Skip James, John Hurt and the Delta blues

I've just finished reading Ted Gioia's new book, "Delta Blues," which I wrote about here, and which include a chapter on the very unique music of Nehemiah "Skip" James, whose unearthly sounding music was like no other blues.

Then almost like it was meant to be, I was re-arranging CDs in the BNWHQ (BlueNotes World Headquarters) library and out popped my old copy of "Blues from the Delta," Vanguard's 1998 compilation of James'  CDs from 1966  ("Today!") and 1968  ("Devil Got My Woman").

I guess it had been a while since I'd heard James -- when his eerie falsetto came pouring out of the speakers, it was like music from a long-ago, forgotten world. His high-pitched voice added a surreal layer to his already other-worldy lyrics and unique guitar tunings. Not to mention his piano accompaniment, while not quite as ethereal as his guitar, also added a unique dimension to his music.

In the CD liner notes, I read about James' rediscovery, his reluctance to re-engage himself in the music business, and his widespread acceptance once he did. The notes alo mention that he soon found himself a companion of the also rediscovered Mississippi John Hurt (lost in his hometown of Avalon, Miss.) as they hit the blues revival circuits in the mid-1960s.

The two men couldn't have been more different in temperament -- the rough and tough James, who had moved in and out of the blues and church worlds, finally settling on the blues, and whose music reflected the Delta he grew up in; while Hurt, a gentle soul, dealt in lyrically finger-picked music that was as elegantly different as it was blues. The stories his music told tended to be lighter, occasionally more salacious (see  "Candy  Man Blues").

Both were from pretty much the same era, but with music often worlds apart. And that's another very interesting aspect of Delta blues. The Mississippi Delta was not a large region, geographically, but in those days, you didn't have to be far apart to be relatively isolated from other musicians and musical styles.

And just as I had stumbled upon my James CD, a few days later I turned on the CD player in the BlueNotesMobile (with its very own license plate -- spot it and win the fame of being mentioned here!), and on came a John Hurt CD, filled with his own magical music, leading off with "Coffee Blues." "Coffee Blues" contained the phrase "lovin' spoonful,"  a lyric destined for a place in blues history and especially as a name for the fine folk band, Lovin' Spoonful.

What's the point of all this blues rambling?

I guess it's done mainly to note that some of the origins of the blues are at least as potent and meaningful and enjoyable as ever. It's fashionable for young bluesguys to see how many notes they can hammer and how much volume they can generate. But an eloquently picked and sung blues song can be just as powerful -- or more.

 Senior citizen and musical dervish Tina Turner

 Tina Turner is out on her new world tour, celebrating the fact that 70 is the new 30, apparently kicking up her heels with as much vigor as ever. Here's a review of a recent performance, in which she makes BlueNotes feel like a very old man. Here's a review of how Tina is doing in her latest tour.

And here's a video of Skip James' "Devil Got My Woman,"  from the Newport Folk Festival in 1966, a year before I got there, in all its primitive blues glory:

And this is Mississippi John Hurt:

Studebaker John: 'Waiting on the Sun'

Studebaker John Grimaldi is one of those slash and burn bluesguys who leaves no doubt where he stands on the blues -- whether he's ripping off a fiery slide solo, working on an acoustic number, or blowing wicked harp.

He has a new CD -- "Waiting on the Sun" (Avanti Records) -- well, it's sort of new. It was released Oct. 21, and BlueNotes, who drinks no wine (or anything, really) before it's time, is just getting around to it.

But at least I'm getting to it before his official CD release party, which is Wednesday night at Buddy Guy's Legends in Chicago.  If you're in the neighborhood, stop in, and if you're one of the first 20 people to present this ad (http://www.studebakerjohn.com/press/BuddyGuys.pdf) you'll get a free autographed copy of the CD. If that's not a BlueNotes' Public Service, I don't know what is!

 Anyway, about that CD. It's extremely well-done and tasty. It's filled with original SJ material, and he cranks out tune after tune that showcases all his talents. A fierce slide solo halfway through  "Partner in Crime"  gives way to  rollicking piano riff by Szymon Szopinski. Then he lets his harp soar on "Natural Born Boogie."

 There are fine old Chicago-style licks all the way through, as on "Tell Me So" and tough rockers like "I'll Be Rockin.'" The title track is a finely written ode to the blueman waiting for a new dawn.

I'm kind of partial to John because he's taken his name, his band's name and his record label's name from the Studebaker Hawks of the 1960s and the Avanti,  all elegantly designed little cars whose lins were ahead of their time, and some of my all-time favorite rides. (The very first car BlueNotes drove was a Studebaker Champion -- ahh, the memories.)

I'm also kind of partial to him because he's created his own brand of blues, plays it with soul and passion, and it always makes enjoyable listening. Here's a review I did of his show at Moondog's early this year. And a photo from that show at left.

BlueNotes legal assistance

Just in case you thought BlueNotes and the blues itself was a waste of time, be advised of the following comment about Elvin Bishop's new CD, "The Blues Rolls On," reviewed here recently, and posted by Wiseguy a few days ago that I want to repeat here in case you missed it.

I was listening to this disc while driving between Pittsburgh and State College when a nice trooper pulled me over after tailing me for several miles. He said he turned on the lights the third time I went over 80 mph. Since I was clearly under the influence of good music, and not alcohol, he left me with a warning to pay more attention to what I saw in the rear view mirror next time.

 We can't guarantee that the blues will keep you out of trouble. But now we know it might.

 Here's a Studebaker John video, in case you've never seen him work.  And it's from Buddy Guy's, where you'll find him Wednesday night.

Some weekend blues-light specials

There are a couple of special local blues shows around over the weekend, so take note and try to take part. The blues needs you just as much as you need it. Or them. I never know for sure.

First, on Saturday night, at the Hard Rock Cafe in Station Square, the Muddy Kreek Blues Band holds a benefit for P.R.O.M.I.S.E., a youth-mentoring group, and will feature group members as well. Muddy Kreek is a relatively new band in town, and I hear good things.

Then on Sunday, from noon-8, at Moondog's in Blawnox, the 3rd Annual No Steelers Game Blues Jam to benefit the Greater Pittsburgh Food Bank and food drive (bring non-perishable food).

Here's that lineup:
12:30 - Shot o' Soul
1:15  - Blu Razor Band with Zach Tyler
2:00 - Sweaty Betty Blues Band with Bubs McKeg
2:45 - Jimmy Adler Band
3:30 - Jill Simmons and Andrea Pearl
4:15 - Pamela Bick and the Warehouse Band
5:00 - Mystic Knights with Gil Snyder and Craig King
5:45 - Big ol' Blues Jam with Patti Spadaro

Dylan speaks

I guess I'm just catching up with the news, but it's still worth a mention. Bob Dylan (who had already endorsed Barack Obama for president), gave his first-ever concert at the University of Minnesota on election night. By all accounts, he was beside himself (for the silent one, anyway), in his encore after Obama had pretty much won the night.

Here's a description from the Minneapolis City Pages:

... last night, after a lengthy break between his regular set and his encore which I can only imagine was spent discovering that Barack Obama had won the election, Dylan returned to the stage to play "Like a Rolling Stone" and then turned to the audience and spoke.

"I was born in 1941," he said, a wavering sentimentality in his scratchy voice. "That was the year they bombed Pearl Harbor. I've been living in darkness ever since. It looks like things are going to change now."

I know, that's a long excerpt. But it's a good one. And what does that have to do with BlueNotes? Well, BlueNotes is a big Dylan fan (much like Obama, I hear), and Dylan has always been a big blues fan.  So that's good enough.

But it's a good one.

2 movies coming about Chess Records

It's hard to believe that after many years of inattention, one of the blues' most important stories will be told - maybe - in two feature films set to be released next month: "Cadillac Records" and "Who Do You Love."

That story is the story of Chess Records, and the owners and artists who made it happen. Chess was probably the most important record label in blues history, and it could well be a great movie subject. Judging from what I've read about both films, however, they sound entertaining, but not exactly historical.

It's easy to understand the difficulty in getting rights to some of the music -- Chuck Berry, for example, always notorious about getting his cash up front, was reportedly very hard to deal with on the rights to use his music. One  film met his price and one did not, so an important part of the Chess history isn't well-represented. And "Cadillac Records," which stars Beyonce as Etta James (a great singing job, from what little I've seen) and Oscar-winner Adrien Brody as Leonard Chess, cuts Leonard's brother and Chess co-founder Phil, out of the movie. What kind of history is that?

I know, it's the movies. And the idea is to make an interesting film. But do we have to sacrifice accuracy when there's so much life and drama and great spirit and music in the real thing? I suppose that's a dumb question, considering all the liberties that filmmakers take with history. I guess I find it annoying because this part of our musical culture hasn't been well-documented in the popular media. It would be kind of unfair, I think, for all those Beyonce fans to grow up thinking that Phil Chess did not exist.

Here's a quote from a Los Angeles Times blog about "Who Do You Love":

After an early screening of "Who Do You Love," one of the--count 'em--two new movies about 1950s powerhouse blues label Chess Records, a pair of women sought out Marshall Chess, whose dad, Leonard, was the driving force behind the record label. They were puzzled about one of the key story lines in the film. "Did your mother and father really make up after your father had that torrid affair with that beautiful singer?" one of them asked. Marshall rolled his eyes. "No, they didn't make up," he said, "because there never was an affair. The filmmakers made that part up."

I suppose I should wait until I actually see the films  before being critical (what a concept!). If only the producers had come to BlueNotes before they started, we could have avoided all this negativity. Still, the music promises to be interesting. Maybe I'll just wait for the soundtrack CDs.

I also hope the films don't perpetuate the unfortunate myth about the Rolling Stones finding Muddy Waters painting the ceiling at the Chess studios.  Muddy would never risk paint splattering on his fine blues duds.

 Here are some articles and a movie trailer so you can find out a little more:

Here's a Billboard article about the films

The LA Times blog mentioned above (in case you forgot).

The "Cadillac Records" trailer. Maybe it's just me, but I think this trailer looks a little bit too much like a '50s "Superfly" flick with good music.

Elvin Bishop: 'The Blues Rolls On'

Blues guitarist Elvin Bishop, who made history as a co-founder of the Paul Butterfield Blues Band amid an amazing era of 1960s Chicago blues, has created a new album that takes him full circle to his roots.

"The Blues Rolls On" (Delta Groove) is one of Bishop's best in years, because he goes straight for the throat of the blues that got him into the music in the first place -- tough, gritty and your mama's blues. And the addition of a few musical friends like James Cotton, B.B. King, Kim Wilson, Ronnie Baker Brooks, George Thorogood, John Nemeth, Tommy Castro and Angela Strehli doesn't hurt, either.

In fact, it may be less of an Elvin Bishop album than a celebration-of-Elvin Bishop album. But that's okay. It's a good album. It's filled with a younger generation of blues musicians, a few blues veterans and some fine blues backed by some excellent musicians, including Bishop and his slide guitar.

He kicks off the CD with the title track with himself on a chunky vocal tribute to the blues, with extra-sharp backing by Warren Haynes on guitar and sassy harp by Wilson.

The rest of the tracks flow in the same blue vein, from his solo turn on the biographical "Oklahoma," the classic "Yonders Wall" with Brooks and Castro, Roy Milton's classic "Keep a Dollar in Your Pocket" with B.B. King, And Clifton Chenier's "Black Gal" -- a wide assortment of goodies.

Some of my favorites involve blue-eyed soulman and harp guy John Nemeth, who does considerable justice to the great torchy blues. "Night Time is the Right Time," with Angela Strehli shouting up the middle like Margie Hendricks did on the unforgettable Ray Charles version of the song. Nemeth returns on the lazy shuffle "Who's the Fool" then closes out the CD with an instrumental version of the Jimmy Reed classic, "Honest I Do." Nemeth's harp and Bishop's slide make beautiful old music beautiful again.

Here are a few song clips:

The title track highlights Bishop's guitar and vocals, and Kim Wilson's harp:

Here's a clip of "Night Time is the Right Time," beginning in middle of Strehli's tough solo:

And just for fun, here's a clip of the same spot in the Ray Charles version of "Night Time," with Margie Hendricks electrifying solo. A lot has been written about the intimate relationship between Charles and Hendricks that produced this very emotional and personal duet.

And for good measure, here's a good interview with Bishop on his life and blues available at NPR.

Blues in pictures from Iraq

Bluzapalooza, a 12-day tour of blues musicians to Kuwait and Iraq ended the first of the month -- it took a number of performers for a second version of a blues tour earlier in the year.  but this time it took a photographer along to document the shows, and Joe Rosen writes that his work has been displayed in a gallery on the New York Daily News Web site. Take  a look; they're great photos.

Here's how Joe describes his photographic journey:

The trip was an amazing event that will be with me for the rest of my life. It was a special experience which I want to share. The people I traveled with were a wonder and a joy. I consider myself lucky to have spent this time with them. The effect of the music they performed for the troops was indescribable. That’s where the photos come in. The good people at the New York Daily News have posted a gallery on their web site. I am very grateful to them. I believe it conveys the sense and spirit of the tour;

One of the performers on the tour, blues singer Shemekia Copeland, has also posted some photos from the trip on her Web site. The singer said that the tour "was the hardest but the most rewarding thing I've done in my career."

Susan Tedeschi goes 'Back to the River'

Susan Tedeschi, who just happened to be in town for a show Saturday night, also just happens to have a new CD -- "Back to the River" (Verve) -- that showcases all her singing, songwriting and guitar talents. And they also get a boost her from husband and guitarist Derek Trucks.

It's not really a blues album, and that seems to be just the way Tedeschi wanted it. Here's what she told PG Mag editor Scott Mervis in an interview last week:

"There were a lot of directions I wanted to go in and one was to make it more of a rock record," she says, "like Derek and the Dominos, Delaney and Bonnie, Janis, Jimi Hendrix, whatever, more of that time period -- and still incorporate the blues mixed in with trying to create great stories, song-telling, Bob Dylan kind of style."

And that's just how she kicks off the CD, with a Janis/Bonnie-type vocal on the hard-edged rocker "Talking About." The album is filled with tough and tender music, all but one written or co-written by Tedeschi. Here's a clip from "Talking About."

The title track is co-written by the swampy blues legend, Tony Joe White based on a conversation he had with Tedeschi, about her longing to be at her home on a river in Jacksonville, Fla., described on White's Web site:

Tony Joe asked Susan to tell him about her life and she said "I feel like I am constantly trying to get home and back to the river and back to my family." Susan lives on the St. John's River in Jacksonville, FL with her husband Derek Trucks and their two children. Tony Joe suggested she write about that and "Back To The River," the album's title track was born.

The first couple of lines highlight its haunting nature:

"Wakeup in a cold sweat, nightmare by my bed;
Waiting for the rider, wandering through my head."

That's the way the album goes -- from tough to tender, all enhanced by Tedeschi's vocals and guitar. A very nice effort.

Blues from Japan, brews for the holidays

It's part of BlueNotes' job to surf the Web for blues info, and pass along what seem to be interesting or newsworthy items (BlueNotes surfs while you sleep, or something like that).

Well, here's an item I found, that's at least as interesting for its source as for its content. At last summer's Chicago Blues Festival, I watched Koko Taylor and her band stir things up, and playing with her was a Japanese guitarist named Shun Kikuta, who really tore it up with his backing and solo work.

This is from Taipei (Formosa) Times, focusing on Kikuta, who is about to headline an annual Blues Bash there. (Here's what the actual article page looks like.) Here's a sample from the article:

The Tokyo-area native was enraptured by the blues after hearing BB King’s classic 1964 recording Live at the Regal while studying jazz at the Berklee College of Music in Boston. After graduating, he moved to his current home of Chicago, where he established his reputation through countless evenings jamming at blues clubs and playing on the streets. Through the years he has shared the stage with blues legends such as James Cotton, Junior Wells and Otis Rush.

And the photo above is one I found from my collection of Chicago Blues Festival photos, showing Koko and Kikuta performing.

More brews news

I don't have any photos, but there have been a few inquiries at BlueNotes World Headquarters lately as to the whereabouts of BeerNotes -- is he being kept in a secure location? Well, no, not unless you consider various brewpubs to be secure locations.

BeerNotes is warming up to the season to be jolly, especially with the flood of holiday beers about to be tapped. Here's an item on that from colleague and astute beer dude, Bob Batz. As for BeerNotes, he's already dipped into his beer cellar for some very nicely aging 2007 Belgian Gouden Carolus Christmas -- dark and smooth and rich with seasonal flavors. Just right for sipping and dreaming of sugarplums and blue notes dancing in his head.

Blues and brews make great music together, as long as the brews live up to the music. 

Tinsley Ellis kicks off a bluesy weekend

Yes, what you read in the papers is true. Today is Thursday, and if you think like BlueNotes does, it's time to begin the weekend.

It's another weekend full of blues, like last weekend, when you could find a good show every night, including Sunday.

So tonight at Moondog's in Blawnox, you can get down with blues-rocker Tinsley Ellis, a tough and fiery axman. Sure, it's a work night, but go in late on Friday and tell your boss that preserving the blues is more important than being at work on time (we hope your boss is Moondog).

Friday night, an unusually named-but-great-sounding band -- Reverend Raven and the Chain-SMoking Altar Boys, a down and dirty blues band -- wth  Pittsburgh's Jimmy Adler and his band opening the night at the Thunderbird Cafe.

On Saturday night, you can go to possibly your first holiday party of the season at the Rhythm House in Bridgeville, where the Blues Society of Western Pa. will be presenting two fine blues bands for a mere $7 (yes, that's seven). If you're a member, there's a little private food thrown in.

The bands are Felix and the Hurricanes and the Kilborn Alley Blues Band, either one worth the price of admission.

Also on Saturday, at the Byham Theater Downtown, Susan Tedeschi offers her blue and bluesy-flavored music, in which she's stretching out into new areas, as nicely displayed on her new CD, "Back to the River." And her opener is British soulman James Hunter, who I recommend at least as much as Tedeschi.

Okay. Writing about them is the easy part. Now let's go listen.

A few blues notes: Chicago blues, Buddy Guy, Honeyboy Edwards

The fate of the blues in Chicago -- sweet home Chicago -- seems to have fascinated many writers in recent months. Here's the latest piece I've read, from the Christian Science Monitor. It's a nicely written article, but kind of glum in its outlook.

Speaking of Chicago blues, here's an interview in the Calgary, Canada, Herald, with one of its few remaining stalwarts, Buddy Guy, in which he talks about how Chess Records couldn't figure out what to do with his fiery blues until the British blues invasion began.

Honeyboy Edwards, at 93 one of the oldest living bluesmen, is still hard at work sharing the world of his music. Here's a very nice little review of a recent show at a club in New York. (This is a New York Times article, and might require a free registration to read.)