Blues Reviews Feb/March 2021
Kim
Wilson
Take Me Back!
M.C. Records 2020
Some artists just “phone it in” at live performances and even
on records. Others are at the opposite end of the spectrum, either exuding
joy at what they are doing and communicating wholehearted dedication to
their art. Count Kim Wilson as one of the latter.
Wilson, since his teenage years near Santa Barbara as “Goleta Slim”
and then during his decades in Austin as co-founder of The Fabulous Thunderbirds,
has secured his place in the pantheon of blues greats. Although he and
the Fabs can rock with the best, he is a diehard bluesman by nature. Among
his seminal influences are Muddy Waters – who allegedly called him
the best harmonica player he had heard since Little Walter Jacobs, a supreme
compliment – and Jimmy Rogers, Muddy’s original second guitarist
and a fine harmonicat himself, with whom Wilson had a close relationship.
On “Take Me Back!” his first recording in three years and
his return after almost two decades to M.C. Records, Wilson presents a
premier set of sixteen pithy and pulsating tracks of pure Chicago blues.
Complementing him is an ensemble of top-tier West Coast musicians, led
by guitarist and album co-producer Big Jon Atkinson and pianist Bob Welsh.
Drummers and bassists are of comparable caliber, and on a couple of tracks
noted session saxophonist Johnny Viau makes nifty appearances. From the
Chicago area, outstanding guitarist Billy Flynn and the late keyboard
expert Barrelhouse Chuck augment several tracks.
There is one rocker in the set, a Larry Williams composition ironically
named “Slow Down”…but you won’t be stationary
while it’s playing. Every other track is a mid-tempo or uptempo
twelve bar blues, Chicago style, no tricks, no gimmicks, no frills. Many
of the cuts last barely over two minutes, and the longest less than four,
and each delivers a wallop. To say that the musicians are proficient is
an understatement, and their expertise prevents the set from sounding
repetitive. Also contributing to the variety are Wilson’s outstanding
harmonica renderings. Over the years Wilson has garnered almost thirty
Blues Music Award nominations from the Blues Foundation and has deservedly
won multiple BMAs as Harmonica Player of the Year. He is still in peak
form. In addition, he is a strong singer with a wide vocal range.
He’s also a good songwriter. Of the sixteen tunes, seven are his
originals. (The remainder include covers of songs by Howlin’ Wolf,
Percy Mayfield, and Rogers [James A. Lane]). Four of the originals are
instrumentals and each showcases Wilson at his best on mouth harp; “Wingin’
It” allows drummer Malachi Johnson to stretch out; “Strollin’”
and “Rumblin’” are buttressed by the trio of Atkinson,
Troy Sandow on bass, and Marty Dodson on drums; “Out of the Fryin’
Pan,” the closing cut, adds Welsh, Rusty Zinn on second guitar,
and Kedar Roy on bass.
If you love Chicago-style blues, look no further. If you don’t already
love it, you may after listening to “Take Me Back!”—
Steve Daniels
Veronica
Lewis
You Ain’t Unlucky
Blue Heart Records 2021
From New Hampshire, Veronica Lewis won her first Granite State Blues Challenge
in 2016 when she was thirteen years old, and won it again in 2017 and
2018. She won the Boston Blues Challenge in 2020 and also the New England
Music Hall of Fame’s Best Young Artist award in the same year. She
is now seventeen years old; this is her first album…and it’s
a powerhouse.
Lewis cites Pinetop Perkins, Dr. John, Jerry Lee Lewis (apparently no
relation), Otis Spann, and Katie Webster as her main piano influences.
That’s a very impressive list. This brief half hour set of eight
tunes mirrors her influences and telegraphs her future aspirations. Six
of the tracks are originals, including the only instrumental, “Ode
to Jerry Lee”; covers of Louis Jordan’s jump blues classic
“Is You Is My Baby” and Webster’s “Whoo Whee Sweet
Daddy” round out the set. She is backed by Mike Walsh and Chris
Anzalone alternating on drums, and Don Davis and Joel Edinberg on saxophone.
Where is the bassist? Bass resides in Lewis’s rock-steady left hand,
which provides the reliable foundation. Her right hand provides the melodies
and variations, with vigorous chording and frequent arpeggios and runs
up and down the keyboard, pulsating rhythm being the watchword. Drummers
solidify the approach with steady support, and the saxophones add nice
fills and occasional pithy solos.
Not to be ignored is Lewis’s singing. In a way she reminds me of
the late, great pop and soul singer Laura Nyro. Lewis’s vocals are
higher in pitch than Nyro’s, but both exhibit wide range, and share
the habit of unexpected and creative pauses, sustained notes, and melisma.
Their piano styles also share the trait of frequent changes in tempo.
Lewis’s songs are similarly impressive, with witty narrative lyrics.
There’s plenty of variety. The set opens with the title tune, with
piano riffs reminiscent of Mose Allison. Following are a zippy rocker,
a danceable shuffle, and then her rearrangement of Jordan’s composition,
featuring her best vocalizing. We then segue to an uptempo twelve bar
outing, a fine cover of Webster’s tune, and the rollicking ode to
“the Killer,” Jerry Lee. The set concludes with “The
Memphis Train,” and there is no doubt that by then I am wholeheartedly
on board.
We will all be hearing more from Veronica Lewis; this is a memorable start.—Steve
Daniels
Southern Bred9
I’m Tore Down—Texas R&B Rockers
Koko Mojo CD
Southern
Bred 10
I Got A Big Fine Baby
Koko Mojo CD
These two latest editions of Koko Mojo’s Southern Bred series are
devoted exclusively to Texas R&B rockers. The artists, for the most
part, are well known and their chosen tracks are not the tried-and-true
ones that most run-of-the-mill compilations feature which makes for rewarding
listening. Volume nine, for example, leads off with Bobby “Rockin’
Robin” Day’s doo wop-shaded “That’s All I Want”
and closes with Young Jessie’s fiery r&b rocker “I Smell
A Rat” with great sides by the likes of Mercy Dee (“Red Light”),
Lightnin’ Hopkins (“New York Boogie”), Smokey Hogg (“You’re
Gonna Look Mike A Monkey When You Get Old”), T.V. Slim ( “Flat
Foot Sam Meets Jim Dandy”), Barbara Lynn (“Teen Age Blues”)
and Ivory Joe Hunter with his perceptive “You Can’t Stop This
Rocking And Rolling” in between. Other in-the-groove numbers feature
artists on the order of Peppermint Harris, Charles Brown and Amos Milburn
(together on “Educated Fool”), Pee Wee Crayton, Freddy King,
Roy Hawkins with his scolding “Trouble Makin’ Woman”
and saxophone maven Joe Houston with his hep “Shtiggy Boom.”
Volume ten is more of the same with picks including “Pack Fair And
Square” by Big Walter And His Thunderbirds, two cuts by the underrated
rural bluesman Harmonica Slim (“Do What You Wanna Do” and
“Lonely Hours”), a foot stomping “I’m Your Boogie
Man “ by Goree Carter (“Pretty pretty baby, show me your boogie
bear; If you can’t make it boogie, I swear you ain’t nowhere”)
, Albert Collins’ debut single (“Collins Shuffle”) for
the tiny Kangaroo label, Joe Houston with his anthem-like “We’re
Gonna Rock ‘N’ Roll” and Floyd Dixon with his minor
hit “Hey Bartender.” Other nuggets showcase the likes of Marie
Adams, Lloyd Glenn and His Joy Makers (with their great boogie instrumental
“Midnight Boogie”), Jessie Belvin, Freddy Fender (with a Spanish
version of “Jailhouse Rock”) and “Neck Bones And Collard
Greens” from the hungry Wild Bill Moore. 56 tracks between the two,
all with great sound—if you bought volumes one to eight, you won’t
be disappointed by this pair. - Gary von Tersch
The
Seeds:
Pushing Too Hard
Big Beat CD
Psychedelic garage-rockers, the Seeds were one of the more bizarre groups
generated in Los Angeles during the mid-sixties in the midst of the folk-rock
era. Formed by the magnetic Sky Saxon, the original group also included
Jan Savage, Daryl Hooper and Rick Andridge. The band’s decidedly
organically simplistic, attitude-heavy sound continues to pack a remarkable
punch to this day but it was Saxon’s hauntingly idiosyncratic howling
and stream-of-consciousness ramblings that made them entrancingly unique
as the acclaimed recent documentary The Seeds: Pushing Too Hard (“Pushing”
was a national Top 40 hit at the end of 1966) explains. This rockumentary
soundtrack disc features not only their further Top 40 hits (“Mr.
Farmer,” “Can’t Seem To Make You Mine,” “A
Thousand Shadows”) but rarities and a host of unissued cuts. Even
Muddy Waters makes an appearance on a previously unissued 1954 on-location
recording that catches the iconic bluesman at the peak of his powers with
a compelling version of “Baby Please Don’t Go.” A detailed
24-page booklet, replete with many period images, tells the bands’
colorful rags-to-riches-to rags tale because by 1969 it was all over with
no further recordings by any of the band members and the late Saxon reduced
to contacting record companies with tapes he avers are “better than
the Beatles.”—Gary von Tersch
Luther
Badman Keith
Working Bluesman
BMB Records
The award-winning Detroit singer-songwriter and guitarist Luther “Badman”
Keith returns with his fifth album of all original music. And the 14 track
collection is dedicated to his late uncle, U.S. Sixth Circuit Court of
Appeals Judge Damon J. Keith who died in 2019. It’s a strong body
of work that, not only focuses on Keith’s stellar songwriting and
guitar work, but his ability to surround himself with a band featuring
some of the Motor City’s finest.
The title track “Working Bluesman” encapsulates an average
musician’s never ending grind of seeking, booking and performing
gigs. From barbecues and small clubs to birthday parties and large halls,
he plays them all. It’s a grooving, swinging good time track where
Keith bellows “I’m a working bluesman….let me work for
you!” The “Blame Game” is as timely as front page news,
addressing mass shootings in the United States. However, with the polarized
state of our current political climate, it could also apply to the way,
as humans, we engage with, or disengage, each other. In it, Keith sings
“Left blames the right, and right blames the left.” He seems
to throw up his hands in frustration, amid a minor Albert King syncopation
as he states “Nothing will ever change and always stays the same.”
It’s certainly a track that should make one take pause and think.
“Home to the Blues” is a soulful and jazzy mid-tempo horn
piece that swings. Shades of Van Morrison and Southside Johnny and The
Asbury Jukes, it tells a tale of how the blues is always there when things
in life get rough. Keith sings “The world turns so cold, people
turn so mean. It’s getting harder to believe in the dream.”
He further paints a human portrait of alienation, with the words “People
walk by, don’t seem to care…gotta find a refuge for all this
despair.” And that’s where “the blues” comes in.
Kudos go to backing vocalist Raye Williams and keyboardist Jim David.
They really drive this sentiment home, with their rich lyrical accompaniment.
The track “Blue House” is kind of a nod to Jimi Hendrix’s
“Red House.” It’s a slightly ironic or humorous twist
on the old backdoor man theme. It’s a cool I-IV-V vehicle for the
“Badman” to throw in some subtle, yet tasty and ripping leads.
“When Luther Came to Town (For Luther Allison)” is a tribute
to the album leader’s hero and musical mentor. Keith once shared
a stage with the master and it’s a fitting tip of the hat to a blues
guitar legend. End times and possible environmental disturbances seem
to be referenced in the song “When the Sun Burns Out.” It’s
a slow blues featuring notable harmonica from Billy Furman. In the tune
Keith asks “When the sun burns out will you ask forgiveness for
your sins? Will you cry out to heaven… Open up and let me in?”
Vocalist J’Renee Stevenson sings a robust acappella proclamation
that opens the song “Rocking N the D.” And then the band follows
suit with a rousing boogie groove dedicated to all things Motor City.
It’s just a good time track featuring outstanding solos from Evan
Mercer on piano and Furman on tenor sax. Keith shifts gears a bit for
the Latin-infused “My Treasure.” He pulls out all the stops,
with some sweet sustained Carlos Santana-flavored licks. Multi-instrumentalist
Josh Ford offers some great percussion here as well. “One of Those
Things” speaks to the concept of relationships and that some of
the best ones survive when opposites attract. This features a brisk swing
highlighted by smooth guitar solos and Mercer’s choice piano passages.
“Put Me in the Coffin” is kind of a simple and direct message.
Jim David’s organ riffs flow effortlessly through this track as
Keith professes a love that, literally, will never die. “Party By
Myself” sends a message that, despite being rebuffed by several
women he’s contacted, he’ll always land on his feet. Hey,
he’s got all his provisions for the evening—snacks, Netflix,
beverages, etc. He won’t be sulking anytime soon! When some of these
women and so-called friends try to reconnect with him, he’s got
the last laugh. “Too Much Information” keeps that irony and
humor going, with a stripped down blues track about Facebook and the folly
of social media. It’s essentially Keith and Furman laying it down.
The “Badman” references those that constantly post stuff on
social media “I don’t need to know everything going on in
your life….everything you do and say. I don’t need to hear
about your perfect life and how you’ve got it so good….when
you know damn well we came from the same neighborhood.” Touché!
“Blues Caravan” features cool and snappy drumming from Todd
Glass. It’s got a real authentic New Orleans feel, with biting slide
guitar from Josh Ford. Jim David’s Dr. John meets John Cleary piano
textures compliment this piece beautifully. “Damon’s Justice”
concludes the album in grand style, with an instrumental that graciously
honors the late Judge Damon Keith. Luther’s uncle was a legal titan
and civic leader in Detroit. Pianist David and Luther lead the charge
and dovetail so smoothly here. It’s a minor, noir-ish piece that
wraps things on a powerful note.—Eric Harabadian
Jack
de Keyzer
Tribute”
Blue Star Records 2020
Born in London, England, and situated in Ontario, Canada, Jack de Keyzer
has been promulgating blues and several of its offshoot genres for over
four decades. Along the way he has been accorded several of the highest
musical honors that Canada bestows, among them two Juno Awards and seven
Maple Blues Awards. In addition to his reputation as a valued session
man, de Keyzer has released an even dozen of his own albums.
This latest release, although comprised of twelve original tunes, is appropriately
titled because it nods in various ways to some of the figures that have
been most influential to de Keyzer. “Coming Up,” for example,
features the screaming single note guitar runs that immediately evoke
memories of Jimi Hendrix. “Let’s Do It” leads off with
a modified version of the classic riff of “Sunshine of Your Love,”
one of the classic songs of the 1960s rock power trio Cream led by Eric
Clapton, and the first few bars of “Forever,” the closing
song of the set, reprise the signature riff of Clapton’s “Layla.”
“Supernatural,” with its distinctly Latino flavor and stinging
guitar, is surely a nod to “Smooth,” a 1999 song made famous
by guitarist Carlos Santana and singer Rob Thomas from their album…yes,
“Supernatural.”
Other tribute references may escape me, and the liner notes provide no
clues. Perhaps listeners more informed than I will recognize riffs or
phrases…but the album can be enjoyed for itself. Energy is high
throughout, from the opening cut, “Are You Ready?” which poses
the question “Are you ready to boogie?” and answers it with
an emphatic yes. The ensuing nearly one hour of songs delves into funk,
reggae, pure rock, soul, and a traditional twelve-bar blues, “If
My Baby Left Me,” replete with tasty piano and with saxophone instead
of the usual Chicago harmonica accompaniment. The set’s highlights
include “Supernatural,” with de Keyzer handling some snazzy
overdubbed guitar licks, and “You Turned My World to Blue,”
one of the few slower numbers, with a nice piano solo and some of Jack’s
best vocalizing.
The set’s ensemble is bolstered by the driving rhythm section of
drummer Peter Grimmer and bassist Alan Duffy; clear production allows
appreciation of the bassist’s contributions, which on many recordings
are difficult to distinguish in the sound mix. Nick Succi plays fine piano
and organ, and Richard Thornton wails on sax. De Keyzer sings well, and
his impressive skills on his six-string range from fiery to lyrical.—Steve
Daniels
Elder
Charles Beck
Your Man Of Faith
Gospel Friend CD
“The church should have plenty of rhythm. I do not believe we should
suppress the spirit. I’ll raise my foot to make a sanctified leg
for God. And I’ll play my trumpet until Gabriel, the King of trumpet
players, sounds the last mighty blast this old planet shall hear. I’ll
join in with that heavenly choir and we’ll march through the Pearly
Gates playing “When The Saints Go Marching In,” liners author
Opal Nations quotes multi-instrumentalist gospel musician and Holiness
and Baptist minister, the Alabama-born Elder Charles Beck (1902-1966),
whose “revival sessions” were legendary. Following World War
II, the singing evangelist capitalized on the abundance of “indie”
labels and recorded with several including Chart, Eagle, King and Gotham.
This 26 track project spans the years 1937 to 1956 and includes not only
inspired, at times frenetic, takes on traditional gospel songs such as
“If I Have To Run,” “I’m Gonna Walk Right In And
Make Myself At Home,” “Dry Bones,” “There’s
A Dead Cat On The Line, “You Got To Move” and “You Better
Watch Your Close Friends” but also Beck-authored, more decidedly
dramatic efforts like “Winehead Willie Put That Bottle Down,”
“Shouting With Elder Beck” and “Rock And Roll Sermon.”
Also noted are startling covers of both Thomas Dorsey’s “Precious
Lord” and Roberta Martin’s “Didn’t It Rain.”
Another noteworthy release by Per Notini on his well-worth-checking out
Gospel Friend label.— Gary von Tersch
The
Right To Rock
Various Artists
Bear Family CD
Sub-titled The Mexicano and Chicano Rock ‘n’ Roll Rebellion,
this jam-packed 37 tracker is a riveting compilation of Mexican and Latin
American artists (1955 to 1963) that pays tribute to the cultural components
of the Chicano movement of the 1950s—today as pertinent in terms
of border walls and racial segregation as it was then with the musical
roots of current artists like Carlos Santana, the Texas Mavericks and
Los Lobos aurally evident. Disc-wide the focus is on the tougher side
of rock ‘n roll—no “La Bamba’s” here—as
famous and near-famous artists such as Trini Lopez (with his anthem-like
“The Right To Rock”), Freddy Fender (“Jailhouse Rock”
and “Don’t Be Cruel”), Chan “Hippy Hippy Shake”
Romero, Eddie Quinteros, Chuck Rio, ill-fated Ritchie Valens (“Ooh!
My Head”) and Chris Montez take turns with lesser known COLLEAGUES
like the Los Gibson Boys (with a great version of “Good Rockin’
Tonight”), Lalo Guerrero (ditto “Hound Dog”) the Augie
Garcia Quintet (“Hi Yo Silver”), Los Teen Tops (“Good
Golly Miss Molly”) and Los Xochimilcas with “Rock Rollin’
Rock.” An accompanying 36-page booklet includes bios and discographical
info for each artist as well as a detailed introduction to the music’s
historical, cultural and unavoidably political backgrounds as well as
a profusion of rare period images, illustrations and attendant memorabilia.
A real eye-opener!—Gary von Tersch
Skylar
Rogers
Firebreather
Self-produced 2021
Add Skylar Rogers to your list of notable Chicago women blues singers;
she deserves to join the pantheon distinguished by such vocalists as Mary
Lane, Liz Mandeville, Shirley Johnson, and the late “Queen of the
Blues,” Koko Taylor.
Rogers, a Chicago native, released an abbreviated album in 2019; this
is her first full length album. She has assembled a worthy band to back
her, which she has dubbed “The Blue Diamonds”; it’s
led by dual guitarists Marty Gibson and Stephen J. Hill. Comprising the
rhythm section are pianist Pete Zimmer, bassist Jerry Ewing, and drummer
Bradley Arl, who co-wrote two of the ten tracks.
Rogers and her crew term their music “soul rockin’ blues,”
and the moniker is appropriate. The set commences with “Hard Headed
Woman,” a curt mid-tempo cut more on the soul side of the spectrum,
and mines the same vein with the succeeding “Work.” Next up
are two somewhat raunchier tracks, “Like Father Like Daughter”
and “Failure,” Rogers’ strong singing abetted by stinging
guitar contributions. “Firebreather,” the title tune, features
crunching guitars, swirling organ, and a thrumming bass line as Skylar
emphatically describes a woman not to be underestimated.
The vibe is modified nicely on the ensuing cut, “Movin’ On,”
its slower tempo replete with hand claps, backing singers, and Rogers’
insistent gospel-style vocal. She digs deep emotionally on the set’s
longest track, the six minute “Drowning,” which is followed
by another gospel-like tune, the reverential “Thankful.” The
album closes with an adroitly done plea to overcome one’s “Insecurities.”
On “Firebreather” The Blue Diamonds deliver some fourteen
carat blues, and Skylar Rogers shows that there is another jewel in the
world of Chicago blues.—Steve Daniels
Early
Times & the High Rollers!
The Corner
VizzTone 2021
Originally from Sacramento, Early Times has a more than two decade resume
as a record producer, label owner, session musician, and Internet blues
programmer. He is also, notably, a singer, songwriter, and multi-instrumentalist
who plays bass, keyboards, drums, and, not least, guitar; he won Best
Guitarist in the Sacramento Music Awards. He spent a stint as guitarist
for blues chanteuse E.C. Scott.
Now ensconced in New York City, he and his band have honed their rock
and blues chops on this new release. It’s unique in sporting a unifying
theme: tales of street life and characters in The Big Apple. The usual
blues tropes of love, unrequited love, lust, lost jobs, and gambling debts
take a back seat to indelible sketches of such characters as Mary with
her cha-cha hat, Charlemagne, and other lost souls. Comparisons with some
of the songs of Mose Allison and especially Lou Reed and the Velvet Underground
are appropriate.
Early Times is credited with all the vocals, and his tenor renderings
come through clearly – as do all the instruments; production values
are excellent. He is also credited with playing all the instruments, although
multiple other musicians receive credits as well. Liner notes don’t
specify who plays what on individual tracks, but Early Times handles lead
guitar throughout, and does a sterling job. Although a few flurries of
rapid single note runs appear, more common are sustained single notes
in the high registers, imparting a mesmerizing and haunting vibe. Multiple
tracks feature overdubbed lead and rhythm guitars; if I’m hearing
accurately, a few tunes even have three simultaneous guitars overlaid.
On “Someone Help Mary,” the penultimate track, acoustic and
electric guitars interplay.
NYC blues rocker extraordinaire Popa Chubbly makes a guest appearance
on “She’s About to Lose Her Mind” and provides a dazzling
solo. That track also includes the word “chagrin” in the lyrics;
how often do you encounter such erudition in a blues song? Actually, the
songs’ lyrics are among the strongest aspects of this album…but
the band’s expertise should not be discounted: there are shuffles,
ballads, wah-wah pedals, swirling organ reminiscent of Ray Manzarek of
The Doors, a few jazzy drum solos. There is one terrific instrumental:
“Rosie’s Herbs ‘N Ting.” The eclectic set ends
with its only full-out rocker, “Return of the Queen,” which
sounded to me like a cross between Dave Alvin and Bob Dylan from his “Blonde
on Blonde” period; it’s scorching!
I was surprised and delighted by “The Corner”: it rocks, while
creating distinct, idiosyncratic, and poignant images.—Steve Daniels
Various
Artists
The Birth Of Soul Series: Los Angeles
Special
Kent CD
London’s Ace label has, for years, had well-established connections
with a variety of classic Los Angeles labels such as Modern, Combo, Flip,
Flash, Money, Dore, Philles and Era, most of which had several charting
and near-miss soul singles in their catalogs that soulfully borrowed from
the wildly diverse scenes prevalent in The City Of Angels in the early
sixties (from doo-wop, gospel and blues to some fantastic girl groups
and smooth balladeers) that mixed together to make Los Angeles a quickly-developing
soul hub. The cited labels provide the bulk of the 24 tracks on this latest
compilation entry in Ace’s ongoing Birth Of Soul series. Highlights
include the Mandarins’ “That Other Guy” and the Imperialites
“You Better Watch Out Girl” (both authored by prolific songwriter
George Semper) as well as “Have You Heard” by the Vows, the
Chesterfields’ “Trouble” and Sylvester Stewart’s
“Help Me With My Broken Heart” (all involved with brilliant
songwriter George Motola) with the Phil Specter produced Darlene Love
demo of “Let Him Walk Away” right up there with her best work
from Gold Star Studios. H.B. Barnum, with his prolific Little Star label,
was also a major player with artists like Bobby Day and Ed Cobb in his
stable. Included here is a great duet on “I’m With You All
The Way” by Barnum’s two solo stars, Dorothy Berry and Jimmy
Norman. Doo wop, in particular, held sway in the fifties in Los Angeles
and stuck around longer than in most other areas—numbers by the
Composers, the Classicals, the Wonders and Wilks and Wilkerson were on
the radio in 1962 but will reverberate with lovers of street-corner soul
harmony everywhere. All in all, two dozen tracks that reveal how the city’s
soul scene came about.—Gary von Tersch
Book
Mississippi
Juke Joint Confidential/ House Parties, Hustlers & The Blues Life
Roger Stolle/
Photographs By Lou Bopp
The History Press
Roger Stolle has owned the Clarksdale, Mississippi Cat Head Delta Blues
And Folk Art Store since 2002. He is also a correspondent for various
publications, producer of various blues albums and award-winning documentaries
including We Juke Up In Here that, incidentally, could serve as a
fascinating companion piece to this photo-laden (Lou Bopp is a dynamite
photographer!), interview-heavy book. Stolle, throughout, artfully blends
his insightful, contextual prose with conversational quotes from a variety
of, usually eccentric, juke joint owners as well as musicians, dance-mad
patrons and hustlers of all stripes. Early on and working from the inside,
he dismisses the idea that “all juke joints are blues clubs, but
not all blues clubs are jukes” very convincingly (see the opening
chapter “Isn’t Every Blues Club A Juke Joint?)“ The
difference between the two I’ll leave to your imagination. Among
the most interesting chapters are both Parts of “If The Walls Could
Talk” that feature, utterly candid, off-the-cuff, descriptive reflections
by the irrepressible likes of not only Red Paden, Big George Brock, Sam
Carr, Cedell Davis, Terry “Harmonica” Bean, “Cadillac”
John Nolden, T-Model Ford as well as Robert Kimbrough Sr., Steve “Lightnin’
Malcolm, “Big” Jack Johnson, Jimmy “Duck” Holmes,
James “Super Chikan” Johnson, L.C. Ulmer, Bill Abel and David
“Honeyboy” Edwards among a host of others. Another incisive
chapter, titled “Welcome To Wonder Light City,” focuses on
the wit and wisdom of juke joint performer turned owner Robert “Bilbo”
Walker while “Moonshine aka White Whiskey” deals with one
of the scene’s “down low” beverages of choice and “The
Juke Joint Hotel?” that contemplates the circumstances behind the
death of Bessie Smith, the birth of rock ‘n roll, gambling houses
and Delta hustling strategies. All in all, the folks that Stolle quotes
come across with a sweaty, three-dimensional immediacy that’ll have
you up all night long. Well worth tracking down—Gary von Tersch
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