March BEAT

MIDWEST BLUES BEAT

by Eric Steiner

      This month, instead of singing those “1040 Blues” like Robert Cray,
I’d like to talk about some of the newer releases that have landed in my
blues “in-box.” This batch is like a bouquet of spring flowers. There’s
more than enough to keep blues purists happy, and I’m happy to report that
latest from the late Furry Lewis, and the very-much alive Snooky Pryor and
Mel Brown, James Talley, Otis Taylor, Jimmy Smith, and Guy Davis, are all
first-rate.

     Furry Lewis’ Take Your Time (Adelphi) is a dozen cuts from the Adelphi
Records’ Blues Vault series that features fine country blues from a
little-known Mississippi Delta slide player. Furry was one of those
bluesmen, like North Carolina’s Pink Anderson, who played the “medicine man”
circuit in the 1920’s. He recorded some sides for Vocalion in Chicago, but
made Memphis his home. Along the way, he was honored by the Smithsonian
Institution and is part of the 1970’s Memphis Blues Caravan that brought
elderly bluesmen to colleges and music festivals. Furry died of a heart
attack in 1981, but I think he’d like to be proud of Take Your Time. His
picture on the cover art is priceless: Furry’s grinning, holding a can of
Falstaff in one hand and a cigarette with his trademark metal slide in the
other.

     When I first heard of Toronto’s Electro-Fi label, it sounded to me like
those early blues labels that were called “race records” in the 1940’s like
Okeh, Vocalion or Supertone. Electro-Fi is a label to watch, founded by
Andrew Galloway and blues writer extrordinaire, Sandra Tooze. Tooze’s bio of
Muddy Waters, “The Mojo Man,” would be required reading at my University of
the Blues as it is one of the best introductions to one the giants of the
blues. Like Muddy, Snooky Pryor is a Chicago blues legend, and legend has it
that he was the first to plug in his harp on Maxwell Street. Electro-Fi has
reunited Snooky with guitarist Mel Brown, and they tear it up on Double Shot.
This CD is up for a W.C. Handy Award in the “Traditional Blues Album”
category, and for good reason. From the opening “Dirty Rat” to “Big Leg
Woman” and “Rock This House,” these two old-timers recreate some of the
magic when they tore up Antone’s Club in the 1980’s.

     Nashville’s James Talley has a few Midwest connections. Talley’s
Nashville City Blues (Cimarron) is Jamesí ninth record, and it showcases a
fine songwriter who’s worked at the songwriters’ trade for more than 30
years in a Woody Guthrie vein. He’s had some ups, like performing at
President Carter’s inaugural ball and his first LP in 1975, Got No Bread, No
Milk, No Money, But We Sure Got a Lot of Love, (Capitol) was recognized by
Rolling Stone as one of the essential albums of the decade. Most of all
though, Talley’s lived the blues, captured eloquently on the new release’s
title cut and “If It Wasn’t for the Blues” or “Baby Needs Some Good Times.”

    John Prine, another Music City notable, helped James in the 1970’s, and
Talley came up playing solo at clubs like Chicago’s Earl of Old Town and the
Quiet Knight. James’ thoughtful liner notes tell a twisted story of how cruel
the music business can be, but I hope more people will keep the faith with
him and check out Nashville City Blues.

     Otis Taylor once took a 20-year break from playing music in public,
after forming the Butterscotch Fire Department Blues Band in the ‘60s and a
stint with British guitar legend Tommy Bolin in the ‘70s. I’m glad that
bass player Kenny Passarelli coaxed Otis back to the stage in 1995. Since
then, Otis has more made up for lost time on three CDs: Blue Eyed Monster,
When Negroes Walked The Earth, and this year’s White African (Northern
Blues). “My Soul’s in Louisiana” and “Ain’t No Cowgirl” show how powerful
the blues can be, but my favorite cut on White African is “Saint Martha
Blues,” which tells the tragic story of Otis’ grandfather who was lynched
and Martha’s efforts to reclaim her husband’s body.

     Jimmy Smith has been called the King of the Hammond B-3 for good reason.
His 1950’s releases Midnight Special and Back at the Chicken Shack helped
solidify Blue Note records’ reputation as a major jazz label.

   On Dot Com Blues (Smith shines on Etta James’ jazzy interpretation of
Willie Dixon’s “I Just Want to Make Love To You” and updates Duke
Ellington’s “Mood Indigo”) with a little help from friends like Dr. John on
electric piano and Russell Malone on guitar and Harvey Mason behind the drum
kit.   Keb Mo’ sits in on his “Over & Over,” with Phil Upchurch on guitar
and Joe Sublett on sax. B.B. King and Lucille work it in King’s “Three
O’Clock Blues.” I can’t think of a more enjoyable set than the hour of
blues found on Dot Com Blues, particularly if you like the your blues a
little bit jazzy courtesy of Jimmy Smith’s tasty B-3.

     Guy Davis’ song “Waiting for the Cards to Fall” is up for the “Blues
Song of the Year” at this year’s W.C. Handy Awards from his latest Red House
Records CD, Butt Naked Free (which is also up for the Handy hardware in the
“Acoustic Blues Album of the Year” category). Guy Davis is the son of two
truly American originals: the husband and wife writing and acting team,
Ossie Davis and Ruby Dee. Davis is no ordinary bluesman. His acting ability
has landed him a part in films and soap operas, in addition to playing the
title role Off-Broadway in “Robert Johnson: Trick the Devil.”

    Butt Naked Free is proof positive that the blues is in very good hands
with younger players like Davis, Keb Mo’ and Alvin Youngblood Hart.

Four Bitchin’ Babes

    I think it’s time I revealed to the world that I’m a “Babehead.” Last
year, I had the privilege of seeing the Four Bitchin’ Babes live. Now, I’m
hooked. The Babes are Debi Smith, Sally Fingerett, Camille West, and
long-time Chicago singer and actress, Megon McDonough.   They are all
first-class talents in their own right, but together, they put on an
unforgettable evening of music and stories fashioned from a woman’s point of
view. My friends used to sneak me into Megon McDonough’s shows at Orphans in
the ‘70s when she was a struggling folksinger and she hasn’t aged a bit.
Don’t miss their show at the Norris Cultural Arts Center in St. Charles on
April 21st.

   Check ‘em out online at www//songs.com/babes/. This month, Megon
McDonough is also performing “The Patsy Project” where she sings Patsy Cline
songs while accompanied by guitarist Don Stierenberg at Davenport’s Cabaret
(1383 N. Milwaukee) in Chicago every Friday night.

    Next month, I’ll have a more in-depth look at this year’s W.C. Handy
Awards, and updates from local favorites like – The Steepwater Band, Billy
King, Heartsfield, and Little Johnny.