This features the remaining 19 cuts by The
Pace Jubilee Singers from 1928 & '29 plus 4 tracks by C.M.A. Colored
Gospel Quartet from their very obscure recordings on the Gospel Tabernacle
label, sometime in the early 20s.
14 tracks, 61 mins, recommended
Entertaining and energetic
selection from Mississippi singer and harmonica player Alexander
"Papa George" Lightfoot recorded in 1969. 9 of these tracks were
originally issued on a Vault LP and the remainder are unissued up to now.
Lightfoot was a legend among blues collectors for his raucous Imperial
recordings in the 50s and when he was rediscovered he was still in fine
form. He was a gruff singer whose gruffness is accentuated by having him
sing through his harp and was a dynamic harmonica player. His playing has
a thick, full sound, at times reminiscent of Big Walter Horton. Though
maybe not one of the greatest he was certainly an
expressive and imaginative player. He was accompanied on these sessions by a
hastily put together band and although there was little time for rehearsal
they do an excellent job of following Lightfoot's occasional erratic timing.
With the exception of Baby, Please Don't Go all the tracks are
originals - a number of them instrumentals. The disc ends with an extended
version of the spoken monologue that was on the original album. Lightfoot
died two years later and so these and his rare 50s recordings are the only
legacy of a very talented performer. (FS)
Using a somewhat unusual lineup (sextet with 4 tenors), the
Paramounts continue a legacy of acapella gospel that goes back to their
recording debut in 1941. Two of the present members have been Paramounts
since the '40's, assuring a strong link with the classic sound of gospel's
golden age. Innovative arrangements set them apart from the handful of
traditional groups still active today, though other groups may have a
"harder" sound and more vocal power. We might have gotten a
stronger program if the group were given more than two sessions to do 20
songs! Still, there's plenty of stompin' soul in He Looked Beyond My
Faults/ He'll Work It Out and even some convincing jubilee-style
singing on Great Day/ It's Gonna Rain. Historical notes by Lee
Hildebrand. (MB) THE PARAMOUNT SINGERS: Child Of The King/ Deep
River/ Ezekiel (Dry Bones)/ Family Prayer/ Great Day/ He Looked Beyond My
Faults (Amazing Grace)/ He'll Work It Out (Problems)/ Heaven In My View/ If
I Could Hear My Mother Pray Again/ It's Gonna Rain/ Jesus Gave Me Water/
Jesus Is All This World To Me/ Mother/ My Lord What A Morning/ Oh, Rocks/
Out Of The Depths Of My Soul/ Peace In The Valley/ There's A Leak In This
Old Building/ We've Come This Far By Faith/ Work And Pray On
25 tracks, 69 min., recommended
Volume two in
this impressive series opens with six performances by the formal,
university-taught Paramount Jubilee Singers including When All the
Saints Come Marching In and I Couldn't Hear Nobody Pray. The
next 16 tracks, recorded between 1926 and 1928, belong to the less rigid
Taskiana Four. They lend a freer, more modern sound to numbers like Creep
Along Moses, Join That Band, I Shall Not Be Moved, Toot
Toot Dixie, and Brightly Beams. Closing out the program are the
only two known numbers by the Southern Jubilee Quartet, from 1927, Couldn't
Hear Nobody Praying and Listen to the Lambs. An interesting
disc, complete with solid notes by Ken Romanowski. (DH)
JUNIOR PARKER: (ooh Wee Baby) That's The Way
You Make Me Feel/ Baby, Please/ Come Back, Baby/ Country Girl/ Cracked Up
Over You/ Hey Lawdy Mama/ Hurtin' Inside/ I Can't Put My Finger On It/ If I
Had Your Love/ Just Like A Fish/ Sometimes I Wonder/ Wish Me Well/ You Ain't
Got No Heart/ You Can Make It If You Try
22 tracks, 63 min, highly recommended. Sonny was a great
blues shouter who is little known today, mainly because most of his career
was spent as vocalist for Lionel Hampton, who didn't record a lot of blues
vocals. Sonny's career lasted only from '48 (with King Kolax), joined Hamp
at the age of 23, until '55, when he had a cerebral hemorrhage - he
eventually died in '57 at the age of '31! This set has all his Hamp-associated
sides. Starting with a couple sides with the small-group Hampton Sextet,
with Sammy Price on piano & Wes Montgomery on guitar, including a jumpin'
version of Drinkin' Wine Spo-De-o-dee, then 10 with the full Hamp
Orch 12/49-10/51 including Montgomery, Al Grey & the great Bobby Plater. The
remaining sides are with members of Hamp's Orch in small group settings -
Sonny Parker & his All-Stars w/ Montgomery, Grey & Floyd Dixon, Gene Morris
& His Hamptones, also w/ Montgomery, & Gladys Hampton's Blues Boys with
Plater & Milt Buckner. Much of the material is covers of R&B hits, including
Boogie Woogie Santa Claus, Worried Life Blues/ I want A Little
Girl, etc. Extensive duplication with Blue Moon 6003 issued some years
ago but I think sound here is better. (GM)
26 tracks, 72 min., highly recommended
Vocalist Sonny
Parker's career lasted just about 6 years, recording (1st) with King Kolax
(Columbia), Lionel Hampton (Decca, MGM), Johnny Board (Aladdin/Peacock),
Gene Morris (Spire) and Jesse Stone (Brunswick). In all, 16 titles were
issued under his own name. His other recordings were released as Lionel
Hampton recordings, covering such R&B hits as Larry Darnell-Paul
Gayten's For You My Love, Johnny Moore & The Blazers' Merry
Christmas, Baby, Sticks McGhee Drinking Wine Spo-Dee-O-Dee, and
Mabel Scott's Boogie Woogie Santa Claus. Given the limitation of
the CD technology, only 10 of the 21 sides he recorded with Hampton are
included. As usual with Hampton, the musicianship is first-rate, featuring
pianists Sammy Price (What's Happening Baby?), Milt Buckner (Don't
Flee The Scene Salty), and Floyd Dixon (Cryin'). Other
musicians include trombonist Al Grey (especially fine on Worried Life
Blues), saxophonist Johnny Board, and a young Wes Montgomery (Pretty
Baby). The mastering leaves something to be desired which accounts for
it being only highly recommended. (EL)
First of three discs featuring the complete recordings of
one of the greatest and most influential of all Mississippi Delta
bluesmen. Patton was a wonderful gruff singer who, in spite of the
ferocity of singing was capable of great subtlety. He was also the
consummate Delta blues guitarist both playing regular guitar or slide. The
first volume features 20 tracks recorded in June and December of 1929 and
includes several accompaniments by fiddler Henry Sims including the
alternate take of Elder Greene Blues which was only discovered a
few years ago and was previously reissued on Document 532. Also includes Mississippi
Boweavil Blues/ Down The Dirt Road Blues/ Banty Rooster Blues/ Pea Vine
Blues/ A Spoonful Blues/ Prayer Of Death, Parts 1 & 2 (a truly
incredible gospel performance)/ I'm Goin' Home/ Circle 'Round The Moon/
Mean Black Cat Blues, etc. (FS)
Another 20 gems recorded November/ December 1929 including
the never before reissued Jim Lee Blues, Part 1 which was only
discovered a few years ago. Also included are the alternate takes of Some
These Days I'll Be Gone and Hammer Blues plus 2 accompaniments
to the vocal & fiddle of Henry Sims. Also includes Frankie &
Albert/ Green River Blues/ Magnolia Blues/ Heart Like Rialroad Steel/
You're Gonna Need Somebody When You Die/ High Water Everywhere, Part 1
& 2/ I Shall Not Be Moved, etc. (FS)
The third disc features 21 sides recorded in December 1929,
May 1930 and January/ February, 1934. It includes the other side of the
previously unreissued Jim Lee Blues - Some Summer Day, Part 1
- a variation on the Sittin' On Top Of The World theme with lovely
two guitar work from Patton & Willie Brown (even though the
discography on the disc lists only one guitar). It also includes more
accompaniments by and to Henry Sims as well as accompaniments to Patton's
wife Bertha Lee on two songs and two gsopel songs with Bertha Lee duetting
with Patton. Included are Running Wild Blues/ Be True Be True Blues/
Mean Black Moan/ Moon Going Down (one of his greatest performances)/ Jersey
Bull Blues/ Stone Pony Blues/ Mind Reader Blues/ Love My Stuff/ Oh Death/
Poor Me, etc. (FS)
Screamin' & Hollerin' The Blues - The
Worlds Of Charley Patton
● CD $159.98
7 CDs, 122 tracks, 7 hours 2 mins, essential Incredible
seven CD set of Mississippi Delta blues with the central focus being the
great Delta blues pioneer Charley Patton. Patton was a unique singer with
a rough, ferocious voice voice that was still capable of great subtlety.
His guitar playing was incomparable - intensly rhythmic with use of string
snapping and other percussive effects, he also sometimes used slide to
great effect. His playing is full of imaginative nuances that never cease
to amaze one. Some of the tracks feature the fiery fiddling of Henry Sims
or the guitar of Willie Brown - the bond between Patton & Brown's
playing is positively psychic. His music and that of his associates like
Son House and Willie Brown was to provide the impetus for later
generations of Delta bluesmen like Robert Johnson, Muddy Waters and
Howling Wolf.
The first five CDs feature in session order all the issued
and unissued recordings by Patton and his session mates Son House, Willie
Brown, Louise Johnson (wonderful singer and piano player with spoken
comments from Son House and Willie Brown), Henry "Son" Sims,
Bertha Lee (Patton's wife with Patton on guitar) , The Delta Big Four
(superb gospel quartet), Buddy Boy Hawkins, Edith North Johnson (fine
singer and possibly piano player) and even a spoken word piece from talent
scout H.C. Speir reading and commenting on news headlines from 1930 . The
sixth CD features tracks by artists in Patton's "orbit" -
artists whose music may have inspired Patton or been inspired by Patton -
Ma Rainey, Walter Rhodes, Furry Lewis, Rube Lacey, Tommy Johnson, William
Harris, Kid Bailey, Blind Joe Reynolds (one side of recently discovered 78
rpm - and truly superb), Mississippi Sheiks, Charley Jordan, Blind Pete
& George Ryan, Big Joe Williams, Willie Lofton Trio, Unknown Convict
(incredible performance cut for Library of Congress in 1936), Bukka White,
Willie Brown, Son House, Howlin' Wolf and Roebuck "Pop" Staples
& The Staple Singers. The 7th CD features interviews with people who
knew Patton like Pop Staples, Howlin' Wolf, H.C. Speir and Patton protégé
Booker Miller.
All tracks have been newly remastered and pitch corrected
from best possible copies for the finest sound ever and are a real
revelation. Charley's best recordings were made for Paramount with poor
quality recordings and appalling pressings and in some cases only one copy
of a title exists and is very worn. In some cases (for example Jim Lee,
Part 2) very little can be done to restore more than a fraction of
what was originally in the grooves. But many tracks are substantially
improved over all previous restorations with a clarity and presence
allowing one to better understand the lyrics and appreciate the nuances of
the guitar work. The set is house in a deluxe 11"x13"x3.5"
hardcover simulated "78 Album" and slipcase. The CDs themselves
are presented in one of the cleverest pieces of CD packaging I've seen with
each CD featuring a reproduction of a 78 rpm label and then mounted on
10" piece of cardboard so it looks like 78 and then inserted into a
reproduction of a 78 rpm Paramount or Vocalion sleeve. Truly clever and
utterly delightful. The package includes a reprint of John Fahey's seminal
1970 book on Patton, Bernard Klatzko's notes from the first ever LP
release of Patton's recordings as well as 128 pages of new notes by Fahey,
David Evans, Dick Spottswood and Ed Komura. The set also includes complete
lyric transcriptions, full-size reproductions of 6 original Paramount ads,
a full set of 78 record label stickers from all of Charley's Paramount,
Vocalion and Herwin releases plus dozens of other graphics. My only criticism
of this incredible endeavor is that that the new notes are
printed in color ink on a dark background which reading a bit difficult. A
truly superb package that is bound to be THE blues reissue of the millennium, so far. (FS)
14 tracks, 46 minutes, good
This is Fat Possum's second
posthumous release of Asie Payton material and was recorded between 1980 and
1994. Payton delivered the goods with a soulful voice and careening guitar
in Do Me Right, a slice of pure delta while I Got A Friend
offers dirge-like guitar and Need My Help delivers looped drums with
other gadgets. Livin' In So Much Pain is stripped clean while You
Got Me Doin' Things relies on rattling gizmos to keep with the present.
Why'd You Do It returns to simplicity and Lose My Happy Home
will thrill purists and adventure seekers with its cry-and-moan that isn't
far from Wolf's territory. You Don't Want Me gets minimal assistance
and Payton tackles Watch Yourself with solid success thanks to Kenny
Brown's slide and Sam Carr's backbeats. Standard Fat Possum fare from the
absolutely wicked to what-in-the-world-for. (CR)
Solo recordings of this fine singer & piano player
recently recorded. Although 84 years old at the time of these recordings
his playing is forceful and assured - includes Down In Mississippi/
Pinetop's Boogie Woogie/ Just A Little Bit/ Miss Ida B./ Big Fat Mama/
Take It Easy Baby/ Kidney Stew, etc.
Only all gospel album by this superb acapella vocal group.
12 songs including Cain's Blood/ One Thing You Can't Take Away/ That's
My Desire/ Deck Of Cards/ Thank You For One More Day/ Did You Stop To Pray,
etc.
New recording by grown-up child prodigy, now an accomplished
guitarist and singer in addition to his keyboard abilities. Triple Play
presents 10 cuts in a pop-oriented R&B/ blues vein similar to Robert
Cray's recent efforts. Nice version of the Falcon's I Found A Love.
(MB)
16 cuts, 61 minutes, recommended Brewer made his best music
years ago as the rhythm guitarist with Hound Dog Taylor's Houserockers.
Now in his 70s, He makes his 1st US LP as a leader. Lots of good-time,
rough-hewn boogie & blues, with a quartet with pianist Aaron Moore,
bassist Willie Black & former Magic Sam drummer Robert
"Huckleberry Hound" Wright. Mostly originals by Moore, who also
sings, with a few choice covers, like You Don't Have To Go, Let
The Good Times Roll & Laundromat Blues. (GM)
25 tracks, 64 min., essential
Painstakingly transferred
from 16' acetates, these 1947-1950 Modern Music/Modern Recordings feature
the outstanding singer/electric guitarist/songwriter Gene Phillips
accompanied by distinguished West Coast soloists like tenor
saxophonist/arranger Maxwell Davis, pianist Lloyd Glenn, trumpter Vernon
"Jake" Porter, and saxophonists Marshal Royal and Jack McVea.
Eugene Floyd Phillips was born 1915, St. Louis, MO., and died in 1990 in
Lakewood, CA. Though most of these sides were reissued on two 1986/1988
Ace albums, first time listeners are in for a treat as Phillips' swing
style will please all of you who enjoy the music of Jimmy Rushing, Eddie
Vinson, and Louis Jordan. His (sometimes lap steel) guitar playing is
featured on tracks like How Long Blues, My Baby's Mistr'Me,
Slippin' & Slidin' (with Jack McVea), Snuff Dripping Mama,
and others. As a bonus, the set includes a charming 34th "Happy
Birthday" greeting to his good friend and producer Jules Bihari. As a
songwriter, his songs Hey Lawdy Mama (to be included in volume 2)
and Honey Chile had previously been recorded for Melodisc (1945)
when he was a member of a trio led by the well respected California-born
pianist Lorenzo Orlando Flennoy. Finally, instrumental city jump blues
fans will rejoice with tracks like Gene's Guitar Blues (a tribute
to his mentor Floyd Smith), Jumpin' With Lloyd (a live JATP-type
bebop featuring Lloyd Glenn, Maxwell Davis and Marshal Royal), and a
two-sax blowout on Lionel Hampton's Flying Home (with Maxwell Davis
and (I believe) Jewell L. Grant). The first of two volumes, this set is
essential to all fans of early post-war II Jump 'n Swing blues. (EL) GENE PHILLIPS: Big Fat Mama/ Big Legs/ Broke And
Disgusted aka It's A Lonely World/ Cherry Red/ Crying Won't Help You None/
Fatso/ Flying Home (inst)/ Gene Jumps The Blues/ Gene's Guitar Blues (inst)/
Happy Birthday (Jules Bihari)/ Honey Chile/ Honky Tonk Train/ How Long
Blues/ I Wonder What The Poor Folks Are Doin'/ It's Raining/ Jumping With
Lloyd (inst)/ My Baby's Mistreatin' Me/ My Mama Told Me/ Punkin' Head Woman/
Ramblin' Woman/ See See Rider aka C.C. Rider/ Short Haired Ugly Woman/
Slippin' & Slidin'/ Snuff Dripping Mama/ To Each His Own, Brother
19 tracks, 53 mins, highly recommended
Another superb
collection of West Coast blues recorded for Modern between 1946 and 1950.
Complementing Ace 746 this features one take of every tune not featured on
that CD including several songs not originally issued on 78 rpm. Gene's fine
vocal and guitar work are accompanied by top West Coast sidemen like tenor
saxophonist/ arranger Maxwell Davis, pianist Lloyd Glenn, trumpeter Jake
Porter, saxophonist Marshal Royal and others. One track features him in the
company of Jack McVea & His Orchestra and two tracks were recorded live at
"Frank Bull & Gene Norman's Blues Jamboree" in Los Angeles in 1950. A fine
blend of slow blues, jump blues and a couple of jazzy instrumentals with
sterling instrumental work throughout. Sound quality is stunning and there
are detailed notes by Tony Rounce and, a rarity for Ace, a complete gene
Phillips Modern discography. (FS)
21 tracks, 73 mins, recommended
This one's been out for a
while but we haven't had a chance to review it
before. Willie "Piano Red" Perryman from Atlanta was a terrifically
entertaining performer with a raucus vocal and piano style. Though steeped
in traditional blues stylings he made many popular recordings with an
R&B band and in the early 60s crossed over into the pop charts with
recordings under the name of Dr. Feelgood. All his classic commercial
recordings are reissued on the incredible Bear Family box set (Bear Family
15685 - $99.50). This delightful set finds Red alone with his piano and
without a band one really gets an idea of the scope of his music - 8 of
these were originally issued on Arhoolie 1064 ad 7 were previously unissued
from the same session. The set is rounded out by five exciting cuts with his
band from a chaotic 1956 live performance. (FS) PIANO RED: Atlanta Bounce/ Blues, Blues, Blues/
Boogie Time/ Corrine, Corrina/ Do She Love Me/ Don't Get Around Much
Anymore/ Got You On My Mind/ Got You On My Mind/ Let's Get It On!/ My Baby
Left Me/ Please, Baby, Come On Home/ Pushing That Thing/ Red's Boogie/ Red's
How Long Blues/ Right String But The Wrong Yo-Yo #1/ Right String But The
Wrong Yo-Yo #2/ Rockin' With Red/ Telephone Blues/ Ten Cent Shot/
Umph-Umph-Umph/ You Ain't Got A Chance
12 tracks, 60 min., good
This is Greg Piccolo's 2nd solo
release, and his first since leaving Roomful Of Blues in 1994. Greg's
singing, songwriting & spirited tenor sax playing will satisfy his
many fans, but prepare yourself - he also plays lead guitar on 3 tracks -
Earl King's Always A First Time, Feddie King's Someday After
Awhile, and an original instrumental, Keep On Tryin'. As with
the 1990 Black Top set (1061 : Heavy Juice - $16.98), he continues to pay
tribute to his heroes, tenor saxmen like Clifford Scott (Peacock Alley),
Illinois Jacquet (Bottoms Up), Sonny Stitt (Cool Mambo), but it's his
original instrumental dedicated to Lester Young (Smoothin' For Lester)
that will bring me back to this CD. Ron Levy is a guest keyboardist on 10
of the tracks. (EL)
CD issue of Krazy Kat 811. Back in the 60s some of the most
highly prized 78s among blues collectors were the rare Gotham records of
Dan Pickett. These were valued, not only for their rarity but for the fact
that they were among the finest commercial recordings of country blues in
the post war era. At that time no one could have imagined that there would
be an album available of Pickett's recordings but, here it is and not only
do we get all of Pickett's sides issued on 78 rpm but four previously
unissued titles and most of it from original master tapes thanks to
Gotham's foresight in recording on to tape as early as 1948. Pickett,
whose real name was apparently James Founty was a stunning performer. A
distinctive vocalist he had a remarkable vocal technique in which he
sometimes compressed an amazing amount of syllables into one line. He was
also a stunning guitar player performing in either a rhythmic percussive
picking style or a lovely melodic slide style stunning accentuating his
playing with rapping on the guitar. The songs are mostly versions of songs
originally recorded in the 30s including Leroy Carr's How Long ,
Buddy Moss's Ride To A Funeral In A V-8 , Blind Boy Fuller's Let
me Squeeze Your Lemons (which Pickett calls Lemon Man and
others including a spellbinding version of 99 1/2 Won't Do
Pickett's only gospel performance. Pickett transforms the songs into
totally unique ones. The unissued songs are every bit as good as the
issued ones. Album has excellent sound and informative notes by Chris
Smith. A special hand of thanks to Bruce Bastin whose foraging in the
Gotham vaults has turned up this gem. (FS)
