Monday, September 29, 2014

Albert Collins - Iceman (1991)

Albert Collins (October 1, 1932 – November 24, 1993) was an American electric guitarist and singer with a distinctive guitar style. Collins was noted for his powerful playing and his use of altered tunings and capo. His long association with the Fender Telecaster led to the title "The Master of the Telecaster". (Wiki)

Albert Collins was a wonderful funky guitarist and  vocalist in the Texas tradition of  tough, notable Blues players - He has an immediately recognizable and unique musical personality  and I consider him one of the Greats ! Easily proved by a first listen ...

This was the first album Albert made for Pointblank Records (part of Virgin Records) in 1991 after leaving Alligator Records. No real changes of style etc but a good production and some new songs make this well worth having. If you're an Iceman fan, like me, you'll be a pig in shit...! Enjoy   

Sunday, September 21, 2014

Post-war Downhome Blues 1 & 2

This is parts 1 & 2 of a series composed from the playlist in Jeff Todd Titon's book Downhome Blues Lyrics. Unfortunately when the use laws changed here in the U.S., I was forced to delete 3 of the 4 volumes due to Jeff's use of too many songs from certain artists. I've finally gotten around to making some adjustments to satisfy the restrictions so that I could restore these pieces to the playlists. The songs are grouped to demonstrate certain recurring themes.

Thursday, September 18, 2014

New Orleans & Da Fonk

So where is Funk born? Is it James Brown and his band? George Clinton and Parliament/Funkedelic? Sly Stone and Larry Graham with The Family Stone? Maybe even Booker T and the MG's? Or is it New Orleans? If we use a timeline I think you can make a case for all of these at the same time but you will notice that the first 4 choices are just bands while the last is a whole city. I submit that nowhere else does Funk become the dominant music form so early in the game, as it did here in The Crescent City. I'd say that it is at least in part because we already had the roots of Funk here in our music and the transition was an easy and natural one for us. Even back into the 50's you can point to some Brass Band music and Professor Longhair as proto-Funk and certainly by 1960 some of Lee Dorsey's stuff is pretty damn funky. Like Jazz, R&B, and Rock n' Roll before it, I think the case is strong that Da Fonk starts here.

These songs are recorded between 1965 and 1975.


Wednesday, September 17, 2014

Buddy And Ella Johnson 1953 - 1964

Buddy Johnson (January 10, 1915 – February 9, 1977) was an American jazz and New York blues pianist and bandleader, active from the 1930s through the 1960s. His songs were often performed by his sister Ella Johnson, most notably "Since I Fell for You" which later became a jazz standard.

Born Woodrow Wilson Johnson in Darlington, South Carolina, Johnson took piano lessons as a child, and classical music remained one of his passions. In 1938 he moved to New York, and the following year toured Europe with the Cotton Club Revue, being expelled from Nazi Germany. Later in 1939 he first recorded for Decca Records with his band, soon afterwards being joined by his sister Ella as vocalist.

By 1941 he had assembled a nine-piece orchestra, and soon began a series of R&B and pop chart hits. These included "Let's Beat Out Some Love" (#2 R&B, 1943, with Johnson on vocals), "Baby Don't You Cry" (#3 R&B, 1943, with Warren Evans on vocals), his biggest hit "When My Man Comes Home" (#1 R&B, No. 18 pop, 1944, with Ella Johnson on vocals), and "They All Say I'm The Biggest Fool" (#5 R&B, 1946, with Arthur Prysock on vocals). Ella Johnson recorded her version of "Since I Fell for You" in 1945, but it did not become a major hit until recorded by Lenny Welch in the early 1960s.

In 1946 Johnson composed a Blues Concerto, which he performed at Carnegie Hall in 1948. His orchestra remained a major touring attraction through the late 1940s and early 1950s, and continued to record in the jump blues style with some success on record on the Mercury label like "Hittin' on Me" and "I'm Just Your Fool". His song Bring It Home To Me appears on the 1996 Rocket Sixty-Nine release Jump Shot!.

Johnson died, at the age of 62, from a brain tumor and sickle cell anemia, in 1977 in New York.

Ella Johnson died in New York of Alzheimer's in February, 2004; she was 84 years old.

Sunday, September 14, 2014

Mahalia Jackson Sings The Best Loved Hymns Of Dr. Martin Luther King Jr

Well, I found this album in a local thrift last week and decided it was more than coincidence.  That's right folks, this was... DIVINE INTERVENTION!!!  For those of you who frequent this joint, you will recall the series I had began with Miss Jackson.  I have decided to get that movin again so you can expect an offering every Sunday until I am tapped.

I couldn't find a decent review on this album so I will say a few things.  If you were smart enough to DL the Apollo set, then you have whats necessary to understand what happened in Mahalia's career.  These Columbia albums represent the peak of her fame, but in contrast with her early work, not the peak of her best music.

The "smart" minds behind the label wanted to extend her popularity and of course referred to the handbook while doing so.  Most of the Columbia albums have a few strong moments but fail as being an overall exciting listen.  There are a couple exceptions such as the amazing "Worlds Greatest..." and this album which I am sharing today.

I think everybody knows the relationship that Jackson had with the great doctor.  She famously sang at his funeral and during his life, considered each other friends.  So fitting is this tribute which stands as one of her best albums in my opinion.  The music sticks to the nitty gritty and at times gets close to some gutter blues!!!  All that said, I am highly recommending this album to everybody who stops into this blog.

The back cover contains a wonderful Q&A style interview so be sure to check it out.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I have begun using Click Repair which was needed on this one so BIG BIG thanks to KC.  Enjoy!!!!

Columbia ‎– CS 9686
1968

A1 We Shall Overcome
A2 Take My Hand Precious Lord
A3 Just A Closer Walk With Thee
A4 There Is A Balm In Gilead
A5 The Old Rugged Cross
B1 Rock Of Ages
B2 How I Got Over
B3 If I Can Help Somebody
B4 He's Got The Whole World In His Hands
B5 An Evening Prayer

Saturday, September 13, 2014

Cosimo Matassa Remembered - A Second Dose

 Apologies up front to Lurker, but you upset my plan and I actually planned to retreive your comment to use your links, but it appears that is a paid feature in Blogger.  If you have the artwork scanned, that would be killer - I was too lazy to do it.

I believe that I had promised 8 discs of Cosimo and here are the second 4.


 




Friday, September 12, 2014

NOLA Soul Hero Cosimo Matassa

 Yesterday afternoon we lost the great Cosimo Matassa, the iconic recording engineer responsible for more great music than seems even possible. This afternoon the skies opened up and cried giant, driving tears, mirroring our pain. I daily shop at the grocery store that bears his name and is nowadays manned by his grandchildren; I once sat between Cosimo and Dave Bartholomew at  the funeral of a mutual friend, the only time that I had the honor of making his acquaintance. One by one we continue to lose those great musical heroes that made New Orleans the center of the Musical Universe. With each passing I feel the loss more acutely; I suppose that this is part of growing old, but I can tell you that it REALLY SUCKS! Goodbye Cos, I'll think of you often when I pass the old J&M on Rampart, Soul City on Gov. Nichols or Jazz City on Camp.

This 4 disc set is just the first of two (I.E. 8 discs!)! These back covers will expand when clicked on.

Thank you Cosimo...

Cosimo Matassa (April 13, 1926 – September 11, 2014)



Tuesday, September 9, 2014

John Lee Hooker ~ Vee-Jay Sides

John Lee Hooker - I'm John Lee Hooker

This review was for a reissue, however this post only contains the original 12 tracks...
Winding through the literally hundreds of titles in John Lee Hooker's catalog is a daunting task for even the most seasoned and learned blues connoisseur. This is especially true when considering Hooker recorded under more than a dozen aliases for as many labels during the late '40s, '50s, and early '60s. I'm John Lee Hooker was first issued in 1959 during his tenure with Vee Jay and is "the Hook" in his element as well as prime. Although many of these titles were initially cut for Los Angeles-based Modern Records in the early '50s, the recordings heard here are said to best reflect Hooker's often-emulated straight-ahead primitive Detroit and Chicago blues styles. The sessions comprising the original 12-track album -- as well as the four bonus tracks on the 1998 Charly CD reissue -- are taken from six sessions spread over the course of four years (1955-1959). Hooker works both solo -- accompanied only by his own percussive guitar and the solid backbeat of his foot rhythmically pulsating against plywood -- as well as in several different small-combo settings. Unlike the diluted, pop-oriented blues that first came to prominence in the wake of the British Invasion of the early to mid-'60s, the music on this album is infinitely more authentic in presentation. As the track list indicates, I'm John Lee Hooker includes many of his best-known and loved works. From right out of the gate comes the guttural ramble-tamble of "Dimples" in its best-known form. Indeed it can be directly traced to -- and is likewise acknowledged by -- notable purveyors of Brit rock such as Eric Burdon -- who incorporated it into the earliest incarnation of the Animals, the Spencer Davis Group, as well as the decidedly more roots-influenced Duane Allman. Another of Hooker's widely covered signature tunes featured on this volume is "Boogie Chillun." This rendering is arguably the most recognizable in the plethora of versions that have seemingly appeared on every Hooker-related compilation available. Additionally, this version was prominently featured in The Blues Brothers movie as well as countless other films and adverts. Likewise, a seminal solo "Crawlin' King Snake" is included here. The tune became not only a staple of Hooker's, it was also prominently included on the Doors' L.A. Woman album and covered by notable bluesmen Albert King, B.B. King, and Big Joe Williams, whose version predates this one by several decades. I'm John Lee Hooker is one of the great blues collections of the post-World War II era. Time has, if anything, only reinforced the significance of the album. It belongs in every blues enthusiast's collection without reservation. - Lindsay Planer / AMG 
Vee-Jay Records 1959, Chicago
VJLP 1007

John Lee Hooker - vocals, guitar
Eddie Taylor - guitar;  Frankie Bradford / Joe Hunter - piano;  Tom Whitehead - drums

A1 Dimples
A2 Hobo Blues
A3 I'm So Excited
A4 I Love You Honey
A5 Boogie Chillun
A6 Little Wheel
B1 I'm In The Mood
B2 Maudie
B3 Crawlin' King Snake
B4 Every Night
B5 Time Is Marching
B6 Baby Lee

John Lee Hooker - I'm John Lee Hooker

I will tell you simply that this album isn't live, only one track is.  Overall it's a pretty average album and will probably only be of concern to hardcore fans of JLH or the blues in general.  The tracks were compiled from several sessions and the players are basically disputed or unknown.

Vee-Jay Records 1974, Chicago & Longbeach, CA
VJS 7301

John Lee Hooker - vocals, guitar

You're Gonna Need Another Favor
New Sally Mae
Your Baby Ain't Sweet Like Mine
She's Long She's Tall
You're Mellow
Will The Circle Be Unbroken
Flowers On The Hour
It Serves Me Right To Suffer
Ain't No Big Thing Baby
You Can Run Baby

Thursday, September 4, 2014

John Lee Hooker ~ Vee-Jay Sides

John Lee Hooker - Burnin'

The blues is such an interesting genre. Traditional, often derived, often brilliant in it’s simplicity, and often credited as being the basis upon which all rock n’ roll has been built. One thing is for certain about the blues – it’s simple. And when something is simple there will always be millions of imitators and very few genuine articles. Well John Lee Hooker is not only one of the few genuinely brilliant bluesmen, he’s arguably the greatest and most influential of the whole lot, and his album ‘Burnin’ stands as testament to this argument.
You open an album with a track like ‘Boom Boom’ and it’s over isn’t it? You’re sold on the quality of the man by the time he crushes you with ‘that’ voice in the first line of the first verse. You’re then trapped under the gravelly vocal and the wonderfully stilted and simple instrumentation for about a minute before John Lee opens up the shuffle pattern with a Ray Charlesesque vocal swoop/call to arms for the band. By the time ‘Boom Boom’ comes to a close you’re left wondering if music gets anymore tasteful than what you’ve just heard, and whether anyone else before him has knocked you flat with their voice like John Lee just has.
It has to be so hard to maintain the standard of a track like ‘Boom Boom’ throughout an entire album. It’s easy to step into the typical label formula of stacking the singles at the top of the order and then dropping everyone slowly and steadily into mediorce moments down a track list. However, this ain’t one of those albums. From the opener onwards John Lee sounds nothing less than inspired and completely involved with what rests at the heart of these tunes, and as such, the listener feels a similar connection to the material from start to finish. It must be said that this not an easily accomplished feat when looking at traditional blues music which is limited in terms of structure and progression, however with ‘Burnin’ John Lee Hooker undoubtedly achieves this level of continuity.
There’s such an amazing atmosphere to tracks like ‘A New Leaf’ and ‘I Got A Letter’ as set up by the simplicity and relaxed feel of the instrumentation and then drilled home by Hooker’s greatest asset – his voice. There’s genuine feeling behind the man’s words in the same way there is with Howlin’ Wolf. In this writer’s opinion that is the one crucial element that sets the truly great bluesmen apart from those who think that in order to help them understand the blues they need to go on down to Clarksdale Mississippi and take a photograph of the exact place that Robert Johnson met with and sold his soul to the devil. There are certain things that most will never understand, and there are certain parts of the ether that most will never be able to tap into. However, John Lee Hooker ain’t most people and that untouchable sound behind his voice on this record helps assure us of this. ~ Roland Ellis / Pig River Records
Vee-Jay Records 1962, Chicago
VJLP 1043

Bass – James Jamerson;  Drums – Benny Benjamin;  Guitar – Larry Veeder
Guitar, Vocals – John Lee Hooker;  Piano – Joe Hunter
Saxophone [Baritone] – Andrew "Mike" Terry;  Saxophone [Tenor] – Hank Cosby

A1 Boom Boom
A2 Process
A3 Lost A Good Girl
A4 A New Leaf
A5 Blues Before Sunrise
A6 Let's Make It
B1 I Got A Letter
B2 Thelma
B3 Drug Store Woman
B4 Keep Your Hands To Yourself
B5 What Do You Say

John Lee Hooker - Concert At Newport

Best review I could find was for a reissue which includes this album and bonus tracks called "Live At Newport" on the Vanguard label...
Live at Newport is an addition to the already huge pile of archival John Lee Hooker releases (one that will surely continue to grow as licenses to Hooker's myriad recordings for different labels exchange hands). What differentiates this release from many of the others is that it focuses on a pair of acoustic performances from the bluesman, a rarity in the Hooker catalog. In the early '60s, at the height of the "folk scare," Hooker stepped in front of crowds -- at clubs, coffeehouses, and festivals -- with his acoustic guitar. Live at Newport is split between two performances at the Newport Folk Festival -- a solo shot from 1960 and a set (or set highlights?) with upright bassist Bill Lee from 1963. The former is stunning for its clarity, reveling in a warmth that can only be attained from placing a microphone in the vicinity of a man with an acoustic guitar, turning the levels way up, and absorbing everything: the scratch of the pick on the strings, the echo of the performer's foot as it taps on the platform, the bristle of buttons as they graze the back of the guitar, the intake of breath. The first cuts on the disc are exquisitely rendered, with a great sense of dynamics inherent in Hooker's patented free blues style. The sound quality of the latter tracks leaves much to be desired, with Hooker's guitar often getting lost in the ambience of the room or the muffled thump of Lee's bass. Still, there is some wonderfully intimate playing as Hooker simultaneously leads and plays off of Lee's parts. ~ Jesse Jarnow / AMG
Vee Jay Records 1964,  Newport Festival
VJLP 1078
Guitar, Vocals – John Lee Hooker

A1 I Can't Quit You Now Blues
A2 Stop Baby Don't Hold Me That Way
A3 Tupelo
A4 Bus Station Blues
A5 Freight Train Be My Friend
A6 Boom Boom Boom
B1 Talk That Talk Baby
B2 Sometimes Baby, You Make Me Feel So Bad
B3 You've Got To Walk Yourself
B4 Let's Make It
B5 The Mighty Fire

Tuesday, September 2, 2014

Mike Farris & the Rhythm Revue w/ The McCrary Sisters

Mike Farris and his Rhythm Revue are tight and killin', but the real stars here are the McCrary sisters - these ladies can SANG!!

Thanks to my homeboy PMac for this'un.