October 2003
The TV film series may be over, but a collection of companion items
for The Blues series have
now flooded the market. In all, 25 CDs with nearly 500 songs have been
released. One of the most popular will be Martin Scorsese Presents The
Best Of The Blues (UTV Records), which contains
recordings made between 1927 and 2003. For 76 minutes, listeners
experience a random sampling of the music and artists featured in the
seven
movies. It isn’t necessarily the best that the blues has to offer. This CD
is a musical journey that closely parallels the film’s voyages and themes.
As per the liner notes, ‘blues never came in a single shade, sound or
gender.’ Thus, you explore the great Delta bluesmen, Chicago’s heyday, the
British invasion, rock and roll and recreated blues classics via
contemporary pop’s biggest stars. At times, the journey advances too fast
(jumping from 1936 to 1954), gets stuck in a certain era (the '60s) and
does not give due justice to certain decades ('70s and '80s). Many of the
artists that appear on this collection are part of the blues pantheon.
Don’t forget to honor the backing musicians, including Jody
Williams, Willie Dixon, Otis Spann, Jimmy Ray Johnson and Andrew Love,
among countless others. Folklore surrounds Robert Johnson’s "Cross Roads
Blues," while Son House’s brilliance is rediscovered on "Death Letter
Blues." Scenes from the movies will instantly come to mind upon hearing
Skip James and Bessie Smith. Etta James displays Muscle Shoals in its
heyday with an emphasis on vocals and the groove. B.B. King delivers the
quintessential recording on "The Thrill Is Gone." Surely those who heard
Eric Clapton’s "All Your Love" realized they were experiencing something
new which was bound for glory. Listen again and hear the blues change
music as we knew it. Jimi Hendrix expands the blues’ audience on "Red
House." Chuck D states, ‘Hendrix put the blues on steroids.’ If so, modern
master Keb’ Mo’ puts Delta blues on a well-balanced diet on "Am I Wrong."
One of the series’ most prominent artists, Blind Willie Johnson, and the
genre’s greatest contributing city, Memphis, are completely omitted. The
blues’ influence on rock music is not ignored but too many rockers appear
on this disc.
The CD exhibits the qualities that makes the blues so relevant in any era.
They include: expressing inner feelings, being unpretentious, outbursts of
emotion, painful truth and hope for a better tomorrow. If you can’t relate
to the blues, then you are just an illusion. Most of the material has
previously been released. Thus, the disc doesn’t offer much to those
already devoted to the riches of blues. It is, however, a notable overview
of blues history and a powerful marketing tool for The Blues companion
items. Blues newcomers who want a safe-keep of the series or simply want
some blues in their collection will be thrilled. To this audience Scorsese
states, ‘your life is about to change for the better.’ The blues
pure-at-heart will do better seeking the CD box set, movie soundtracks or
artist collections.
For CDs and information, contact:
www.pbs.org/theblues,
www.thebluesonline.com,
www.legacyrecordings.com,
www.hip-o.com/blues,
or www.yearoftheblues.org. --- Tim Holek
As I am writing these reviews, the much-vaunted Martin Scorsese-produced
series about the blues is about to start tonight: I wouldn’t miss it for
anything. I don’t know if it will change the perceptions of the
public-at-large, nor if I’ll learn that much I didn’t already know, but I
expect to be entertained. What about the accompanying plethora of CDs:
should we expect them to be anything more than merely entertaining? In the
case of Martin Scorsese Presents the Best of The Blues, the answer is
clearly 'No.' How could it be any other way? A single CD, 21 tracks in all,
to summarize the history of the blues? No surprises there: all songs are
very widely known, and only absolute neophytes will find anything
revelatory there. The first 17 tracks span a 70-year period, from 1927
(Bessie Smith’s “Muddy Water”) to 1997 (Susan Tedeschi’s “Just Won’t
Burn”), with a strong emphasis on the '60s, with tracks associated with
the British blues boom, the folk-blues revival and the birth of American
electric blues-rock. The last four cuts were recorded specifically for the
series and give an indication that this compilation, instead of being the
compiler's selection of “the best of the blues,” might in fact represent
“the best of The Blues series.” The only other series-related CD I had a
chance to listen to is an entirely different affair. The Soul of a Man is
the second film in the series, Wim Wenders' account of how the lives and
work of Skip James, Blind Willie Johnson and J.B. Lenoir affected him as a
young man. For his film, Wenders had modern performers, many of them from
outside the blues circles, record modernized versions of songs by his
three heroes; Martin Scorsese Presents The Soul of a Man is a 20-track
compilation of the music used in this film. Aside from one original song
per blues hero each, plus John Mayall’s “The Death of J.B. Lenoir,” all
the other tracks are brand new. They cover a wide array of styles, from
sultry jazz-blues (Cassandra Wilson) to punk-garage (The Jon Spencer Blues
Explosion), from post-modern acoustic blues (Lucinda Williams, Alvin
Youngblood Hart) to avant-garde deconstruction (Marc Ribot). It is
probably stylistically too diverse to make for convenient listening for
most listeners, but it is a revelation to even the most ardent blues
follower. Individually these modernizations work very well, and together
they paint a picture that says that the blues (the best of it anyway) is
still a major source of inspiration to important artists. Entertaining,
yes, and then some. (More info at
www.thebluesonline.com.) --- Benoît Brière
For those of you who wondered if Robert
Randolph and the Family Band could top last year’s Live At The Wetlands,
wonder no more. The group’s follow-up effort on Warner Brothers,
Unclassified, is surely one of the best recordings of any genre this year.
Where their live CD focused on jams (six tracks in 70 minutes),
Unclassified (Warner Brothers/Dare Records) is comprised of shorter songs
with even more bite than previously. There are elements of blues, rock,
pop, funk, gospel in the music, and a wonderful combination it is. As on
the previous disc, Randolph’s pedal steel guitar is out-of-this-world
fantastic and he continues to stretch the boundaries of this underrated
instrument. Believe me, this ain’t your granddaddy’s pedal steel guitar by
any means. The rhythm section, Randolph’s cousins Danyel Morgan
(bass/vocals) and Marcus Randolph (drums), along with John Ginty on B-3
and piano, are the secret ingredient that makes this disc go. Ginty’s
tasty B-3 and Randolph’s soaring pedal steel, combined with the cousins’
dead-on funk, brings to mind a collaboration between the Allmans and
Funkadelic. Most of the song lyrics focus on gospel overtones (Randolph
has received flak recently from his church for playing his music outside
of the church, but continues to play in both settings), but they blend
seamlessly with the driving funky music the band is playing. The opening
track, “Going In The Right Direction,” would be a nice fit on the Top 40
station of your choice. The second track, “I Need More Love”, kicks off
with a frantic bass run from Morgan and never relaxes until its
conclusion. Other standout cuts include the instrumentals, “Squeeze” and
“Calypso,” and while their attempts to slow down the pace are not as
noteworthy as their upbeat tunes, they are nevertheless as good as or
better than a lot of what passes for “hits” on the radio these days. If
these guys keep on track, they will be one of the major players in music
for the foreseeable future. This one is a definite must-have. Looking for something different that will make you smile and tap your toes? Well, The Bluff City Backsliders and their self-titled recording from Yellow Dog Records might have the remedy for what ails you. The Backsliders, out of Memphis, play acoustic blues with a taste of early jazz and old-time country, all the while sounding thoroughly modern in their approach. The instruments range from banjo, fiddle, mandolin, trombone, resonator guitar and piano, so it’s a very rootsy sound. Jason Freeman handles most of the vocals, and he sings in a flamboyant, rockabilly-style that is well-suited for the Backsliders’ sound. Another member of note is guitarist Mark Lemhouse, who also has an excellent release on Yellow Dog. The songs are all covers of tunes by such notables as Howlin’ Wolf (“.44 Blues“), Charley Patton (“Pony Blues), Blind Willie McTell (“Let Me Play With Your Yo-Yo”), and Sleepy John Estes (“Everybody Ought To Make A Change”). There are several tunes from Memphis legends W. C. Handy (“Careless Love”) and the Memphis Jug Band. All of the songs are taken at a relaxing tempo that’s guaranteed to make you tap your feet. This is a fine CD suitable for fans of old-time country and blues and more modern fare as well. Go to www.yellowdogrecords.com and check out this release as well as the rest of their great catalog.
Shrimp City Slim is back with another great CD, this time recorded over a
two-year period in various locations with his killer band. The CD, Highway
17, Lowcountry Blues: Live (Erwin Music). Shrimp City Slim (a.k.a. Gary
Erwin) is a singer and piano player and wrote most of the songs on the
disc, an entertaining set for sure. Like the title says, the disc is
advertised as lowcountry blues, which Slim describes as “sunny, melodic,
witty, sometimes swampy, and usually danceable. It’s blues on the beach.”
Highlights of the set include the swampy “Lowcountry Mama,” the soulful
“Hittin’ On You,” the lively opening track, “See Can I Find Me A Woman,”
and the title track, which has a strong Chicago feel. Besides Slim on
piano and vocals, the band includes Silent Eddie Phillips on guitar, John
Etheridge on drums and backing vocals, and Chuck “The Cat” Morris, who
blows some serious harp and contributes a couple of lead vocals. They keep
things grooving and mesh so well together that you would never know that
the disc was recorded over several different dates. This is a rock-solid
disc and will make you want to learn more about the lowcountry blues
sound. Go to
www.amazon.com, www.cdbaby.com, or
www.cdstreet.com to pick
up your copy now, or visit Slim’s website,
www.shrimpcityslim.com. It’ll
sound great at your next party. Last month, I reviewed Deacon John’s latest CD, Deacon John’s Jump Blues. I mentioned that there was an accompanying DVD with the disc, but that I had not seen it yet. Now that I have viewed it, I want to recommend it as strongly as I did the CD. Most of the songs are the same on the DVD as the CD, plus there are five or six additional tracks featured. Among the best of these is the opener, a cover of Professor Longhair’s “Big Chief,” with Henry Butler pounding away on the ivories. In all, four piano men are featured: Butler, Davell Crawford, Allen Toussaint (who does a beautiful solo version of “Lipstick Traces”) and Dr. John. They each show why the piano is the primary focus of most New Orleans Rhythm and Blues, particularly Butler, who only has two songs, but makes the most of them. However, the star of the show is the Deacon himself, with his solid vocals and his expert showmanship. He willingly shares the stage with the piano men and singer Teedy Boutté and saxophonist Amadee Castenell, who plays every solo like it might be his last. The DVD is beautifully filmed and the music sounds great. There are lots of cameos by New Orleans celebrities in the audience, such as Dave Bartholomew, Irma Thomas and even the family of Professor Longhair. For all you 'extra feature' junkies, there is also a 10-minute special, Behind-The-Scenes, with Deacon and the band rehearsing Ray Charles’ “Jumpin’ In The Morning,” and some interviews with Toussaint and Dr. John, along with a couple of audio tracks. All in all, if you have purchased the CD already, you owe it to yourself to find this DVD. This is as fine a tribute to New Orleans Rhythm and Blues as you’ll ever see. --- Graham Clarke Not long ago a couple of fellow blues cronies of mine and I were having a couple of cold ones and discussing the music that we love so much, when I posed the question: “If you could go back in time and be anyone in blues history, who would you choose to be?” The usual array of legends were the answers I received along with a couple of odd looks along with “Who is he?” when I said I would choose Alan Lomax. For those of you who don’t know, Alan Lomax was the fellow who recorded scads of blues, folk and bluegrass artists for the Library Of Congress and was responsible for the first ever recordings of the immortal Woody Guthrie and Muddy Waters. The men and women he met, and at times lived with, along with the music he was witness to and recorded are the stuff dreams are made of. This particular recording, Blues In The Mississippi Night (Rounder) is a very informal look at three Mississippi Delta legends in their own time, Big Bill Broonzy, Memphis Slim and the original Sonny Boy Williamson. Lomax brought the three to New York City as part of the Midnight Special series of concerts he was producing at Town Hall in 1947 and got them into Decca’s recording studio. What you will find contained within is not just some great unrehearsed music but a fascinating, candid insight through the dialogue amongst them, into what inspired the blues and what it was like to live the life of not only a bluesman but as a person of color in the deep south and the hardships that came along with the territory. Lomax asked “Tell me what the blues is all about,” as these three gentlemen had lived the blues all their lives. It was the last time he opened his mouth for the next two hours as his question was answered with song and conversation. Memphis Slim’s crying rendition of “Life Is Like That” starts things off with his smooth piano amid Williamson adding some silky fills on harp. The three then begin discussing the origins and roots of the blues, with the conversation segueing into a spiritual entitled “Long Meter Hymn,” which is performed by an unknown congregation. This was added by Lomax along with other traditional African-American folks songs at a later date for illustrative purposes. “I Could Hear My Name Ringin” is next, with Williamson showing why he was the premier harmonica player of his time, accompanied only by Slim on piano for a tale of deceitful love. The trials and tribulations of the work/rock/levee/prison camps are discussed next, with Slim and Broonzy each singing bits and pieces of some of the tunes that pervaded such places. A stirring version of “Stackalee” have all three joining together for the best track on the album. “O’Berta” is another of Lomax’s field recordings done on Parchman Farm in Mississippi, performed by Bull and Group on vocal and hoes, as is “Murderer's Home” and “Don’t You Hear Po' Mother Callin.” Memphis Slim pulls some amazing but all too short piano riffs out of his pocket on “Slow Blues,” and then kicks things up a few hundred notches for “Fast Boogie,” a blazing workout that will make you sweat just from listening. A previously unreleased number from Bill Broonzy, “Black,Brown And White Blues,” pretty much sums up what the blues are really all about with its poignant lyrics that explore the color boundaries that once existed and still do in a few dark places in the world. When Slim, Broonzy and Williamson heard these recordings played back they begged Lomax to never tell anyone they made them because “You don’t understand, Alan. If these records came out on us, they’d take it out on our folks down home --- burn them out and Lord knows what else.” They all insisted that their identities be kept secret. Lomax agreed and used the recordings for broadcast on the BBC Network and issued these recording on United Artists records in 1959. But he never revealed the identities of the artists and disguised the location they were made until a 1990 reissue on Rykodisc. Blues In the Mississippi Night is not jam packed with music. On the contrary, the music serves as a backdrop for a history of the blues told by three men who actually lived it. Included are the original liner notes by Alan Lomax, along with the transcribed conversations that took place, as well as brief biographies of the three participants. With Congress declaring 2003 as the Year Of The Blues it was only fitting that this historic recording was once again reissued. Anyone who hears this insightful record and is a fan of recordings from the Blues’ golden age of the '20s and '30s will never hear them quite the same way again after hearing this. Fans of hard rocking Texas blues are going to love the latest record from Chris Duarte entitled Romp (Zoe/Rounder Records). Hailing from San Antonio Texas, Duarte moved to Austin when he was 16 and cut his teeth listening to and learning from other Austin legends like the Vaughan brothers, Denny Freeman and Derek O’Brien. Leading his own band since the early '90s, Duarte has incorporated a bit of jazz, funk and grunge into his work to give him his own unique style. Junior Kimbrough’s “Do The Romp” serves as the album’s title track, which Duarte describes as “that funky North Mississippi thing they’ve got going on,” and is metallic juke joint blues that assaults your senses with its screeching guitar work and thundering beat. Chris pays homage to Hendrix on “101,” the first of three instrumental numbers that borders on the psychedelic with its wild frenetic soloing. Fizzled relationships are the focus of “Fire’s Gone Out,” a funky strut that gives way to “Like Eric,” a pyrotechnic instrumental salute to fellow Austin-ite Eric Johnson that sizzles with intensity set against a fast shuffling backbeat. A tight haunting cover of Bob Dylan’s “One More Cup Of Coffee” allows Duarte to stretch his vocal pipes a bit before kicking things back into high gear on “Bb Blues,” a romping instrumental shuffle accented by Duarte’s slicing guitar .”Last Night,” has shades of Jim Morrison running rampant through its nine+ minutes running time, while “Mr. Neighbor” allows Chris’ admiration for the writing talents of Elvis Costello to peek through. Duarte wraps up with “Take It To The Lord,” a spiritually influenced number that wraps around a volcanic guitar solo. Chris Duarte is a great blues guitarist who is not afraid to try something different. While many critics have knocked his work for lack of direction, I’ve found it stimulatingly different as it’s not the same 12-bar blues rut that many artists fall into. This is a very good record from a gentleman that is breathing a new and different life into the genre while keeping a strong foothold in its roots. --- Steve Hinrichsen What a pleasant surprise is the new CD, Take Me Back (To The Old School Party) (Monkey Wrench Records), from Walt Love. After a brief intro by emcee Cadillac Jay Butler, Walt launches into the title song, "Take Me Back (To The Old School Party)," an old-fashioned song that mentions many cities I presume he had fond memories of and some of the singers he admires. One of those singers mentioned is Clarence Carter, and Walt does his best Clarence Carter chuckle. A fun song and one that you will want to come back to. It is followed by a very Tyrone Davis sounding "I Had To Change (She Threw A Monkey Wrench In My Game," a tune with a good hook that will stick in your mind. This is a remix off his equally fine Don't Go CD from 2000. At the opening of "Lord Knows I Do," with its spoken intro, Jerry Butler and his incredible "For Your Precious Love" immediately comes to mind; it has that same early '60s R&B sound. It sounds like slow dance time on prom night circa 1961. I'm a sucker for this kind of music. The fourth song, "Mr. Love," is his namesake song, and it too has a spoken intro and that evil Clarence Carter chuckle. " I Played the Fool" is a nice ballad with a spoken interlude, and should get some airplay. The sixth track, "I Really Need You," is Jerry Butler dead-on. This is a good thing as there were very few singers as soulful as Butler. "I Made Up My Mind" is a ballad about leaving a cheating woman, also with a very soulful spoken break. "If You Don't, Somebody Else Will" reprises the C.C. chuckle. The tenth song, "My Old Lady Left Me For My Girlfriend," is self explanatory, with a fine spoken break by his old lady this time. She says "...since you could be with her, I figured I could be with her too..." The excellent and topical "New Millennium Blues" sounds like Curtis Mayfield in his Superfly days. The CD ends with another reprise from his Don't Go CD, a social commentary song, "He Loves You," with its very Marvin Gaye-ish "What's Going On" message. This is a high quality release and it's apparent that a lot of TLC went into making it. You can obtain copies of this CD, and also his Don't Go CD, from Walt Love. His e-mail is newmillenniumblues2004@yahoo.com or write to him at P.O. Box 851566 Mobile, AL 36685. --- Alan Shutro
I will never forget the phenomenal keyboard performance of
Jon Lord with
Deep Purple on the House of Blue Light tour when I saw him play at Deep
Purple's Detroit stop. On the DVD release, Live at the Basement
(Thames/Thomson), the master plays organ alongside Australia's Hoochie Coochie Men, and introduces one of his stunning, baroque episodes
into "Green Onions," turning the rock 'n' soul chestnut into a barnburner.
Lord is very comfortable in the small club and talks to the audience
before nearly every song, delivering many humorous anecdotes from his past
with Deep Purple and more. This DVD of the Sydney concert includes, as a
special feature, an Australian TV appearance by Lord and the group. Jimmy
Barnes is on hand for three songs ("The Hoochie Coochie Man," "When a Blind
Man Cries" and "12 Bar Blow Jam"), making those standout tracks. Other
notable segments include the performances of "Strange Brew" and "The Money
Doesn't Matter." It appears the mastering was not the best, leaving rather
low volume, for instance, but this is overall an excellent concert DVD. --- Tom Schulte |
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