Dee Dee Bridgewater – Memphis, Yes I’m Ready

Dee Dee Bridgewater
Title: Memphis, Yes I’m Ready

Artist: Dee Dee Bridgewater

Label: Okeh

Formats: CD, LP, MP3

Release Date: September 15, 2017

 

 

Dee Dee Bridgewater, a jazz singer in the same vein as Nancy Wilson, Ella Fitzgerald, Sarah Vaughn and Abby Lincoln, has done it all. She has even appeared on Broadway, earning the respect of peers and critics in a career that has spanned decades. It takes confidence and knowledge of self when an artist decides to step out of their comfort zone, which Bridgewater does on her new release, Memphis, Yes I’m Ready. The 13 track album features Bridgewater singing covers of blues, R&B and gospel classics from the ‘60s with backing by the album’s co-producer, Kirk Whalum, and the Stax Academy Choir.

 

 

Bridgewater was born in Memphis, so this project was a homecoming, to say the least—or in the words of the great Sam Cooke, “Bring It On Home.” That she does. Now for the highlights. If you listen very close to “I Can’t Get Next To You,” you’ll hear Bridgewater paying homage to the Al Green version of the song, not the Temptations. Green after all brought the Memphis sound into the ‘70s and Bridgewater is a Memphis gal, so why not. The horns and vocal delivery are downright scary in their precision and intensity.

When Bridgewater says “Yeah, this is for the King,” it’s not the “King” some of you may be thinking of, but rather B.B. King. His signature track, “The Thrill Is Gone,” gets the female perspective from Bridgewater as she sings, “You will be sorry someday.” Clap your hands and tap that foot. Now, speaking of another “King,” Bridgewater covers two of Elvis Presley’s classics. First up is “Don’t Be Cruel.” Who needs the Jordanaires on backing vocals when you can strip this song to its core and make it sound completely new?  “Hound Dog,” as most everyone knows, was originally recorded by Big Mama Thornton, but Elvis had the bigger hit. Bridgewater again steers away from original and makes it a storytelling tune, one that I can now understand.

You can’t go home without taking one for the church, right? Bridgewater closes the album with Thomas Dorsey’s “(Take My Hand) Precious Lord.” This is a song that can bring tears to the eyes, especially since one usually hears it at home-going ceremonies. Testify, Sister Dee Dee!

Memphis, Yes I’m Ready is Bridgewater’s homecoming 101. You better be ready!

Reviewed by Eddie Bowman

 

 

Various Artists – Take Me to the River

take me to the river

Title: Take Me to the River

Artist: Various Artists

Label: Shout Factory

Release date: February 5, 2016

Format: Blu-Ray, DVD

 

 

This month sees the  DVD release of a film celebrating the enduring legacy of Memphis soul music, Take Me to the River. This music documentary aims to address all things Memphis soul, mostly focusing on the Stax operation. Narrator Terrence Howard tells the story of the city’s musical past and continuing legacy, interspersed with clips of musicians interacting in the studio as well as musical performances (including Howard himself singing and playing guitar on one song). While the film’s narrative gets lost at times, this is largely mitigated by the wonderful performances on this record, combining a number of musical legends (several of who have passed away since this film was shot) with musicians of various successive generations. This often results in interesting fusions, like Bobby “Blue” Bland and Yo Gotti performing a rendition of “Ain’t no Sunshine” together, complete with an original rap verse by the latter.  Other high profile guest artists include William Bell, Snoop Dogg, Mavis Staples, Otis Clay, Charlie Musselwhite, Frayser Boy, and North Mississippi Allstars, who make up the backing band on several cuts.  The film also highlights the legacy of Memphis soul by addressing the role of music education in the city and the work of the Soulsville Foundation, including high school youth being mentored by Stax legends. This movie focuses on an important slice of Memphis’s musical culture and Take Me to the River includes some wonderful performances that celebrate the city’s vibrant history of soul music.

Here is a trailer for the film: YouTube Preview Image

Reviewed by Matthew Alley

Rufus Thomas: His R&B Recordings, 1949-1956

Title: Rufus Thomas: His R&B Recordings, 1949-1956
Artist: Rufus Thomas
Label: Bear Family
Catalog No.: BCD 16695AH
Date: 2008

Rufus Thomas is best known as the Memphis soul singer who, along with daughter Carla Thomas, helped the fledgling Stax label rise to fame in the ‘60s and ‘70s. His biggest hits-“Do the Funky Chicken” and “Walking the Dog“–not only became his signature songs, but established Thomas as a consummate entertainer. Not surprisingly, he first honed these skills as a vaudeville performer and emcee for shows down on Beale Street. Thomas also had a long career at WDIA in Memphis, the nation’s first all-Black format radio station, where he spun rhythm and blues records that caught the attention of many a white teenager, including a young Elvis Presley. Since his fellow WDIA deejay was none other than B.B. King, it should come as no surprise that Thomas decided to take a stab at recording. “I just wanted to be on record. I never thought of getting rich. I just wanted to be known, be a recording artist.”

From 1949 to 1956 Thomas recorded 28 sides for various labels, though a number were unissued and have since been lost (all extant recordings have been included in this compilation). His first sessions in Memphis were for the Star Talent label (based in Dallas) and featured several of his own songs, including the bluesy “I’m So Worried,” the somewhat derivative “I’ll Be Good Boy,” and the previously unreleased “Who’s That Chick” and “Double Trouble” (the latter in rather poor sound). These were followed by two sides for Bullet-the rockin’ party song “Beer Bottle Boogie” and another of Thomas’ own compositions, “Gonna Bring My Baby Back,” a swinging jazz number backed by members of Lionel Hampton’s band let by saxophonist Bobby Platter.

The following year Thomas stopped in at Memphis Recording Service–soon to be renamed Sun Studios–and convinced Sam Phillips to record several songs which were released on the Chess label, including “Night Workin’ Blues,” his own cryin’ blues tune “Why Did You Deegee,” the uptempo boogie woogie “Crazy About You Baby” featuring Billy Love on piano, and “No More Dogging Around.” Additional sessions followed in 1952 producing the notable song “Decorate the Counter”–this had originally been recorded by Rosco Gordon, but only Thomas’ version was released by Chess (both versions are included on the CD for comparison). Two additional songs were recorded at the same session but were never released: “Married Woman” included here with two alternate takes; and “I’m Off Of That Stuff” which is a bit stiff, not to mention somewhat truncated.

Thomas’ big break came in 1953 when he recorded “Bear Cat” for the new Sun label. An answer song to Big Mama Thornton’s bluesy “Hound Dog” that had topped the charts a few weeks earlier (also included on the CD), “Bear Cat” was a huge hit, signaling the shift towards rock ‘n’ roll and no doubt making an impression on Elvis Presley, whose cover of “Hound Dog” catapulted both him and Sun Records to fame three years later. Thomas cut several more sides for Sun, including “Tiger Man (King of the Jungle)” complete with Tarzan yells, and the straight-ahead blues song “Save That Money.” His early recording career concluded at Meteor, a short-lived Memphis label, which released “The Easy Living Plan” and “I’m Steady Holdin’ On,” both penned by Rufus Thomas and Joe Bihar.

Rufus Thomas: His R&B Recordings, 1949-1956 is a great tribute to this legendary artist who passed away in 2001. Interestingly, two other compilations including much of the same material have also been released in 2008 by Document Records and Important Artists. However, the Bear Family set is far superior in terms of remastering and production. The wonderfully illustrated 67 page booklet (bound into the package) features a complete 1950s discography and an overview of Thomas’ pre-Stax career by Martin Hawkins, including lengthy discussions about the role of WDIA and Black radio.

The other thing that really sets this CD apart are the bonus features and alternate takes previously mentioned, as well as airchecks from Thomas’s WDAI radio show and a ten minute interview from the Daddy Cool Show. With a total of 29 tracks, this is indeed the definitive compilation of Thomas’s early recordings. Anyone interested in Memphis soul, the roots of rock ‘n’ roll, and the story of Black radio will want to purchase this set–it would also be perfect for classroom use. Rufus Thomas: His R&B Recordings, 1949-1956 is absolutely the best single CD historical reissue that I’ve come across in 2008.

Posted by Brenda Nelson-Strauss

Soulsville Sings Hitsville

Title: Soulsville Sings Hitsville: Stax Sings Songs of Motown Records
Artists: Various
Label: Stax/Concord
Catalog No.: STXCD-30391
Date: 2008

In his book, Soulsville, U.S.A. – The Story of Stax Record (1997), popular music historian Rob Bowman documents the story of Memphis-based Stax Records. Bowman describes the story of Stax as “about as improbable and unforeseeable as any tale could possibly be.” Originally founded as Satellite Records in 1957 by white country fiddler Jim Stewart, Stax from its conception was racially integrated in all facets of its operations. Stax was also instrumental in establishing Southern soul and the south Memphis sound. The signature sound and style are attributed to its house band, which consisted of Booker T. & the MGs, Isaac Hayes, and the horn section from the Mar-Keys. Additionally, the Stax sound was also derived from the physical characteristics of its recording studio. Essentially a converted movie theatre, the studio had a slanted floor with sound proofing affixed to the interior walls and sound equipment installed on the stage.

Soulsville Sings Hitsville: Stax Sings Songs of Motown Records in essence brings the “city” cousin home to the south, and reintroduces him to long lost country roots. Containing 15 tracks, this compilation provides the Southern soul singer’s interpretation of northern soul songs from the Motown catalog.

“Reach Out (I’ll Be There)” was first recorded by The Four Tops in (1966) and by Diana Ross in (1971). The Mar-Keys’ instrumental version gives this classic Motown tune a rockin’ edge by implementing a couple of rock riffs along with other guitar effects, and places the solo line with the tenor saxophone. Although the song has been altered from its original form, you are still able to recognize the distinguishable Motown flavor which is illustrated through the accents of the tambourine.

Originally recorded by Stevie Wonder in 1970, “Signed, Sealed, Delivered” has been revived and given a new walk, so to speak, by The Soul Children. With its heavy blues and gospel influences, you find it hard to resist the urge to snap your fingers as you leave the church revival to pay your dues at the local juke joint.

Other notable tracks include: “You’ve Got to Earn It” by the Staple Singers; “Stop! In the Name of Love” by Margie Joseph; “I Don’t Know Why I Love You” by David Porter; “Can I Get a Witness” by Calvin Scott; and “Chained” by Mavis Staples.

Posted by Terence La Nier II

Chasin’ Gus’ Ghost

cannons_jug_stompers.jpgTitle: Chasin’ Gus’ Ghost
Producer: Todd Kwait
Company: Ezzie Films in association with Nevessa Production
Date: 2007

Last week I had the opportunity to preview a fabulous new documentary film, Chasin’ Gus’ Ghost, which traces the African American roots of jug band music. Mark Blackwell, a member of the Lost Shoe String Band who happens to have a day job at the Monroe County Public Library in Bloomington, Indiana, had heard about the documentary and arranged for a special showing. Also present was Todd Kwait, the Cleveland lawyer and businessman who conceived the idea about six years ago, and went on to write, direct and produce the film. Here’s the synopsis from the official website:

Chasin’ Gus’ Ghost is a documentary film on the history of Jug Band Music. It traces the roots of American music beginning with Gus Cannon and Cannon’s Jug Stompers, The Memphis Jug Band and the Dixieland Jug Blowers from the 1920’s, and weaves a tapestry through interviews, live performances, archival footage, and photographs showing their influence on the ever-popular folk and rock movements of the 1960s.

The movie is written and directed by independent filmmaker Todd Kwait, and includes interviews and live performances by John Sebastian from the Lovin’ Spoonful, Jim Kweskin, Geoff Muldaur, Bill Keith, Maria Muldaur, and the late Fritz Richmond from the influential Jim Kweskin Jug Band, Bob Weir from the Grateful Dead, Charlie Musselwhite, Paul Rishell and Annie Raines, plus many more artists who were influenced by the great jug band musicians from our past.

This movie is a historical retrospective that spans the globe and honors many great talents from yesterday and today. Filming for Chasin’ Gus’ Ghost took the crew to Japan, Sweden, and Kingston, Ontario. Closer to home, filming took place in Northern California; Woodstock, New York; Portland, Oregon; Memphis and western Tennessee; Cambridge, Massachusetts; Louisville, Kentucky; and Cleveland, Ohio.”

The opening clip on the trailer begins, appropriately enough, with a handcranked phonograph playing a 78 rpm record of “Viola Lee Blues” by Cannon’s Jug Stompers, written by band member Noah Lewis and recorded for the Victor label ca. 1929. This song actually served as the catalyst for Kwait’s journey into the history of jug band music.
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Kwait was a huge fan of John Sebastian, leader of the ‘60s folk-rock band the Lovin’ Spoonful. Sebastian had actually started his career in the Even Dozen Jug Band during the peak of the folk revival scene. Those of you familiar with the Lovin’ Spoonful’s hit song from 1965, “Do You Believe in Magic,” might recall this reference in the second verse: “If you believe in magic, don’t bother to choose/ If it’s jug band music or rhythm and blues.” Obviously old time music was Sebastian’s first love, and in the late ‘90s he formed John Sebastian and the J Band. Their 1999 album Chasin’ Gus Ghost featured an arrangement of “Viola Lee Blues,” along with several other Gus Cannon and Noah Lewis songs (and obviously inspired the title of this film).

After attending a performance of the J Band in the late ‘90s, Kwait realized that he knew next to nothing about jug band music. Further exploration revealed that the Grateful Dead’s Bob Weir and Jerry Garcia had performed as Mother McCree and the Uptown Jug Band Champions in 1964, which eventually morphed into the Grateful Dead. As any Deadhead is sure to know, “Viola Lee Blues” was also performed extensively by the Grateful Dead between 1966-70. Kwait began to wonder, just what is this jug band music, and where did it come from? Not finding the answers readily available, he began his six year quest.

Through the assistance of John Sebastian, Bob Weir, Charlie Musselwhite, Geoff Muldaur, historian Samuel Charters, and especially Fritz Richmond (a member of the seminal Jim Kweskin Jug Band), the history of jug band music has now been explored for the first time on film. Though much time is spent chronicling the revival of jug band music by white artists in the 1960s, as well as contemporary performances in both the U.S. and Japan (the Japanese jug bands are hysterically funny), its African American origins are certainly not overlooked.

Many believe that jug band music originated around 1900 in Louisville, Kentucky, where whisky jugs were plentiful due to the community’s long association with bourbon. One of the more famous groups was the Louisville Jug Band, led by Earl McDonald. In 1903 they performed at the Kentucky Derby, setting off a tradition that lasted into the 1940s. Soon jug bands were “serenading steamboat passengers up and down the Ohio River,” and by the 1920s “jug bands were entertaining theater and dance crowds in major cities east of the Mississippi. Check out this amazing historical footage of Whistler’s Jug Band performing in Louisville around 1930 (posted by permission of Shanachie, from the the Yazoo DVD Times Ain’t Like They Used To Be: Early Rural & Popular Music From Rare original Film Master, 1928-35).[i]

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Another place where the music took hold was Memphis, Tennessee, where the jug bands were more firmly rooted in country blues and earlier African-American traditions. The two most celebrated Memphis groups were Gus Cannon’s Jug Stompers and Will Shade’s Memphis Jug Band, but it is Cannon who was most revered by the sixties folk musicians and who receives most of the attention in the film, due to his extraordinary technique on the banjo and jug, which he fastened around his neck like a racked harmonica. Interestingly, the first half of the film features Taj Mahal as the voice of Gus Cannon (Cannon himself died in 1979 at the age of 104). According to Kwait, Taj’s narration is based on actual Cannon quotes, lending a degree of authenticity to the scenes. Also profiled is band member Noah Lewis. Reverently called “the Robert Johnson of harp players” by Bob Weir, Lewis was known for his ability to play two harmonicas at once, using both mouth and nose.

Between 1927-1930, Cannon’s Jug Stompers recorded 24 songs for Victor (several were penned by Lewis), featuring some of the best jug band music ever released. Notable tracks include “Minglewood Blues” (covered by both the Grateful Dead and Sebastian’s J Band), “Viola Lee Blues,” “Mule Get Up in the Alley,” and “Walk Right In.” The latter was a huge hit for the Rooftop Singers in 1963, which led to Cannon’s rediscovery by Sam Charters. Stax arranged a recording session for the 79-year-old Cannon in 1963 (he was living in the neighborhood at the time), and amazingly Will Shade and Milton Roby were still around to back him on jug and washboard, respectively. Only 500 copies of the LP were pressed by Stax under the title Walk Right In, but it has since been reissued by Fantasy on CD.

Towards the end of the film, after considerable focus on Sebastian and the appropriation of jug band music by white folk musicians and Japanese enthusiasts, I began to wonder if any African American groups were participating in the revival of the tradition. Kwait obviously anticipated this question, for almost immediately the focus of the film shifted to the Sankofa Strings (otherwise known as the Carolina Chocolate Drops, featured in the Oct. 2006 issue of Black Grooves). Sule Greg Wilson, Sankofa’s spokeman, explained that most African American musicians consider jug band music to be too old fashioned, too pre-blues, and too connected to the days of medicine and minstrel shows. But the Sankofa Strings/Carolina Chocolate Drops are doing much to promote this distinctive African American music genre, and are seen in the film teaching school kids to play the washboard and other jug band instruments. I look forward to future CD releases by this group, and am excited that immediately following the film people were already talking about bringing the Chocolate Drops to town.

Kwait is still looking for a distributer for the film, so don’t expect a DVD release anytime soon. If you’re lucky you might be able to catch Chasin’ Gus’ Ghost at a film festival or arrange for a local screening. The official world premiere was October 13th, 2007, at the Woodstock Film Festival, though there seems to have been an August preview at the Jug Band Extravaganza in San Francisco, and a January screening is scheduled at the Old Town School of Folk Music in Chicago. It’s a great documentary, all the more amazing since it represents Kwait’s first foray into film making. I encourage everyone to get the word out- let’s get this film into distribution!

Related Discography:
Cannon’s Jug Stompers: The Complete Works: 1927-1930
(Yazoo 1989)

Memphis Jug Band with Gus Cannon’s Jug Stompers (JSP 2005, 4 CD box set)

Walk Right In, Gus Cannon (Stax 1963; Fantasy reissue 1999)

Chasin’ Gus’ Ghost, John Sebastian And The J-Band (1999 Hollywood Records). Features Yank Rachell, one of the original jug band pioneers and master of the bluegrass mandolin, who performed frequently throughout southern Indiana prior to his death in Indianapolis in 1997.

[i] National Jug Band Jubilee website. Until the recent establishment of the annual National Jug Band Jubilee, Louisville had all but forgotten its role in the jug band tradition.

Posted by Brenda Nelson-Strauss