and his songwriting varied and interesting. He doesn’t always play the blues pure and simple - though he proves on several tracks here that he can undoubtedly do just that - but he never strays too far from the root. He can hint at the gritty country-roots-rock approach of a Steve Earle (himself no stranger to blues festivals), conjure up the smiling shade of the great Mississippi John Hurt – try ‘Butterfly Girl’ a particular favourite of mine), or tackle a self-composed lyrical ballad (‘Billy’). As I wrote earlier, there is nowhere to hide – and that is to Herr Mally’s advantage as it allows his talent to shine out bright and clear. A very fine album indeed! Norman Darwen |
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Boobie Browne & The Onions Birth Of The Chickenpick Independent, 2002 This is a collection of expressive instrumentals featuring the commanding guitar of Boobie Browne. Chicken-picking is a fairly accurate way to describe the way he plays especially on “Pink Chicken”. The album’s unusual title is in reference to a 1950s release from Miles Davis. In particular, it attempts to draw attention to Boobie’s style of guitar-playing. He plucks the strings with his fingers rather than a pick, or uses his fingers in conjunction with a pick. This allows Browne to play proficiently with plenty of time for his audience to hear and digest each note. He isn’t one to try and play faster than the speed of sound. Still, his fretwork is fascinating. Backed by the Onions (Keith Power bass, Scott MacCulloch drums), together they possess a full sound even though they are only a trio. The almost 40 minute disc was co-produced by Browne and Troy MacCulloch. On the Eric Johnson sounding “Two Eggs Any Style”, Boobie picks notes with authority and purpose. There are elements of country music present in his playing. Another tune reminiscent of Johnson is “Patrick Takes Out Life Insurance”. This isn’t to imply that BB copies but rather to give a reference to someone with a similar style. You will picture a wild square dance during the rockin’ country hoe-down called “Tele Savalas”. “Sweetpea” is acoustic folk. The song comes with a television commercial style of jingle but is cleverly matched with two-step timing and tempo. Later, Browne combines classical music and rock as well as Ritchie Blackmore and Yngwie Malmsteen on “Captain Beano” with its overdubbed two guitar attack. “Precious” is romantic, acoustic rock. Picture the seaside with its smell of salt-air as you blow like the wind during this musical journey. “Liquid Lunch” has that classic 60s beach feel to it. Images of psychedelic coloured miniskirts swinging on the set of TV’s Batman will develop during this cut. As you may have noticed, the song titles are rather bizarre. I failed to make the connection between the names and the musical mood of the tunes. However, the names pointed out Browne’s sense of humour. All 10 original tracks are up-beat. Each forces the imagination to go exploring. Thus, each song will have a different and distinct meaning for each listener. Most of the tunes regularly change rhythm so listeners do not have to be concerned that they will become bored with the material. Additionally, this indicates great professionalism on Browne’s behalf as he changes melodies and timings effortlessly. Some songs have surprising ends and all quickly segue into each other creating the illusion of one long extended jam. His interesting brand of roots rock soars with diversity but doesn’t possess much blues. This St. John’s Newfoundland native needs to gig more often and get some marketing behind him. Many will not be familiar with his name so they will not be aware that something new and completely different is on the scene. This magical musician not only creates his own songs, he creates his own words! Tim Holek |
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Matt Minglewood Drivin’ Wheel Norton Records, 1999 (NORT99-1) Canada's Maritimes are a musical gumbo (as New Orleans), therefore you will hear southern rock, country, Celtic and blues embraced in this Canadian music legend’s sound. Hailing from North Sydney, Cape Breton Island, “down east” culture exudes from Matt Minglewood’s story-telling tunes. In a career that exceeds 35 years, Matt quickly rose to the top of Canadian blues-rock with a string of top selling albums in the late 70s/early 80s. He has also achieved numerous award nominations, a Lifetime Achievement Award from the East Coast Music Association and a Great Canadian Blues Award from CBC’s Saturday Night Blues radio program. This self-produced powerhouse 57 minute disc (Matt’s most recent) features 11 songs including 3 covers. It is a shear delight to hear him sing his lyrics which describe working class life struggles and down-to-earth living as opposed to the far too common booze and women themes. Sure, at times he screeches like Brian Vollmer of Helix, but overall he uses his strong voice accordingly. Surprisingly, Matt does not handle all the guitars. He is aptly assisted by Gordie Sampson and Fred Lavery in that department. Grant Leslie and Neil Robertson (from his touring band) tackle the bottom and pulse while John Lee and Bill McCauley perform wonders on piano and organ. “How High Is High Enough” is a folk-song with a British pub-styled chorus. “Black Spruce River” is the quintessential east coast song. Here, Minglewood sings with burning conviction while succinct background harmonies are performed by Jamie Foulds and a choir. “Hughie T. & Annie Lizzie” is an emotion-laden instrumental where you feel compassion in every note. These names are the way he parents were affectionately addressed by people who were close to them. The fiddle at the very beginning is the only recording of Matt’s paternal grandfather. For a rocked up version of the blues, listen to “Help Me”. McCauley’s organ is spooky while Matt’s shrieking and wailing electric/slide guitar is played so methodically, baby boomers will not be able to resist it. “I Wanna Be Your Man” is cruising rock and roll that is so loud, proud and heavy – images of leather, spandex and big hair comes to mind. Matt pays homage to his influences on “Comin’ Back A King”. His honest lyrics acknowledge that his upbringing and lifestyle are nothing compared to the ones his heroes endured. On, “Cape Crusader”, a riff from ZZ Top is borrowed. Matt puts the pedal to the metal on all but the CD’s 3 slow ballads. However, even on these, the band is cookin’. On “Darkest Shade of Blue”, Matt’s vocals are as emotional and aggressive as his guitar notes. Lee’s jazzy piano is in sharp contrast to the song’s heavy and dark melody. Surely, Minglewood has penned an award winner here. “Travelin’ Man” is a country ballad that will moisten the eyes of the staunchest hard-nose. With ardent vocal harmonies, it describes the discordant loneliness of having a career that keeps you away from a loved one. (BTW, I agree Matt, the west coast is not the best coast) The CD liner’s back-cover brings this song to life. Desolately pictured are Matt’s guitar, case and the long-winding road. Additionally, his proud Maritime heritage leaps off the liner through numerous photos of Cape Breton Island. Blues purists beware, this is not a blues album and rockers beware, occasionally the tracks sound like Mellancamp/Springsteen. Yet, Minglewood is not your dime-a-dozen blues-rocker. He has something unique to offer. The spirited songs, fervent rhythms, zestful vocals, ardent guitar work and gust-ful keyboards combine for one of the best rock albums ever. Tim Holek For CDs, booking and information, contact: 757 Main Street, Glace Bay, NS B1A 4Y7 Canada Phone: 902 849-5290 Fax: 902 849-1033 minglewood@ns.sympatico.ca www.mattminglewood.com |
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Peter Shonk & Blues Avalanche Peter Shonk & Blues Avalanche Independent, 2000 The best CDs don’t come with preconceived notions. You know – those discs you pick up even though you don’t know the band that well and the music just floors you?! Peter Shonk’s self-titled debut is one of those discs. You will musically feast via 11 songs (only 4 are covers) about women, nightlife and getting old throughout 54 minutes. Together since 1982, this avalanche is not the sudden or overwhelming type. Far from it, their brand of laid-back blues can be dished out with dinner. Peter Shonk (singer/songwriter, harmonica and slide guitar player) has been performing professionally since 1975. In 1977, guitarist/vocalist Jocelyn Goulet founded Quebec City’s first blues band and joined Shonk 1999. Their harp and guitars are at this group’s forefront. The sound is somewhat in the vein of Rick Holmstrom/Rod Piazza, Little Charlie/Rick Estrin and Anson Funderburgh/Sam Myers. Rounding out the rhythm is Louis Dugal (bass) and Andre Bouchard (drums). They are a true Canadian band with credits and liner notes appearing in both official languages. Although based in Quebec, their music leads you to believe they hail Stateside where they were raised on grits and chitlins. Like black ice, “Quebec City Women” is slick and has you caught in its grasp before you realize it. The lyrics will have any red-blooded man racing off to Quebec for the ladies. Andre brushes the skins on Mose Allison’s “Nightclubs” while Peter rips on harp. Hooker’s “Boom Boom” is a brilliant cover to select. Here, the guitar and harp intertwine themselves perfectly. Jocelyn’s big fat west coast guitar gets jazzy midway through “I Don’t Want To Ever”. Like any highly-experienced band, Blues Avalanche demonstrates their ace professionalism by quickly adapting to this change of pace. “Old Age Blues” is a fun shuffle about the downside of the aging process. With lyrics like: ‘might have to take ginseng as long as I don’t have to take viagara’, the group’s humour ranges from being subtle to blunt. What middle-aged male will not be able to relate to “Internet Blues”? This modern, slow blues gem is about a man who loses his lady via the world wide web. She finds someone better with a hard drive instead of a floppy drive! “Rock Tonight” is pure, genuine houserockin’ music influenced by the great Hound Dog Taylor. Notably, Peter’s voice isn’t as supercharged as his sweet, soothing slide. Shonk’s vocals match many of the song’s unobtrusive tempos yet his harp and slide are wicked. This CD came out in 2000 but it didn’t come my way until recently. The good news is – unlike today’s prefabricated music, Blues Avalanche comes without gimmicks. Only the music matters here especially the feral harp and thrilling guitars. If women don’t draw you to Quebec City, the blues on this CD will. Tim Holek |
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Sparkjiver Funky Bluesy Jazzy Churchy Independent, 2001 This sophomore release from Toronto’s slick trio is appropriately named. Clocking in at just 43 minutes, it could have been much longer. Perhaps this is part of its appeal as listeners have no time to lose interest. The disc’s propulsion comes via eleven tracks. Five are originals and all are instrumental except for one. Therefore it is ironic that a microphone adorns the cover. The band consists of Gene Hardy sax, Rod Phillips organ and Jim Casson drums. They are 3 of the country’s finest sidemen having performed and recorded with hundreds of groups. Guest musicians expand the threesome on many tracks. All songs were arranged by Sparkjiver yet none were written by the entire group. A testimonial is an attention-gathering way to start. Unfortunately, its effects do not last beyond the first listen. “Cleo’s Mood” is a catchy, foot-tappin’ tune where Gene’s sax is mysterious and sexy and Kevin Vienneau’s guitar is given a 1960s retro feel. Hardy’s sax swoops at your emotions and unleashes a fury of vibrant imaginations on “Quay Waltz”. A couple tracks have a big band feel which sounds like an entire orchestra. “Geep’s Blues” contains Christmas swing while uptempo “Cleanin’ Out The Attic” jumps with energy. Robbie Robertson’s “Shape I’m In” gets an impressive reading. The arrangement is slow-paced and Rod’s vocals are moving, deep and strong. Perhaps something to look forward to on the next disc? Musically, as with the romantic “Atlantic”, there is only sax and organ present and it is astonishing. ELP and Yes come to mind on the stormburning “The Scream”. Although the band contains a triad of equally talented musicians, Gene Hardy seems to get top billing. He produced the disc, his websites are listed on the liner (although members have websites), the tunes all seem to evolve from his sax, a caricature of him appears on the liner and he is listed first when the bandmembers names appear. Of course, using acclaimed session men to record as a single unit doesn’t always work. Admittedly, Sparkjiver is a long awaited dream-come-true for Gene. It is a forum for his fondness for blues, funk, pop, jazz & gospel. If he has got what it takes to make a band out of these musicians then so be it. On “Funky Bluesy Jazzy Churchy”, the boys leave the cover tracks on their debut and display musical growth. The music here is more jazz than blues. In fact albums like these are part of the reason why blues gets classified as jazz and vice versa. However, all labels set aside, it is exhilarating and impressive especially if you already have an appreciation for ornate sax and an organ that tremors. Hilly Sands provides a fine analogy in his testimonial: ‘if life was a telethon, they would be the first digit on the far left of the toteboard’. So you think all roots music sounds the same? Then you haven’t been Sparkjived! Tim Holek For CDs, booking and information, contact: www.sparkjiver.com |
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SANDY CARROLL Delta Techno RingoRecords www.ringorecords.net www.sandycarroll.net I did not recognise Sandy’s name but perhaps I should have. I recognised the name of her husband Jim Gaines, producer/ engineer for the likes of Stevie Ray Vaughn, Luther Allison and many others (including this set). More importantly perhaps though, this is no case of her trading on her husband’s reputation. Sandy herself has written fine material for Luther, Albert King and others, and she is a fine pianist and a very distinctive vocalist, as this, her debut set for the Memphis based Ringo label shows extremely well. Guitarists James Solberg and Rocky Athas both guest here (and they are also co-composers - the former with one number, the latter three), but this is no traditional blues – or even blues-rock set – despite the attractive Duane Allman influenced slide playing of Sandy’s own guitarist Evan Leake. The nearest to a traditional blues comes with the closing track ‘King Of The Mountain’, dedicated to Dr. Martin Luther King, and although there are indeed elements of funk, jazz, rock, pop, and the seventies singer-songwriter style in evidence, this is a truly contemporary album in outlook, approach and sound. The rhythm section in particular has a very ‘now’ feel, and to be honest, I can see several modern blues acts plundering material from this set. Get in first and hear these songs as the original composer intended them – and you may find that Sandy Carroll is a very fine artiste in her own right. Norman Darwen |
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BUDDY GUY & JUNIOR WELLS Messin’ With The Kids – Live At The 1974 Montreux Jazz Festival Castle Music CMRCD 1270 www.sanctuaryrecordsgroup.co.uk The partnership of Buddy Guy and Junior Wells could be maddeningly inconsistent, sometimes alienating their fans by ‘messing around’ and not seeming to take any interest in their music or audience reaction. At other times, they could be inspired; this set does tend towards the latter standard, and it stands as one of the better offerings in the duo’s recorded repertoire. They need no introduction of course, Buddy, one of the grand old men of the Chicago blues (having started out as one of the most exciting of young men on the blues scene in the late fifties), still turns out the odd excellent album, whilst harmonica man Junior, who died in 1998, was a reasonably established figure before Mr. Guy even arrived in the Windy City. They frequently worked together in clubs, on tours and on record, and were a familiar double act on the international blues scene by the time of this recording, most notably from their stint as opening act for the Rolling Stones in the early seventies and for their Atco album, a (then) reasonably current release produced by Eric Clapton. For this Swiss festival show, they were backed by a pick-up band – but not just any old outfit. The Stones connection brought them Bill Wyman on bass, who in turn recruited the then Crosby, Stills, Nash & Young drummer Dallas Taylor and the unrelated rock guitarist Terry Taylor; this group was actually employed to back Muddy Waters at the festival, but was called in by Buddy, who was less than enamoured with his backing group, at short notice; hence too that Muddy’s pianist Pinetop Perkins helped to fill out the sound. Despite the lack of rehearsal, it works! Buddy and Junior take turns at backing each other as front man, either all slow and intense (Buddy with ‘When You See The Tears From My Eyes’ and ‘Ten Years Ago’), whilst Junior can be up tempo and powerful on the likes of ‘Checking On My Baby’ and ‘Messin’ With The Kid’. His Sonny Boy No.1 roots are frequently to be heard in his playing on this set, though he does play chromatic on ‘Ten Years Ago’ reprising the role he played on Buddy’s original Chess recording of fourteen years earlier. Readers with longer memories may remember this material being previously released as ‘Drinkin’ TNT And Smokin’ Dynamite’ by Red Lightnin’ in Europe and Blind Pig in America. If you do not already have it in your collection, it is certainly worth checking out. Norman Darwen |
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TOMMY CASTRO Whole Lotta’ Soul Blind Pig BPDVD 6005 During the second half of the ’90s, Tommy Castro helped develop today’s contemporary blues. He grew up in San Jose and became enthralled with the blues after realizing it influenced Eric Clapton and Mike Bloomfield. Castro sings charismatically, plays wailing guitar, and writes forceful rock ‘n’ soul numbers. Randy McDonald (bass), Keith Crossan (sax), and Tommy have been performing and recording together for 14 years. Chris Sandoval (drums) is the newest band member. Like Blind Pig’s other recent live DVDs, this one was also recorded at the Sierra Nevada Brewery “Big Room” in Chico, California in 2005. The 350-seat venue is where the PBS TV series Sierra Center Stage is recorded, has excellent acoustics, and has been called one of the best live music spaces on the West Coast. This professionally produced DVD was filmed in wide-screen, and features camera angles from seven different operators. Of course, Castro appears dressed in black and plays his well worn Stratocaster. Although he is constantly smiling, he doesn’t possess a spellbinding stage presence. In between songs, there isn’t much interaction with the crowd. Castro communicates via his powered music, which keeps the dance floor packed. The riveting 11-song set includes nine songs from Soul Shaker (which spent 19 weeks on the Billboard blues chart), Castro’s most recent and best Blind Pig CD. The only songs that do not appear on Soul Shaker are You Only Go Around Once and Texas Flower. The latter, which sounds like it came from an Elvis Presley movie soundtrack, appeared on McDonald’s solo CD and is the only track not written by Castro. The song exhibits rocking piano and guitar solos, as well as the very intense and animated McDonald. Interviews with Castro and his band add 16 minutes to the hour long concert. Kevin Bowe adds guitar to several numbers, while sultry red-headed Renee Austin provides jostled backing vocals on Let’s Give Love A Try. Tom Poole’s assertive trumpet and Jimmy Pugh’s bold organ can be heard on practically every Castro CD. These choice musicians guest on many songs here – including the lovely Anytime Soon, which contains hopes and dreams for a better world. Shivers will run down your spine when you hear the lyrics. The Next Right Thing is sleek, sheik, and loaded with funk. It features a great arrangement that travels from mellow to heavy. During Take Me Off The Road, Castro is self-reflecting and soul-searching, while McDonald launches into a wild trucker’s CB radio rap. What You Gonna’ Do Now? is thought-provoking and expresses questions which many of us cannot or will not address. At times, Crossan blows his sax as deep as a Great Lakes freight ship’s horn. Throughout, he injects a rock ‘n’ roll feel ala the Silver Bullet Band. Castro is a real inimitable string-bender. As proof, just watch and listen to No One Left To Lie To. Time and time again, the ghost of Otis Redding can be heard in Castro’s vocals that moan, shout, scream, and hum. In a different era, Castro would have been the ruler of FM radio. For the present, he is without a doubt, the king of rock ‘n’ soul. Tim Holek |
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LIL’ ED & THE BLUES IMPERIALS Heads Up! Alligator ALCD 4886 www.alligator.com Lil’ Ed Williams & The Blues Imperials have been called “the world’s #1 houserockin` band". Mentored by his blues legend uncle, J. B. Hutto, and continuing the tradition of Hound Dog Taylor, Lil’ Ed formed The Blues Imperials in 1975. Ten years later they signed with Alligator Records. Their latest release Heads Up was recorded live in the studio and has been described as “containing the most ferocious and deepest music of the band’s career”. Five foot one Lil’ Ed plays music that is full of animation and joy. He combines barking vocals with romping guitar. Drummer Kelly Littleton pushes the beat with masterful shuffles and playfully complements Ed’s musical style. The remaining Blues Imperials include Mike Garrett (guitar) and Pookie Young (bass). Ed has been gifted with shrewd stage antics, which can conceal his musical talent. Thus, Williams is one of the most under-rated guitarists on the blues scene. His vocals are entertaining enough, as are his light-hearted lyrics, but it is his thriving guitar that you’ll remember the most. It rattles and fractures your bones for 55 brazen minutes. The road-racing My Mind Is Gone and the titillating Lil’ Ed’s Home Cookin’ are wonderfully wild and crazy. Empty House Tour has the swing of the West Coast. Four Leaf Clover and I Love My Baby were influenced by Albert King and Freddie King respectively. The entire album is not completely comprised of snarling guitar. Ed is equally competent when he tones things down as on I Still Love. It and Black Night (the CD’s sole cover song) are simply brilliant slow blues burners. Ed and his majesties look like a bunch of 1950s rockabilly rock ‘n’ rollers but they blaze a blues firestorm and create an instant party. This is not boring blues nor is it commercial/pop blues. Lil’ Ed & The Blues Imperials perform real deal blues. It is raw, heavy, and raucous – featuring wicked slide guitar. Their energetic music rocks like a bed in a brothel while the slide guitar barrels over you like a mighty machine. Sure, there is a formulaic pattern to these songs, but there is nothing wrong with placing a sure bet. Some may find him unmanageable, but there is a genuine musician behind this book’s cover. Perhaps more than any other artist on Alligator’s active roster, Williams embodies the very reason Bruce Iglauer created his respected record label. Lil’ Ed is all about having fun. On Heads Up! he is having a blast and it’s a ball. Long live the Ed Heads. Tim Holek |
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JOHNNIE ALLAN Swamp Pop Legend Jin 9044-2 www.flattownmusic.com Legend is one of the most over-used words in the music industry, but there can be no argument with its use here. John Allan Guillot was born in Rayne, Louisiana in 1938 and began recording twenty years later as a member of the Krazy Kats, having been singing and playing rhythm and steel guitar since early in the decade. He went on to become a schoolteacher and a tireless champion for Louisiana culture (his great uncle was the inimitable accordionist Joe Falcon); I interviewed him around two decades ago and he still strikes me as one of the most gracious people I have ever met! …But what of the music? Well, these days ‘American roots music’ is also an over-used term but again, there is no disputing that Louisiana swamp-pop is roots music par excellence. Its spiritual home is on Floyd Soileau’s Jin label, and there are 25 slices of it here, in its purest form. There are plenty of those south Louisiana two chord ballads that betray the influence of Fats Domino and others, all yearning vocals, droning horns and tinkling piano; there is jerky New Orleans rock and roll with a Cajun accent, there are a few Country & Western tunes with a verse or two in French just to stamp a Cajun identity on them, there are a couple of items that could only come from listening to early sixties pop, there are some numbers that mix all these elements up together, and of course, there is ‘Promised Land’. This set proves that there is much, much more to Johnnie Allan than this, his best known number (in Europe anyway), but it is undeniably one of the finest two minutes on vinyl to come out of the US – Chuck Berry’s rocker, of course, with a furious, raw, driving rhythm, Johnnie’s impassioned vocal (and that endearing mistake in the lyrics), and the unforgettable wheezing accordion breaks – simply astounding, and if you don’t know it, I envy you the pleasure of hearing it for the first time! ‘The Essential Collection’ is the subtitle of this album – and that is indisputably the truth! Norman Darwen |
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HANS THEESSINK Live In Concert – A Blues & Roots Revue Blue Groove DVD BG-1908 www.theessink.com If Hans Theessink had been born in America, he would now be enjoying the iconic status afforded to the likes of Taj Mahal and Ry Cooder; as he was born in Holland and is based in Austria (if a man touring around 200 days a year can be said to be based anywhere other than the road), it is taking him a little longer to be recognised. Rest assured though that, if there is any justice at all in the world, he will achieve it. For supporting evidence, look no further than this DVD. With a 95 minute concert at its core, this release demonstrates that ‘the Euro-bluesman’ has a seemingly innate understanding of his chosen metier and the ability to carry his ideas through. There is little here that qualifies as blues pure and simple (though try ‘Dough Roller Blues’ and ‘Little Girl’ if that is what you want); but his warm voice, fierce bottleneck playing or accomplished fingerpicking, plus occasional harp and mandolin, are indeed blues drenched. His accompanying musicians – Roland Guggenbichler on piano, organ and accordion, Erich Buchebner or upright and electric bass, and drummer Harry Stampfer – are totally sympathetic and equally accomplished, and as this was recorded in Vienna in April 2004, when Hans was touring to promote his release ‘Bridges’, the acoustic-based organic sound is augmented by the addition of vibrant and personable Zimbabwean vocal trio Insingizi. Hans understands the links between seemingly disparate roots styles and the results are truly stunning – try the traditional spiritual ‘Jesus On The Mainline’ or ‘Soul On Fire’ which manages to sound like a southern African song and an item from a southern American jukebox at the same time! No mean achievement, I think you’ll agree… But again, no-one should be too surprised; elsewhere, he can touch bases with zydeco, country, rock, folk (American and European), jazz, reggae and gospel, and make it all sound unique and convincing. The professionalism of the DVD direction and production, with its numerous camera angles and crystal clear sound quality, also serves as a timely reminder that blues and roots DVDs need not and should not look like they have just been thrown together. Extras on the DVD include a documentary on the making of ‘Live In Concert’ (in English or German), interview material including some fascinating song by song commentary, videos from 1989, 1995 and 2003, a ‘Columbus Stockade’ by Hans, Donovan and Arlo Guthrie, a couple of songs by the wonderful Insingizi and a discography. Anyone who has ever seen Hans Theessink live will want this; and those who haven’t yet had the pleasure are advised to buy this anyway. Norman Darwen |
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LEGENDS featuring Eric Clapton Live At Montreux 1997 Eagle Eye EE39098-9 The Montreux Jazz Festival began in 1967. Today, it is one of the world’s most prestigious music festivals. Eagle Vision’s Live at Montreux DVD series features concert footage from some of the best Montreux performances. Legends bring together five significant musicians for a special concert. All the artists are equally talented and revered within their individual genres and the music industry as a whole. The unassuming band includes respected jazz drummer Steve Gadd, coveted multi-instrumentalist Marcus Miller on bass, Crusaders founding member Joe Sample on piano, prominent saxophonist David Sanborn, and legendary Eric Clapton on guitar and vocals. Miller was the nucleus of Legends, who he put together specifically for an 11-date tour of major European jazz festivals. Clapton is one of rock’s most prolific artists. If he isn’t recording or touring as a solo act, he is taking part in a side act. Lately this has spurred a plethora of DVD releases such as Cream Royal Albert Hall May 2005, The Concert For Bangladesh, and Sessions For Robert J. Live At Montreux 1997 is one of the most interesting because it is extremely different from all of Clapton’s other work. Dressed in cargo pants, a bowling shirt, and sporting black rim glasses, he appears relaxed and more aligned with today’s fashions than those on the late ’90s. Recorded on the fourth of July, 1997, ironically Clapton is the only non-American of the group. That same year he also went incognito when appearing as X-Sample on the TDF CD. Full House features stunning solos from everyone except Gadd (who doesn’t perform a solo), and Sanborn’s is the most breathtaking. Viewers are left pondering how a skinny guy can make so much noise from his wind instrument. The electric piano on Groovin’ brings back memories of Herbie Hancock LPs. Ruthie is powerful. The grand piano sounds charming, and when combined with the arresting melody on guitar takes you away to a distant and tranquil land. Looking for dignified and mesmerizing saxophone and guitar? Check out Snakes (the definite highlight of the DVD), where all band members receive a solo. The Peeper is another highlight. Here, Sanborn erupts via a wailing solo while the guitar and piano solos are classically astounding. During the introduction of Going Down Slow, EC makes a mistake and laughs it off. The sax adds genuine rank over the studio recording, which appeared on Clapton’s Pilgrim. All five musicians evenly contribute as band members. There is no single superstar in this super group. However, on two occasions, two of the members clearly enjoy the spotlight. Third Degree is pure blues and is Clapton’s chance to shine. Likewise, Joe Sample momentarily steals the show on Jelly Roll Morton’s Shreveport Stomp. If I was forced to classify this genre-blending act, I’d have to consider them as jazz. As with any reputable jazz act, there are lots of instrumentals, improvisations, solos, yet the group performs as if they have been together for years. The DVD contains no special features, but the 12 camera operators create an enjoyable view and the audio is available in a 5.1 mix. Tim Holek |
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CHICAGO BLUES REUNION Buried Alive In The Blues Out The Box 3016 Buried Alive In The Blues is a celebration of the first generation of white musicians who openly embraced the blues. They were accepted and included to the point of performing with their black heroes and establishing the first integrated blues band. The generation is now approaching or has already entered their senior years. Like your favorite grandparents, they have a valuable history that deserves to be told and heard. Chicago Blues Reunion’s members have led interconnected professional lives for the past five decades. Nick Gravenites (vocals/guitar) wrote Buried Alive In The Blues for Janis Joplin and Born In Chicago – the signature song of The Paul Butterfield Blues Band featuring Sam Lay (vocals/drums). Butterfield’s guitarist, Mike Bloomfield later joined The Electric Flag, which included Barry Goldberg (keyboards) and Gravenites. Tracy Nelson (vocals) was a fixture on Chicago’s 1960s folk and blues scenes before she founded Mother Earth. Harvey Mandel (guitar), a Bloomfield protégé, was part of Canned Heat and John Mayall’s Bluesbreakers. Corky Siegel (harmonica/vocals) has been a Chicago fixture from his years with Siegel-Schwall. Joining them are Gary Mallabar (drums), Rick Reed (bass), and Zach Wagner (guitar). Appearing aged and not well preserved, Gravenites states, “We have a history”, while the youthful looking, gray-haired Siegel adds, “We are part of each other’s lives”. In a nutshell, they took black blues out of the black Chicago clubs and introduced it to the world beginning in the city’s north side. This stylishly packaged DVD/CD combo includes a bountiful 32 page booklet loaded with archival photos. The 80-minute DVD presents six live performances (these plus eight more are included on the hour-long CD), but it also exposes interviews with band members, and Buddy Guy, as well as archival video, and a photo gallery with many never before seen photographs. Especially cherishing is the footage of Electric Flag at Newport and film clips from an early ’70s Soundstage PBS TV show featuring Muddy Waters, Jr. Wells, and Gravenites. The praise-filled interviews have been visually edited to have a retro look. Overall, the DVD unfolds like a well-written special feature in your favorite blues magazine. Recorded in stereo on October 15, 2004, at FitzGerald’s in Berwyn, Illinois, Gravenites performs while seated throughout. On Born In Chicago Mandel’s guitar screeches as it is yanked in the background. The title track contains a relaxed groove that is welcoming and familiar. At times, as on this song, the tiny stage makes it a challenge for the camera operators to maintain a non-obstructed view. Walk Away exhibits the warbling vibrato vocals of Nelson. During the song, you can tell Siegel loves the performance. This image echoes his interview exclamation, “We love the blues”. The deepest blues emerges on Left Handed Soul. Here, the electric piano is audacious, while the organ is haunting. The keyboards punch out and make Slim Harpo’s Miss You Like The Devil a rock’n shuffle while Nelson’s vocals command enthusiasm. Drinkin’ Wine is an out right fun song that jumps and rocks at the same time. Delbert McClinton’s I Need All The Help I Can Get contains the best rhythm and a dose of funk. Death Of Muddy Waters is traditional electric blues performed in honor of its ultimate purveyor. Mandel’s wicked guitar is showcased on Snake while Lay kicks out incomparable vocals on a medley of classic rock ‘n’ roll. Additionally, you’ll hear boogie rock and psychedelic blues-rock. Gravenites’ vocals aren’t strong; Mandel’s heavy guitar is outlandish, while Goldberg’s keys are scintillating. The title of the virtuous group is a bit misleading since Muddy Waters, Howlin’ Wolf, Lil’ Ed, and Carl Weathersby are golden era and modern day artists that come to mind when you think of Chicago Blues. It is doubtful the artists who comprise this super group would land near the top of an exhaustive Chicago Blues listing. The fact remains; they were actively part of the Chicago Blues scene and were mentored by its golden era prophets. After watching the DVD, you walk away with nothing but respect and admiration for these artists. They achieved what no one had done before them and, thankfully, some of them have persevered so a new generation can enjoy them and hear their worthy story. Tim Holek |
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HELGE TALLQVIST & GROOVY EYES PLAYS GEORGE “HARMONICA” SMITH Q Records, QCD-1004 SELECTIONS: Hawaiian Eye; Traveling South; Soul Feet; Tight Dress; Telephone Blues; Blues In The Dark; Good Things; You Don’t Love Me; Loose Screws; Nobody Knows; I Want A Woman; Misty in C; Conversation with George Smith; Blues For The Reverend King Helge Tallqvist, a seasoned harmonica player from Finland, admired the harmonica playing of George Smith since before Smith came to play in Finland in the winter of 1982. By the summer of 1982, Helge traveled to California and continued his friendship with Smith, and was even more inspired by Smith’s chromatic harmonica playing. Smith remained such a strong influence on Helge’s playing that he decided to make a tribute album to Smith. So twenty plus years after meeting Smith, Helge teamed up with another Finnish band, Groovy Eyes, and they began to practice for this CD. He also teamed up with Sidekick Johnny, a guitar player he had played with for over 10 years. This made an early-bird team for the two of them. His good friend, Pepe Ahiqvist, shares the harmonica playing with him in two numbers, as well as some vocals. Jussi Jo Raulamo also sings some vocals. So after the two warm-up numbers, Helge plays his interpretation of GeorgeSmith. He is a talented amplified harp player and blows his chromatic harp with feeling and power. Out of the fourteen tracks, Helge plays six songs that George Smith wrote or co-wrote. A few songs are instrumentals where Helge’s harp is a vital force. People like Doug MacLeod who knew Smith personally and musically felt that Smith would be proud of this CD. The packaging is most unusual with a tin box. Helge’s portrait can be seen in black and grey dots by turning the box sideways. There is also a 24-page booklet full of pictures, letters and stories from the meetings with George. Check out Helge’s website: www.helgetallqvist.com for further information. Maria Bainer |
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Rory Block From The Dust Telarc CD-83614 Rory Block is a veteran of the acoustic blues.Classical blues and original material, she’s comfortable with both. Go for the green and dig, it is worth it! Mark A. Cole Homesick James My Home Ain’t Here Fedora FCD 5033 Homesick James is a authority on the crossroads. This set is two guitars and a drummer, Homesick’s seasoned vocals top the mix. “Crossroads’, ’Gotta Move’, and ‘Evil Minded People’ are the essence of the blues. Every song is a slowbeater. Mark A. Cole Big Mama Thornton Big Mama Thornton with the Muddy Waters Band 1966 Arhoolie CD-9043 One of the blues shouter of all time; Big Mama Thornton. The blues public needs to recognize Big Mama.Thornton sng in the gutsy, sorry, and make-up blues style. Big Mama Thornton with the Muddy Waters Band - 1966 is a stering silver effort by Arhoolie. Thornton wrote her own material and she co-wrote. She was fond of Memphis Minnie and her husband Ernest Lawlars, both able songsmiths, too. Mark A. Cole Shemekia Copeland The Soul Truth Alligator ALCD 4905 ‘Mekia is growing in leaps and bounds, stylistically and vocally. Shemekia has and had the voice of an opera superstar. It develops the lows and the highs, and resonates like her church upbringing on. She is stretching the envelope; making her blues more anuptempo blues. Like her father, Johnny Copeland, he merged the blues and rock. Her ‘Breaking Out’, ‘Strong Enough’, and ’Honey Do That Voodoo’ leap out at you! Guitarist and producer, Steve Cropper and Copeland venture into Jaimacan and rapp leanings and ‘All About You’ with success, too.` Cropper thanked for the assistance of Dobie Gray, Felix Cavaliere (Mountain), Chuck Leavell (Allman Bros. & Gregg Allman), the Hahns (manager) and numerous “friends”. What a team! It shows ... even Sondra Copeland ... Mom! Mark A. Cole |
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made with Macintosh
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Please, send your blues CD's/DVD's with promo-bio to:
BluesArtStudio, c/o F. SVACINA, A-1223 Vienna, P.O.Box 54 |
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