May
2004
John Dickie & Sisters Euclid John & the
Sisters NorthernBlues NBM20
This union of veterans has resulted in one of the best albums of the year. Dickie's cutting edge blues belting is the perfect match for this over-the-cliff band. You probably already knew that straight-ahead twelve bar blues is not on this menu but wait until you hear the Junior Kimbrough-like guitar intro to the soulful "A Better Way" or the rocking "Penguin Walk" or "Love to Stay, Gotta Go", you'll find much to enjoy. Sisters Euclid are Kevin Breit on electric guitars, Ian Desouza on bass, Rob Gusevs on keyboards and Gary Taylor on drums. The liner notes and web site make a great deal of the live off the floor nature of this recording but clearly numerous nights playing at The Orbit Room went down before they went into the studio. Tempo and melody changes occur without warning in this well-oiled machine. Things get off to a roaring start with the New Orleans funk of Dickie's "Too Damn Big" but after the verse this group shows why it's often filed under avant garde jazz, with incredible wrong-but-right solos. "Only One" sounds like it's a Dickie 50's R&B-rooted song but is actually by Breit. The playing and arranging here, and throughout, shows what excellent R&B expert musicians like these can put down when they as focused as they are here. Suzie Vinnick supplies the change of pace vocal here, the first of two. The all-original material, by Breit, Dickie or both, ensures that Dickie sings in his excellent own voice _ he has an amazing ability to mimic other singers but that is kept in check here except for the closing snippet "Hocktaves", for the late "Hock" Walsh. This band will be touring this summer behind this CD, Breit having passed on joining the Norah Jones Band.
Harry Manx West Meets East Dog My Cat DMCR12062/Fusion
West Meets East means mostly Adult Contemporary, it seems. Manx's latest also differs from the previous ones in having much more overdubbing, he now plays his various guitars on almost every song. He also has back up vocals, Emily Braden, on some and a gospel group, The Heavenly Lights, on others. A version of Sonny Boy Williamson's "Help Me" and a re-working of "Sitting on Top of the World" are all that remind one of bluesier efforts. His own "That Knowing Look of Fate" would also be welcome in other settings, but James Taylor would be happy to have some of the other songs on this new CD. He'll be performing on May 8 at the Jane Mallett Theatre but it might be more interesting to see which Manx turns up for his performance at this year's Chicago Blues Festival.
Chris Murphy I'm a Happy Guy Speakeasy 3007
This year's Maple Blues Awards Band featured London's Chris Murphy on his tenor sax and now his second CD is available for your consideration. Produced by the legendary Jack , I'm a Happy Guy features a who's who of Ontario players supporting his usual blend of masterful, funky, jazzy instrumentals and well-chosen vocals. A sort-of basic band (this CD appears to have been assembled from a few sessions) is Jack de Keyzer and Terry Lee on guitars, Gary Kendall on bass and Darcy Ura or Jim Casson on drums. "Hit It" and "No Junk, Just Fonk" are the fine opening instrumentals, followed by an instrumental version of Elmore James' "Talk To Me Baby" with Terry Lee's guitar taking the lead. London's Denise Pelley gets the vocal honours on Bill Heid's "Saxman". I've heard her sing some jazz but on this one she shows she should sing much more blues. The second half of the program slows things down a bit with some 50's style R&B sax-led ballads. In the past couple of months, three CD's with sax players as leaders have graced my player and I must say it's a nice change. Chris Murphy's web site is www.speakeasy.com or you can drop by Boomerz in London where he can usually be found.
Sam Myers Coming from the Old School Electro-Fi Efi 3383/Festival
Harpman Sam Myers was little known outside of the Jackson, MS area. He was simply one of a floating group of musicians led by King Edward that played with Elmore James when he wasn't in Chicago. All that changed in 1985 when Anson Funderburgh came through town from Texas, looking for a singer because Daryl Nulisch had just left. For some twenty years now, the duo have stars of the blues circuit, endlessly touring and recording new material when other blues men of his vintage might be retired, singing their "hits". He shows no signs of retiring on this, his first solo album of a fifty-year career. He is certainly of the "Old School", this is not cutting edge blues by any means, but it is some of the most satisfying blues you're likely to hear anywhere. These are new songs, beautifully sung, with stellar backing led by Mel Brown who grew up near Jackson. Brown is much more understated player than Funderburgh but those Texas blues CD's are still around if you want flashy guitar. Get this one for a solid CD of Sam's wonderful vocals. Jack de Keyzer fills in on guitar when Brown moves to piano or organ, Michael Fonfara is on the keyboard Mel isn't using, Pat Carey is on sax, Alec Fraser on bass and Jim Boudreau on drums. And if Funderburgh is now looking for a new singer he need not look far, (Mrs.) Renee Funderburgh is exceptionally talented.
By the way, the best known of Mel Brown's `60's albums for Impulse is now on CD (B0001432-2). Chicken Fat is a fine slab of funk with Gerald Wiggins on organ, Herb Ellis on the other guitar, Ronald Brown on bass and Paul Humphries on drums. The vinyl original would cost you a couple of hundred dollars!
Paul Oscher Alone with the Blues Electro-Fi Efi 3384/Festival
While several recent books point out loudly that blues was only a small part of most blues men's repertoires, for some players there simply is no other style. One of these is Paul Oscher. He impressed Muddy Waters as a young harp player during a show in New York and was subsequently asked to replace James Cotton in the band when he left to go solo in 1967. He stayed four years and can be heard to good effect on Live at Mr. Kelly's. After Jerry Portnoy replaced him, he continued to delve deeper into the blues, internalising the lessons learned at Muddy's side. Starting in the 90's, he once again became visible, putting out albums showing that he was now equally adept at vocals, harp, guitar and piano. He sometimes then went by the name Brooklyn Slim. This CD chronicles that decade along with a wonderful solo session done here at Liquid Sound. These songs, especially the title song, a multi-harp tour de force, are a must have. Alec Fraser's recording sound lifts these songs above the already high level of the other performances. Together the songs easily show why Oscher filled the Dollar with other musicians at a solo show. He has learned his lessons well indeed: his own songs, a mix of vocals and instrumentals, hold up well against the versions of Jackie Brenston's "You're Still My Baby", Leroy Carr's "Blues Before Sunrise" or Reverend Gary Davis' "Glory Glory". For those of you fortunate enough to have some of his earlier albums, there is no duplication except for "Louis Collins" which was available on Nothin' But the Blues, a cassette. Four of the songs from earlier sessions feature a band lending some nice variety to the overall sound.
Junior Wells Don't Start Me Talking
Legacy JVD55754/Sony
Directed and written by Andre Peraza, this 88-minute documentary is a rare luxury: it was done when its subject was still with us. It appears to have been shot during 1997 but has not been made available until now. Built around a lengthy two-camera interview with a very informative Junior Wells, it includes interviews with his mother, sister and daughter plus performance footage and photos from his entire career, making it about as official as you're going to get. His early days, the Hoodoo Man Blues album, his bond with Buddy Guy, the State Department African Tour, more blues club home movies (of Theresa's, this time), and more are all captivatingly told with the appropriate visuals. The crew was also unusually successful at capturing the humour and camaraderie of Junior and his fellow musicians. The clips from other blues performers are surprisingly effective and unforced: B.B. King, the late Luther Allison, Koko Taylor and Dr. John being the most memorable. There are no extras here but none are needed.
Jesse Mae Hemphill Dare You to do it
Again 219 TNR1003A
A couple of months ago, reviewing a CD of 1980's discoveries, I mentioned she hadn't performed much since a severe stroke in 1993. It seems she has gradually recovered enough to sing but not to play her guitar. This was her livelihood and these were very lean years indeed. A number of friends have gathered round and have organized the JMH Foundation to help her and other North Mississippi performers make ends meet. This Foundation's first effort is a hi-tech package featuring Jesse Mae. This is a 2CD set from a nine-hour show at Sherman Cooper's farm outside Como, MS last year. A DVD will be available soon as well. The first CD, songs for pookie, is enhanced and includes the DVD trailer, pictures and the "Porch Logic Remix" by DJ Logic. The second, songs for Bebe, may be a better place to start listening as she gets carried away at times on the first (maybe it was the last set!) She's backed by a stellar band of (usually) guitar, violin, bass & drums on most of the songs and on the rest by Sharde Turner and the Rising Star Fife & Drum Band. The package is an embarrassment of riches, with Jimbo Mathus, Ruthie Foster, Kenny Brown, Cedric Burnside, Gary Burnside, Chris Chew, Kinney Kimbrough and many more providing sympathetic support, encouragement and the occasional guest vocal. The violin player goes by the name Tramp and he also contributes mandolin. He should be better known. There is plenty of audience interaction and Jesse Mae Hemphill is in fine form throughout, especially on the raucous duet with Robert Belfour on "God is Good To Me". Find out more at www.jmhemphill.org.
On a closing note, the current issue of Living Blues magazine, #172, is a double issue devoted to the blues today throughout the state of Mississippi, the land where the blues began, complete with recommended CD's for your listening pleasure. Highly recommended.
- John Valenteyn, jvalenteyn8724@rogers.com
Toronto Blues Society Copyright _ 2004