Robust talent runs generationally, especially when you’re the offspring of blues icon Taj Mahal and dancer/artist Inshirah Mahal, as proven with Deva Mahal’s debut album, Run Deep. Forging her own sound as part blues, part indie-rock and all soul, Mahal gives her listeners one of the edgiest, most emotionally drawn voices in the industry today.
The first track, “Can’t Call it Love,” opens with a riveting guitar riff and empowering lyrics: I’m feeling new like an old-school instrumental / I’m getting in the mood / And feeling sentimental, which can be taken as both commentary on one’s new found infatuation and Mahal’s coming into her own. The entire album features innovative instrumentality and Mahal’s varied vocalization styles. For example, the closing track, “Take a Giant Step,” showcases her sultry pop sound as she reinterprets this standard by Carole King and Gerry Goffin (a song her father has also recorded).
The focal track of the album, both vocally and visually, is the offering “Snakes.” Mahal’s vocals jump right off the album from the first moment she begins singing, but the visualizations of the video are pure genius—black and white coloring, shadow dancing and the animation of a swamp monster, said to have been inspired by her favorite childhood “girl power” book, Liza Lou and the Yeller Belly Swamp by Mercer Mayer.
Mahal has definitely come out from under her parent’s shadow with this artistic debut. From the first note to the last few strains, this artist’s soulful and funky melodies will have you running deep into the magical world of Deva Mahal, breathlessly awaiting her next move.
Black cowboys may not be the first thing that comes to mind when the Wild West is mentioned, but they were prevalent and left an undeniable impact on the development of the American West. Following the end of the Civil War in the late 1860s, thousands of newly-freed African Americans moved westward to start new lives. Some chose the grueling and often dangerous path of becoming a cowboy, an occupation in which work ethic mattered more than skin color. These pioneers worked long, hard days alongside Mexican vaqueros, Native Americans, and white cowboys and often turned to song for comfort on the trails.
The newly released Black Cowboys featuring co-founder of the Carolina Chocolate Drops, Dom Flemons (aka “The American Songster”), places these often forgotten pioneers of the Old West in the spotlight. Produced by Flemons and Dan Sheehy for Smithsonian Folkways as part of its African American Legacy series, the album pays tribute to the music, poetry, and complex history of these cowboys. The accompanying 40 page booklet includes essays by Flemons (on the cowboy’s music) and Jim Griffith (on the history of Black cowboys), as well as detailed notes on each track complemented by many archival photographs.
In addition to Flemons, who performs on all tracks (vocals, 6-string guitar, resonator guitar, 4-string banjo, cow “rhythm” bones), backing musicians include Alvin “Youngblood” Hart (12-string guitar), Jimbo Mathus (mandolin, kazoo, harmonica), Stu Cole (upright bass), Brian Farrow (fiddle, upright bass, vocals), Dante Pope (cow “rhythm” bones, vocals, snare drum), and Dan Sheehy (guitarrón). Together, these musicians create a rich instrumental background for the lyrics.
Many of the songs on Black Cowboys are traditional tunes arranged and performed by Flemons, such as “John Henry y los vaqueros,” which highlights instruments with roots in African American minstrel shows like the fiddle and cow “rhythm” bones. Another track arranged by Flemons, “Black Woman,” is a field holler collected in the 1930s that has themes of ranching and leaving behind loved ones. Although it isn’t a traditional cowboy song, the song honors the thousands of African American women who helped develop the West.
From Southwestern cowboy poems like Gail Gardner’s 1917 “Tyin’ Knots in the Devil’s Tail” to Jack Thorp’s traditional cowboy tune “Little Joe the Wrangler,” the album also includes songs written by actual cowboys in the early 20th century, offering a rare look into the post-Civil War cowboy’s life.
Other tracks were newly composed by Flemons to pay homage to notable historical figures. For example, “Steel Pony Blues” is about Deadwood Dick, sometimes called “the greatest Black cowboy in the Old West,” who later became a Pullman porter, while “One Dollar Bill” is a tribute to legendary rodeo rider Bill Pickett who invented the sport of bulldogging. “He’s a Lone Ranger” recalls the life of Bass Reeves, the first African American U.S. Marshall.
In the words of professor and author Mike Searles (quoted in the liner notes), “many people see the West as the birthplace of America . . . if they understand that African Americans were cowboys, even Native Americans were cowboys, Mexicans were cowboys, it really opens the door for us to think about America as a multiethnic, multiracial place.” Black Cowboys creates a sonic portrait of a more diverse American West, expanding our knowledge through its varied collection of songs and poems by and about African American cowboys.
The Reverend Shawn Amos is back at it again, preaching his brand of blues on his latest, The Reverend Shawn Amos Breaks It Down. His sophomore album, The Reverend Shawn Amos Loves You, showed us that the Rev had our best interests at heart, and this trend of his continues on his latest offering. Son of Wally Amos, the first African American talent agent for William Morris in addition to being the creator of Famous Amos Chocolate Chip Cookies, Reverend Shawn Amos has been an ordained minister with the Universal Life Church, an A&R Executive at Rhino Entertainment and vice president of A&R at Shout! Factory. He discovered blues while attending NYU film school, spending his summers tracing down the southern places in Peter Guralnick’s Feel Like Going Home trilogy from which Amos drew his initial blues inspiration.
The nine-song set includes five original songs, two inspired covers, and a three track “Freedom Suite” that rolls out like a Sunday Passion play. Amos was obviously inspired by the tremendous turmoil and social unrest around the world today in his songwriting, yet digging deeper into the lyrics reveals clues of admitted recent hardships in his home life. The result is an album that strikes a delicate balance between capturing personal challenges while capitalizing on the zeitgeist of this critical time in history.
The album opens with the early morning confessional “Moved,” followed by the first of his new freedom songs, “2017.” This classic soul groove in the style of Curtis Mayfield and the Staple Singers was recorded at Royal Studios in Memphis. Amos is joined by Al Green’s backing band, the HI Rhythm Section, along with a string arrangement from Chris Anderson and vocals from the Masqueraders. The cornerstone lyric is a simple mandate: “hate and fear ain’t no vaccine, we’ve got to think about what our children’s eyes have seen in the year 2017.” The next song, “Hold Hands” is an Amos-led congregational plea for peace that features Hammond B3 from Peter Adams.
The Freedom Suite officially begins with track 5, which is an a cappella reading of Uncle Tom’s prayer. This pays homage to the Freedom Singers founder Cordell Hull Reagon, who first recorded the powerful civil rights song in the early 1960s. Amos then offers another side of his pulpit in “Does My Life Matter,” an expansion on Booker T. Washington’s words and intent. The fiery funk of “(We’ve Got To) Come Together” functions as an energetic admonishment, and the closing track, “(What’s So Funny ‘Bout) Peace, Love, and Understanding,” serves as a final alter call for the album and its audience.
The Reverend Shawn Amos Breaks It Down, as an album of timely songs, not only furthers Amos’ mission statement, but also stands as a landmark artistic achievement for his career as a bluesman of purpose.
AJ Ghent, hailing from Fort Pierce, Florida, has music literally running through his veins. His great uncle, Willie Eason, is the creator of the “sacred steel” tradition—a style of pedal-steel guitar playing that’s unique to certain African American Pentecostal churches—and his grandfather, Henry Nelson, is the founder of the “sacred steel” rhythmic guitar style. With role models like these, it’s no wonder Ghent wore out his father’s sacred steel CDs by the age of twelve. After high school, he and his wife, singer MarLa, packed up and moved to Atlanta, Georgia where soon after Ghent began a mentorship under the legendary Colonel Bruce Hampton, one of the original founders of Atlanta’s Hampton Grease Band. Gaining experience with Hampton’s band set the stage for Ghent’s subsequent career moves, including being “true to himself” as Hampton advised.
Ghent’s newest release, The Neo Blues Project, is a study in just that. The entire album is something different altogether—a musical fusion of blues, steel guitar, and rock that takes art and skill to master. But that’s something that Ghent has spent his whole life perfecting, along with his custom built 8-string lap steel hybrids. The offering weighs in at just six tracks, but don’t let its size fool you. This album packs a solid punch right where it’s necessary to keep the music in your head long after the last chord fades.
On his rock anthem “Power,” Ghent offers a track to fuel a revolution: “I’m gonna wait it out, ‘til my change comes / and I’m gonna pray, it won’t be long / ‘cause I’ve been tempted and I’ve been tried / and I’m a soldier ‘til I die / so you can bring it on, all your pain / you know why? ‘cause it’s a revolution comin’”
Combining his own style with elements of rock guitarists like Jimi Hendrix and Lenny Kravitz, Ghent part-wails and part-steels his way through each song. “Long List Friend,” co-written with his wife, is a blues ballad all of us can relate to in our search for “The One.”
But if you are celebrating the letting go of a former love, check out the final track, “Gonna Rock.” Its meaning and intent are completely celebratory, to say the least. “Wash Ya Hair” is a fun, catchy tune that really brings all of Ghent’s diverse talents of vocalization and guitar-playing to the forefront: “Shake ‘em off, wash your hair, let it shine, Everywhere.”
Ghent’s compact project completes its mission. The Neo Blues Project entertains the senses, introduces us to the full range of Ghent’s talents, and gives us a foot-tapping, air-slamming trip into the world of blues rock in legendary style. If this is Ghent being true to himself, I personally can’t wait for anything this talented artist has to offer us.
They Call Me Mud, the newest release from Mud Morganfield, is one of those albums on which a musician seems to truly come into his own. While the legacy of his father, Muddy Waters, shouldn’t—and very possibly can’t—be extracted from Morganfield’s blues MO, this album showcases his own unique style. Morganfield, after all, came of age in the ‘70s and ‘80s, when music had already evolved from his father’s era of jazz and blues into a world where R&B, soul and Motown ruled. Combine his bass experience with Chicago bands of those eras to his already existing blues foundation and you have Morganfield’s own style at work.
The signature song, “They Call Me Mud,” is one of those songs that really allow the musicians to show what they love to do best, and in Morganfield’s case, that is his vocalized growl which commands immediate attention throughout. “Who’s Fooling Who?” features Studebacker John on harp and Mike Wheeler on guitar going toe-to-toe. Morganfield also pays tribute to his father on the slide guitar blues “Howlin’ Wolf” and the shuffle “Can’t Get No Grindin’,” where all artists take a solo turn at the wheel. Morganfield and his daughter Lashunda provide a moving duet on “Who Loves You,” a song where Morganfield’s R&B inspiration grooves right in. The final selection, “Mud’s Groove,” is a jazzy instrumental enhanced by Bill Branch’s talents on harp, and is a perfect finale.
“I think it’s some of the best work I’ve ever done yet” proclaims Morganfield. “I feel that with the variety of material I have on here, people will get a chance to hear the other sides of my music.” The collection completely lives up to Morganfield’s claim. Regardless of whether you are an R&B, jazz, soul or blues fan, They Call Me Mud has something special and unforgettable for everyone.
Memphis is a city known for its barbecue, rich musical heritage, and pride in being one-of-a-kind. This unique Memphis spirit is captured by twelve distinctly different tracks on Memphis Rent Party. The collection serves as a soundtrack for Grammy-winner Robert Gordon’s sixth book of the same title, Memphis Rent Party: The Blues, Rock & Soul in Music’s Hometown.
From a punk rock cover of Jimmy Cliff’s “Johnny Too Bad” to a bluesy collaboration between Luther Dickinson and Sharde Thomas, the album includes a wide variety of tracks that embrace the individuality of the Memphis music scene. Half of the tracks are drawn from unreleased material and the rest are a mix of covers and originals. Included are songs from barrelhouse piano player Mose Vinson, rock pioneer Jerry Lee Lewis, and the rockabilly-punk band Tav Falco’s The Panther Burns.
From modern day covers to a 1960s recording by pre-war blues musician Furry Lewis, Memphis Rent Party is a truly varied compilation. Robert Gordon’s book was published by Bloomsbury on March 6, 2018 and is a must-read for anyone interested in the history of Memphis’ entertainment scene—just be sure to listen along to the soundtrack as you read.
Formats: 2-CD set, LP (1 disc, 14 tracks), digital
Release date: February 23, 2018
In continuation of our focus on one of the industry’s greatest blues/jazz singers, Nina Simone’s The Colpix Singles showcases her pre-civil rights activist era releases. Simone’s professional career began in 1958 at a mere age of 25 with Bethlehem Records, but after the initial success of her hit “Porgy ( I Loves You Porgy), she moved on Columbia Picture’s recording company, Colpix Records. Simone’s forthcoming induction into the 2018 Rock & Roll Hall of Fame has now spurred Warner Music into releasing a collection of the 7” singles Simone cut for Colpix. Remastered in mono, seven of the tracks are available in their original edits for the first time since the 1960s.
In this 27 track, two-disc offering, one can easily hear how her previous musical experiences fostered both her voice and performance maturity, as the songs recorded with Colpix reflect smoother, more controlled renditions of a diversified pool of well-known ballads. The first single from Disc 1, “Chilly Winds Don’t Blow,” was written by Hecky Krasnow, who was best known for Columbia’s novelty scores of “Frosty the Snowman” and Rudolph The Red Nosed Reindeer.”
Live recordings made at The Town Hall in Midtown Manhattan in September, 1959 include “The Other Woman” and “It Might as Well be Spring,” which originally appeared on her Colpix debut album, The Amazing Nina Simone. The Archives of African American Music and Culture provided Warner Music with a rare copy of Simone’s “If Only For Tonight” and “Under The Lowest” (Colpix 156) for inclusion on this disc. Simone also showcases her blues prowess on the release “Nobody Knows You When You’re Down and Out,” and the B-side “Black Is The Color Of My True Love’s Hair,” which would become one of her signature songs.
Disc 2 includes a hauntingly whimsical rendition of “Cotton Eyed Joe,” complete with Simone’s piano stylings running in the background. Soon after, she croons of lost respectability and newfound reliance on “You Can have Him.” From the opening strains, Simone’s powerful alto flows from the speakers, meandering its way into the ears and hearts of its listeners via its audial and lyrical flows.
Two more offerings, “Work Song” and “I Want A Little Sugar In My Bowl,” echo Simone’s early years in Atlantic City bars, pounding the ivories and belting out fast tempo blues. Her original tune, “Blackbird,” closes out the collection, showing her growing artistic maturity while revealing a glimpse of her future in social justice.
Simone would eventually compose and perform two of the most influential anthems of the Civil Rights Era, “Mississippi Goddam” and “Young, Gifted and Black.” That Simone participated in the Civil Rights Movement is an understatement. Nina Simone, from her formative years in Atlanta’s music scene to her eventual position as an outspoken social activist for Black rights, is one of the most influential activists and gifted artists of all time. Many thanks to The Colpix Singles compilers Nigel Reeve and Dean Rudland, and assistant Florence Joelle Halfon, for releasing this wonderfully remastered set. Simone’s listening audience will certainly reap the benefits.
There are many CDs available by Ella Fitzgerald, so why is this one special? If you are reading this, you already know of her many of the treasured recordings—with Louis Armstrong, with Chick Webb, throughout the definitive Songbooks, and her many other live concert performances. But this recording from February 2, 1956 marks a major turning point in her career, one where impresario Norman Granz arranged the transfer of her recording contract from Decca Records to his personal management and to his label Verve Records. The setting for this particular CD is Zardi’s Jazzland, a club in Los Angeles, where Ella is backed by Don Abney (piano), Vernon Alley (bass), and Frankie Capp (drums).
Granz had included Ella in his Jazz at the Philharmonic concerts beginning in 1949 as each program’s only vocalist. During those years he had time to form his ideas for extending her career vastly beyond the “workmanlike” support she received from Decca. Granz recorded this night during the final days of this engagement. Yet, he never released it, perhaps due to its casual informality, preferring to create a more dramatic launch to her career at Verve. Accordingly, he had booked a trip to the studio just four days later to begin recording The Cole Porter Songbook, the start of her songbook series that celebrated so many wonderful composers and provided a large part of the foundation for the documentation of the Great American Songbook.
But it is this very informality that makes Ella at Zardi’s so engaging. Apparently, attendance at the club during the three weeks was light, and Ella remarks, “Where were all of you during the past 2 ½ weeks?” That doesn’t stop her from responding to many requests to show her appreciation, acknowledging Van Alexander and Gordon Jenkins among those present. Candidly she says several times, “I don’t know all the lyrics,” but that doesn’t stop her from creating each distinctive performance.
She thanks a member of the audience for reminding her of one line of lyrics as she sings “Tenderly.” Before starting, she asked the audience to help her recall a portion of the lyrics to “Gone with the Wind” but then jokingly sings that they are a bit too late, incorporating this ad lib without interruption in the song. Even “A-Tasket, A-Tasket” reemerges in this program as a celebration of Ella’s roots, anchoring her continuing legacy and greatly appreciated by her fans.
The two sets from Zardi’s (each introduced by Buddy de Franco) languished in Verve’s vaults for over 60 years, perhaps because Granz simply had bigger ideas for her recordings. Is this Ella’s BEST recording? No, but it is perhaps the one that is the most FUN to hear. It represents the turning point in the career of a great jazz artist, for without Granz we would not have her many remarkable recordings from studios, clubs and concert halls around the world. Together, they extended the body of vocal jazz performances available for our enjoyment today.
Norman Granz frequently said, “You can hear from the first bars of Ella’s performance if this is to be a jazz session.” This is clearly one of those. That becomes evident from the first song onward as Ella demonstrates her many talents to personalize her performance, employing her unique harmonic and melodic variations intermixed with shifts in tempo to enrich each song. Ella is relaxed, and her creative passion is on full view. You won’t regret purchasing this CD even if you, like me, already own and treasure many of Ella’s recordings. It will bring you joy and remind you of her absolute passion and commanding artistry.
Reviewed by Thomas P. Hustad
Professor Emeritus of Marketing, IU Kelley School of Business
Author: Born to Play: Ruby Braff’s Discography and Directory of Performances
After four successful albums and TV appearances on the BBC and ABC’s “Good Morning America,” The Ebony Hillbillies are back with their latest album, 5 Miles From Town. The group, which hails from the streets of New York City, is keeping African American string band traditions alive for new generations. Their fifth album features 12 tracks that seamlessly combine pop, folk, bluegrass, and jazz to create The Ebony Hillbillies’ trademark sound.
In addition to reviving string band music through tracks such as “Hog Eyed Man,” a classic 19th century American fiddle tune from the Upper South, the group also offers new songs with strong social commentary. The gritty “Another Man Done Gone (Hands Up Don’t Shoot)” explores the issue of police brutality, while the similarly-themed “I’m On My Way To Brooklyn” ends with the ominous sound of gunshots.
Other songs, like “Fork in the Road,” are more lighthearted and highlight the beauty of the fiddle and banjo, as performed by group leader Henrique Prince and Norris Bennett, respectively. Additional performers include Gloria Thomas Gassaway, Allanah Salter and Iris T. Olden (vocals, bones, shaker), William “Salty Bill” Salter (acoustic bass), Newman Taylor Baker (washboard percussion), and A.R. (aka Ali Rahman, cowboy percussion).
The album concludes with the title track, “Five Miles From Town,” a very lively rendition of the old-timey classic that’s punctuated with plenty of whoopin’ and hollerin’ before fading out on an extended percussive improv section with hints of jazz.
Almost 15 years after the release of their first album, The Ebony Hillbillies continue their mission to educate and inspire, fusing the sonic textures of the past with contemporary music elements and socially-relevant lyrics. 5 Miles From Town lives up to the legacy created by the Manhattan-based band and offers a fresh take on the sound that listeners love.
Hendrix in the Spirit of Jazz is a collection of Jimi Hendrix songs performed by various artists from Germany’s ACT label. Hendrix, who would have turned 75 in November shortly before this album was released, remains one of the most influential musicians of all time. His influence on electric guitarists is universally recognized, and the rare guitarist who is unaware of Hendrix has undoubtedly studied the playing of others who were influenced by him. Appropriately, this album features an obligatory guitar presence; however, it also demonstrates that Hendrix’s influence spans beyond his chosen instrument.
The opening track is a solo piano performance of “Angel” by Norwegian pianist Bugge Wesseltoft, which demonstrates Hendrix’s talent as a composer. Although music history focuses on Hendrix’s influence upon the electric guitar, his songs are able to transcend genre and instrumentation. This track, along with the album as a whole, proves that Hendrix tunes are perfect vehicles for jazz improvisation and experimentation.
Highlighting the strength of Hendrix’s songs—and their ability to remain stylistically ambiguous—are two versions of “Little Wing.” A jazz trio, featuring what is arguably the best playing on the recording by Finnish pianist Iiro Rantala, performs the first version. Rantala plays over the original chord changes during his solo, but he weaves intricate jazz lines over them to create a harmonic palette that should interest any jazz fan. The other version of “Little Wing” is closer to the original in terms of instrumentation. French guitarist Nguyên Lê delivers a remarkable performance in which he channels Hendrix’s technique, while simultaneously sounding a bit like fusion guitar icon Allan Holdsworth.
Lê is featured again on “1983… (A Merman I Should Turn To Be),” along with American musician Terri Lyne Carrington on drums and vocals. As the first female artist to win a Grammy for Best Jazz Instrumental Album, Carrington’s presence on this compilation is fitting in that she parallels the innovative, groundbreaking spirit of Hendrix. This cover of “1983,” which is one of the most sonically experimental tunes ever recorded by Hendrix, is one of the standout tracks on this album. The musicians capture the essence of the original, yet they do it uniquely in a jazz fusion setting.
Though all of the tracks have something different to offer, there are aspects of a few songs that warrant mention. First, no other tracks are as captivating as the versions of “Voodoo Chile” and “Are You Experienced.” The former’s rendition by a jazz big band is refreshing, and the horn arrangements serve as another example of the versatility of Hendrix’s music. Similarly, “Are You Experienced” stands out for its cinematic arrangement performed by a symphony orchestra. Additionally, Marc Ribot’s reverb-laden guitar on “Drifting” is simply mesmerizing, and this song is accentuated by the presence of South Korean jazz vocalist Youn Sun Nah, who sings beautifully.
Despite the album’s title, Hendrix in the Spirit of Jazz is neither a straight-ahead jazz record nor does it contain typical cover versions of Hendrix songs. However, the potential listener should be assured that these tunes bridge the gap between the two styles well. Nguyên Lê provides quality guitar playing on four of the album’s tracks. He has enough stylistic similarity to Hendrix that he should appeal to those not yet indoctrinated into jazz. On the other hand, the presence of some monster jazz players should appeal to jazz aficionados. In particular, there are some phenomenal drummers on this album—Danny Gottlieb (Pat Metheny Group, Mahavishnu Orchestra), Peter Erskine (Weather Report, Yellowjackets), and the aforementioned Terri Lyne Carrington, who has played with everyone from Dizzy Gillespie to Herbie Hancock.
Hendrix in the Spirit of Jazz has certainly been produced in the spirit of Jimi Hendrix, who is quoted in the liner notes: “When I die, I want people to play my music, go wild and freak out and do anything they want to do.” His wishes have indeed come to fruition with this compilation of his music.
Mississippi-born Johnny Rawls has a long history in the industry, from serving as band director for soul singer O.V. Wright, to backing artists such as Z.Z. Hill and Joe Tex. The singer-songwriter and guitarist released his first solo project in 1985, and in 2014 was recognized by Living Blues magazine as “Male Blues Artist of the Year.” Rawls, however, is not a traditional blues musician. His southern roots are often more firmly planted in soul, with branches extending into the blues. Such is the case with his latest project, Waiting For the Train. This is Rawl’s seventh in a string of highly successful albums on the Catfood label. He’s accompanied by his long time band, The Rays, featuring label owner Bob Trenchard on bass. Trenchard also co-wrote the album’s six original songs with Rawls, which are interspersed with four fine covers.
Opening with “Rain Keep Falling (“Til I’m Free),” the tone is set with a tight horn section and rocking guitar solo from Johnny McGhee, while Rawl’s gravelly voice expresses a fearlessness about facing the future. This segues into “Las Vegas,” a song about high rollin’ and risk taking that many who have visited Sin City can surely relate to, but there’s also a more serious message about faith, hope and change. These themes emerge again in “Blackjack Was a Gambler,” a story song about “Jack and Sally” that seems to combine elements of “Mustang Sally,” “Stagger Lee” and “Jack & Diane.”
One of the highlights of the album is the title track, “Waiting for the Train,” a contemplative ballad featuring interesting chord changes and an excellent guitar solo. The train as a transport to heaven is a common theme in gospel music, and this is obviously Rawls’ intent as he sings in the voice of a man contemplating the afterlife, “Get on board and don’t look back . . . I’ve got to be ready, when it comes for me, I’ve got to be ready to be set free.”
Rounding out the album is the funky dance number “California Shake” that’s infused with a ‘70s vibe, and four cover songs including Wilson Pickett’s “I’m in Love,” Syl Johnson’s “We Did It,” Tyrone Davis’s “Turning Point,” and a nice rendition of Bob Dylan’s “I Shall Be Released.” Rawls closes with another original, “Stay With Me,” a poignant love song to a partner in life’s journey.
Waiting For the Train is a solid effort by soul-blues artist Johnny Rawls, offering songs that are especially relevant to those of a certain age who have faced many obstacles but still find the strength to push forward towards the promised land.
Blues singer-songwriter and guitarist James Armstrong grew up in southern California during an era when Jimi Hendrix reigned supreme. This spurred his fascination with rock and roll, but he also developed an interest in country music and slide guitar, which he later mastered. But that’s not all. Armstrong’s mother was a blues singer and his father played jazz guitar, providing him with more than a passing familiarity of these genres. Apparently the maternal influence won out, because Armstrong hit the blues circuit at a young age and never looked back. Until now.
Blues Been Good to Me, Armstrong’s third release for the Catfood label, is the output of a musician reflecting upon his life and times. He hooked up with another blues veteran and label mate, Johnny Rawls, to co-produce the project. Band members include rhythm guitarist Johnny McGhee (a founding member of L.T.D.), drummer Andrew Blaze Thomas, and keyboardist Matt Murdick, with Darryl Wright on bass. The album opens with the title track, an autobiographical song that chugs along over a B3 courtesy of Brother John Kattke, a Chicago blues musician perhaps better known as a guitarist.
The opening bars of “Second Time Around” will be instantly recognizable to the Boomer generation as the “Secret Agent Man” theme song. By the time the backup singers chime in on the chorus, we’re certainly convinced that love is indeed better on the rebound. Another sweet spot is the slow grooving “Early Grave,” a song about a man so tormented by a woman that he worries about dying young, joining the likes of Elvis, Robert Johnson, Sam Cooke, Marvin Gaye, and O.V. Wright.
All of Armstrong’s original songs are outstanding. There’s the funky groove of “Old Man in the Morning (Young Man at Night),” the melancholy ballad “Change in the Weather” with its tasty guitar solos, and “Sleeping With a Stranger,” an excellent showcase of Armstong’s songwriting and musicianship. Last but not least, there are the covers: Marvin Gaye’s “How Sweet It Is To Be Loved By You” gets a countrified arrangement, while Robert Palmer’s “Addicted to Love” is anchored by a honkytonk style piano and rousing horn section.
James Armstrong draws upon his multiple musical influences, infusing Blues Been Good to Me with a level of sophistication above and beyond the typical blues project. This is my first introduction to his music, and I will be looking forward to future releases.
Following are additional albums released during December 2017—some will be reviewed in future issues of Black Grooves.
Blues, Folk, Country Doctor Ross: Memphis Breakdown (ORG Music)
Robert Finley: Goin’ Platinum! (Easy Eye Sound)
Vance Kelly: How Can I Miss You If You Don’t Leave (Wolf)
Various: Memphis Blues Festival 1975 (Klondike)
Various: Chicago Blues All Stars 1970 (Klondike)
Comedy, Spoken Word Nephew Tommy: Won’t He Do It (TNT)
Funk, Rock, Pop, Electronic Bartees & The Strange Fruit: Magic Boy (Pineapple)
Danielia Cotton: The Mystery of Me (Cottontown)
Dk Aakmael: Take It Back (Scissor & Thread)
Hypnotic Brass Ensemble: Book of Sound (Honest Jon’s)
Gospel, Christian Rap, CCM Alma Brown and A One Gospel Singers: Thank You Jesus
Jazz Ella Fitzgerald: Ella at Zardi’s (Verve)
Incognito: Another Page of Incognito (P-Vine)
Irreversible Entanglements: S/T (International Anthem )
Khan Jamal Creative Arts Ensemble: Drum Dance to the Motherland (reissue) (Forced Exposure)
Melvin Sparks: I’m Funky Now (Westbound UK)
Tony Tixier: Life of Sensitive Creatures (Whirlwind)
R&B, Soul Bettye Swann: The Money Masters (Kent)
Bobbi Ruffin: Chapter Five (digital)
Dionne Warwick: Odds & Ends – Scepter Rarities (Real Gone Music)
K. Michelle: Kimberly – People I Used To Know (Atlantic)
Kashif: Essential Kashif – Arista Years (Legacy)
Lee Moore: A Gram of Boogie: Story of Moore, Score & L&M Records (Past Due)
Minnie Riperton: Perfect Angel (Deluxe Ed.) (Capitol)
Next: Too Close EP (Arista/Legacy)
Otis Redding: Definitive Studio Album Collection (7 LP box) (Atlantic)
Ruby Camille: R C 1 (Moore-Caldwell Plus)
Sugaray Rayford: The World That We Live In (Transistor Sound)
Tamar-kali: Mudbound OST (Milan)
Various: Soul on Fire: Detroit Soul Story 1957-1977 (Cherry Red)
Vedo: From Now On (New WAV)
Rap, Hip Hop A Cat Called Fritz: Vertical Iris (HHV.De)
Allan Kingdom: Lines (LP) (Omerta Inc.)
Big Sean/Metro Boomin: Double or Nothing (G.O.O.D Music)
Boosie Badazz: BooPac (Atlantic)
Boulevards: Hurt Town USA (Don’t Funk With Me)
Chief Keef: Dedication (digital) (RBC)
Cobra íl Vero: Ecdysis (NS3T Ent)
Euroz: Two Birds One Stone (digital)
Fes Taylor: Hood Famous (Chambermusik)
Futuristic: Blessings (We’re The Future )
G. Perico: 2 Tha Left (So Way Out)
G-Eazy: When It’s Dark Out (RCA)
Jeezy: Pressure (Def Jam)
Juicy J: Rubba Band Business (Columbia)
Kidz In The Hall: Free Nights & Weekends (digital)
Kipp Stone: Dirty Face Angel (L.I.F.E. Art & Content Co.)
KXNG Crooked: Good vs. Evil II: The Red Empire (Empire)
Marty Baller: Baller Nation (LP) (Omerta Inc.)
Miguel: War & Leisure (RCA)
Mike Lowery: Before It’s Too Late (Music Junkies)
N.E.R.D: No One Ever Really Dies (Columbia)
Nyron: Appreciation Day (digital)
Pell: Girasoul (Payday)
Quaz: In My Mind (Odic)
Red Storm Chicago: Redemption (digital)
Saba: Bucket List Project (LP) (Omerta Inc.)
Snug: 70812 Where It All Started (Money Gang)
Supa Bwe: Finally Dead (Empire)
TheKidGeeQ: TheKidFrOmElmStreet (FlyOverEverything)
Too $hort: The Pimp Tape (Dangerous Music)
Trizz: Ashes N Dust (Below System)
Visioneers: Dirty Old Hip Hop (reissue) (Tru Thoughts)
Whispers: Whismonoxide (That’s Hip Hop)
WizKid: Sounds From the Other Side (Sony Music Canada)
Z-Ro: Codeine (1 Deep Ent.)
Reggae, Dancehall Ethiopian & His All Stars: Return of Jack Sparrow (Omnivore)
Randy Valentine: New Narrative (Royal Order Music)
Various: Rise of Jamaican Dancehall Culture (SoulJazz)
World, Latin Fela Kuti: Box Set #4: Curated by Erykah Badu (Knitting Factory)
Hamad Kalkaba: Hamad Kalkaba & Golden Sounds 1974-75 (Analog Africa)
The Secret: The New Africa – TNA (Secret Records Music Group)
Various: Beating Heart – South Africa (Beating Heart Music)
Turning 100 calls for a celebration regardless of who you are, and in the case of musician John Lee Hooker, only a “Go Big or Go Home” mentality will suffice. In honor of this boogie master’s centennial, Craft Recordings has released a career spanning, retrospective 5 CD box set honoring this guitar-driven, legendary artist. King of the Boogie features not only Hooker’s iconic hits, but also rarities, live recordings and several previously unreleased tracks. Housed within a 56-page hardcover book, the collection includes a wide selection of photos, taken throughout the musician’s life, plus new liner notes by writer and John Lee Hooker historian Jas Obrecht, as well as by the artist’s longtime manager and friend, Mike Kappus.
The collection is part of a year-long celebration and commemoration to Hooker and as a complement to his musical recordings, the GRAMMY Museum® in conjunction with the John Lee Hooker estate is exhibiting Hooker’s performance outfits, guitars, photos, and awards in his home state of Cleveland, Mississippi through February 2018. At that point the exhibit travels west to the GRAMMY Museum® at L.A. LIVE.
John Lee Hooker (1917-2001) was born 100 years ago, near Clarksdale, Mississippi to a sharecropping family. Throughout the years, there has been some academic debate about his original birth year. However, The Hooker family maintains 1917 as the de facto date. Says daughter Zakiya Hooker, “As we all know there was no great push for accuracy back then in that portion of the community. But we just stick to what my father told us, which was what he was told by his mother.”
As a young man, Hooker worked his way up north to Detroit to pursue his passion of music. By 1948, the artist had a hit on his hands with one of his earliest recordings, “Boogie Chillun‘.” From there, Hooker would record over 100 albums throughout the course of his six-decade-long career, building a diverse collection of fans along the way—from folk musicians and beatniks, to the stars of the British Invasion. The Rolling Stones, Eric Clapton and Carlos Santana are among those who cite Hooker as a major influence.
Mike Kappus recalls in his liner notes, “Everyone who knew John Lee Hooker loved him and felt privileged to be in his presence. While he influenced generations of musicians with his incomparable style, that impact on musicians stepped up to yet another level once they got to know and, universally, love him.” In his later years, as Hooker found himself in one of the busiest, most productive eras of his career, the bluesman was inducted into the Rock & Roll Hall of Fame, Blues Hall of Fame and Memphis Music Hall of Fame; was honored with a star on the Hollywood Walk of Fame and took home four GRAMMY® Awards, plus a coveted Lifetime Achievement Award in 2000.
The album is organized chronologically, showcasing Hooker’s influential recording career from start to finish. Disc one begins with his first release, “Boogie Chillen.” The remainder of the disc provides Hooker’s classics the way he was first known—as sole commandeer of pulsing rhythms on the electric guitar. Disc two and three offer stunning recordings of previously unreleased sessions—“Unfriendly Woman” and “Meat Shakes on her Bones”—as well as the more widely-known “One Bourbon, One Scotch, One Beer” and “Homework.”
Disc four is a completely live tribute section, featuring Hooker’s performances at various Newport Folk Festivals, the American Blues Festival in Hamburg, Germany, Café Au Go-Go in New York and California’s Soledad Prison. The final disc of the collection features Hooker’s collaborations with other musicians such as “Little” Eddie Kirkland, The Groundhogs, Canned Heat, Santana, George Thorogood, Bonnie Raitt, Van Morrison, Joe Cocker, Robert Gray, Warren Haynes, Jimmie Vaughn, Los Lobos, Eric Clapton and B.B. King.
Timeless and classic, cutting-edge and influential—all describe John Lee Hooker’s storied life and career as the undisputed boogie ruler. Whether solo and unplugged or accompanied and wired up, Hooker’s guitar and vocals prove that in the world of the Delta and blues, no one else but Hooker can wear the Crown.
Over the decades, black gospel music has had a profound influence on popular music, a fact that remains as relevant today as in the 1950s. But the reverse is also true. Jesus Rocked the Jukebox, a new compilation from Craft (Concord’s reissue label), explores the blurring of boundaries between genres by focusing on the seminal period from 1951-1965. During this era many gospel artists began crossing over into secular music, unleashing their improvisational gospel-inflected vocals in a manner that demanded the creation of a new genre: soul. At the same time, other gospel singers who remained firmly rooted in the church didn’t hesitate to liven up their music with harmonic and rhythmic elements drawn from jazz, blues, R&B, and early rock ‘n’ roll. This reciprocal relationship between black sacred and secular music is illustrated throughout Jesus Rocked the Jukebox, primarily through the recordings of well-known gospel quartets. Gospel historian Robert Marovich explores this synergy in greater detail in the accompanying booklet.
One of the first things a listener will notice is the sequencing of the tracks. Compilers Fred Jasper and Mason Williams dispensed with the more typical chronological order in favor of overall effect. Thus the opening track actually begins at the end of the era. After all, how could you not begin this set with “People Don’t Sing Like They Used To Sing.” Cut in 1965 by The Original Blind Boys, the song might be considered traditional in today’s terms, but the rocking piano and guitar accompaniment clearly signal a departure from earlier gospel quartet styles.
Over the course of the 40-track compilation there are many similar examples, some drawn from the likes of the Staple Singers and Soul Stirrers, while others were plucked from lesser known recordings. For example, the Silver Quintette from Gary, Indiana is featured on the rocking 1956 Vee-Jay track “Father Don’t Leave” featuring Joe Henderson on bass, while a 1963 version of “Heavenly Father” by Brooklyn’s Patterson Singers is styled after a ‘60s girl-group ballad. The Highway QC’s “God Has Promised,” featuring Johnny Taylor on lead, mimics the urban harmony groups of the era. Several tracks are devoted to the famous Swan Silvertones, including “How I Got Over” from 1954 featuring Claude Jeter—one of the great gospel tenors whose falsetto clearly influenced many later soul and pop singers.
As Marovich states in the liner notes, “Every perspiration-drenched performance by a soul singer, every shouting improvisation from a rock-and-roll vocalist, every melismatic run delivered by contestants on a TV singing competition, evokes the exuberance of black preachers, church singers and church musicians in the throes of the spirit.” Jesus Rocked the Jukebox unearths the gospel roots of American popular music, exposing countless gems in all of their splendor to be explored and appreciated by modern audiences.
Has 2017 given you the “bougie” blues? Add these twenty-four classic blues songs from the ‘20s to your collection to help ease the pain.
The 15th annual calendar and CD release from Blues Images brings another well-selected set of remastered pre-war blues music to new generations through a combination of vintage and modern playback technologies. The songs are paired with the artwork circulated to promote the original commodities, reproduced as a 2018 wall calendar.
This year’s CD includes two recently discovered songs by Jab Jones and The Memphis Jug Band: “My Love Is Cold” and ”Poor Jab Blues.” There are also fresh remastered versions of Tommy Johnson’s recording, “Slidin’ Delta”/”I Wonder To Myself” (Paramount 12975) as well as Johnnie (Geechie) Temple’s “Evil Devil Blues”/”Jacksonville Blues” (Vocalion 02987) taken from newly discovered, cleaner copies of the original 78-rpm discs.
War, wage work, food scarcity—a century ago blues artists were writing and singing about the problems we still face in the world today. Someday perhaps we’ll liberate ourselves from the economic system that connects us to these voices from nearly a century ago. As we keep pushing, we have their words and music to remind us that liberation is fraught with peril, and there’s no better way to communicate this struggle than through the blues.
This new box set from Rhino UK appears to be a fairly straightforward reissue of Wilson Pickett’s albums for Atlantic, drawing primarily upon versions remastered in 2007. The albums include: In the Midnight Hour (1965), The Exciting Wilson Pickett (1966), The Wicked Pickett (1967), The Sound of Wilson Pickett (1967), I’m In Love (1968), The Midnight Mover (1968), Hey Jude (1969), Right On (1970), Wilson Pickett in Philadelphia (1970), and Don’t Knock My Love (1971). A nice set if you don’t already own any of Pickett’s albums, but there is no bonus material to entice fans and collectors.
Verve is releasing a 5-disc set, available on both CD and vinyl, of classic Dinah Washington albums from the 1950s. Though Washington could sing in many styles, including blues, R&B, gospel and pop, the focus here is primarily on her vocal jazz repertoire recorded for the EmArcy label. This is another straightforward reissue project, most likely attractive to those who wish to own pristine 180 gm. vinyl copies of these albums. Among the five discs are two arranged by Quincy Jones—For Those In Love (1955) and The Swingin’ Miss D—and two featuring American songbook standards—After Hours With Miss D (1954) and Dinah Jams (1954). The final album, What a Diff’rence a Day Makes (1959) released by Mercury, was arranged by Indiana native Belford Hendricks in a pop-oriented rhythm and blues style.
Curated by Blue Note president Don Was, the limited edition Blue Note Review Peace, Love & Fishing is the inaugural offering of a bi-annual “luxury subscription box set” designed to appeal to jazz collectors with deep pockets. Volume One includes a double LP containing new and unreleased recordings by the likes of the Wayne Shorter Quartet, Dr. Lonnie Smith, Gregory Porter, Kandace Springs, Terence Blanchard, and Derrick Hodge—plus a vinyl reissue of the previously out-of-print 1963 Step Lightly album by trumpeter Blue Mitchell. Also included are items that can be shared with other members of the family: artist lithographs, a silk scarf, turntable mat, and the self-published Notables jazz zine. Only registered subscription members are eligible to receive the set; each volume of Blue Note Review costs $200, including shipping to the US or Canada.
Celebrating Basin Street Records’ 20th anniversary, musician Kermit Ruffins and producer Irvin Mayfield join together on a collaborative album, A Beautiful World. This album includes different musical configurations and features other Basin Street Records’ artists: Rebirth Brass Band, Dr. Michael White, Jason Marsalis, and Bill Summers. Other artists making guest appearances include Haile Reinhart, Cyril Neville, John Boutté, Glen David Andrews, Shannon Powell, and many other New Orleans musicians. Basin Street claims “A Beautiful World is the ultimate party in record form” and I must agree—it’s a non-stop celebration as well as a demonstration of the musical genius and creativity of Kermit Ruffins and Irvin Mayfield.
The party begins with “Well, Alright,” a big band piece with tasteful horn solos, handclaps, and a swingin’ rhythm section. Along with the sounds of the big band, we hear vocal support from the artists encouraging soloists during their solos, which is participatory characteristic of African American music. “Drop Me Off In New Orleans” reflects the cheerful and jovial sounds that can be heard while walking through the streets of New Orleans, capturing a true representation of the city’s tradition jazz music legacy. In addition, there are soulful compositions and arrangements such as “Move On Ahead,” “Good Life,” “Be My Lady,” “Allen Toussaint,” “Just A Closer Walk With Thee,” and “When The Saints Go Marching In.” These songs express the spirit of the album, which is to honor the past while celebrating Basin Street Records’ 20th anniversary and the beginning of New Orleans 300th anniversary.
A notable feature of A Beautiful World is the short spoken word interludes interspersed with musical compositions throughout the album. Narratives of Kermit Ruffins and Irvin Mayfield are heard through the words of actor Wendell Pierce, DJ Soul Sister, Irvin Mayfield III, and The Urban Cellist. These interludes not only provide a contrasting element to the project, they also offer the listener a glimpse into the experiences of Ruffins and Mayfield.
When asked about the recording process Ruffins responded, “Good food and good music are my passions. I wanted to make a record people could eat.” Metaphorically speaking, A Beautiful World is certainly food for the soul. From its foot-tapping rhythms, groovy basslines, rich harmonies, and melodious hooks to its historical musical representations, this album is a wonderful treat for the listener and a heartfelt tribute to the city of New Orleans and Basin Street Records.
Born and raised in Sacramento, California, Gregory Porter is undoubtedly a jazz legend. He captured audiences with his enchanting baritone voice the moment he stepped on the scene, receiving a Grammy nomination for his debut album Water (2010), and wining the Grammy Award for Best Jazz Vocal Album with Liquid Spirit (2013) and last year’s Take Me To The Alley. Now, as he teams up with 6-time Grammy award winning arranger Vince Mendoza as well as the London Studio Orchestra, Porter will sends chills down your spine and possibly bring a tear to your eye with his new album Nat “King” Cole & Me.
This album is meant to be a tribute to his idol, the legendary Nat King Cole, whose influence on Porter began at a very early age. In a recent interview, Porter recalls writing a song and playing it for his mother. Upon listening to young Gregory she exclaimed, “Boy you sound like Nat King Cole.” This sparked Porter’s lifelong love for Nat and his music. Porter also explained that his father was never in his life and Cole’s music seemed to fill a type of void in him, stating “They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father.”
The material in the album consists of gorgeous orchestral arrangements of songs made famous by Nat King Cole, one of the first being “Nature Boy.” Porter’s rich tone on this song is hauntingly beautiful as he treats the melody and the text in ways clearly influenced by Cole yet still maintaining his own individuality. As the album continues we are met with even more phenomenal arrangements like “Miss Otis Regrets,” with a bombastic introduction that swiftly drops as Porter enters with the lyric. But one of the best moments happens towards the end of the album as Porter sings the standard tune “For All We Know.” His tender delivery of this song is amazing in how he treats the lyric and occasionally embellishes the melody, showcasing excellent control.
With other classic tunes like “L-O-V-E,” “Sweet Lorraine” (on the 15 track deluxe edition) and “The Christmas Song,” Nat “King” Cole & Me is absolutely astonishing. With a rich and soulful sound, no one could do more justice to the memory and legacy of Nat King Cole than Gregory Porter.
Mavis Staples ushers in her eighth decade of singing truth with the call-to-compassion album If All I Was Was Black, her third collaborative project with songwriter, producer, and Wilco frontman Jeff Tweedy. Their first partnership in 2010, You Are Not Alone, won a Grammy Award for Best Americana album. Their second effort together, One True Vine, was a Grammy nominee. But If All I Was Was Black marks the first time Tweedy has composed an entire album of original songs for Mavis’ legendary voice and a nation she’s uniquely poised to address. As a witness to both past and ongoing American civil rights issues, Staples feels that, in many respects, “nothing has changed…we’re not loving one another the way we should.”
The album’s first track, “Little Bit,” firmly establishes this work as a conscious ode to the déjà vu mood gripping the nation of late. A driving guitar hook sets the tone immediately at the open, with Staples’ vocals rasping out an early downbeat of “This life surrounds you, guns are loaded. This kind of tension, hard not to notice.” Throughout the song, Mavis leads listeners through call-and-response vocals in a soundscape that recalls Sly & the Family Stone’s mix of joy and social criticism unfolding over a funk-edged rhythm section. Following is the title track, an upbeat, joyous groove that continues the album’s humanistic theme of understanding and acceptance. Directly addressing those who respond to someone’s race without seeing their shared humanity, Staples expertly croons, “If all I was was Black, don’t you want to know me more than that?”
Current events appear on the record obliquely, reflecting a commitment to a universal approach that shines a comparative light on the past by suggestively addressing today’s events. As Mavis explains, “We didn’t make the songs point to a specific person. If you follow the lyrics, it’s about yesterday and today.” “We Go High” borrows its chorus from Michelle Obama’s speech on the first night of the 2016 Democratic National Convention, and the track “Build a Bridge” parses exactly which lives matter and how we can begin to talk about it.
Staples’ darker tone can be glimpsed in both “Who Told You That?” and “Try Harder.” Alluding to the frustration and realism of today, her telling line “There’s evil in the world, and there’s evil in me” signals harsh undercurrents of danger. Despite these elements, the mood ring on Mavis’ 2017 call-to-action is set to love, running through and over the occasional fury and pragmatism. The songs move like an ocean tide, ebbing and flowing, with Mavis countering the anger with an eye toward the work that is required to bring change. In the end, the answer lies in lifting each other up, Staples style. She’s not embracing the anxious hesitation of respectability politics but rather the possibilities of love.
Try Harder. Two small words, containing the biggest potential imaginable. To Mavis Staples, this phrase is key to substantial change if society will take her lead and lovingly follow through.
Lloyd Price’s career may have launched way back in 1952 with the famous single “Lawdy Miss Clawdy,” but his newest release proves that his career is far from over. This Is Rock and Roll, Price’s first album in over a decade, includes a combination of newly penned original tracks, like the bluesy “I’m Getting Over You,” as well as a collection of covers.
The title track exemplifies the album’s balance between originals and covers, combining Jimmy Reed’s “Peepin’ & Hidin’” with Price’s celebratory call-and-response “This is rock and roll.” This song is significant to the album as a whole, as it was recorded in the New York City club where, three years ago, Price decided he still had much to offer fans and conceived this album.
For his slowed-down cover of Carole King’s “Will You Still Love Me Tomorrow,” the legendary Rock and Roll Hall of Famer turns the song into a ballad sung from a man’s point of view. Regardless of whether it’s an original or a cover, each track on This Is Rock and Roll contains the unique Lloyd Price essence that has been captivating listeners for over 60 years.
The Miami born singer Cecile McLorin Salvant has been on a consistent rise in the jazz world, making her Mack Avenue Records debut in 2013 with WomanChild, and garnering a Grammy award nomination. She received her first Grammy Award for Best Jazz Vocal in 2016 with her sophomore album, For One To Love. Now, with the hauntingly beautiful release, Dreams and Daggers, McLorin Salvant amazes.
The album includes a mix of original material and new arrangements of classic jazz and blues standards. From beginning to end it’s impossible not to lose yourself in the music as McLorin Salvant showcases unbelievable vocal control and all-around ability.
Explaining the title of the project, McLorin Salvant says, “The songs on this album are of dreams and daggers. The daggers have been used at times to attack, at times to defend. . . The dreams are the ones I caught looking out a window, or from the light sleep before the deep.” She splits this album into two discs; the first seems to expand on this idea of the “daggers,” while the second includes her “dreams.”
Disc one begins very subtly with the eerie melodies in the song “And Yet,” where McLorin Salvant’s voice is first heard alone with the Catalyst String Quartet. The beauty of the writing by Salvant and bassist Paul Sikivie is astounding. By interweaving the quartet with the rest of the ensemble they create gorgeous textures and melodic ideas throughout this and many other tunes on the album. What is most impressive is hearing McLorin Salvant as she enters with precise and crisp tones. Throughout the album, the influence, respect, and knowledge of those who have preceded her, such as Ella Fitzgerald, Sarah Vaughn, and Carmen McCrae, are easily heard.
In disc two we get to experience the more playful side of Cecil, and since this album was recorded with a live studio audience, it has a very personal feel, making you want to cheer along with them. This is especially evident in her rendition of the blues classic, “You’ve Got to Give Me Some,” where we hear the audience reacting to the suggestive lyrics as well as the spectacular piano solo from featured guest Sullivan Fortner.
Dreams and Daggers, a haunting and gorgeous display of joy and pain, pays homage to the older traditions of jazz and blues while adding new and creative ideas to advance the genre.
With a name meaning “Get Funky!” or “Work It,” it is no surprise that Charleston, South Carolina’s Ranky Tanky created lively, dynamic arrangements for their self-titled album. Ranky Tanky is composed of five members, four of whom are of Gullah descent—African American communities in the islands and coastal regions of North and South Carolina, Georgia, and Florida. Gullah traditions, which retain strong elements of African language, music, and lifeways, are present throughout Ranky Tanky. For their debut album, the group pulled from the ring shouts, praise songs, and nature tales of Gullah music while incorporating their own jazz twist.
The opening track, “That’s Alright,” is a feel-good song that lives up to the band’s funky name. Vocalist Quiana Parler’s soulful voice is complemented by a tambourine accompaniment to create an uplifting spiritual reminiscent of traditional Gullah praise songs. Other songs on the album are less upbeat and more instrumental but still maintain a connection to Gullah and other African cultures—“Knee Bone,” for example, is influenced by the West African belief that rigidity and death are connected and that one must move to feel alive. “Been in the Storm” is especially poignant in the wake of the recent hurricanes and tropical storms that have affected areas heavily-populated by the Gullah, and serves as a testament to their resilience.
By creating tracks that have roots in Gullah folk music and Afro-diasporic traditions, Ranky Tanky is helping to keep alive the vibrancy and expressiveness of Gullah culture.
Walter Trout’s We’re All In This Together marks the newest addition in what has already been a prolific career as a recording artist. One could view this recording as a celebration of sorts since Trout underwent a liver transplant in 2014. While this isn’t his first release since the transplant, it certainly has a much more upbeat feel overall when compared to his 2015 release, Battle Scars, which dealt with his battle with liver disease.
Helping Trout celebrate on this recording are a number of notable guest artists. With each track featuring a collaboration with a different artist, this album stands out for its stylistic variety. The various formidable guitarists should interest any guitar aficionado, although not every guest artist is a guitarist. Charlie Musselwhite’s harmonica on “The Other Side of the Pillow” stands out as one of the best performances on the album. However, make no mistake about it: this is a guitar album!
Trout’s history playing with major names in the blues world such as John Lee Hooker, Canned Heat, and John Mayall—just to name a few—must have contributed to his ability to lure so many great guest artists to this project. His ability to blend well with each of the guests and play complementary to their style was undoubtedly a factor. With 14 different guests, there is likely an artist to suit almost any taste. Trout is joined by his former bandleader John Mayall on “Blues for Jimmy T.” Other standouts include performances by Kenny Wayne Shepherd, Sonny Landreth, Robben Ford, Eric Gales, Joe Louis Walker, and Joe Bonamassa.
Bonamassa might be the most recognizable name in today’s guitar world, and his performance on the title track is a knockout. Nevertheless, it is the playing of Eric Gales, who recently released his Middle of the Road on the same label, that reminds the listener why Joe Bonamassa himself has described Gales as “one of the best, if not the best guitarists in the world.” “Somebody Goin’ Down,” which features Gales and begins with an intro reminiscent of Jimi Hendrix, ultimately manifests itself as a medium-tempo rock track that becomes a vehicle for some brilliant improvising by both Trout and Gales, who end up trading guitar licks during the outro solo.
Another standout track is “Crash and Burn,” an upbeat blues with a Chicago feel featuring Joe Louis Walker on vocals and guitar. Like many tracks, this one also features guitar playing suitable for in-depth study, but Walker’s vocals are also worth mentioning. His voice would not be out of place on a Stax recording from its heyday, and at times it is akin to Albert King, who recorded at Stax in the late 1960s.
We’re All In This Together is a welcome addition to any blues fan’s collection. It is an even more welcome addition to the collection of someone who loves guitar playing. Walter Trout is at the top of his game on this record, and his selection of guests perhaps inspired him to new heights. Whether the catalyst for this performance was newfound inspiration from great players or a new lease on life, the final product is a solid recording that will hopefully introduce Walter Trout to a new generation of listeners.
Detroit raised, Motown trained guitarist Randy Jacobs formed The Boneshakers in 1994 to “project his vision of funk, blues, R&B, rock and soul into the universe.” Current members of his band include gritty soul singer Sweet Pea Atkinson, bassist Derek Frank, keyboardist Rodney Lee, and drummer Third Richardson. Two years ago, The Boneshakers teamed up with saxophonist, singer-songwriter Mindi Abair on the album Live in Seattle, and the collaboration was so successful they have been touring together ever since. Their second joint release, The EastWest Sessions, reflects the name of the Hollywood studio where the project was recorded under the guidance of noted blues-rock producer Kevin Shirley.
The album opens with Abair taking over the vocals on the hard rocking ‘Vinyl.’ True to the lyrics, the song is “in your groove like a needle on vinyl.” Following is “Not That Kind of Girl,” which allows Abair to strut her stuff on sax, bringing down the house with this raucous party song. “Play to Win” is another hard rocking anthem, a feminist mantra espousing a no-holds-barred philosophy that continues into the bluesy “Pretty Good for a Girl.*” This extended track about the difficulties of being a woman in a man’s world finds Abair trading solos with her old friend, guitarist Joe Bonamassa.
The Boneshakers take over on “Let Me Hear It From You.” Sweet Pea Atkinson covers this Sly Stone ballad with a voice steeped in soul, then takes us to church with a gospel style chorus as the song comes to a close. Another notable track is “Freedom,” an instrumental with Abair and Jacobs both letting loose in a battle for dominance, then coming together in harmony over the sweet chords of the B3. Without a doubt, the most interesting track on the album—the one that makes you jump up and shout “what is that?”—has got to be “She Don’t Cry No More.” Written by and featuring Fantastic Negrito, this slow dirge of a blues song conjures up the soul of Robert Johnson and throws it into a chain gang where Abair’s sax wails like a banshee over the relentless rhythm. Seriously, this song will haunt you for days. The album concludes on a lighter note, passing the mic back to Abair who sings “I Love to Play the Saxophone” over finger-picking guitars.
The EastWest Sessions is by far the best collaboration to date between Mindi Abair and The Boneshakers, with its rotating blend of jazz, blues, rock, soul and smooth groove.
*Pretty Good for a Girl is also the name of a website hosted by Abair with a mission to motivate, inspire and empower women.