July 2004
--- Bill Mitchell
It's been quite a few years since I heard Marion James' CD on Appaloosa, but I remember enjoying that one, especially the slow burner "He Left Me Cryin'. So it came as no surprise that this new CD, Essence (Soul Food Records), was as good as it is. Born and raised in Nashville, Tennessee, Marion grew up in a musical family as her sister sang gospel in the Clara Ward Singers. During the early 1960s Marion's touring band included guitarist Jimi Hendrix and bassist Billy Cox. In 1966 she recorded the R&B top ten hit "That's My Man" for Nashville's Excello Records. That track featured Marion's husband, trumpeter/arranger Jimmy Stuart, who arranged the horn charts for Bobby Bland and Junior Parker. Marion continued performing until the mid 1980s, when she decided to take a long overdue break from the road. In the early '90s she began performing with a group called The Hypnotics and that gave way to the Appaloosa CD I previously mentioned. Since then she has shared the stage with Rufus Thomas, Clarence "Gatemouth" Brown and Chick Willis, to name a few. That brings us to Essence; it is a blend of blues, soul and jazz and features some of Nashville's finest musicians. Jazz pianist Beegie Adair and her trio accompany Marion on six of the 12 songs. Those tracks set the bluesy jazzy sound, but other standout tracks such as Latimore's "Let's Straighten It Out" and Earl Gaines' "24 Hours A Day" have a very soulful feel. Not put off by doing standards like "Until The Real Thing Comes Along" or "Be Anything," she puts her own personal stamp on these in addition to the originals recorded here. A fine release that deserves much attention. Visit their website at www.soulfoodrecords.com
--- Alan Shutro San Diego pianist Sue Palmer is a first class, knockout boogie woogie player who has enjoyed a solid reputation in Southern California for 25 years, first with a great traditional band called Tobacco Road, and then with Candye Kane, with whom she spent a number of years in the studio and on the road. If you saw Candye during that period of approximately 1993-1999, you’ll remember Palmer as the gal with the spacey specs and major beehive. She’s released a trio of fine recordings since striking out on her own. The 1999 Motel Swing, featuring fellow ex-Candye Kane band member Steve Wilcox, former Tobacco Road bandmates April West (trombone) and Sharon Shufelt (drums), and guest Earl Thomas on vocals, this highlighted Palmer’s extraordinary skills as a boogie woogie and blues master. Palmer is one of the finest pianists in the country and one need look no farther than this masterwork for proof. The 2001 follow up, Soundtrack to a B Movie, with many of the same players on board, has a fatter sound and kicks just as mightily on the instrumental numbers. “The Boogie and the Blues,” a great Camille Howard tune that I used for a theme on a radio show some years back, is sung by Deejha Marie, who pops in with vocals here and there with mixed results. As I said, the instrumental numbers kick butt. The original “Walkin’,” with its hepcat groove, is one of the standouts here. “Motel Mambo” with Sue and Deejha sharing the vocals is fantastic, and “Dragnet for Jesus” is a hilarious tune sung by pal Candye Kane. The latest Sue Palmer collection is Live at Dizzy’s, released in 2002. Another mixed bag, the instrumental numbers are just fantastic, but most of the vocals aren’t as amazing as the singers seem to think they are. “Room Service Boogie,” “Beehive” and Palmer’s “Swango,” a tune that Candye Kane fans will recognize, are the standouts. The recordings are all well worth seeking out. Fans of boogie piano are already hip to Sue Palmer. She’s recognized as one of the finest on the planet. These are three discs that point to that dazzling technique as well as shining a light on other equally dazzling aspects of this brilliant woman’s musical personality. www.suepalmer.com for more info.
Emery Williams, Jr., better known as pianist and vocalist Detroit Junior, is in fine form on Live at the Toledo Museum of Art (Blue Suit), recorded in 2001. Performing on a Wendell Castle designed Steinway, the venerable blues man, 71 at the time of the performance, works fine versions of “Boogie Blues,” “Send For Me,” “Strange Things Happening,” the boogie-ing original “Turn Up The Heat,” “Caledonia” and Jimmy Reed’s “Honest I Do.” Though he’s never been ranked among the most important of blues pianists, Detroit Junior has carved out a niche among journeymen blues players and has enjoyed a solid reputation over the past half century that has been well deserved. --- Mark E. Gallo Long before Mississippi hill music became a roots music rage, John Lee Hooker was the king of boogie. He never backed down and had a strong feeling that he was going to be a star. The two-hour Come And See About Me DVD (Eagle Eye Media) features many well known Hooker numbers interspersed with interview clips of himself along with admiring artists such as Charlie Musselwhite, Carlos Santana, Bonnie Raitt, John Hammond and Ry Cooder. The disc is billed as a career retrospective, yet it primarily focuses on the ‘80s and early ‘90s. If you are expecting to see/hear "Dimples," "One Bourbon One Scotch One Beer," "Terraplane Blues," "Big Legs Tight Skirt," "Chill Out," etc., be forewarned – they aren’t included. The DVD does not provide a biography of John. However, viewers gain some insight to this legend. He states, "What have I got? Somehow I do things they love. Nobody sounds like John Lee Hooker." Van Morrison joins John by the riverside on "Baby Please Don’t Go." "Maudie" appears in black and white, as it was taken from the 1960 Newport Festival where John performs with the Muddy Waters Band. Other numbers where the colour is absent are: "Hobo Blues" and "It Serves Me Right To Suffer." On both, Hooker plays solo where he takes his guitar and makes it hum. "Boom Boom" is played with the Mark Naftalin Band and it isn’t your typical guitar-driven version, but rather predominantly features lots of piano. Everything you imagine Hooker to be shines forth on "I’m In The Mood" with Bonnie Raitt, "The Healer" with Santana and "Boogie Chillen" with the Rolling Stones and Eric Clapton. Bonus DVD features include an acoustic performance of "Boogie Chillen" with Roy Rogers and an insightful interview with John’s daughter Zakiya. She reveals that her dad was "musically viable right up until his death. He always wanted to do his music and was very private even within the context of the family. He was a kind, giving man who played simple, plain, honest music. He epitomizes cool." The videos were culled from various sources including: the John Lee Hooker estate, BBC, PBS, Bay Area Music Awards and numerous compilations about Hooker, the blues or the band he was performing with. Look for Charlie Musselwhite, Paul Butterfield and Bobby Murray, who appear inconspicuously in a couple songs. Many of the included films are with the rockers that he influenced, e.g., Foghat. Surely there is better and more authentic blues clips buried in the vaults. To cap things off, some of the DVD has very poor picture quality and/or looks like it was shot by an amateur. This is only advertised once the DVD starts playing. Collectors and avid Hooker fans will enjoy this release for its historical value -- others should give it a miss. I’ve said it before, I’ll say it again. Walter Trout isn’t blues – he isn’t even close. Somewhere along his 35 year career, singer/songwriter/guitarist Trout was labeled a "blues-rocker." Most likely this moniker came from his time spent with blues-rocking pioneer John Mayall. Regardless, Trout can be more accurately described as an all-out, no holds barred, storm-trooping, raging rock and roller. His 165 minute, seismic-shifting DVD, Relentless - The Concert (Ruf Records), is a fine example. The New Jersey native is not a newcomer to live recordings. However, since none of his previous live releases captured the essence of his concert experience, the band’s manager thought recording Trout doing a series of new tunes in front of a live studio audience would do the trick. Amsterdam’s Paradiso was selected to house the May 14, 2003 event and Jim Gaines was brought in to once again produce. Only James Trapp (bass) returns as one of Trout’s fundamentals. Trapp has a stage presence like Bill Wyman. You don’t even know he is there. The newcomers are Sammy Avila (B-3 organ/backing vocals) and Joey Pafumi (drums). Throughout, Walter Trout unleashes crackling vocals which are as electric as his powerhouse guitar. This will appeal to 15-year-old metal-heads and Woodstock baby-boomers alike. Most tunes are road-racing rockers with bone-crushing melodies that include a rampage of incinerating guitar notes fired out by Trout. But what about the video portion? Five camera views keep your interest and change quickly, but not too rapidly. Obviously, they knew the MTV crowd would not be watching this DVD. The stage lighting is good and far more colourful than you’d expect. For aspiring guitarists, there may not be enough close ups of Walter’s hands. However, he plays so many notes in his solos, it is difficult to see them all even when the camera does zoom in. At times, Walter and Joey look like aged rock and rollers which is something the camera can’t hide. Bonus material includes an interview with Trout (where you’ll learn why his battered Strat is discoloured), a backstage video and two bonus tracks. The DVD definitely has the feel of a concert, whereas the Relentless CD does not. It also includes far less music than the DVD version. Trout’s constant blistering guitar becomes relentlessly tiring, and none of the (mostly original) 19 super-charged tunes will receive a blues song of the year nomination. This makes the video a challenge to view in a single sitting. If you can get past that, this professionally produced DVD’s positive traits are: personal insight about each song, very clear and super sharp video image, sensational energy, thundering production, frenetic guitar work and smoldering organ work. Those who were raised on rock before converting to the blues will love the reckless, wild abandon and the youthful, in-your-face energy. Others adamantly will not. If you want to see what Trout is all about, check this DVD out. For more information contact: Ruf America, 162 North 8th Street, Kenilworth, NJ 07033 USA Phone: (908) 653-9700 Label website: www.rufrecords.de Artist website: www.waltertrout.com
Nashville seems an unlikely place to house one of the country’s best blues/R&B acts. After years in LA and New York, Stacy Mitchhart moved to Tennessee in 1996. Eight band members back him on 12 tunes on Midnight Breeze (Dr. Sam) that range from contemporary jazz to Southern soul. Eight of them are originals. Stacy Mitchhart is an R&B man at heart, as reflected in "Homewrecker." The funky groove, the thundering horns, the harmonizing background singers, the "morning" lyrics, the raspy voice and the sensual arrangement all live and breathe jook joint, although the guitar fuzz-tone doesn’t quite fit the mold. Unlike other versions of "I’ll Play The Blues For You," the Cincinnati native does not copy Albert King. Mitchhart’s slick version contains a certain amount of cool. "Every Time I Roll The Dice" is a highlight of any performance by the Blues Dr. The song is guaranteed to get your place rocking too. "I Apologize" is emotional and straight from the heart. Its lyrics contain words that every wife needs to hear. The sophisticated sax solo echoes the song’s emotions and will practically have you in tears. Although not strictly a blues CD, the rich songwriting skills and wide variety of this southern gentleman make this one hour CD enjoyable. It focuses on Stacy the singer, the bandleader and the arranger. Mitchhart’s sixth CD features all the talent and momentum that first got me hooked the first time I saw him perform. --- Tim Holek
Intimately Live at the 501 (Summit
Records) is the latest from jazz organist Tony Monaco,
and is named after a club in the organist’s hometown of Columbus, Ohio.
The CD had the drum mix just a tad high for my liking. Then I read the
notes and discovered Mr. Monaco recorded, mixed, and mastered the whole
project by himself, not originally intended for public consumption. That
considered, it’s as clean and warm as any of the better recording
engineers. His working trio is on duty, the guitarist much more suited to
his music, and no saxophone. Many of the selections he performs live are on this CD, so it’s a wonderful
keepsake of his concerts. Naturally, though, not being able to see his
painful facial expressions and bodily gyrations accompanying the avalanche
of audio, it doesn’t do his live performance justice. --- Tom Coulson
Distributed by
Music Video Distributors,
the Swing Era DVD series (Idem Home Video) is a rich exploration of this
popular form of jazz that continues to fuel dance classes and CD purchases
decades after its inception. The Louis Jordan entry into this series is
films and soundies from Jordan’s prolific career. Presented without
commentary or narration, these quick and fun clips of the smiling,
bouncing master of jump blues includes “Caldonia,” “Five Guys Named Moe,”
“Beware” and 32 others. However, this is not merely his novelty numbers.
There are some earthier tunes like “That Chick’s Too Young to Fry” and
“Wham, Sam (Dig them Gams).” The Sarah Vaughn DVD is more properly titled
Sarah Vaughn and Friends as it is a compilation not only of Vaughn but
Lena Horne, Ethel Waters with Count Basie and The International
Sweethearts. Also included are three singers coming from a blues
direction: Bessie Smith, Mamie Smith, and Ida Cox. Vaughn, of course,
exudes technical excellence and grace, but she is a vocal stylist that
only partly covers swing. The Lena Horne examples (two soundies) really
swing and the lengthy, elaborate “Boogie Woogie Dream” is a pinnacle of
this short film genre in three acts with set and costumer changes and
boogie-woogie piano greats Pete Johnson and Albert Ammons. Interestingly,
the white girls got segregated off to their own Peggy Lee DVD. This is
itself sectioned into singers before bandleaders and blondes ahead of
brunettes to arrive at a programming order of Peggy Lee, June Christy, Ina
Ray Hutton, Lorraine Page and finally the acrobatic Rita Rio. There is
also a Nat ‘King’ Cole DVD in the series dedicated exclusively to the
talented MOR singer/pianist in 27 tracks. This includes such songs as
“Route 66,” “Nature Boy,” and “Mona Lisa.” Much of the material comes from
the very first short musical films made specifically for television, the Snader Telescriptions.
Duke Ellington / Lionel Hampton is a DVD split
between those two bandleaders. These two go together well because the
pieces are mostly instrumental, each bandleader arranges for a lot of
brass and features a lot of quick solos from different orchestra members. Hampton’s mellifluous vibes playing is a real treat of this chapter in the
Swing Era series. A real highpoint in the series is the Cab Calloway DVD.
This DVD takes the musical highlights from the film "Hi-De-Ho" (1947) for a
cohesive set of performances, including “St. James Infirmary,” “Calloway
Boogie” and “Minnie The Moocher.” Being film, the visuals are of higher
quality than the soundies and Telescriptions and, of course, Cab offers a
stellar, exaggerated performance at every step. 40th Anniversary: Keep On Running (Cherry Red) marks The Spencer Davis Group's four decades of R&B-fueled rock 'n' soul, which the group also marked with touring in Europe. The collection starts out with a 1965 radio session of the John Lee Hooker song that was on the group's first single, "Dimples." There are several such radio selections, and a radio cut here is just a really well-produced live cut. Steve Winwood comes across as soul on fire on these cuts. Covering four different line-ups and periods, the album is still remarkable consistent and robust. The album covers the period 1965-1974 with some great British rock interpretation of American R&B. --- Tom Schulte Midnight Rhythm Combo is a band out of Utah, not ordinarily the first place you think of when it comes to the blues. However, while blues is part of the Combo's sound, they also incorporate healthy doses of jazz and R&B into their sound, which can be heard on their recent self-titled release. The lineup consists of Joachim "Jake" Dreier on guitar, Jamie Dalton on drums, Mark Sobus on bass, Steve Lindeman on keyboards, and Juliette Michaele on vocals, while all the songs, which are concerned with fresh looks at matters of the heart in various stages of relationships, were written by Julie Oldroyd (who also co-produced the disc with Dreier). The sound this disc brings to mind to me the most (and it's a fond memory) is an updated version of the bluesy urban jazz sound made popular in the late '70s/early '80s by bands like the Crusaders. Singer Michaele's style reminds me a lot of Sadé, but with a bit more passion (it IS a blues album after all) and the band does an excellent job. All in all, not a bad effort at all from this band and worth a listen to fans of the late-night bluesy jazz sound. For purchasing information, contact the band at drejoa@wfrmls.com. The CD is also available at www.cdbaby.com/mrcombo --- Graham Clarke |
Pick Hit][What's New][Surprise][Flashback][Feedback][Back Issues][Home Page]
The Blues Bytes URL... http://www.bluenight.com/BluesBytes/
Revised: July 9, 2004 - Version 1.01
All contents Copyright © 2004, Blue Night Productions. All rights reserved.